{"id":4404,"date":"2023-11-27T18:06:53","date_gmt":"2023-11-27T09:06:53","guid":{"rendered":"https:\/\/www.hituzi.co.jp\/hituzigusa\/?p=4404"},"modified":"2023-11-27T18:06:55","modified_gmt":"2023-11-27T09:06:55","slug":"architecture-12","status":"publish","type":"post","link":"https:\/\/www.hituzi.co.jp\/hituzigusa\/2023\/11\/27\/architecture-12\/","title":{"rendered":"\u65e5\u672c\u8a9e\u8868\u8a18\u306e\u30a2\u30fc\u30ad\u30c6\u30af\u30c1\u30e3\uff1a\u7b2c12\u56de\uff1a\u6f22\u5b57\u4f53\u7cfb\u306e\u62e1\u5f35\u6027\u30fb\u958b\u653e\u6027 \uff0fThe Architecture of Written Japanese: 12 Sinographs as an Open Character Set\uff5c\u4eca\u91ce\u771f\u4e8c\u30fbChris Lowy"},"content":{"rendered":"\n

\u4eca\u91ce\u771f\u4e8c<\/h3>\n\n\n\n

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\u3000\u3055\u3066\u3001\u4e2d\u56fd\u8a9e\u306b\u304a\u3051\u308b\u6f22\u5b57\u306f\u539f\u5247\u3068\u3057\u3066\u8868\u8a9e\u6587\u5b57\u3068\u3057\u3066\u6a5f\u80fd\u3057\u3066\u3044\u308b\u3002\u3068\u3044\u3046\u3053\u3068\u306f\u3001\u8a9e\u304c\u65b0\u3057\u304f\u751f\u307e\u308c\u305f\u3089\u305d\u306e\u8a9e\u3092\u3042\u3089\u308f\u3059\u6f22\u5b57\u3082\u65b0\u3057\u304f\u3064\u304f\u308b\u5fc5\u8981\u304c\u3042\u308b\u3002\u305d\u308c\u3092\u53ef\u80fd\u306b\u3059\u308b\u305f\u3081\u306b\u306f\u3001\u6f22\u5b57\u3092\u65b0\u3057\u304f\u751f\u307f\u51fa\u3059\u3053\u3068\u304c\u3067\u304d\u308b\u3088\u3046\u306b\u306a\u3063\u3066\u3044\u306a\u3051\u308c\u3070\u306a\u3089\u306a\u3044\u3002\u6f22\u5b57\u306f\u305d\u3082\u305d\u3082\u305d\u3046\u3044\u3046\u300c\u9589\u3058\u3066\u3044\u306a\u3044\u300d\u6587\u5b57\u4f53\u7cfb\u3067\u3042\u3063\u305f\u3002<\/p>\n\n\n\n

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\u3000\u3055\u3066\u3001\u300c\u5f62\u58f0\u300d\u3068\u3044\u3046\u9020\u5b57\u65b9\u6cd5\u306f\u73fe\u5728\u3067\u3082\u6709\u52b9\u3067\u3042\u308b\u306e\u3060\u304b\u3089\u3001\u6f22\u5b57\u3092\u5897\u3084\u3057\u3066\u3044\u304f\u3053\u3068\u306f\u3067\u304d\u306a\u304f\u306f\u306a\u3044\u3002\u3057\u304b\u3057\u3001\u5fc5\u305a\u3057\u3082\u6f22\u5b57\u3092\u5897\u3084\u3057\u7d9a\u3051\u3066\u3044\u308b\u308f\u3051\u3067\u306f\u306a\u3044\u3068\u601d\u308f\u308c\u3001\u305d\u3046\u3067\u3042\u308c\u3070\u3001\u6f22\u5b57\u306f\u300c\u9589\u3058\u3066\u3044\u306a\u3044\u300d\u6587\u5b57\u4f53\u7cfb\u3067\u3042\u308b\u306e\u306b\u3001\u7d50\u5c40\u300c\u9589\u3058\u305f\u300d\u6587\u5b57\u4f53\u7cfb\u306b\u3061\u304b\u3044\u3082\u306e\u306b\u306a\u3063\u3066\u3044\u308b\u3068\u307f\u308b\u3053\u3068\u3082\u3067\u304d\u308b\u3002\u3057\u304b\u3057\u307e\u305f\u3001\u73fe\u4ee3\u306b\u304a\u3044\u3066\u300c\u6f22\u5b57\u3092\u3064\u304f\u3063\u3066\u307f\u307e\u3057\u3087\u3046\u300d\u3068\u3044\u3046\u3088\u3046\u306a\u3053\u3068\u306f\u3042\u308a\u3001\u6f22\u5b57\u3092\u3064\u304f\u308b\u3053\u3068\u306f\u3067\u304d\u3001\u7d50\u5c40\u6f22\u5b57\u306f\u300c\u9589\u3058\u3089\u308c\u3066\u3044\u306a\u3044\u300d\u3068\u307f\u308b\u3053\u3068\u3082\u3067\u304d\u308b\u3002<\/p>\n\n\n\n

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\u3000\u56f31\u306e1\u884c\u76ee\u30682\u884c\u76ee\u3001\u56f32\u306e1\u884c\u76ee\u30682\u884c\u76ee\u3068\u3092\u632f\u4eee\u540d\u3092\u7701\u3044\u3066\u7ffb\u5b57\u3059\u308b\u3002\u300c\u681e\uff0a\u300d\u306e\u7b87\u6240\u306b\u306f\u300c\u8349\u51a0\uff0b\u681e\u300d\u306e\u5f62\u306e\u5b57\u304c\u4f7f\u308f\u308c\u3066\u3044\u308b\u3002\u3053\u306e\u300c\u681e\uff0a\u300d\u306f\u304a\u305d\u3089\u304f\u300e\u5927\u6f22\u548c\u8f9e\u5178\u300f\u306b\u8f09\u305b\u3089\u308c\u3066\u3044\u306a\u3044\u3057\u3001\u300e\u5eb7\u7199\u5b57\u5178\u300f\u306b\u3082\u8f09\u305b\u3089\u308c\u3066\u3044\u306a\u3044\u3002<\/p>\n\n\n\n

\"\"
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\"\"
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\u3000\u7d50\u5c40\u3001\u4e2d\u56fd\u306b\u304a\u3044\u3066\u8868\u8a9e\u6587\u5b57\u3068\u3057\u3066\u4f7f\u308f\u308c\u3066\u3044\u308b\u6f22\u5b57\u3092\u3001\u65e5\u672c\u8a9e\u306b\u304a\u3044\u3066\u3082\u4f7f\u3063\u3066\u3044\u308b\u3068\u3044\u3046\u3053\u3068\u306b\u3044\u308f\u3070\u300c\u623b\u308b\u300d\u3053\u3068\u306b\u306a\u308b\u304c\u3001\u4e2d\u56fd\u306b\u304a\u3044\u3066\u4f7f\u308f\u308c\u3066\u3044\u308b\u6f22\u5b57\u3068\u65e5\u672c\u306b\u304a\u3044\u3066\u4f7f\u308f\u308c\u3066\u3044\u308b\u6f22\u5b57\u306f\u300c\u540c\u3058\u300d\u3082\u306e\u3068\u307f\u306a\u305b\u308b\u306e\u304b\u3001\u3068\u3044\u3046\u554f\u3044\u304c\u6839\u5e95\u306b\u306f\u3042\u308b\u3053\u3068\u306b\u306a\u308b\u3002<\/p>\n\n\n\n

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\u30002\u884c\u76ee\u306f\u5de6\u5074\u306b\u300c\u4e00\u53e3\u306f\u3042\u3060\u3061\u304c\u306f\u3089\u3088\u3001\u9b3c\u306e\u7559\u5b88\u306b\u305b\u3093\u305f\u304f\u3001\u9b3c\u306f\u5916\u304c\u305b\u3064\u3076\u3093\u300d\u3068\u8a18\u3055\u308c\u3066\u3044\u308b\u3002\u300c\u9b3c\u00d7\uff08\u4e00\uff0b\u53e3\uff09\u300d\u306e\u5b57\u306e\u4e0b\u306b\u300c\u304f\u308d\u3065\u304b\u300d\u3068\u3042\u308b\u3053\u3068\u304b\u3089\u308f\u304b\u308b\u3088\u3046\u306b\u3001\u80fd\u306e\u300c\u9ed2\u585a\u300d\u3092\u3075\u307e\u3048\u305f\u9020\u5b57\u3067\u3001\u300c\u9b3c\u00d7\uff08\u7559\uff0b\u5b88\uff09\u300d\u3067\u300c\u305b\u3093\u305f\u304f\u300d\u3001\u300c\u9b3c\u00d7\u5916\u300d\u3067\u300c\u305b\u3064\u3076\u3093\u300d\u306f\u308f\u304b\u308a\u3084\u3059\u3044\u9020\u5b57\u3068\u3044\u3063\u3066\u3088\u3044\u3002\u3053\u3046\u3057\u305f\u6587\u5b57\u904a\u3073\u3082\u3001\u6f22\u5b57\u4f53\u7cfb\u304c\u9589\u3058\u3066\u3044\u306a\u3044\u3053\u3068\u306b\u3088\u3063\u3066\u53ef\u80fd\u3068\u306a\u308b\u3002<\/p>\n\n\n\n

\u3000\u300e\u5c0f\u91ce\uff21\uff22\u5b57\u5c3d\u300f\u306f\u300c\u304a\u3082\u3057\u308d\u3055\u300d\u306e\u305f\u3081\u306b\u65b0\u305f\u306a\u6587\u5b57\u3092\u3064\u304f\u308a\u3060\u3057\u3066\u3044\u308b\u304c\u3001\u30d1\u30ed\u30c7\u30a3\u3092\u8868\u73fe\u3068\u3068\u3089\u3048\u308c\u3070\u3001\u4e2d\u56fd\u30fb\u65e5\u672c\u306e\u3044\u3064\u3044\u304b\u306a\u308b\u6642\u671f\u306b\u304a\u3044\u3066\u3082\u3001\u6f22\u5b57\u4f53\u7cfb\u306e\u62e1\u5f35\u6027\u30fb\u958b\u653e\u6027\u306b\u4f9d\u62e0\u3057\u305f\u6587\u5b66\u8868\u73fe\u304c\u3046\u307f\u3060\u3055\u308c\u308b\u53ef\u80fd\u6027\u304c\u3042\u308b\u3002\u65e5\u672c\u88fd\u306e\u6f22\u5b57\u3001\u3059\u306a\u308f\u3061\u300c\u56fd\u5b57\u300d\u306f\u3001\u5fc5\u8981\u304c\u3042\u3063\u3066\u3046\u307f\u3060\u3055\u308c\u305f\u3082\u306e\u3068\u3044\u3048\u308b\u3060\u308d\u3046\u304c\u3001\u3044\u305a\u308c\u306b\u3057\u3066\u3082\u6f22\u5b57\u4f53\u7cfb\u306e\u62e1\u5f35\u6027\u30fb\u958b\u653e\u6027\u3092\u80cc\u666f\u306b\u3001\u65b0\u305f\u306b\u6f22\u5b57\u3092\u3046\u307f\u3060\u3059\u3053\u3068\u304c\u53ef\u80fd\u306b\u306a\u3063\u3066\u3044\u308b\u3053\u3068\u306b\u306f\u7559\u610f\u3057\u3066\u304a\u304d\u305f\u3044\u3002<\/p>\n\n\n\n

\u30009\u4e16\u7d00\u672b\u9803\u306b\u300c\u4eee\u540d\u300d\u304c\u3046\u307f\u3060\u3055\u308c\u305f\u3002\u7247\u4eee\u540d\u306f\u6f22\u5b57\u306e\u90e8\u5206\u3092\u63a1\u308b\u3053\u3068\u306b\u3088\u3063\u3066\u3001\u5e73\u4eee\u540d\u306f\u6f22\u5b57\u5168\u4f53\u3092\u66f2\u7dda\u7684\u306b\u5909\u5f62\u3055\u305b\u308b\u3053\u3068\u306b\u3088\u3063\u3066\u3001\u6f22\u5b57\u3068\u306f\u5225\u306e\u6587\u5b57\u4f53\u7cfb\u3068\u306a\u3063\u305f\u3002\u4eee\u540d\u306f\u305d\u308c\u305e\u308c\u306e\u6587\u5b57\u4f53\u7cfb\u5185\u3067\u3001\u5fae\u8abf\u6574\u3092\u7e70\u308a\u8fd4\u3057\u3066\u3001\u6b21\u7b2c\u306b\u4f53\u7cfb\u3092\u6574\u3048\u3066\u3044\u3063\u305f\u3068\u601d\u308f\u308c\u308b\u3002\u3057\u304b\u3057\u3001\u660e\u6cbb33\uff081900\uff09\u5e74\u306e\u300c\u6539\u6b63\u5c0f\u5b66\u6821\u4ee4\u300d\u306b\u3088\u3063\u3066\u5c0f\u5b66\u6821\u3067\u6559\u80b2\u3059\u308b\u4eee\u540d\u5b57\u4f53\u304c1\u3064\u306b\u7d5e\u3089\u308c\u308b\u307e\u3067\u306f\u3001\u8907\u6570\u306e\u4eee\u540d\u5b57\u4f53\u3092\u4f7f\u3044\u7d9a\u3051\u305f\u3002\u4f50\u85e4\u6804\u4f5c\uff082018\uff09\u306f\u300c\u4eee\u540d\u306f\u3001\u6210\u7acb\u5f8c\u3082\u6f22\u5b57\uff08\u300c\u4eee\u540d\u6f22\u5b57\u300d\uff09\u304b\u3089\u306e\u300c\u88dc\u7d66\u300d\u304c\u306a\u3055\u308c\u305f\u3002\u305d\u308c\u306b\u3088\u3063\u3066\u3001\u4eee\u540d\u306f\u3001\u67a0\u304c\u3042\u308b\u306b\u3082\u95a2\u308f\u3089\u305a\u3001\u4e00\u67a0\u4e00\u5b57\u4f53\u3092\u9054\u6210\u3067\u304d\u306a\u304b\u3063\u305f\uff08\u3057\u306a\u304b\u3063\u305f\uff09\u3002\u300c\u88dc\u7d66\u300d\u306f\u3001\u3042\u308b\u6642\u70b9\u307e\u3067\u3068\u6642\u9593\u3092\u533a\u5207\u308c\u308b\u3082\u306e\u3067\u306f\u306a\u304f\u3001\u7406\u8ad6\u4e0a\u3001\u5e38\u306b\u53ef\u80fd\u3067\u3042\u308b\u300d\uff0854p\uff09\u3068\u8ff0\u3079\u3066\u3044\u308b\uff08\u6ce83\uff09\u3002\u3064\u307e\u308a\u3001\u4eba\u70ba\u7684\u306a\u3068\u308a\u304d\u3081\u306b\u3088\u3063\u3066\u4eee\u540d\u306f1\u5b57\u4f53\u306b\u53ce\u6582\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u305f\u3002\u6c5f\u6238\u6642\u4ee3\u306e\u56fd\u5b66\u8005\u306e\u8457\u4f5c\u7269\u3092\u307f\u3066\u3044\u308b\u3068\u3001\u5ba4\u753a\u6642\u4ee3\u307e\u3067\u306b\u306f\u3042\u307e\u308a\u4f7f\u308f\u308c\u3066\u3044\u306a\u304b\u3063\u305f\u3068\u601d\u308f\u308c\u308b\u5e73\u4eee\u540d\u3092\u898b\u51fa\u3059\u3053\u3068\u304c\u3042\u308b\u3002\u56fd\u5b66\u8005\u306f\u6f22\u5b57\u3092\u3082\u3068\u306b\u3057\u3066\u5e73\u4eee\u540d\u304c\u3046\u307f\u3060\u3055\u308c\u305f\u3053\u3068\u3092\u77e5\u3063\u3066\u3044\u308b\u304b\u3089\u3001\u81ea\u8eab\u306e\u597d\u307f\u306b\u5fdc\u3058\u3066\uff08\u3068\u8868\u73fe\u3057\u3066\u304a\u304f\u304c\uff09\u3001\u6f22\u5b57\u3092\u3082\u3068\u306b\u3057\u3066\u65b0\u305f\u306a\u5e73\u4eee\u540d\u3092\u3064\u304f\u308b\u3053\u3068\u304c\u3067\u304d\u308b\u3002\u4eee\u540d\u306f\u6f22\u5b57\u4f53\u7cfb\u3092\u80cc\u666f\u306b\u3057\u3066\u3001\u306a\u304b\u306a\u304b\u300c\u9589\u3058\u305f\u5c0f\u3055\u306a\u4f53\u7cfb\u300d\u306b\u306a\u3089\u306a\u304b\u3063\u305f\u3002\u4eca\u56de\u306f\u300c\u6f22\u5b57\u4f53\u7cfb\u306e\u62e1\u5f35\u6027\u30fb\u958b\u653e\u6027\u300d\u3092\u8a71\u984c\u306b\u3057\u3066\u3044\u308b\u304c\u3001\u300c\u4eee\u540d\u4f53\u7cfb\u300d\u3082\u307e\u305f\u8fd1\u6642\u307e\u3067\u300c\u62e1\u5f35\u6027\u30fb\u958b\u653e\u6027\u300d\u3092\u5099\u3048\u3066\u3044\u305f\u3053\u3068\u306b\u306f\u540c\u6642\u306b\u6ce8\u76ee\u3057\u3066\u304a\u304d\u305f\u3044\u3002<\/p>\n\n\n\n

\n\n\n\n

\u6ce81\u3000\u300c\u65b0\u3057\u3044\u610f\u5473\u3092\u3042\u3089\u308f\u3059\u5225\u306e\u5b57\u3092\u3064\u304f\u308b\u300d\u3068\u8ff0\u3079\u308b\u3068\u3001\u6587\u5b57\u304c\u610f\u5473\u3092\u3082\u3063\u3066\u3044\u308b\u3053\u3068\u306b\u306a\u3063\u3066\u3057\u307e\u3046\u304c\u3001\u300c\u65b0\u3057\u3044\u8a9e\u7fa9\u3092\u3082\u3063\u305f\u65b0\u3057\u3044\u8a9e\u3092\u3042\u3089\u308f\u3059\u5225\u306e\u5b57\u3092\u3064\u304f\u308b\u300d\u3068\u8868\u73fe\u3059\u308b\u306e\u304c\u53b3\u5bc6\u306a\u8868\u73fe\u306b\u306a\u308b\u3002\u6587\u5b57\u306f\u610f\u5473\uff1d\u8a9e\u7fa9\u3092\u3082\u305f\u306a\u3044\u3002\u3000<\/p>\n\n\n\n

\u6ce82\u3000\u300c\u6977\u66f8\u4f53\u30fb\u884c\u66f8\u4f53\u30fb\u8349\u66f8\u4f53\u300d\u3092\u53b3\u5bc6\u306b\u5b9a\u7fa9\u3059\u308b\u3053\u3068\u306f\u96e3\u3057\u3044\u306e\u3067\u3001\u3053\u3053\u3067\u306f\u6f22\u5b57\u306e\u7b46\u753b\u304c\u305d\u308c\u305e\u308c\u72ec\u7acb\u3057\u3001\u306f\u3063\u304d\u308a\u3057\u3066\u3044\u3066\u753b\u6570\u3092\u6570\u3048\u308b\u3053\u3068\u304c\u3067\u304d\u308b\u3088\u3046\u306a\u5b57\u4f53\u3092\u6977\u66f8\u4f53\u3001\u6f22\u5b57\u306e\u7b46\u753b\u304c\u9023\u7d9a\u3057\u3066\u3044\u308b\u7b87\u6240\u304c\u3042\u3063\u3066\u3001\u753b\u6570\u304c\u6570\u3048\u306b\u304f\u3044\u3088\u3046\u306a\u5b57\u4f53\u3092\u884c\u66f8\u4f53\u3001\u307b\u3068\u3093\u3069\u4e00\u7b46\u3067\u66f8\u3051\u308b\u3088\u3046\u306a\u5f62\u306b\u306a\u3063\u3066\u3044\u308b\u3082\u306e\u3092\u8349\u66f8\u4f53\u3068\u3001\u3054\u304f\u7c21\u7565\u306b\u5b9a\u7fa9\u3057\u3066\u304a\u304f\u3002<\/p>\n\n\n\n

\u6ce83\u3000\u300c\u4eee\u540d\u6f22\u5b57\u300d\u306f\u65e5\u672c\u8a9e\u306e\u97f3\u7bc0\u3092\u3042\u3089\u308f\u3059\u97f3\u7bc0\u6587\u5b57\u3068\u3057\u3066\u6f22\u5b57\u3092\u4f7f\u3046\u5834\u5408\u306b\u3001\u305d\u306e\u3088\u3046\u306b\u4f7f\u308f\u308c\u305f\u6f22\u5b57\u306f\u300c\u4eee\u540d\u300d\u3067\u306f\u306a\u304f\u300c\u6f22\u5b57\u300d\u306e\u7528\u6cd5\u3067\u3042\u308b\u3053\u3068\u3092\u793a\u3059\u305f\u3081\u306b\u4f7f\u308f\u308c\u3066\u3044\u308b\u7528\u8a9e\u3002<\/p>\n\n\n\n

\u53c2\u8003\u6587\u732e<\/h2>\n\n\n\n

\u4eca\u91ce\u771f\u4e8c  2017\u3000\u300e\u56f3\u8aac\u3000\u65e5\u672c\u306e\u6587\u5b57\u300f\uff08\u6cb3\u51fa\u66f8\u623f\u65b0\u793e\uff09<\/p>\n\n\n\n

\u4f50\u85e4\u6804\u4f5c  2018\u3000\u300c\u4eee\u540d\u3067\u3042\u308b\u3053\u3068\u3068\u300c\u79cb\u8429\u5e16\u300d\u300d\uff08\u52c9\u8aa0\u51fa\u7248\u300e\u79cb\u8429\u5e16\u306e\u7dcf\u5408\u7684\u7814\u7a76\u300f\u6240\u53ce\uff09<\/p>\n\n\n\n

\u5185\u7530\u4e45\u7f8e\u5b50  2020\u3000\u300c\u300e[\u6821\u6b63\uff0f\u5897\u88dc]\u6f22\u8a9e\u5b57\u985e\u300f\u300c\u76ee\u6b21\u300d\u6b04\u4e0a\u306e\u7d44\u306e\u6f22\u5b57\u5b57\u5f62\u306e\u4f4d\u7f6e\u3065\u3051\uff0d\u3000\u3000\u300e\u592a\u653f\u5b98\u65e5\u8a8c\u300f\u3068\u306e\u5bfe\u7167\u3092\u901a\u3057\u3066\uff0d\u300d\uff08\u548c\u6cc9\u66f8\u9662\u520a\u300e\u56fd\u8a9e\u8a9e\u5f59\u53f2\u306e\u7814\u7a76\u300f39\u6240\u53ce\uff09<\/p>\n\n\n\n

<\/p>\n\n\n\n

\n\n\n\n

<\/p>\n\n\n\n

The Architecture of Written Japanese
12 <\/a>Sinographs as an Open Character Set<\/h3>\n\n\n\n

Chris Lowy<\/h3>\n\n\n\n

This installment discusses the final element of the architecture of written Japanese: Sinographs as an open character set. Perhaps not as common as the other elements I\u2019ve hereto examined \u2013 furigana, for example, or the principle of interchangeability \u2013 Sinographs as an open set helps us understand how authors writing in Japanese engage with Sinographs, kana, foreign scripts, and emoji. It also allows us to approach two deceivingly complicated questions: (i) how many Sinographs exist, and (ii) what are the boundaries between the Sinographs used in Chinese and Japanese (and any host of written languages)? To understand the features of an \u201copen character set\u201d it will be helpful to first look at a \u201cclosed character set,\u201d in this case, the Latin alphabet.<\/p>\n\n\n\n

Alphabets as Closed Character Sets<\/strong><\/h2>\n\n\n\n

Alphabets are generally stable entities. While the relationship between how something is spelled (its visual representation) and how it is read aloud is tenuous, in the contemporary world the letters used to write those spellings do not change. Because the Western linguistic tradition generally views signification occurring at a dimension removed from the visual representation of language (i.e., signification occurs at the level of aurality),[1] alphabets (and abjads such as Hebrew and Arabic) themselves are not viewed as a space for creative expression.[2] Even when old alphabets are modified (e.g., Latin into Czech) or new alphabets are created (e.g., Adlam), the goal is to represent phonemes not contained in the original or otherwise visually represent a language more efficiently. The story of the Latin alphabet, as is everything, is a long one with many detours and side adventures. Let\u2019s go down one such path, if even for just a moment.<\/p>\n\n\n\n

The Latin alphabet we use today, which evolved out of Etruscan which itself developed out of Euboean Greek, is clearly related to other alphabets in use today. And all these alphabets are derivatives of the Phoenician script. These connections, which culture and aesthetics often obscure, have been known for a long time. For example, Evangelinos Apostolides Sophocles (1804-1883) opens his landmark History of the Greek Alphabet and of the Pronunciation of Greek<\/em> (1848) with this observation.<\/p>\n\n\n\n

       The original Greek alphabet was the same as the Ph\u0153nician or Shemitic [Semitic]. This proposition is established in the following manner:<\/p>

       First, The Greek letters used in the most ancient inscriptions are, as to form<\/em>, essentially the same as the corresponding characters found in Ph\u0153nician inscriptions and on Hebrew coins.<\/p>

       Secondly, The relative position<\/em> of nearly all the letters in the two alphabets is the same.<\/p>

       Thirdly, The names<\/em> of the Greek letters are radically the same as those of the corresponding Shemitic letters.<\/p>

       The arrangement of the Shemitic letters is determined by the alphabetical compositions in the Old Testament; the \u201cLamentations,\u201d for instance. The Greek letters are found arranged alphabetically on a very ancient Etruscan vase, made before the introduction of \u03a9. Thus, A B \u0393 \u0394 E F Z H \u0398 I K \u039b M N \u039e O \u03a0 Q P \u03a3 T \u03a5 X \u03a6 \u03a8, where X stands before \u03a6.[3]<\/p><\/blockquote>\n\n\n\n

The oldest Greek inscriptions are written in letters with Phoenician and Semitic correspondences,[4] were ordered in nearly the same way (i.e., alpha-beta-gamma and alef-bet-gimmel), and shared letter names (i.e., alpha\/alef, beta\/bet, gamma\/gimel). And as for the ordering of the alphabet itself? According to Reinhard Lehman, \u201cWith the destruction of Ugarit [modern-day Ras Al Shamra in Syria] at the beginning of the twelfth century BCE the Ugaritic cuneiform alphabet tradition came to a sudden end. But the Abgad [the \u201cABCs\u201d] order that formed its dominant arrangement device [\u2026] survived as the basic order of most Western and Semitic alphabets until today.\u201d[5] The Greek ordering noted by Sophocles was itself inherited from Ugaritic cuneiform. Image 01 shows the relationship between Greek and Phoenician, while Image 02 shows the relationship between Phoenician and the Semitic scripts.<\/p>\n\n\n\n

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Image 1: Barry Powell, Homer and the Origin of the Greek Alphabet<\/em> (Cambridge University Press, 1991; 7)<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

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Image 2: Joseph Naveh, Early History of the Alphabet<\/em> (The Hebrew University Magnes Press, 1997; 32)<\/figcaption><\/figure><\/div>\n\n\n\n

This is not to say that the Latin alphabet is the same as the Greek alphabet is the same as the Hebrew alphabet. Each of these scripts have different histories and traditions \u2013 \u201cstories\u201d \u2013 that disambiguate themselves from each other in real and meaningful ways. They are mutually unintelligible without special training and operate under varying architectures of script. My point is that alphabets (or abjads, etc.), once settled, are rarely the target of creative expression. They constitute, in this context, a closed character set<\/strong>. This means that within a given architecture of script (e.g., English vis-\u00e0-vis the Latin alphabet or Hebrew vis-\u00e0-vis the Hebrew alphabet) the basic tools for visually representing language are set with innovation occurring at the level of content. In contrast to the \u201cclosed\u201d nature of the alphabet, the Japanese writing system, and Sinographs specifically, might be considered \u201copen.\u201d<\/p>\n\n\n\n

Sinographs \u2013 An Open Character Set?<\/strong><\/h2>\n\n\n\n

As discussed in the third installment of this series, Sinographs \u6f22\u5b57 are thought to have reached Japan via the Korean Peninsula around the fifth century. Literary Sinitic \u6f22\u6587, which was written in Sinographs, was the literary and administrative (written) language of East Asia until the modern period. Given its cosmopolitan nature, one that can (or at least seem to) transcend spoken language,[6] the parameters of the term \u201cSinograph\u201d are difficult to pin down. That is, does the term \u201cSinograph\u201d refer to the entire set of Sinographs used throughout the \u201cSinographosphere\u201d (\u6f22\u5b57\u6587\u5316\u570f) or to the subset of Sinographs used in a given locality (e.g., China, Japan, or Korea)? The subjective nature of categorization prevents one from easily answering this question. Should, for example, allographs (i.e., variant character forms) such as\u8005 and \u8005 be counted as individual characters? What about simplified forms of traditional Sinographs such as \u9f99 and \u7adc for \u9f8d? Or, what about characters whose meaning and reading(s) are unknown or have otherwise been lost to time but are nevertheless recorded in Sinograph dictionaries (e.g., \u5f41)? Such complications are one reason why, in this essay series, I refer to \u6f22\u5b57 collectively as Sinographs and not kanji <\/em>(its Japanese reading), hanzi<\/em> (its Chinese reading), hanja<\/em> (its Korean reading), or H\u00e1n t\u1ef1<\/em> (its Vietnamese reading). My argument, as it relates to written Japanese, is perhaps even more radical: that the architecture of written Japanese makes it impossible to determine with certainty what is or is not a Sinograph. That is, the architecture of written Japanese allows the character set collectively referred to as Sinographs to function as an open set<\/strong>, a set whose parameters are impossible or else difficult to define.<\/p>\n\n\n\n

From \u201cSinograph\u201d to \u201cSinograph-like\u201d<\/strong><\/h2>\n\n\n\n

I know, I know, let me get this out of the way: I am not claiming Sinographs do not exist. Rather, I am claiming that the concept of the Sinograph as it is used in Japanese can also be applied to characters that act like <\/em>Sinographs. They are a character or character-string on the base text onto which furigana can be attached. Consider Image 03, an advertisement put out by Mister Donuts some years ago.<\/p>\n\n\n\n

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Image 3: Mister Donuts Advertisement<\/figcaption><\/figure><\/div>\n\n\n\n

This sentence, read kokoro o maaruku<\/em>, is undoubtably Japanese: an object (kokoro<\/em>) is followed by the direct object marker (o<\/em>), a change of state is indicated (maaruku<\/em>), the end of the sentence is signaled by a period, and every character is readable. And yet, despite my best efforts, I could not locate \u2661 in any dictionary of Sinographs. \u3007, on the other hand, is a little more complicated. Though not generally recognized as a Sinograph, it has the readings zero <\/em>and rei<\/em>, both indicating the numeral zero, associated with it.[7]<\/a> Nevertheless, this advertisement is clearly composed of Sinograph-like characters<\/strong> that have been assigned the readings kokoro<\/em> (n., \u201cheart\u201d) and maaru[ku]<\/em> (implied v., \u201cto [make] round\u201d), respectively. Make your heart round: a pleasurable emotional state achieved by eating donuts. Extreme though it may seem, one encounters such Sinograph-like characters more than you might imagine.<\/p>\n\n\n\n

There are countless examples of non-Japanese character sets appearing in the base text and functioning like Sinographs. This is frequently encountered in so-called Zainichi Korean literature.[8] Image 04 is a section from Lee Yangji\u2019s \u674e\u826f\u679d novel Yuhi<\/em> \u7531\u7199. Yuhi<\/em>, which follows the titular protagonist as she studies abroad in Seoul, is the story of a young woman struggling to come to terms with an identity that straddles not only nations and cultures, but also languages. In the following scene Yuhi is in her room, drunk and alone, when her host sister enters and is shocked by what she sees.<\/p>\n\n\n\n

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Image 4: Lee Yangji, Yuhi, Nabi taryon<\/em> (Kodansha bungei bunko, 2015: 320)<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

\uc0ac\ub791 \ud560 \uc218 \uc5c6\uc2b5\ub2c8\ub2e4 Sarang hal su \u014fps\u016dmnida<\/em> I can\u2019t love it.<\/p>

         Yuhi sniffed and continued sobbing. Pen still in hand, she wiped a bit of saliva that had been hanging from the corner of her mouth. Not caring that her hand was now wet, she flipped to yet another page and started writing again. The tears and saliva she had wiped from her face with her fingers soaked into the page where her hand rested.<\/p>

         \ub300\uae08 \uc88b\uc544\uc694 Taeg\u016dm chohayo<\/em> I like the taeg\u016dm<\/em>.
         \ub300\uae08\uc18c\ub9ac\ub294 Taeg\u016dm sori n\u016dn<\/em> The sound of the taeg\u016dm<\/em>
         \uc6b0\ub9ac\ub9d0\uc785\ub2c8\ub2e4 urimal imnida<\/em> is our language.[9]<\/a><\/p><\/blockquote>\n\n\n\n

If the sudden appearance of Hangul (e.g., \uc0ac\ub791 \ud560 \uc218 \uc5c6\uc2b5\ub2c8\ub2e4) seems, well, queer, that is the point. How to represent the psychological state, the trauma, of a character straddling two cultures and two languages is resolved here through the imposition of a foreign script. In this case, like the \u2661 discussed earlier, the various character-strings written in Hangul function as Sinograph-like characters. This practice isn\u2019t limited to Zainichi Korean authors.<\/p>\n\n\n\n

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Image 5: Yokoyama Y\u016bta, Wagahai wa neko ni naru, Gunz\u014d June 2014: 32<\/figcaption><\/figure><\/div>\n\n\n\n
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Image 6: W\u01d2 sh\u00ec m\u0101o [Wagahai wa neko ni naru], H\u00e9ngsh\u0101n Y\u014dud\u00e0 [Yokoyama Y\u016bta]: W\u00e8i G\u0101ng [trans.], R\u00e9nm\u00edn w\u00e9nxu\u00e9 ch\u016bb\u01censh\u00e8, 2015: 44<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

Image 05 is a section from Yokoyama Y\u016bta\u2019s \u6a2a\u5c71\u60a0\u592a 2015 Wagahai wa neko ni naru<\/em><\/p>\n\n\n\n

\u543e\u8f29\u30cf\u732b\u30cb\u30ca\u30eb <\/em>(I Will Become a Cat). Like Yuhi<\/em>, Yokoyama\u2019s text describes a protagonist struggling with an identity that straddles two nations, two cultures, two languages, and two scripts. Here, even more so than in Yuhi<\/em>, this \u201cbiscriptal\u201d identity is manifested in the text itself. For readers of Japanese, the effect is jarring: the language is Japanese, but the Sinographs are both Chinese in form (i.e., \u996d where \u98ef is expected) and lexicon (e.g., \u6361where \u62fe is expected). Image 06, on the other hand, is the Chinese translation of the same section I include it here to highlight one point: while the architecture of written Japanese can accommodate (into the base text) a variety of scripts (including simplified Chinese), the Chinese translation of Yokoyama\u2019s text indicates Japanese words not through character choice (\u7eb3\u5c3c for nani<\/em>, i.e., \u4f55) but by underlining those same characters. The significance of these various script practices, in other words, the creation of these various text-worlds, is not only important to understand the text, it is<\/em> the text. Lee and Yokoyama, radical though they may seem, are operating within a long tradition. Let\u2019s now turn our attention to some historical precedents for their script practice.<\/p>\n\n\n\n

Sinographs: Never a Closed Set<\/strong><\/h2>\n\n\n\n

Konno\u2019s piece discusses a text from the Edo period by the famous author of comic literature (gesaku<\/em>) Shikitei Sanba (1776-1822). The text in question, a parody of the earlier Ono no Takamura utajizukushi <\/em>\u5c0f\u91ce\u7bc1\u6b4c\u5b57\u5c3d (late 18th<\/sup> century, author unknown), is titled Ono no Bakamura usojizukushi <\/em>\u5c0f\u91ce\n\u8b43\u5b57\u5c3d (1806). If the third Sinograph (a combination of \u7af9, \u79ba, and \u5fc3\u79ba\u79ba\u7af9\u7af9) looks out of proportion, this is because the character does not exist outside of this particular text. It was the invention of Sanba, and is currently not capable of being typed. The original text is a guide to help students remember Sinographs and other characters. In Sanba\u2019s parody, Ono no Takamura, the name of a Heian period poet, becomes Ono no Bakamura, baka <\/em>meaning \u201cfool.\u201d Utajizukushi<\/em>, referring to the process of memorizing characters through song, has been changed to usojizukushi<\/em>, with uso<\/em> meaning \u201clie; fake, false.\u201d Again I ask: how is this different from the \u2661 discussed earlier? Sanba\u2019s invented character might look<\/em> more like a Sinograph, but that doesn\u2019t make it any more real. And Sanba\u2019s experiments were not all that unique. The act of creating new Sinograph-like characters can be found in many manuscripts from the Edo period manuscripts.<\/p>\n\n\n\n

For another, let\u2019s look at even earlier Haikai hitotsuboshi<\/em> \u4ff3\u8ae7\u4e00\u661f (1685).[10] Edited by Kishimoto Ch\u014dwa \u5cb8\u672c\u8abf\u548c (1638 \u2013 1715), this collection of poetry is from the Japanese\/Chinese haikai <\/em>(\u548c\u6f22\u4ff3\u8ae7) <\/em>tradition. Image 07 is a pair of poems by two poets called Suiken \u6c34\u8ed2 and Shikei \u7d2b\u7b04.<\/p>\n\n\n\n

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Image 7: Two verses by Suiken and Shikei<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

Base Text<\/td>Reading<\/td>Translation<\/td><\/tr>
\u98fe\u85c1\u6625\u5de3\u7acb<\/td>\u98fe\u30ea\u85c1\u30cf\u6625\u30ce\u5de2\u7acb kazariwara wa haru no sudachi<\/em><\/td>Decorative straw [means] Leaving the nest in the New Year<\/td><\/tr>
\u4e07\u6b73 \u6625\u8c61<\/td>\u4e07\u6b73(<\/rp>\u30de\u30f3\u30b5\u30a4<\/rt>)<\/rp><\/ruby>\u6625\u30ce\u8c61(<\/rp>\u30ab\u30bf\u30c1<\/rt>)<\/rp><\/ruby>\u30f2 \uff3b\u30bf\u30bf\uff3d\u30af manzai haru no katachi o tataku<\/em><\/td>The manzai<\/em> dance: drum the shape of the New Year!<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

The vocabulary of the first verse, namely kazariwara<\/em>, or \u201cdecorative straw,\u201d refers to the lunar New Year as it would be hung at the entrance or inside of a home during the season. Straw reminds one of birds, and thus the image of young chicks leaving the nest is evoked. Then, in the second verse, we are told that the shape (katachi <\/em>\u8c61) of the New Year is celebrated with the sounds of manzai<\/em>.[11]<\/p>\n\n\n\n

There is a complex self-reference in line two: the \u201cshape\u201d of the New Year, namely the waist-drum, or the \u201cshape of the New Year\u201d one would expect to accompany the sounds of the manzai<\/em>, actually appear in the poem as . We are instructed to read this (again!) unfamiliar Sinograph-like character as tataku<\/em>, a verb meaning \u201cto drum; to beat.\u201d We can say that is functionally indistinguishable from any other character in this manuscript.<\/p>\n\n\n\n

Lest you think literature an exception, we find such characters is another, more serious space: curses, spells, and protective charms. Image 08, from the nearly contemporaneous Jaky\u014d jugon hossoku <\/em>\u90aa\u5147\u5492\u7981\u6cd5\u5247 (1684), provides both a spell for general protection and a charm to vanquish illness.  None of the twenty Sinograph-like characters with the \u9b3c (spirit; demon) semantic classifier are, well, \u201creal\u201d Sinographs. This is especially true of the ones that contain Sanskrit characters, stars, or the Buddhis symbol \u534d![12]<\/p>\n\n\n\n

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Image 8: Twenty Demons<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

Image 09, on the other hand, gives us another historical precedent: this time, Sanskrit has been integrated into the base text and appended with furigana in a manner identical to that witnessed in Lee\u2019s use of Hangul in Yuhi <\/em>and Yokoyama\u2019s use of simplified Chinese Sinographs in I Will Become a Cat<\/em>.<\/p>\n\n\n\n

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Image 9: Sanskrit as the Base Text<\/figcaption><\/figure><\/div>\n\n\n\n

<\/p>\n\n\n\n

This should not be surprising: all these texts, even in the transition from manuscript to print (to digital) culture, are operating under the same architecture of script.<\/p>\n\n\n\n

Conclusion<\/strong><\/h2>\n\n\n\n

With the characteristics of the architecture of written Japanese explained, in the next installment I will explore how the creation of a unique text-world can be fundamental to understanding and reading some function. I will also examine how one contemporary author is pushing the architecture of the Japanese script to its limits by imagining, among other things, Sinographs resisting standardization in the face of globalization(s).<\/p>\n\n\n\n

\n\n\n\n

[1] Per Linell, for example, has demonstrated how a written language bias (WLB) in linguistics \u2013 one in which aurality is the target of analysis but the written word is how it is accessed \u2013 led to \u201ca paradox<\/em>; it proclaimed the primacy of speech and spoken language, and yet it largely stuck to the traditional methods and models developed for the study of written language\u201d (\u201cThe Written Language Bias [WLB] in linguistics 40 years after,\u201d Language Sciences<\/em>, Vol. 76, 2019:3). This quote comes from Linell\u2019s reflection on his important study The Written Language Bias in Linguistics: Its Nature, Origins and Transformations<\/em> (Taylor and Francis, 2005).<\/p>\n\n\n\n

[2] To be clear, this does not mean spelling variation cannot signify meaning. The so-called eye dialect, for example, wherein one spells words through intuitive spellings (e.g., \u201cpleez\u201d for \u201cplease\u201d or \u201chelluva\u201d for \u201chell of a\u201d) with the intention of signifying some extra-linguistic context, is often tied to extraliterary elements such as class, race, and\/or education.<\/p>\n\n\n\n

[3] Sophocles, E. A. History of the Greek Alphabet and of the Pronunciation of Greek<\/em> (1848): 1-2. His classic study is in the public domain and freely available online, for example, here<\/a>.<\/p>\n\n\n\n

[4] It is not generally claimed that the Greek and Hebrew alphabets are directly related one another. Rather, it is more likely stated that they are distantly related to each other via the same Phoenician alphabet. The first four letters of said alphabet \u2013 (from right to left: alep, bet, giml, dalet) \u2013 have clear correspondences to both the Greek (A B \u0393 \u0394) and Hebrew (\u05d0 \u05d1 \u05d2 \u05d3). Bearing in mind that Greek is written from left to right, and Hebrew right to left, and that letters would at times be flipped, reversed, and\/or tilted, helps make these connections clear.<\/p>\n\n\n\n

[5] Lehmann, Reinhard G. \u201c27\u201330\u201322\u201326 \u2013 How Many Letters Needs an Alphabet? The Case of Semitic,\u201d in The Idea of Writing<\/em> (Brill, 2012: 18-9).<\/p>\n\n\n\n

[6] This is an oversimplification of a complicated reality. As one might expect, vernacular or variant (hentai<\/em>) forms of literary Sinitic developed across East Asia. My interest lies is in the fact that these variants, too, are all written in Sinographs. In recent years there has been great interest in this topic and much scholarship available in English. For example, see Bunkyo Kin\u2019s Literary Sinitic and East Asia: A Cultural Sphere of Vernacular Reading<\/em> (2020), Saito Mareshi\u2019s Kanbunmyaku: The Literary Sinitic Context and the Birth of Modern Japanese Language and Literature <\/em>(2021), and Gordan Schreiber\u2019s Japanese Morphography: Deconstructing hentai kanbun <\/em>(2022), all from Brill. Schreiber\u2019s text is focused on variant forms of literary Sinitic.<\/p>\n\n\n\n

[7] In Unicode, for example, it is named \u201cIDEOGRAPHIC NUMBER ZERO\u201d in English and \u201c\u6f22\u6570\u5b57\u30bc\u30ed\uff08\u30ec\u30a4\uff09\u201d in Japanese. Since it is not considered a Sinograph it technically lacks a semantic classifier (\u90e8\u9996).<\/p>\n\n\n\n

[8] This important topic has been the focus of much recent English-language research. Two examples include Christina Yi\u2019s Colonizing Language: Cultural Production and Language Politics in Modern Japan and Korea <\/em>(Columbia University Press, 2018) and Cindi Textor\u2019s forthcoming Anatomies of Incoherence: Zainichi Literature and the Intersectional Politics of Speech <\/em>(University of California Press, 2024).<\/p>\n\n\n\n

[9] Yangji, Lee, trans. Cindi Textor and Lee Soo Mi, Nabi T\u2019ary\u014fng and Other Stories<\/em> (Seoul Selection U.S.A., 2022: 92).<\/p>\n\n\n\n

[10] A digital version of the manuscript is available online through the Waseda kotenseki database<\/em><\/a>.<\/p>\n\n\n\n

[11] The term manzai <\/em>has a long history. As Gerald Groemer notes, \u201cManzai<\/em>, literally \u2018ten-thousand years,\u2019 was an abbreviation of the term senzu manzai<\/em> (\u2018One-thousand autumns and ten-thousand year\u2019), a turn of phrase associated with millennial prosperity and longevity bordering on permanence. The roots of senzu manzai <\/em>as propitious dialogue and dance penetrate so deep into historical time they have become invisible,\u201d Street Performers and Society in Urban Japan, 1600-1900: The Beggar\u2019s Gift<\/em> (Routledge, 2016): 152. Groemer notes that they would also perform in various aristocrats\u2019 homes around the New Year, cementing their association with the season. In earlier periods their dress often included the folded eboshi<\/em> and the su\u014d<\/em>, but in later years performers would wear a pointed hat (kazaori eboshi<\/em>) and a hitatare<\/em>, formal clothing for men worn at times of leisure, with large patterns. While banging their waist-drum (koshi tsuzumi)<\/em> they would sing greetings, dancing and walk about. (152-3)<\/p>\n\n\n\n

[12] Image 08 and 09 are taken from Edo jujutsu ky\u014dhon: jaky\u014d jugon hossoku <\/em>\u6c5f\u6238\u546a\u8853\u6559\u672c\uff1a\u90aa\u5147\u5492\u7981\u6cd5\u5247, ed., Haneda Shukai, Kashiwa shobo 2006: 42; 71.<\/p>\n","protected":false},"excerpt":{"rendered":"\u4eca\u91ce\u771f\u4e8c \u3000\u8868\u984c\u306e\u300c\u6f22\u5b57\u4f53\u7cfb\u300d\u306f\u8a00\u3044\u63db\u3048\u308c\u3070\u300c\u6587\u5b57\u4f53\u7cfb\u3068\u3057\u3066\u6349\u3048\u305f\u6f22\u5b57\u300d\u3068\u3044\u3046\u3053\u3068\u3067\u3001\u901a\u5e38\u306e\u6587\u5b57\u4f53\u7cfb\u306f\u8a18\u53f7\u306e\u4f53\u7cfb\u3068\u3057\u3066\u300c\u9589\u3058\u3066\u3044\u308b\u300d\u3068\u3044\u3046\u3053\u3068\u3092\u524d\u63d0\u3068\u3057\u3066\u3044\u308b\u304c\u3001\u305d\u308c\u306b\u5bfe\u3057\u3066\u300c\u6f22\u5b57\u4f53\u7cfb\u300d\u306f\u62e1\u5f35\u3059\u308b\u3053\u3068\u304c\u3067\u304d\u3001\u958b\u653e\u3055\u308c\u3066\u3044 […]","protected":false},"author":6,"featured_media":3405,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,16,395,396,411],"tags":[],"class_list":["post-4404","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rensai","category-chosha","category-395","category-chris-lowy","category-architecture"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/4404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/comments?post=4404"}],"version-history":[{"count":13,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/4404\/revisions"}],"predecessor-version":[{"id":4765,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/4404\/revisions\/4765"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media\/3405"}],"wp:attachment":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media?parent=4404"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/categories?post=4404"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/tags?post=4404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}