{"id":5465,"date":"2024-03-06T13:13:31","date_gmt":"2024-03-06T04:13:31","guid":{"rendered":"https:\/\/www.hituzi.co.jp\/hituzigusa\/?p=5465"},"modified":"2024-03-06T13:13:33","modified_gmt":"2024-03-06T04:13:33","slug":"architecture-13","status":"publish","type":"post","link":"https:\/\/www.hituzi.co.jp\/hituzigusa\/2024\/03\/06\/architecture-13\/","title":{"rendered":"\u65e5\u672c\u8a9e\u8868\u8a18\u306e\u30a2\u30fc\u30ad\u30c6\u30af\u30c1\u30e3\uff1a\u7b2c13\u56de\uff1a\u6587\u5b66\u30c6\u30ad\u30b9\u30c8\u306b\u304a\u3051\u308b\u6587\u5b57\u8868\u73fe \uff0fThe Architecture of Written Japanese: 13 The Visual Representation of Language in Literary Texts\uff5c\u4eca\u91ce\u771f\u4e8c\u30fbChris Lowy"},"content":{"rendered":"\n

\u4eca\u91ce\u771f\u4e8c<\/h4>\n\n\n\n

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\"\"
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\"\"
\u56f32<\/figcaption><\/figure><\/div>\n\n\n\n

\u3000\u56f32\u306f\u540c\u3058\u4f5c\u54c1\u306e56-57\u9801\u3067\u3042\u308b\u304c\u3001\u4f8b\u3048\u307056\u9801\u306e\u4e0b\u306e\u30b3\u30de\u306e\u300c\u30d5\u30ad\u30c0\u30b7\u300d\u300c\u306a\u3093\u3060\u3001\uff0f\u304d\u307f\u3082\uff0f\u5922\u3092\u307f\u3066\uff0f\u3044\u308b\u306e\u304b\u3002\u300d\u300c\u79c1\u306e\uff0f\u4e16\u754c\u3067\u306f\uff0f\u3042\u306a\u305f\u304c\uff0f\u5922\u306e\u4e2d\u306b\uff0f\u73fe\u308c\u308b\uff0f\u3053\u3068\u306b\uff0f\u306a\u3063\u3066\uff0f\u3044\u308b\u306e\u3067\u3059\u3002\u300d\u306f\u3053\u3068\u3070\u304c\u53f3\u3068\u5de6\u3068\u306b\u5206\u304b\u308c\u3066\u304a\u308a\u3001\u53f3\u306f\u300c\u5c71\u672c\u300d\u306e\u3053\u3068\u3070\u3001\u5de6\u306f\u300c\u30a2\u30e9\u30a6\u30cd\u300d\u306e\u3053\u3068\u3070\u306b\u306a\u3063\u3066\u3044\u308b\u3002\u305d\u3057\u3066\u3053\u306e\u300c\u30d5\u30ad\u30c0\u30b7\u300d\u306b\u306f\u300c\u8a71\u3057\u624b\u300d\u3068\u306e\u63a5\u5408\u90e8\uff1d\u5148\u306b\u3001\u4e38\u304f\u306a\u3063\u3066\u3044\u308b\u3068\u304b\u3068\u304c\u3063\u3066\u3044\u308b\u3068\u3044\u3063\u305f\u90e8\u5206\u304c\u306a\u3044\u300257\u9801\u306e\u300c\u3058\u3083\u3042\u3001\uff0f\u3069\u3046\u3057\u3066\uff0f\u3053\u306e\u524d\u3001\u82b1\u3092\uff0f\u3082\u3063\u3066\u304d\u305f\u306e\uff1f\u300d\u300c\u305d\u3061\u3089\u306b\uff0f\u82b1\u3092\u3082\u3063\u3066\u3044\u3063\u305f\u3089\uff0f\u3053\u3061\u3089\u306b\u82b1\u304c\u4e00\u672c\uff0f\u306a\u304f\u306a\u3063\u3066\uff0f\u3044\u307e\u3057\u305f\u308f\u3002\u300d\u3082\u540c\u69d8\u3067\u3001\u300c\u5c71\u672c\u300d\u3068\u300c\u30a2\u30e9\u30a6\u30cd\u300d\u304c\u3044\u308f\u3070\u3001\u7570\u754c\u306e\u4ea4\u4fe1\u3092\u3057\u3066\u3044\u308b\u3088\u3046\u306a\u4f53\u306b\u306a\u3063\u3066\u3044\u308b\u3002\u3053\u3046\u3057\u305f\u3053\u3068\u3082\u30b3\u30df\u30c3\u30af\u306b\u304a\u3044\u3066\u306f\u3054\u304f\u81ea\u7136\u306b\u884c\u306a\u3046\u3053\u3068\u304c\u3067\u304d\u308b\u3002<\/p>\n\n\n\n

\u300057\u9801\u306b\u306f\u300c\u30e0\u30cb\u30e3\u30e0\u30cb\u30e3\u300d\u3068\u3044\u3046\u30aa\u30ce\u30de\u30c8\u30da\u304c\u300c\u624b\u66f8\u304d\u6587\u5b57\u300d\u3068\u3057\u3066\u793a\u3055\u308c\u3066\u3044\u308b\u3002\u4ed6\u306e\u7b87\u6240\u3067\u306f\u3001\u300c\u30b4\u30ed\u30ed\u30ed\u30ed\u300d\u3068\u3044\u3046\u300c\u7121\u6c17\u5473\u306a\u5730\u9cf4\u308a\u300d\uff0846\u9801\uff09\u3001\u300c\u30ab\u30a2\u30fc\uff0f\u30ab\u30a2\u30fc\uff0f\u30ab\u30a2\u30fc\u300d\uff08\u540c\u524d\uff09\u3068\u3044\u3046\u30ab\u30e9\u30b9\u306e\u9cf4\u304d\u58f0\u3001\u300c\u30ad\u30e4\u30fc\u30c3\u300d\uff0847\u9801\uff09\u3068\u3044\u3046\u58f0\u3001\u300c\u305a\u308b\u305a\u308b\u300d\uff08\u540c\u524d\uff09\u3068\u3044\u3046\u7a74\u306b\u843d\u3061\u308b\u97f3\u3001\u300c\u30c8\u30f3\u30c8\u30f3\u300d\uff0849\u9801\uff09\u3068\u3044\u3046\u6249\u3092\u305f\u305f\u304f\u97f3\u306a\u3069\u304c\u300c\u624b\u66f8\u304d\u6587\u5b57\u300d\u3067\u793a\u3055\u308c\u3066\u3044\u308b\u3002<\/p>\n\n\n\n

\u3000\u6c34\u6728\u3057\u3052\u308b\u300c\u5996\u82b1\u30a2\u30e9\u30a6\u30cd\u300d\u306f1968\u5e74\u3001\u4eca\u304b\u308955\u5e74\u524d\u306b\u767a\u8868\u3055\u308c\u3066\u3044\u308b\u3002\u305d\u306e\u9803\u306f\u300c\u624b\u66f8\u304d\u6587\u5b57\u300d\u306f\u3044\u308f\u3070\u307e\u3060\u63a7\u3048\u3081\u306b\u4f7f\u308f\u308c\u3066\u3044\u305f\u3068\u3044\u3063\u3066\u3088\u3044\u3060\u308d\u3046\u3002\u73fe\u5728\u306e\u30b3\u30df\u30c3\u30af\u306b\u304a\u3044\u3066\u306f\u3001\u300c\u624b\u66f8\u304d\u6587\u5b57\u300d\u306f\u30b3\u30df\u30c3\u30af\u4f5c\u8005\u306e\u6c17\u6301\u3061\u3092\u3042\u3089\u308f\u3057\u305f\u308a\u3001\u767b\u5834\u4eba\u7269\u306e\u300c\u5fc3\u306e\u4e2d\u306e\u3053\u3068\u3070\u300d\u3092\u3042\u3089\u308f\u3057\u305f\u308a\u3001\u3068\u3055\u307e\u3056\u307e\u306b\u4f7f\u308f\u308c\u3066\u3044\u308b\u3002<\/p>\n\n\n\n

\u3000\u30b3\u30df\u30c3\u30af\u4f5c\u54c1\u3092\u3072\u308d\u3044\u610f\u5473\u5408\u3044\u3067\u6587\u5b66\u30c6\u30ad\u30b9\u30c8\u306b\u542b\u3081\u308b\u3053\u3068\u306f\u3067\u304d\u308b\u3060\u308d\u3046\u3002\u542b\u3081\u308b\u306e\u3067\u3042\u308c\u3070\u3001\u672c\u7a3f\u306f\u304a\u3082\u306b\u30b3\u30df\u30c3\u30af\u4f5c\u54c1\u3092\u63a1\u308a\u3042\u3052\u3066\u3001\u305d\u306e\u6587\u5b57\u8868\u73fe\u306b\u3064\u3044\u3066\u8ff0\u3079\u305f\u3053\u3068\u306b\u306a\u308b\u3002\u307e\u305f\u3001\u30b3\u30df\u30c3\u30af\u4f5c\u54c1\u3092\u6587\u5b66\u30c6\u30ad\u30b9\u30c8\u306b\u542b\u3081\u306a\u3044\u306e\u3067\u3042\u308c\u3070\u3001\u30b3\u30df\u30c3\u30af\u4f5c\u54c1\u304c\u3044\u308f\u3070\u3084\u3059\u3084\u3059\u3068\u5b9f\u73fe\u3055\u305b\u3066\u3044\u308b\u6587\u5b57\u8868\u73fe\u306b\u3064\u3044\u3066\u8ff0\u3079\u308b\u3053\u3068\u306b\u3088\u3063\u3066\u3001\u6848\u5916\u3068\u6587\u5b66\u4f5c\u54c1\u304c\u8a00\u8a9e\u304c\u3082\u3064\u300c\u5236\u7d04\u300d\u4e0b\u306b\u3042\u308b\u3053\u3068\u3092\u300c\u53cd\u7167\u7684\u300d\u306b\u8ff0\u3079\u305f\u3053\u3068\u306b\u306a\u308b\u3002<\/p>\n\n\n\n

\u3000\u7b46\u8005\u306f\u3001\u30b3\u30df\u30c3\u30af\u306f\u300c\u8a00\u8a9e\u30fb\u6587\u5b57\uff0b\u7d75\u300d\u3092\u8868\u73fe\u624b\u6bb5\u306b\u3057\u3066\u3044\u308b\u3068\u3044\u3046\u70b9\u306b\u304a\u3044\u3066\u3001\u633f\u7d75\u3092\u307b\u3068\u3093\u3069\u542b\u307e\u306a\u3044\u6587\u5b66\u4f5c\u54c1\u3068\u306f\u30e1\u30c7\u30a3\u30a2\u304c\u7570\u306a\u308b\u3068\u8003\u3048\u308b\u3002\u3057\u305f\u304c\u3063\u3066\u3001\u307e\u305a\u306f\u30b3\u30df\u30c3\u30af\u3068\u6587\u5b66\u4f5c\u54c1\u3068\u306f\u5206\u3051\u3066\u3068\u3089\u3048\u305f\u3044\u3002\u3057\u304b\u3057\u307e\u305f\u3001\u633f\u7d75\u304c\u3042\u308b\u7a0b\u5ea6\u542b\u307e\u308c\u3066\u3044\u308b\u3001\u305f\u3068\u3048\u3070\u660e\u6cbb\u671f\u306e\u6587\u5b66\u4f5c\u54c1\u3067\u3042\u308c\u3070\u3001\u305d\u308c\u306b\u3075\u3055\u308f\u3057\u3044\u89b3\u5bdf\u3001\u5206\u6790\u3092\u884c\u306a\u3046\u5fc5\u8981\u304c\u3042\u308b\u3068\u8003\u3048\u308b\u3002<\/p>\n\n\n\n

\u3000\u300c\u8a00\u8a9e\u30fb\u6587\u5b57\uff0b\u7d75\u300d\u3092\u8868\u73fe\u624b\u6bb5\u3068\u3057\u3066\u3044\u308b\u30b3\u30df\u30c3\u30af\u3092\u4e01\u5be7\u306b\u89b3\u5bdf\u3057\u5206\u6790\u3059\u308b\u3053\u3068\u306b\u3088\u3063\u3066\u300c\u8a00\u8a9e\u30fb\u6587\u5b57\u300d\u304c\u62c5\u3046\u3053\u3068\u304c\u3067\u304d\u308b\u60c5\u5831\u304c\u3069\u3046\u3044\u3046\u3082\u306e\u3067\u3001\u300c\u7d75\u300d\u304c\u62c5\u3046\u60c5\u5831\u304c\u3069\u3046\u3044\u3046\u3082\u306e\u304b\u3068\u3044\u3046\u3053\u3068\u304c\u3064\u304b\u3081\u3066\u3044\u304f\u3068\u601d\u308f\u308c\u308b\u3002\u305d\u3053\u3067\u308f\u304b\u3063\u305f\u3053\u3068\u3092\u6587\u5b66\u4f5c\u54c1\u306b\u300c\u53cd\u7167\u300d\u3059\u308b\u3053\u3068\u3067\u6587\u5b66\u4f5c\u54c1\u304c\u6587\u5b57\u8868\u73fe\u3068\u3057\u3066\u4f55\u304c\u53ef\u80fd\u304b\u3001\u307e\u305f\u3069\u3046\u3044\u3046\u3053\u3068\u3092\u3084\u3063\u3066\u304d\u3066\u3001\u3069\u3046\u3044\u3046\u3053\u3068\u3092\u3084\u3063\u3066\u3053\u306a\u304b\u3063\u305f\u304b\u3001\u3068\u3044\u3046\u3053\u3068\u3082\u660e\u3089\u304b\u306b\u306a\u308b\u3068\u601d\u308f\u308c\u308b\u3002<\/p>\n\n\n\n

\u6ce8<\/h4>\n\n\n\n

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\u3000\u6885\u539f\u9f8d\u4e09\u90ce\uff081888-1986\uff09\u306f1950\u5e74\u306b\u300c\u6d45\u9593\u5c71\u300d\u3068\u984c\u3055\u308c\u3066\u3044\u308b\u4f5c\u54c1\uff08\u30e1\u30ca\u30fc\u30c9\u7f8e\u8853\u9928\u8535\uff09\u3092\u63cf\u304d\u3001\u7d9a\u304f1951\u5e74\u306b\u3082\u3084\u306f\u308a\u300c\u6d45\u9593\u5c71\u300d\u3068\u984c\u3055\u308c\u3066\u3044\u308b\u4f5c\u54c1\uff08\u500b\u4eba\u8535\uff09\u3092\u63cf\u304d\u30011952\u5e74\u9803\u306b\u300c\u6d45\u9593\u300d\u3068\u984c\u3055\u308c\u3066\u3044\u308b\u4f5c\u54c1\uff08\u500b\u4eba\u8535\uff09\u3092\u63cf\u304d\u30011953\u5e74\u306b\u306f\u300c\u5674\u7159\u300d\u3068\u984c\u3055\u308c\u3066\u3044\u308b\u4f5c\u54c1\uff08\u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\u8535\uff09\u3092\u63cf\u3044\u3066\u3044\u308b\u3002\u3053\u308c\u3089\u306f\u3059\u3079\u3066\u6d45\u9593\u5c71\u3092\u63cf\u3044\u305f\u3082\u306e\u3067\u3042\u308b\u304c\u3001\u300c\u6885\u539f\u9f8d\u4e09\u90ce\u304c\u6d45\u9593\u5c71\u3092\u63cf\u3044\u305f\u4f5c\u54c1\u300d\u3068\u304f\u304f\u308b\u306a\u3089\u3070\u3001\u3053\u308c\u3089\u306f\u307f\u306a\u540c\u3058\u4f5c\u54c1\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u3063\u3066\u3057\u307e\u3046\u3002\u63cf\u304b\u308c\u3066\u3044\u308b\u300c\u5b9f\u5b58\u7269\u300d\u306f\u6d45\u9593\u5c71\u3067\u3042\u3063\u3066\u3082\u3001\u305d\u308c\u305e\u308c\u306e\u4f5c\u54c1\u306f\u5177\u4f53\u76f8\u306b\u304a\u3044\u3066\u7570\u306a\u308b\u3002\u305d\u306e\u5177\u4f53\u76f8\u3092\u8a71\u984c\u306b\u305b\u305a\u306b\u7d75\u753b\u4f5c\u54c1\u306b\u3064\u3044\u3066\u8ff0\u3079\u308b\u3053\u3068\u306f\u3067\u304d\u306a\u3044\u3060\u308d\u3046\u3002<\/p>\n\n\n\n

\u3000\u30dd\u30fc\u30e9\u7f8e\u8853\u9928\u306b\u306f\u30af\u30ed\u30fc\u30c9\u30fb\u30e2\u30cd\uff08Claude Monet\uff09\u304c1899\u5e74\u306b\u63cf\u3044\u305f\u300cWater Lily Pond\u300d\uff08\u7761\u84ee\u306e\u6c60\uff09\u30681907\u5e74\u306b\u63cf\u3044\u305f\u300cWater Lilies\u300d\uff08\u7761\u84ee\uff09\u3068\u304c\u8535\u3055\u308c\u3001\u56fd\u7acb\u897f\u6d0b\u7f8e\u8853\u9928\uff08\u677e\u65b9\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\uff09\u306b\u306f1916\u5e74\u306b\u63cf\u3044\u305f\u300cWater Lilies\u300d\uff08\u7761\u84ee\uff09\u304c\u8535\u3055\u308c\u3066\u3044\u308b\u3002\u3053\u308c\u3089\u306f\u3044\u305a\u308c\u3082\u7761\u84ee\u3092\u63cf\u3044\u305f\u4f5c\u54c1\u3067\u3042\u308b\u304c\u3001\u300c\u3069\u308c\u3082\u7761\u84ee\u3092\u63cf\u3044\u305f\u4f5c\u54c1\u300d\u3068\u304f\u304f\u308b\u3053\u3068\u306f\u3067\u304d\u306a\u3044\u3060\u308d\u3046\u3002\u3044\u304b\u306b\u63cf\u3044\u3066\u3044\u308b\u304b\u3001\u3044\u304b\u306b\u8868\u73fe\u3057\u3066\u3044\u308b\u304b\u3001\u3092\u6ce8\u8996\u3059\u308b\u5fc5\u8981\u304c\u3042\u308b\u3002<\/p>\n\n\n\n

\u3000\u8a00\u8a9e\u8868\u73fe\u304c\u6587\u5b57\u306b\u3088\u3063\u3066\u8996\u899a\u5316\u3055\u308c\u3066\u3044\u308b\u3053\u3068\u304b\u3089\u3059\u308c\u3070\u3001\u8a69\u7684\u8a00\u8a9e\u3068\u3057\u3066\u30a2\u30a6\u30c8\u30d7\u30c3\u30c8\u3055\u308c\u3066\u3044\u308b\u4f5c\u54c1\u30fb\u30c6\u30ad\u30b9\u30c8\u306b\u3064\u3044\u3066\u306f\u3001\u6587\u5b57\u306b\u3064\u3044\u3066\u3082\u76ee\u914d\u308a\u3092\u3059\u308b\u5fc5\u8981\u304c\u3042\u308b\u3053\u3068\u306b\u306a\u308b\u3002\u4e0a\u306e\u5f15\u7528\u306f\u3001\u53f3\u7e26\u66f8\u304d\u3055\u308c\u3066\u3044\u308b\u3082\u306e\u3092\u5de6\u6a2a\u66f8\u304d\u306b\u3057\u305f\u304c\u3001\u3044\u308f\u3086\u308b\u300c\u30ec\u30a4\u30a2\u30a6\u30c8\u300d\u306f\u5de6\u6a2a\u66f8\u304d\u306e\u4e2d\u3067\u3001\u3067\u304d\u308b\u3060\u3051\u518d\u73fe\u3057\u305f\u3002\u4f8b\u3048\u3070\u53f3\u7e26\u66f8\u304d\u306b\u304a\u3044\u3066\u3082\u30013\u884c\u76ee\u306e\u300c\u9f3b\u6b4c\u3082\u300d\u306f1-2\u884c\u76ee\u3088\u308a\u30821\u5b57\u4e0b\u304c\u3063\u305f\u4f4d\u7f6e\u306b\u5370\u5237\u3055\u308c\u3066\u304a\u308a\u3001\u300c\u9f3b\u6b4c\u3082\u300d\u306e\u5f8c\u306b\u306f1\u5b57\u5206\u306e\u7a7a\u767d\u304c\u3042\u308b\u3002\u8a69\u96c6\u306e\u30bf\u30a4\u30c8\u30eb\u300e\u91ceNoemi<\/em>\u7b11\u300f\u306f\u3069\u306e\u3088\u3046\u306b\u767a\u97f3\u3059\u308c\u3070\u3088\u3044\u306e\u3060\u308d\u3046\u304b\u3002\u4f55\u3082\u8003\u3048\u306a\u3051\u308c\u3070\u3001\u300c\u91ce\u300d\u3068\u300c\u7b11\u300d\u3068\u306e\u9593\u306e\u300cNoemi<\/em>\u300d\u306f\u300c\u91ce\u7b11\u300d\u306e\u767a\u97f3\u3092\u793a\u3059\u305f\u3081\u306b\u88dc\u52a9\u7684\u306b\u52a0\u3048\u3089\u308c\u3066\u3044\u308b\u3068\u307f\u3066\u3001\u8a69\u96c6\u306e\u30bf\u30a4\u30c8\u30eb\u306f\u300c\u30ce\u30a8\u30df\u300d\u3060\u3068\u601d\u3046\u3060\u308d\u3046\u3002\u300c\u305d\u308c\u3067\u3044\u3044\u300d\u3068\u3082\u3044\u3048\u308b\u3057\u3001\u300c\u305d\u3046\u3044\u3046\u3053\u3068\u3067\u306f\u306a\u3044\u300d\u3068\u3082\u3044\u3048\u308b\u3060\u308d\u3046\u3002\u300c\u305d\u3046\u3044\u3046\u3053\u3068\u3067\u306f\u306a\u3044\u300d\u306f\u3001\u3053\u306e\u8a69\u96c6\u306f\u30bf\u30a4\u30c8\u30eb\u304b\u3089\u3001\u8a00\u8a9e\u306e\u7dda\u6761\u6027\u306b\u6297\u3063\u3066\u3044\u308b\u306e\u3060\u3001\u3068\u3044\u3046\u307f\u304b\u305f\u3067\u3001\u5c0f\u6c60\u660c\u4ee3\u306e\u610f\u56f3\u306f\u5c0f\u6c60\u660c\u4ee3\u306b\u5c0b\u306d\u308b\u3057\u304b\u306a\u3044\u304c\u3001\u5c11\u306a\u304f\u3068\u3082\u300c\u7dda\u6761\u6027\u3078\u306e\u62b5\u6297\u300d\u3092\u53ef\u80fd\u6027\u3068\u3057\u3066\u542b\u3080\u3068\u63a8\u6e2c\u3059\u308b\u3002\u3053\u306e\u300c\u8217\u9053\u300d\u3068\u3044\u3046\u4f5c\u54c1\u306b\u306f\u6b21\u306e\u3088\u3046\u306a\u304f\u3060\u308a\u3082\u3042\u308b\u3002<\/p>\n\n\n\n

\u3060\u304b\u3089

\u3000\u3000\u3000\u3000\u3000\u3046\u306a\u3060\u308c\u306a\u3044\u3067
\u3000\u7a7a\u3092\u898b\u3066\u6b69\u3053\u3046<\/p><\/blockquote>\n\n\n\n

\u3000\u300c\u7a7a\u3092\u898b\u3066\u6b69\u3053\u3046\u300d\u306f\u300c\u3060\u304b\u3089\u300d\u3088\u308a\u30821\u5b57\u4e0b\u304c\u3063\u305f\u4f4d\u7f6e\u304b\u3089\u59cb\u307e\u308b\u3002\u300c\u3060\u304b\u3089\u300d\u3068\u300c\u3046\u306a\u3060\u308c\u306a\u3044\u3067\u300d\u306e\u9593\u306f1\u884c\u3042\u3044\u3066\u3044\u308b\u3088\u3046\u306b\u307f\u3048\u308b\u3002\u300c\u3046\u306a\u3060\u308c\u306a\u3044\u3067\u300d\u306f\u300c\u6b69\u3053\u3046\u300d\u306e\u300c\u3053\u300d\u3088\u308a\u3082\u5c11\u3057\u4e0a\u306e\u4f4d\u7f6e\u304b\u3089\u59cb\u307e\u308b\u3002\u300c\u3060\u304b\u3089\u300d\u306e\u6b21\u304c\u306a\u305c\u7a7a\u767d\u884c\u306b\u306a\u3063\u3066\u3044\u308b\u306e\u304b\u3001\u300c\u3046\u306a\u3060\u308c\u306a\u3044\u3067\u300d\u306f\u306a\u305c\u305d\u306e\u4f4d\u7f6e\u306b\u5370\u5237\u3055\u308c\u3066\u3044\u308b\u306e\u304b\u3001\u305d\u308c\u3092\u8003\u3048\u3001\u60f3\u50cf\u3059\u308b\u3053\u3068\u304c\u300c\u6587\u5b66\u300d\u306e\u3059\u3079\u3066\u3067\u306f\u306a\u3044\u306b\u3057\u3066\u3082\u3001\u305d\u308c\u304c\u300c\u6587\u5b66\u300d\u3068\u3044\u3063\u3066\u3088\u3044\u306f\u305a\u3060\u3002<\/p>\n\n\n\n

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

\u6069\u5730\u5b5d\u56db\u90ce  1934\u3000\u300c\u5199\u5b9f\u30fb\u8c61\u5fb4\u30fb\u62bd\u8c61\u30fb\u8868\u51fa\u300d\uff08\u5f8c\u30011992\u5e74\u3001\u963f\u90e8\u51fa\u7248\u300e\u62bd\u8c61\u306e\u8868\u60c5\u300f\uff09<\/p>\n\n\n\n

\u4eca\u91ce\u771f\u4e8c\u00a0 2017\u3000\u300e\u8a69\u7684\u8a00\u8a9e\u3068\u7d75\u753b\u300f\uff08\u52c9\u8aa0\u51fa\u7248\uff09<\/p>\n\n\n\n

\n\n\n\n

The Architecture of Written Japanese
13 The Visual Representation of Language in Literary Texts<\/h4>\n\n\n\n

Chris Lowy<\/h4>\n\n\n\n

In this, the penultimate installment in our series on the Japanese writing system, I discuss how the architectural features of the script enable the creation of unique text-worlds, and how an understanding of what a text-world is can expand our understanding of literature in general. For this reason, much of my discussion here is not as Japan-focused as in previous installments. Additionally, I bring what I\u2019ve been calling a script architecture<\/em> into dialogue with the emerging field of grapholinguistics<\/em>. These points reinforce a key contention of this serialization: if the practice of literature is rooted in language, then a deeper understanding of how language is represented in literature should tell us something about the nature of language, too.<\/p>\n\n\n\n

Towards a Definition of Text-World<\/strong><\/h2>\n\n\n\n

What do you see when you open a book? Pictures, maybe, but certainly words. Then you begin reading a novel or poem. Perhaps those words usher you into a world different from the one around you. At the same time, maybe unbeknownst to you, you are also now navigating a text-world<\/strong>. This text-world, just like the content it contains, is of an author\u2019s making. It is the author\u2019s because they\u2019ve created it, and just as every author is different, so too are the text-worlds they create. Similarly, every discrete text possesses a discrete text-world. Such text-worlds have the potential to create meaning on a dimension separate from, but nevertheless tied to, the language it represents. The text-world as a discursive space has been neglected as such because it sits at the intersection of language and content. It is neglected because it functions as an intermediate step in the process of creating of a larger fictional world.<\/p>\n\n\n\n

We can push this conversation one step further: when an author begins writing a piece of literary fiction they are, at the same time \u2013 and whether they themselves know it or not \u2013 engaging in the process of worldbuilding<\/strong>. My use of the term differs in significant ways from how it is typically used. Trent Hergenrader, for example, in Collaborative Worldbuilding for Writers and Gamers<\/em>, understands worldbuilding as<\/p>\n\n\n\n

the process of creating a representation of a fictional world. It encompasses more than just the setting where a story takes place. It includes the political and social forces at work, logistical questions pertaining to geography and economics, and much, much more.[1]<\/p><\/blockquote>\n\n\n\n

Hergenrader also includes Chuck Wendig\u2019s explanation of the term.<\/p>\n\n\n\n

\u00a0It\u2019s easy to think [worldbuilding] means \u201csetting,\u201d but that\u2019s way too simple\u2014worldbuilding covers everything and anything inside that world. Money, clothing, territorial boundaries, tribal customs, building materials, imports and exports, transportation, sex, food, the various types of monkeys people possess, whether the world does or does not contain Satanic \u201ctwerking\u201d rites.[2]<\/p><\/blockquote>\n\n\n\n

All of this is true, of course, but its focus on the \u201cinside\u201d of the world omits something important: by what means and in what way<\/em> is this information delivered to the reader? Put another way, if worldbuilding is the product of an author\u2019s construction, then it is language and its visual representation <\/em>that serves as the building blocks of that world. Such an omission is to be expected because in some \u2013 perhaps most \u2013 texts, the visual representation of language is normative: it conforms to conventional orthographical and spelling standards and, as such, fades into the background. In such a situation, the visual representation of language is regarded as so inoffensive, so unremarkable, that it brings about a type of sublimation: the building blocks (i.e., the visual representation of language) of the fictional world disappear and the focus of the reader-critic falls onto (an abstracted notion of) narrative content. This is usually the default for literature written in alphabetic scripts.[3] This situation reaffirms the so-called \u201cwritten language bias\u201d in linguistics, a bias I touched upon in the previous installment and return to later in this one.<\/p>\n\n\n\n

But the world is not built out of ABCs alone. The literary experience, if such a thing can be regarded as universal, emerges from all manner of written language. We do ourselves a disservice by extrapolating from a single context. In Japanese-language literature the written (or typed or printed) language by which information is transferred from author to text to reader is an important part of the worldbuilding process. In fact, not only is it a process but, at the same time, becomes a part of<\/em> the world it is creating. The result of this process is what I have been calling a text-world<\/strong>. Because each text-world is unique, the function of a given text-world must be determined from an analysis of the negotiations between narrative content and the visual representation of language. There are a few caveats to consider before moving on. First, a text-world need not be the result of a single author, nor must it be intentional. Throughout Japan\u2019s literary history, for example, editors have often inserted their hands into manuscripts at various stages along the road to publication (or dissemination), adding reading or punctuation marks as they see fit, and exercising the principle of interchangeability to visually represent the same \u201cword\u201d (kotoba<\/em>) in another way. This is not limited to the premodern period (recall my discussion of Natsume Soseki\u2019s Kokoro <\/em>in Interchangeability<\/a>) nor to Japan: the formidable task of discerning what an author \u201cmeans,\u201d what their \u201cintent\u201d is, was the primary goal of the mid-20th<\/sup> century scholarly movement known as New Criticism. One way this was (imagined to be) achieved was by deducing authorial intent through a comparative study of various extant manuscripts, the result of which would be a Frankenstein-like Ur text. This authoritative version \u2013 often a text stitched together from numerous manuscripts or prints \u2013 would then serve as the foundation for research and study. For a summary of the issue as it relates to English literature see Jerome McGann\u2019s important A Critique of Modern Textual Criticism <\/em>(University Press of Virginia, 1992) and, especially relevant to the above discussion, chapter five, \u201cFinal Intentions and Textual Versions\u201d (55-63).[4] Through this process of creating an authoritative text a new text-world is born. The difference is that this new text-world resulting from the editorial process, the \u201cstitching\u201d referenced above, is nothing more than the by-product of the drive to create an authoritative text. That in and of itself is not an issue; what we\u2019ve been thinking about the past year, though, are text-worlds of intention<\/em>, ones whose relationship to narrative content ought not be overlooked for the role they play in literary fiction. This question of a text-world \u2013 a decidedly \u201cliterary\u201d term \u2013 seems in part related to the emerging field of grapholinguistics, a decidedly \u201clinguisticy\u201d term.<\/p>\n\n\n\n

Grapholinguistics<\/strong><\/h2>\n\n\n\n

I suspect many readers are encountering the term \u201cgrapholinguistics\u201d for the first time. Martin Neef defines it succinctly, if not vaguely, as \u201cthe linguistic sub discipline [sic] dealing with the scientific study of all aspects of written language.\u201d[5] Dimitrios Meletis, in his landmark The Nature of Writing: A Theory of Grapholinguistics <\/em>(2020), notes the discipline emerged as a remedy of sorts to the \u201cimplicit written language bias\u201d (WLB) within the field of linguistics as identified by Per Linell.[6] This is important. Though a full discussion of the WLB is beyond the scope of this discussion, the gist of Linell\u2019s point is that the field of linguistics tends to overlook the role of writing and writing systems even though writing itself is a form of active communication. Describing this reality in relation to speech, Linell writes,<\/p>\n\n\n\n

[W]hile the processes involved in the production of written texts are usually not directly communicatively significant, the fact that the products persist over time makes various types of intermediary communicative acts available. The written texts can be used in different ways, edited and re-edited, re-employed, duplicated, distributed to particular persons or groups in new situations, and these activities can be regarded as proper communicative acts in their own right (or as parts of such acts). These acts are often instigated and performed by other people than the writer, the original sender, himself.[7]<\/p><\/blockquote>\n\n\n\n

The point here \u2013 much like the creation of a text-world resulting from some hand other than the author\u2019s \u2013 is that written language is a communicative act whether intentional or not. It does not passively record language and serve only to transmit information. Indeed, on the point of the WLB, Meletis makes the important observation that written language itself likely enabled various forms of linguistic consciousness (e.g., the concept of phonemes, words, and the idea of a sentence).<\/p>\n\n\n\n

Giving his definition of grapholinguistics, Meletis states,<\/p>\n\n\n\n

Grapholinguistics<\/em> not only aligns terminologically with designations used for other linguistic subdisciplines such as psycholinguistics and sociolinguistics but also originates and thus reflects the German-language [Schriftlinguistik<\/em>] research area\u2019s decades-old practice of acknowledging and investigating writing and written language in their own right rather than as secondary and peripheral matters of linguistics. Additionally, unlike the alternative designations listed above, it is not already occupied as a label for other disciplines or endeavors.[8]<\/p><\/blockquote>\n\n\n\n

Grapholinguistics is a subfield of linguistics interested in the way writing functions as writing<\/em>, not (simply) as a vehicle for representing spoken language. A text-world, then, within the context of literature, becomes the object of study within the field of grapholinguistics. Here the boundaries between literature and linguistics begin to blur: if we are going to approach a literary text-world from a grapholinguistic perspective, then we must understand how that text-world relates to the world it is representing. The key is understanding how a particular text-world fits within the larger architectural integrity of a particular writing system, and how the adherence or deviation from orthographical norms relates to narrative content. Grapholinguistics can help us understand how<\/em> that text-world is created and why it is able<\/em> to relate to narrative content the way it does.<\/p>\n\n\n\n

There will be challenges along the way. Grapholinguistics as a discipline must develop not only an architectural understanding of the world\u2019s writing systems but also familiarity with how<\/em> said writing systems represent language in a variety of contexts. Spoken language does not exist in a vacuum and neither does written language. Without such an understanding, any theories about how writing systems function will remain tethered still to the written language bias grapholinguistics is trying so hard to reject. Consider the way Meletis and Christa D\u00fcrscheid \u2013 scholars whose work I admire and support \u2013 describe the division of labor between hiragana and katakana and the function of furigana.<\/p>\n\n\n\n

Synchronically, the two kana scripts fulfil different functions in the writing system: hiragana, the default kana, are used for writing grammatical information and are attached to the morphographic [Sinograph], which represent lexical roots. Also, in some texts, such as texts for beginning readers, [Sinographs] are not used at all as such texts are written completely in hiragana. Katakana, on the other hand, mostly serve to write foreign or borrowed words as well as foreign names and toponyms for which there are no [Sinographs]. Additionally, they are used for onomatopoetic expressions, to signify emphasis, or for technical and scientific terminology (cf. Smith 1996). A special use of kana is as so-called furigana<\/em>, smaller kana \u2013 mostly hiragana, in rarer cases katakana \u2013 which are positioned above (when the writing direction is horizontal) or (in vertical writing) to the right of [Sinographs] to indicate their pronunciation. They are found predominantly in written materials intended for children or L2 learners.[9]<\/p><\/blockquote>\n\n\n\n

While not incorrect, the adverbs \u201cmostly\u201d and \u201cpredominantly\u201d are doing heavy lifting here. They suggest that usages of hiragana, katakana, and furigana that deviate from normative and predictable \u2013 what might also be called \u201csafe\u201d \u2013 usages are either uncommon or innocuous. However, as we\u2019ve seen throughout this series, this could not be further from the truth. It is important to point out that Meletis and D\u00fcrscheid are not fully to blame in this not-wrong-but-incomplete understanding of how written Japanese functions. Indeed, such descriptions are everywhere in secondary sources.[10]<\/p>\n\n\n\n

Yes, it is true that \u201chiragana (\u2026) are used for writing grammatical information and are attached to the morphographic [Sinograph],\u201d and that \u201csome texts, such as texts for beginning readers (\u2026) are written completely in hiragana.\u201d But what about those texts where hiragana is used to indicate the visual impairment of a protagonist as in Tanizaki Jun\u2019ichir\u014d\u2019s Shunkinsh\u014d <\/em>(Portrait of a Blind Man, 1933), emotional vulnerability and intimacy as in Tanikawa Shuntar\u014d\u2019s poetry collection Hadaka <\/em>(Naked, 1988), or the physical exhaustion of the narrator as in Machida Ry\u014dhei\u2019s One Round: 1:34<\/em> (2018)? Yes, it is true that katakana \u201cmostly serve to write foreign or borrowed words as well as foreign names and toponyms\u201d or \u201conomatopoetic expressions, to signify emphasis, or for technical and scientific terminology.\u201d But what about those texts where katakana is used to suggest a pre-war worldview and value system as in Tanizaki\u2019s Kagi<\/em> (The Key<\/em>, 1956), alienation and distance from the standard Japanese language as in so much of Sakiyama Tami\u2019s literature, or chaos and destruction as in the insistence to write Hiroshima or Fukushima in this manner? Yes, it is true that furigana are usually \u201csmaller kana \u2013 mostly hiragana, in rarer cases katakana \u2013 which are positioned [around Sinographs] to indicate their pronunciation\u201d and are often \u201cfound in written materials intended for children or L2 learners.\u201d But what about those texts where furigana is used to represent otherwise incomprehensible non-standard Japanese as in Inoue Hisashi\u2019s Kirikirijin<\/em> (1981), to incorporate visually jarring Korean linguistic interventions as in Lee Yangji\u2019s Yuhi<\/em> (1988), or a narrative revolting against the base text as in EnJoe Toh\u2019s \u201cGoji\u201d (Mistaken Glyphs, 2018)? These text-worlds, each distinct, are the result of a particular worldbuilding process and are worthy of our attention.<\/p>\n\n\n\n

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

If grapholinguistics is to free the study of written language from the confines of linguistics it must also bring intentional uses of written language \u2013 that is, examples of written language serving as intentional communicative acts \u2013 into its purview. A study of how written language functions in literature will not only help the field of grapholinguistics develop in new ways, but it can also help us establish a new framework from which to approach literature. As Sontag taught us years ago, resisting the urge to interpret texts in obvious ways can open those same texts in unexpected ways and in unanticipated directions. Reject the abstract and focus on the text-world; look close enough and you might see something new.<\/p>\n\n\n\n

\n\n\n\n

[1] Hergenrader, Trent. Collaborative Worldbuilding for Writers and Gamers<\/em>, Bloomsbury Academic, 2019: 17.<\/p>\n\n\n\n

[2] Ibid.<\/p>\n\n\n\n

[3] I say \u201cusually\u201d because there are numerous exceptions to this rule. As I\u2019ve mentioned elsewhere, Joyce\u2019s Ulysses <\/em>and Theresa Hak Kyung Cha\u2019s Dictee<\/em> are just two examples of non-normative text-worlds in English-language literature.<\/p>\n\n\n\n

[4] I will not linger on the question of authorial intent. For an extreme but important example of how muddled authorial intent can get \u2013 and just how heavy-handed (but necessary) editors and critics can be \u2013 see the Introduction to Hamlet: The Texts of 1603 and 1623<\/em>, eds. Ann Thompson and Neil Taylor, Arden Shakespeare, 2006.<\/p>\n\n\n\n

[5] Martin Neef quoted in Dimitrios Meletis, The Nature of Writing: A Theory of Grapholinguistics<\/em>, Fluxus Editions, 2020: 3.<\/p>\n\n\n\n

[6] Meletis, 2. As cited in the previous installment, Linell argues this WLB 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).<\/p>\n\n\n\n

[7] Per Linell, The Written Language Bias in Linguistics: Its Nature, Origins and Transformations<\/em>, Routledge, 2005: 20.<\/p>\n\n\n\n

[8] Meletis, 3.<\/p>\n\n\n\n

[9] Dimitrios Meletis and Christa D\u00fcrscheid, Writing Systems and Their Use: An Overview of Grapholinguistics<\/em>, De Gruyter, 2022: 239.<\/p>\n\n\n\n

[10] Consider, for example, the following explanation of hiragana, katakana, and furigana from Peter T. Daniels and William Bright\u2019s highly influential The World\u2019s Writing Systems<\/em> (Oxford University Press, 1996). Though a fuller explanation than Meletis and D\u00fcrscheid\u2019s, their definition still fails to capture the full diversity of the writing system: \u201cHiragana<\/em> (\u2026) grew out of an increasingly simplified set of cursively written [Sinographs] used as man\u2019yogana<\/em> (\u2026). Typical Japanese texts are written in a mixture of [Sinographs] and kana, primarily hiragana. Hiragana is used for particles, auxiliary verbs, and the inflectional affixes of nouns, adjectives, and verbs\u2014in sum, the grammatical elements of sentences. (\u2026) Like hiragana, katakana derived from man\u2019yogana. (\u2026) The present forms and conventions of use for katakana were fixed in 1900, at the same time as hiragana. Katakana is used in contemporary texts to write foreign names and loanwords, onomatopoeic and mimetic words, exclamations, and some specialized scientific terminology. It is also used for words usually written in kanji or hiragana to give special emphasis, indicate an ironic tone, signal euphemisms, and the like; young people are particularly likely to incorporate katakana into their script mix, perhaps to give a \u201cconversational\u201d tone to their written productions (Nakamura 1983; Satake 1989, 1990). (\u2026) Both scripts are used as furigana<\/em>: small kana put to the side of or above kanji in order to indicate the pronunciation or meaning of the [Sinograph] used\u201d (212-3).<\/p>\n","protected":false},"excerpt":{"rendered":"\u4eca\u91ce\u771f\u4e8c \u3000\u9ad8\u77e5\u306b\u3046\u307e\u308c\u305f\u690d\u7269\u5b66\u8005\u3001\u7267\u91ce\u5bcc\u592a\u90ce\uff081862-1957\uff09\u306f\u3001\u5177\u4f53\u7684\u306b1\u3064\u306e\u7acb\u4f53\u3068\u3057\u3066\u5b58\u5728\u3057\u3066\u3044\u308b\u690d\u7269\u306e\u300c\u7dcf\u4f53\u300d\u30921\u3064\u306e\u5e73\u9762\u4e0a\u306b\u3042\u3089\u308f\u3057\u305f\u690d\u7269\u753b\u3092\u63cf\u3044\u3066\u3044\u308b\u3002\u82b1\u304c\u54b2\u304d\u7d42\u308f\u3063\u3066\u304b\u3089\u5b9f\u304c\u306a\u308b\u3068\u3044\u3046\u300c\u5177\u4f53\u300d\u3092\u3082\u3068\u306b\u3057 […]","protected":false},"author":6,"featured_media":3405,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,395,396,411,14],"tags":[],"class_list":["post-5465","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chosha","category-395","category-chris-lowy","category-architecture","category-other"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/5465","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=5465"}],"version-history":[{"count":3,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/5465\/revisions"}],"predecessor-version":[{"id":5474,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/5465\/revisions\/5474"}],"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=5465"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/categories?post=5465"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/tags?post=5465"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}