{"id":5651,"date":"2024-05-17T10:54:47","date_gmt":"2024-05-17T01:54:47","guid":{"rendered":"https:\/\/www.hituzi.co.jp\/hituzigusa\/?p=5651"},"modified":"2024-05-17T10:54:49","modified_gmt":"2024-05-17T01:54:49","slug":"architecture-14","status":"publish","type":"post","link":"https:\/\/www.hituzi.co.jp\/hituzigusa\/2024\/05\/17\/architecture-14\/","title":{"rendered":"\u65e5\u672c\u8a9e\u8868\u8a18\u306e\u30a2\u30fc\u30ad\u30c6\u30af\u30c1\u30e3\uff1a\u7b2c14\u56de\uff08\u6700\u7d42\u56de\uff09\uff1a\u306f\u306a\u3057\u3053\u3068\u3070\u3068\u304b\u304d\u3053\u3068\u3070\u3068\u306e\u8ddd\u96e2 \u2014\u97f3\u58f0\u8a00\u8a9e\u3068\u6587\u5b57\u8a00\u8a9e\u3068\u306e\u56de\u8def  \uff0fThe Architecture of Written Japanese: 14 The Distance Between Spoken and Written Language\uff5c\u4eca\u91ce\u771f\u4e8c\u30fbChris Lowy"},"content":{"rendered":"\n<h4 class=\"has-text-align-right wp-block-heading\">\u4eca\u91ce\u771f\u4e8c<\/h4>\n\n\n\n<h2 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class=\"wp-block-separator\"\/>\n\n\n\n<h4 class=\"has-text-align-center wp-block-heading\">The Architecture of Written Japanese<br>14 The Distance Between Spoken and Written Language<\/h4>\n\n\n\n<h4 class=\"has-text-align-right wp-block-heading\">Chris Lowy<\/h4>\n\n\n\n<p>The concluding installment of this look at the architecture of written Japanese takes a novel format: not only is it split into three parts, but my contributions both briefly introduce and build upon Konno\u2019s (Japanese language) contributions. Each part presents Konno\u2019s major points, points that at times overlap with my own ideas and at others diverge from them. Those interested in the details of Konno\u2019s arguments, which focus extensively on examples from Japanese texts, are encouraged to read the original. Our goal from the beginning has been to reach the largest audience possible; the bilingual format of this serialization \u2013 the oddity that it is \u2013 is proof of our commitment to this goal. I end this installment, and thus this serialization, with concluding remarks that summarize the goal of our work and discuss future steps.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Part 01: In the Beginning was the Sinograph, or, <\/strong><strong>\u59cb\u3081\u306b\u6f22\u5b57\u3042\u308a\u304d<\/strong><\/h2>\n\n\n\n<p>The origins of language acquisition among humans remains a contentious issue. The transition from a speech-only society to one with a written language, and the effect the latter has had on the former \u2013 for example, how the process of visually representing speech shapes our basic understanding of language \u2013 is especially fraught.[1] While the precise moment of language acquisition will forever remain a mystery (and never existed as a single moment in time anyway), we know for certain that the invention of written language occurred long after humans began speaking. The linguist Johanna Nichols divides the history of human speech into three stages (the origins of the human species; the stage of expansion; the period beginning with the end of glaciation), with the first beginning \u201cprobably in Africa over 100,000 years ago.\u201d[2] More recently, the evolutionary psychologist Robin Dunbar has hypothesized that \u201cfull grammatical language (i.e. language as we know it today)\u201d emerged around 200,000 years ago.[3] Whatever the case may be, it is clear that written language is not a prerequisite for speech. Indeed, the continued existence of societies without a written language demonstrates that speech can exist without writing while writing is, at some level, contingent on speech.[4] Nevertheless, most interesting for our discussion of script is what can happen when a language without a writing system transitions to a language with one.<\/p>\n\n\n\n<p>Japanese is a good case study. The first visual representation of the Japanese language resulted from early encounters with Sinographs.[5] Though the exact moment of this encounter also remains unclear, it is clear that writing did not exist on the Japanese archipelago until those first interactions led to their adoption (this despite the outlandish claim popularized by some in the Edo Period of a pre-Sinographic writing system).[6] While the use, the <em>adoption<\/em>,of Sinographswas an important first step, it was their <em>adaptation <\/em>that is most important for the discussion at hand.[7] Sinographs were first created in order to represent the Chinese language, something they did, and continue to do, with great success. Though the claim that Sinographs are \u201cideographs\u201d is incorrect \u2013 most, in fact, reflect pronunciation \u2013 it does seem likely they first developed as images representing concrete objects. [8] Nevertheless, the oldest examples of Sinographs from China, those from the Shang dynasty (c. 1600 BC) used in divination rites and engraved on tortoise and animal bones, indicate an already advanced writing system. As Qiu Xigui \u88d8\u9521\u572d notes in perhaps the most important study on the history of Sinographs, the ancient <em>Sh\u00e0ngsh\u016b<\/em> \u5c1a\u66f8 (\u201cVenerated Documents\u201d) already contains a chapter lamenting the loss of writing from previous generations.[9]<\/p>\n\n\n\n<p>The earliest instances of Sinographs representing the Japanese language (i.e., speech or pronunciation) can be classified as either logographic or phonetic in nature, the former invoking semantic meaning without specific phonetic associations (e.g., \u5c71 representing <em>yama<\/em> \u201cmountain\u201d) with the latter invoking phonetic associations (usually) without reference to semantic meaning (e.g., \u7372\u52a0\u591a\u652f\u9e75 representing the name [Emperor] Wakatakeru).[10] As mentioned previously, the latter type of Sinographs are called <em>man\u2019y\u014dgana<\/em> and function similarly to today\u2019s kana; indeed, the two kana sets are simplified derivative forms of Sinographs used exclusively for their phonetic values. These various adaptations serve to highlight the linguistic differences between the Chinese and Japanese languages: it was established relatively early that Japanese, as a highly inflected language, would be recorded more efficiently if meaningful units of language (e.g., morphemes) are written logographically (i.e., in Sinographs) while meaningless sound units (e.g., verbal conjugations or grammatical particles) are written phonographically (i.e., in kana).[11]<\/p>\n\n\n\n<p>Despite this need for adaptation, Sinographs remained at the center of the Japanese writing system even after kana first began to develop in the late 9<sup>th<\/sup>-century.[12] Linguistic considerations aside, the continued use of Sinographs in the face of two (!) phonetic scripts suggests a deliberate choice, a desire to not discard Sinographs. This choice, whether a conscious one or not, would distinguish Sinograph use in Japanese from other linguistic environments such as Korean and Vietnamese.[13]<\/p>\n\n\n\n<p>The adaptation of Sinographs in Japan played a significant role in shaping how the Japanese language came to be understood by the users of the language. The ramifications of this process \u2013 the task of writing Japanese using Sinographs \u2013 influenced linguistic developments while also overflowing into, and shaping, the very culture it was representing. The dynamic interplay between the oral and written forms has resulted in a relationship between the two that rejects the assumed primacy of the spoken word. Ultimately, the evolution of how the Japanese language is visually represented vis-\u00e0-vis the combination of Sinographs and kana (and furigana) has left an indelible mark on its written form of the language, reflecting a complex interplay between linguistic structures and cultural influences.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">[Part2]<\/h2>\n\n\n\n<p>\u3000\u300c\u97f3\u58f0\u8a00\u8a9e\u300d\u3092\u8996\u899a\u7684\u306b\u5b9a\u7740\u3055\u305b\u305f\u3082\u306e\u3001\u53ef\u8996\u5316\u3057\u305f\u3082\u306e\u304c\u300c\u6587\u5b57\u8a00\u8a9e\u300d\u3067\u3042\u308b\u3068\u3044\u3046\u300c\u307f\u304b\u305f\u300d\u306f\u3072\u308d\u304f\u8a8d\u3081\u3089\u308c\u3066\u3044\u308b\u3002\u300c\u97f3\u58f0\u8a00\u8a9e\u300d\u306e\u6587\u5b57\u5316\u306b\u4f7f\u308f\u308c\u308b\u6587\u5b57\u304c\u300c\u8868\u97f3\u6587\u5b57\u300d\uff08\u97f3\u7d20\u6587\u5b57\u30fb\u97f3\u7bc0\u6587\u5b57\uff09\u3067\u3042\u308b\u5834\u5408\u3001\uff08\u307b\u3093\u3068\u3046\u306f\u305d\u3046\u3067\u306f\u306a\u3044\u306b\u3082\u304b\u304b\u308f\u3089\u305a\uff09\u300c\u97f3\u58f0\u8a00\u8a9e\u300d\u304c\u6587\u5b57\u306b\u3088\u3063\u3066\u300c\u518d\u73fe\u300d\u3055\u308c\u3066\u3044\u308b\u3001\u3042\u308b\u3044\u306f\u300c\u97f3\u58f0\u8a00\u8a9e\u300d\u304c\u6587\u5b57\u306b\u3088\u3063\u3066\u3055\u306a\u304c\u3089\u306b\u79fb\u3057\u63db\u3048\u3089\u308c\u3066\u3044\u308b\u3068\u611f\u3058\u3084\u3059\u3044\u3002\u305d\u3057\u3066\u300c\u8868\u97f3\u6587\u5b57\u300d\u3092\u4f7f\u3046\u8a00\u8a9e\u306e\u591a\u304f\u304c\u300c\u6b63\u66f8\u6cd5\u300d\u3092\u3082\u3063\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u300c\u6b63\u66f8\u6cd5\u300d\u306f\u3042\u308b\u8a9e\u306e\u6587\u5b57\u5316\u306e\u3057\u304b\u305f\u304c1\u3064\u3057\u304b\u306a\u3044\u3053\u3068\u306e\u8b02\u3044\u3067\u3082\u3042\u308b\u306e\u3067\u3001\u300c\u6b63\u66f8\u6cd5\u300d\u304c\u3042\u308b\u8a00\u8a9e\u306b\u304a\u3044\u3066\u306f\u300c\u97f3\u58f0\u8a00\u8a9e\u300d\u3068\u300c\u6587\u5b57\u8a00\u8a9e\u300d\u3068\u304c1\u5bfe1\u306e\u5bfe\u5fdc\u3092\u3059\u308b\u3053\u3068\u306b\u306a\u308b\u30021\u5bfe1\u306e\u5bfe\u5fdc\u3092\u3057\u3066\u3044\u308b\u3068\u3001\u3069\u3061\u3089\u304b\u3092\u4e3b\u3068\u307f\u308b\u3068\u3001\u3069\u3061\u3089\u304b\u306f\u5f93\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u306e\u3067\u3001\u3069\u3061\u3089\u304b\u304c2\u6b21\u7684\u306a\u3082\u306e\u3068\u3044\u3046\u307f\u304b\u305f\u306b\u3064\u306a\u304c\u308a\u3084\u3059\u3044\u3002\u6587\u5b57\u3092\u3082\u305f\u306a\u3044\u8a00\u8a9e\u304c\u3042\u308b\u3068\u3044\u3046\u3053\u3068\u306f\u3001\u300c\u6587\u5b57\u8a00\u8a9e\u300d\u304c2\u6b21\u7684\u306a\u3082\u306e\u3001\u3068\u3044\u3046\u307f\u304b\u305f\u306b\u3064\u306a\u304c\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u300c\u97f3\u58f0\u8a00\u8a9e\u300d\u304c1\u3064\u3067\u305d\u308c\u3092\u6587\u5b57\u5316\u3057\u305f\u300c\u6587\u5b57\u8a00\u8a9e\u300d\u304c2\u3064\u4ee5\u4e0a\u3042\u308b\u3001\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u3068\u3001\u305d\u3082\u305d\u3082\u300c\u6587\u5b57\u8a00\u8a9e\u300d\u304c2\u6b21\u7684\u306a\u3082\u306e\u3068\u3044\u3046\u307f\u304b\u305f\u304c\u3046\u307e\u308c\u306b\u304f\u3044\u3002\u300c\u6587\u5b57\u8a00\u8a9e\u300d\u306b\u30d0\u30ea\u30a8\u30fc\u30b7\u30e7\u30f3\u304c\u3042\u308b\u3053\u3068\u304b\u3089\u3059\u308c\u3070\u3001\u300c\u6587\u5b57\u8a00\u8a9e\u300d\u304c\u91cd\u8981\uff1d\u4e3b 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3055\u308c\u3066\u304a\u308a\u3001\u305d\u306e\u300c\u4f59\u5270\u300d\u3092\u6587\u5b66\u7684\u8868\u73fe\u3068\u3057\u3066\u4f7f\u3046\u3053\u3068\u304c\u3067\u304d\u308b\u3053\u3068\u306b\u306a\u308b\u3002\u305d\u3057\u3066\u3001\u5177\u4f53\u7684\u306a\u8a00\u8a9e\u306e\u89b3\u5bdf\u306b\u57fa\u3065\u3044\u3066\u8a00\u8a9e\u306e\u62bd\u8c61\u7684\u306a\u30b7\u30b9\u30c6\u30e0\u306b\u95a2\u3057\u3066\u8003\u3048\u308b\u3053\u3068\u306f\u6848\u5916\u3068\u96e3\u3057\u304f\u3001\u89b3\u5bdf\u5bfe\u8c61\u3068\u3057\u3066\u3044\u308b\u30c6\u30ad\u30b9\u30c8\u304c\u306a\u306b\u307b\u3069\u304b\u306b\u3057\u3066\u3082\u6587\u5b66\u7684\u306a\u8981\u7d20\u3092\u542b\u3080\u30c6\u30ad\u30b9\u30c8\u3067\u3042\u3063\u305f\u5834\u5408\u3001\u305d\u306e\u5177\u4f53\u7684\u306a\u8a00\u8a9e\u306e\u3042\u308a\u304b\u305f\u304b\u3089\u300c\u6587\u5b66\u7684\u8868\u73fe\u300d\u3092\u9664\u3044\u3066\u62bd\u8c61\u7684\u306a\u89b3\u5bdf\u5bfe\u8c61\u3092\u62bd\u51fa\u3059\u308b\u3053\u3068\u304c\u56f0\u96e3\u306a\u5834\u5408\u3082\u3042\u308b\u3068\u601d\u308f\u308c\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u65e5\u672c\u8a9e\u306b\u304a\u3044\u3066\u306f\u3001\u300c\u8868\u610f\u6587\u5b57\u300d\u3067\u3042\u308b\u6f22\u5b57\u3068\u300c\u8868\u97f3\u6587\u5b57\u300d\u3067\u3042\u308b\u4eee\u540d\uff08\u5e73\u4eee\u540d\u30fb\u7247\u4eee\u540d\uff09\u3068\u3092\u6587\u5b57\u5316\u306b\u4f7f\u3063\u3066\u3044\u308b\u306e\u3067\u3001\u539f\u7406\u7684\u306b\u3001\u8a9e\u306e\u6587\u5b57\u5316\u306e\u3057\u304b\u305f\u306b\u9078\u629e\u80a2\u304c\u3042\u308b\u3002\u9078\u629e\u80a2\u304c\u3042\u308b\u306e\u3060\u304b\u3089\u300c\u6b63\u66f8\u6cd5\u300d\u306f\u306a\u3044\u3001\u3068\u3044\u3046\u3068\u3053\u308d\u307e\u3067\u3092\u8a00\u8a9e\u5b66\u30fb\u65e5\u672c\u8a9e\u5b66\u3068\u3057\u3066\u8a8d\u3081\u3001\u4e0a\u8a18\u306e\u3088\u3046\u306b\u3001\u6587\u5b57\u5316\u306b\u969b\u3057\u3066\u306e\u300c\u4f59\u5270\u300d\u3092\u4f7f\u3046\u3053\u3068\u306f\u300c\u6587\u5b66\u7684\u306a\u884c\u70ba\u300d\u3068\u307f\u306a\u3057\u3066\u3001\u8a00\u8a9e\u5b66\u30fb\u65e5\u672c\u8a9e\u5b66\u306e\u67a0\u5185\u3067\u306f\u8ad6\u3058\u306a\u3044\u3068\u3044\u3046\u8003\u3048\u65b9\u3082\u3042\u308b\u3060\u308d\u3046\u3002\u305d\u306e\u4e00\u65b9\u3067\u3001\u300c\u4f59\u5270\u300d\u3092\u3069\u306e\u3088\u3046\u306b\u4f7f\u3046\u304b\u3068\u3044\u3046\u3053\u3068\u3092\u3082\u8a00\u8a9e\u5b66\u30fb\u65e5\u672c\u8a9e\u5b66\u306e\u67a0\u5185\u306e\u3053\u3068\u304c\u3089\u3068\u307f\u306a\u3059\u3053\u3068\u3082\u3067\u304d\u308b\u3002\u300c\u4f59\u5270\u300d\u3092\u3069\u306e\u3088\u3046\u306b\u4f7f\u3046\u304b\u306f\u3001\u8a00\u8a9e\u4f7f\u7528\u8005\u500b\u4eba\u306b\u3086\u3060\u306d\u3089\u308c\u3066\u3044\u308b\u306e\u3067\u3001\u30bd\u30b7\u30e5\u30fc\u30eb\u306e\u7528\u8a9e\u3092\u4f7f\u3046\u306a\u3089\u3070\u3001\u300c\u30d1\u30ed\u30fc\u30eb\u300d\u306b\u5c5e\u3059\u308b\u3053\u3068\u304c\u3089\u306b\u306a\u308b\u3002\u3057\u304b\u3057\u307e\u305f\u3001\u5f53\u521d\u306f\u500b\u4eba\u7684\u306a\u4f7f\u7528\u3067\u3042\u3063\u3066\u3082\u3001\u3072\u308d\u304f\u5171\u6709\u3055\u308c\u308b\u3088\u3046\u306b\u306a\u308c\u3070\u3001\u305d\u308c\u306f\u300c\u30e9\u30f3\u30b0\u300d\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u3002\u65e5\u672c\u8a9e\u3092\u89b3\u5bdf\u5bfe\u8c61\u3068\u3057\u3066\u3001\u5f53\u8a72\u6642\u671f\u306e\u300c\u8868\u8a18\u30b7\u30b9\u30c6\u30e0\u300d\u3092\u4e00\u65b9\u306b\u304a\u304d\u306a\u304c\u3089\u5177\u4f53\u7684\u306a\u6587\u5b57\u5316\u306e\u3057\u304b\u305f\u3092\u4e01\u5be7\u306b\u89b3\u5bdf\u3057\u5206\u6790\u3059\u308b\u3053\u3068\u306b\u3088\u3063\u3066\u3001\u8a00\u8a9e\u306e\u500b\u4eba\u7684\u4f7f\u7528\u306b\u3064\u3044\u3066\u306e\u8003\u3048\u65b9\u3092\u6df1\u5316\u3055\u305b\u308b\u53ef\u80fd\u6027\u306f\u3042\u308b\u3060\u308d\u3046\u3002\u305d\u308c\u306f\u300c\u30e9\u30f3\u30b0\u300d\u3068\u300c\u30d1\u30ed\u30fc\u30eb\u300d\u306b\u3064\u3044\u3066\u518d\u691c\u8a3c\u3059\u308b\u3053\u3068\u306b\u3082\u3064\u306a\u304c\u308b\u53ef\u80fd\u6027\u304c\u3042\u308b\u3002<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Part 02: The Visual Representation of Language in\/for\/by Literature<\/strong><\/h2>\n\n\n\n<p>It is easy to understand why one might assume written language functions as a visual representation of speech, especially in the case of phonetically based scripts such as the alphabet. Phonetic scripts are perceived as reproducing or replacing spoken language, functioning as a stand-in of sorts. This understanding of writing as a tool for recording speech, when coupled with the absence of writing in some language environments, has helped to establish a hierarchical relationship between speech and writing where the latter is secondary to the former.<\/p>\n\n\n\n<p>The sense that writing is a secondary linguistic function is less obvious when a language can be represented by multiple written systems and\/or character sets. Indeed, the presence of script variation challenges the idea of a single (and thus primary) written form because the assumption that each of these representations is the same is, well, materially false. This is the principle of interchangeability I discussed in <a href=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/2023\/10\/06\/architecture-11\/\" target=\"_blank\" rel=\"noreferrer noopener\">Part 11<\/a>. In such cases, the question of difference demands we assign value to these variations which, in the case of alphabetic scripts, tend to coalesce around a correct\/incorrect binary intimately linked to orthographical fidelity: simply put, the difference between \u201ccouple\u201d and \u201ckuhppl\u201d is that the former is correct while the latter is not. Context may assign extraliterary value to the latter (e.g., it might be an instance of eye-dialect), but in most cases it is understood as a misspelling relative to standard orthographical practices. This is fundamentally different in Japanese. Recall the three variant visual representations of the term <em>Kokoro<\/em>, the title of the most important piece of modern Japanese literature: \u5fc3, \u3053\u3053\u308d, and \u3053\u309d\u308d. None are incorrect; they are simply different.[14] As is clear by now, because Japanese utilizes two phonetic character sets together with a logographic one, the potential to visually represent the same utterance in diverse writing styles and orthographic iterations opens the door for true the concern of this study: literary modes of visual representation and the text-world it creates.<\/p>\n\n\n\n<p>The reality of such text-worlds, especially those in literature but witnessed in all forms of writing, complicates traditional linguistic analyses. The intermingling of logographic and phonetic scripts provides choice in representation, but it is the constant presence of multiplicity \u2013 even when a normative or otherwise standard orthography exists \u2013 that transforms the act of visually representing language into a creative one. The potential at every turn for multiple representations, a condition that leads to something akin to a surplus (what Konno calls <em>yoj<em>\u014d<\/em> <\/em>\u4f59\u5270), allows for the exploration of literariness from within a linguistic framework.<\/p>\n\n\n\n<p>For the linguist, the surplus elements of a writing system \u2013 that is, anything not related to the representation of speech in a meaningful way \u2013 is regarded as belonging to the world of literature. This also reinforces the speech-over-writing hierarchy discussed above. Understandable though it may be, it is surprising: it seems to me that a consideration of linguistic surpluses within, yes, even literary texts, can deepen our understanding of individual language use. Furthermore, and as we shall soon see, such considerations can help us pull back the curtain and glimpse into linguistic worlds that might otherwise remain hidden.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">[Part3]<\/h2>\n\n\n\n<p>\u3000\u6587\u5b57\u5316\u306e\u3057\u304b\u305f\u306b\u9078\u629e\u80a2\u304c\u3042\u308b\u3068\u3044\u3046\u3053\u3068\u306f\u3001\u300c\u6587\u5b57\u5316\u306e\u3057\u304b\u305f\u3092\u9078\u3076\u66f8\u304d\u624b\u300d\u306e\u5b58\u5728\u3092\u6642\u306b\u300c\u8aad\u307f\u624b\u300d\u306b\uff08\u5f37\u304f\uff09\u610f\u8b58\u3055\u305b\u308b\u3053\u3068\u306b\u306a\u308b\u3002\u305d\u306e\u610f\u8b58\u304c[Part2]\u3067\u8ff0\u3079\u305f\u3088\u3046\u306a\u300c\u5fc3\u6027\u300d\u306b\u3064\u306a\u304c\u308b\u3068\u3044\u3063\u3066\u3088\u3044\u3060\u308d\u3046\u3002\u305d\u308c\u306f\u3001\u8a00\u8a9e\u4f7f\u7528\u8005\u3092\u53ef\u80fd\u306a\u9650\u308a\u6392\u9664\u3057\u3066\u6210\u308a\u7acb\u3063\u305f\u3001\u3044\u308f\u3070\u6b27\u7c73\u6d41\u306e\u8a00\u8a9e\u5b66\u306b\u306f\u306a\u3044\u300c\u610f\u8b58\u300d\u3067\u3042\u308a\u300c\u5fc3\u6027\u300d\u3067\u3042\u308d\u3046\u3002<\/p>\n\n\n\n<p>\u3000\u6176\u61c9\u5927\u5b66\u9644\u5c5e\u56f3\u66f8\u9928\u306e\u65af\u9053\u6587\u5eab\u306b\u8535\u3055\u308c\u3066\u3044\u308b\u300e\u5e73\u5bb6\u7269\u8a9e\u300f\uff08\u4ee5\u4e0b\u3067\u306f\u65af\u9053\u6587\u5eab\u672c\u3068\u547c\u3076\u3053\u3068\u306b\u3059\u308b\uff09\u306f\u5ba4\u753a\u671f\u306b\u66f8\u5199\u3055\u308c\u305f\u3082\u306e\u3068\u63a8\u6e2c\u3055\u308c\u3066\u3044\u308b\u3002\u3053\u306e\u65af\u9053\u6587\u5eab\u672c\u306e\u5dfb\u7b2c1\u306b\u300c\u7fa9\u738b\u3001\u5165\u9053\u6bbf\u30cb\u7533\u30b7\u30b1\u30eb\u30cf\u3001\u904a\uff08\u53f3\u632f\u4eee\u540d\uff1a\u30a2\u30bd\u30d2\u30ce\uff09\u8005\u30ce\u63a8\u53c2\u30cf\u3001\u5e38\u7fd2\uff08\u53f3\u632f\u4eee\u540d\uff1a\u30c4\u30cd\u30ce\u30ca\u30e9\u30d2\uff09\u30cb\u30c6\uff0f\u30b3\u30bd\u4f8d\u30d8\u3002\u627f\uff08\u53f3\u632f\u4eee\u540d\uff1a\u30a6\u30b1\u30bf\u30de\u30ef\u30eb\uff09\u30cb\u672a\u30bf\u3001\u5e74\u30e2\u82e5\u30a6\u4f8d\u30d5\u30ca\u30eb\u30cb\u3001\u9069\uff08\u53f3\u632f\u4eee\u540d\uff1a\u30bf\u30de\u30bf\u30de\uff09\u601d\u30d2\u7acb\u30c6\u53c2\u30ea\u30bf\u30eb\u30cb\u7121\u4eba\u671b\uff08\u53f3\u632f\u4eee\u540d\uff1a\u30b9\u30b2\u30ca\u30af\uff09\u30e2\uff0f\u4ef0\u30bb\u30e9\u30ec\u30c6\u7688\u30b5\u30bb\u7389\u30cf\u30f3\u30b3\u30c8\u30b3\u30bd\u4e0d\u4fbf\u30ca\u30ec\u300d\uff08\uff0f\u306f\u6539\u884c\u7b87\u6240\u3001\u632f\u4eee\u540d\u306f\u4e00\u90e8\u7701\u3044\u305f\uff09\u3068\u3044\u3046\u304f\u3060\u308a\u304c\u3042\u308b\u3002\u540c\u3058\u304f\u3060\u308a\u304c\u9ad8\u91ce\u672c\u306b\u304a\u3044\u3066\u306f\u300c\u7947\u738b\u3001\u5165\u9053\u6bbf\u306b\uff0f\u7533\u3051\u308b\u306f\u3001\u3042\u305d\u3072\u3082\u306e\u309d\u3059\u3044\u3055\u3093\u306f\u3001\u3064\u306d\u306e\u306a\u3089\u3072\uff0f\u3066\u3053\u305d\u3055\u3075\u3089\u3078\u3002\u5176\u4e0a\u5e74\u3082\u3044\u307e\u305f\u3092\u3055\u306a\u3075\u3055\u3075\uff0f\u3089\u3075\u306a\u308b\u304b\u9069\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u30bf\u30de\u30bf\u30de\uff09\u601d\u305f\u3064\u3066\u307e\u3044\u308a\u3066\u3055\u3075\u3089\u3075\u3092\uff0f\u3059\u3051\u306a\u3075\u4ef0\u3089\u308c\u3066\u3046\u305b\u3055\u305b\u7d66\u306f\u3093\u4e8b\u3053\u305d\u4e0d\u4fbf\uff0f\u306a\u308c\u300d\u3068\u6587\u5b57\u5316\u3055\u308c\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u65af\u9053\u6587\u5eab\u672c\u306f\u3008\u3042\u3044\u305d\u3046\u304c\u306a\u3044\u30fb\u3064\u308c\u306a\u3044\u3009\u3068\u3044\u3046\u8a9e\u7fa9\u3092\u3082\u3064\u548c\u8a9e\u300c\u30b9\u30b2\u30ca\u30b7\u300d\u3092\u6f22\u5b57\u5217\u300c\u7121\u4eba\u671b\u300d\u306b\u3088\u3063\u3066\u6587\u5b57\u5316\u3057\u3066\u3044\u308b\u3002\u3053\u306e\u6587\u5b57\u5316\u304c\u65af\u9053\u6587\u5eab\u672c\u306e\u66f8\u5199\u8005\u306b\u3088\u308b\u300c\u5de5\u592b\u300d\u3067\u3042\u3063\u305f\u306e\u304b\u3001\u305d\u308c\u3068\u3082\u65af\u9053\u6587\u5eab\u672c\u304c\u5199\u3057\u3066\u3044\u308b\u30c6\u30ad\u30b9\u30c8\u306b\u3059\u3067\u306b\u3042\u3063\u305f\u306e\u304b\u306f\u3001\u65af\u9053\u6587\u5eab\u672c\u304c\u5199\u3057\u3066\u3044\u308b\u30c6\u30ad\u30b9\u30c8\u304c\u7279\u5b9a\u3055\u308c\u3066\u3044\u306a\u3044\u4ee5\u4e0a\u3001\u4e0d\u5206\u660e\u3068\u3057\u304b\u3044\u3044\u3088\u3046\u304c\u306a\u3044\u3002<\/p>\n\n\n\n<p>\u3000\u548c\u8a9e\u300c\u30b9\u30b2\u30ca\u30b7\u300d\u3068\u6f22\u5b57\u5217\u300c\u7121\u4eba\u671b\u300d\u3068\u3092\u6700\u521d\u306b\u7d50\u3073\u3064\u3051\u305f\u4eba\u304c\u3001\u5185\u5fc3\u300c\u304a\u3082\u3057\u308d\u3044\u6587\u5b57\u5316\u304c\u3067\u304d\u305f\u300d\u3068\u601d\u3063\u305f\u304b\u3069\u3046\u304b\u3001\u305d\u308c\u3082\u3082\u3061\u308d\u3093\u308f\u304b\u3089\u306a\u3044\u3051\u308c\u3069\u3082\u3001\u300c\u8aad\u307f\u624b\u300d\u306f\u6848\u5916\u3068\uff08\u3068\u8a00\u3063\u3066\u304a\u304f\u304c\uff09\u305d\u3046\u3057\u305f\uff08\u305d\u3046\u3067\u3042\u3063\u305f\u304b\u3069\u3046\u304b\u3082\u308f\u304b\u3089\u306a\u3044\uff09\u300c\u66f8\u304d\u624b\u300d\u306e\u300c\u5de5\u592b\u300d\u3092\u3044\u308f\u3070\u300c\u6df1\u8aad\u307f\u300d\u3057\u3001\u305d\u3053\u306b\u304a\u3082\u3057\u308d\u307f\u3092\u898b\u51fa\u3059\u306e\u3067\u306f\u306a\u3044\u304b\u3002\u73fe\u4ee3\u65e5\u672c\u8a9e\u6bcd\u8a9e\u8a71\u8005\u304c\u305d\u3046\u3067\u3042\u308b\u3068\u3059\u308c\u3070\u3001\u305d\u308c\u306f\u6587\u5b57\u5316\u306b\u300c\u4f59\u5270\u300d\u304c\u3042\u308b\u3053\u3068\u3092\uff08\u610f\u8b58\u7684\u306b\u305b\u3088\u3001\u7121\u610f\u8b58\u7684\u306b\u305b\u3088\uff09\u77e5\u3063\u3066\u3044\u3066\u3001\u305d\u306e\u300c\u4f59\u5270\u300d\u3092\u697d\u3057\u3080\u3068\u3044\u3046\u300c\u5fc3\u6027\u300d\u304c\u73fe\u4ee3\u307e\u3067\u305a\u3063\u3068\u7d99\u627f\u3055\u308c\u3066\u3044\u308b\u304b\u3089\u3067\u306f\u306a\u3044\u3060\u308d\u3046\u304b\u3002\u305d\u308c\u3053\u305d\u304c\u65e5\u672c\u8a9e\u306e\u6587\u5b57\u5316\u306b\u7279\u5fb4\u7684\u306a\u3053\u3068\u3067\u3001\u305d\u308c\u3092\u8868\u97f3\u6587\u5b57\uff08\u97f3\u7d20\u6587\u5b57\uff09\u3067\u3042\u308b\u30e9\u30c6\u30f3\u6587\u5b57\u3092\u6587\u5b57\u5316\u306b\u4f7f\u3044\u3001\u300c\u6b63\u66f8\u6cd5\u300d\u3092\u3082\u3064\u82f1\u8a9e\u3092\u4f7f\u3046\u82f1\u8a9e\u570f\u306e\u4eba\u306b\u4f1d\u3048\u308b\u306e\u304c\u96e3\u3057\u3044\u3053\u3068\u306f\u3044\u308f\u3070\u5f53\u7136\u306e\u3053\u3068\u3068\u3082\u3044\u3048\u3088\u3046\u3002<\/p>\n\n\n\n<p>\u3000\u65af\u9053\u6587\u5eab\u672c\u304c\u4f7f\u3063\u305f\u6f22\u5b57\u5217\u300c\u7121\u4eba\u671b\u300d\u306f\u300c\u583a\u672c\u300d\u3084\u300c\u9ed2\u672c\u672c\u300d\u300c\u6613\u6797\u672c\u306a\u3069\u306e\u53e4\u672c\u300e\u7bc0\u7528\u96c6\u300f\u306b\u3068\u308a\u3053\u307e\u308c\u3066\u3044\u308b\u3002\u300c\u9945\u982d\u5c4b\u672c\u300d\u306b\u306f\u300c\u7121\u8a6e\u65b9\u300d\u304c\u307f\u3048\u3001\u300c\u4f0a\u4eac\u96c6\u300d\u306b\u306f\u300c\u7121\u4eba\u6c17\u300d\u304c\u307f\u3048\u308b\u306a\u3069\u3001\u3084\u306f\u308a\u5e7e\u3064\u304b\u306e\u6f22\u5b57\u5217\u304c\u300c\u30b9\u30b2\u30ca\u30b7\u300d\u306e\u6587\u5b57\u5316\u306b\u4f7f\u308f\u308c\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u65af\u9053\u6587\u5eab\u672c\u306b\u306f\u5f62\u5bb9\u8a5e\u300c\u30a2\u30b5\u30de\u30b7\u300d\u3092\u6f22\u5b57\u5217\u300c\u6d45\u733f\u300d\u306b\u3088\u3063\u3066\u6587\u5b57\u5316\u3057\u305f\u7b87\u6240\u304c\u8907\u6570\u3042\u308b\u3002\u3008\u8208\u3056\u3081\u3067\u3042\u308b\u30fb\u3072\u3069\u3044\u30fb\u306a\u3052\u304b\u308f\u3057\u3044\u3009\u3068\u3044\u3046\u8a9e\u7fa9\u3092\u3082\u3064\u300c\u30a2\u30b5\u30de\u30b7\u300d\u306e\u300c\u30de\u30b7\u300d\u306b\u300c\u30de\u30b7\u30e9\u300d\u3092\u3042\u3089\u308f\u3059\u3053\u3068\u304c\u3042\u308b\u300c\u733f\u300d\u3092\u3042\u3066\u305f\u3068\u601d\u308f\u308c\u308b\u6f22\u5b57\u5217\u300c\u6d45\u733f\u300d\u306b\u3069\u306e\u7a0b\u5ea6\u559d\u91c7\u3092\u9001\u308c\u3070\u3088\u3044\u306e\u304b\u308f\u304b\u3089\u306a\u3044\u3051\u308c\u3069\u3082\u3001\u3053\u306e\u300c\u6d45\u733f\u300d\u3082\u53e4\u672c\u300e\u7bc0\u7528\u96c6\u300f\u306b\u3068\u308a\u3053\u307e\u308c\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u6c5f\u6238\u6642\u4ee3\u306b\u300e\u5897\u88dc\u5e83\u76ca\u5b57\u5c3d\u91cd\u5b9d\u8a18\u7db1\u76ee\u300f\u3068\u3044\u3046\u66f8\u7269\u304c\u51fa\u7248\u3055\u308c\u3066\u3044\u308b\u3002\u3053\u306e\u66f8\u7269\u306e\u300c\u8a00\u8a9e\u300d\u306e\u90e8\u306b\u306f\u300c\u4e16\u8a71\u300d\u3068\u3044\u3046\u30ab\u30c6\u30b4\u30ea\u30fc\u304c\u8a2d\u3051\u3089\u308c\u3066\u3044\u308b\u3002\u300c\u4e16\u8a71\u300d\u306f\u300c\u65e5\u5e38\u7684\u306a\u306f\u306a\u3057\u3053\u3068\u3070\u3084\u4fd7\u8a9e\u300d\u3092\u3055\u3059\u3053\u3068\u304c\u591a\u3044\u3002\u4f8b\u3048\u3070\u30cb\u90e8\u306e\u300c\u4e16\u8a71\u300d\u306b\u306f\u300c\u5982\u72d0\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u306b\u3088\u3053\u306b\u3088\u3053\uff09\u300d\u300c\u5982\u9dfa\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u306b\u3088\u308d\u306b\u3088\u308d\uff09\u300d\u3001\u30c8\u90e8\u306e\u300c\u4e16\u8a71\u300d\u306b\u306f\u300c\u52d5\u4e0b\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3069\u304b\u3069\u304b\uff09\u300d\u300c\u70ba\u7a81\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3069\u3064\u3057\u308a\uff09\u300d\u3001\u30af\u90e8\u306e\u300c\u4e16\u8a71\u300d\u306b\u306f\u300c\u611a\u5f31\u96e2\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3050\u306b\u3084\u308a\uff09\u300d\u300c\u74e6\u5815\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3050\u306f\u305f\u3050\u306f\u305f\uff09\u300d\u300c\u74e6\u843d\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3050\u306f\u3089\u3050\u306f\u3089\uff09\u300d\u300c\u611a\u4e82\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3050\u3089\u3050\u3089\uff09\u300d\u3001\u30b5\u90e8\u306e\u300c\u4e16\u8a71\u300d\u306b\u306f\u300c\u98af\u4e82\u96e2\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3055\u3089\u308a\uff09\u300d\u300c\u98af\u7834\u7406\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3055\u3064\u3071\u308a\uff09\u300d\u300c\u96dc\u4e82\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3056\u3089\u3056\u3089\uff09\u300d\u300c\u6563\u4e82\u3005\u3005\uff08\u53f3\u632f\u4eee\u540d\uff1a\u3055\u3089\u3055\u3089\uff09\u300d\u306a\u3069\u3068\u3042\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u300c\u597d\u8272\u4e00\u4ee3\u7537\u300d\u306b\u304a\u3044\u3066\u300c\u30cb\u30e7\u30ed\u30cb\u30e7\u30ed\u300d\u3068\u3044\u3046\u30aa\u30ce\u30de\u30c8\u30da\u7684\u306a\u8a9e\u3092\u6587\u5b57\u5316\u3059\u308b\u306e\u306b\u3001\u307b\u3093\u3068\u3046\u306b\u300c\u5982\u9dfa\u3005\u3005\u300d\u3068\u3044\u3046\u6f22\u5b57\u5217\u304c\u4f7f\u308f\u308c\u3066\u3044\u308b\u3053\u3068\u304c\u78ba\u8a8d\u3067\u304d\u308b\u3002\u305d\u306e\u3053\u3068\u304b\u3089\u3059\u308c\u3070\u3001\u4e0a\u8a18\u306f\u3042\u308b\u7a0b\u5ea6\u300c\u5b9f\u7e3e\u300d\u304c\u3042\u308b\u3082\u306e\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308a\u305d\u3046\u3067\u3042\u308b\u304c\u3001\u3068\u306b\u304b\u304f\u3001\u4e0a\u8a18\u306e\u3088\u3046\u306a\u8a18\u4e8b\u304c\u3042\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u4eee\u540d\u3092\u4f7f\u3048\u3070\u3001\u4e0a\u8a18\u306e\u3088\u3046\u306a\u30aa\u30ce\u30de\u30c8\u30da\u7684\u306a\u8a9e\u3082\u3082\u3061\u308d\u3093\u6587\u5b57\u5316\u3067\u304d\u308b\u3002\u3057\u304b\u3057\u307e\u305f\u3001\u6f22\u5b57\u3092\u591a\u304f\u4f7f\u3046\u30c6\u30ad\u30b9\u30c8\u3067\u3042\u308c\u3070\u3001\u3067\u304d\u308c\u3070\u6f22\u5b57\u306b\u3088\u3063\u3066\u6587\u5b57\u5316\u3057\u305f\u3044\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u304b\u3082\u3057\u308c\u306a\u3044\u3002\u305d\u306e\u4e0a\u306b\u3001\u300c\u304a\u3082\u3057\u308d\u3044\u300d\u3084\u300c\u6c17\u304c\u304d\u3044\u3066\u3044\u308b\u300d\u304c\u3042\u308b\u3053\u3068\u306b\u306a\u308b\u304c\u3001\u73fe\u5728\u3067\u306f\u306a\u3044\u6642\u671f\u306e\u6587\u5b57\u5316\u304c\u3001\u5f53\u8a72\u6642\u671f\u306e\u8a00\u8a9e\u4f7f\u7528\u8005\u306b\u300c\u304a\u3082\u3057\u308d\u3044\u300d\u3068\u304b\u300c\u6c17\u304c\u304d\u3044\u3066\u3044\u308b\u300d\u3068\u53d7\u3051\u3068\u3081\u3089\u308c\u305f\u304b\u3069\u3046\u304b\u3092\u6e2c\u5b9a\u3059\u308b\u3053\u3068\u306f\u96e3\u3057\u3044\u3002\u3057\u304b\u3057\u307e\u305f\u3001\u3053\u3046\u3057\u305f\u6587\u5b57\u5316\u304c\u884c\u306a\u308f\u308c\u3001\u305d\u308c\u3092\u8f9e\u66f8\u4f53\u8cc7\u6599\u304c\u3068\u308a\u3053\u3093\u3067\u3044\u308b\u3053\u3068\u306f\u300c\u4e8b\u5b9f\u300d\u3068\u3068\u3089\u3048\u3066\u3088\u3044\u3060\u308d\u3046\u3002<\/p>\n\n\n\n<p>\u3000\u6587\u5b57\u5316\u3059\u308b\u4e3b\u4f53\uff1d\u66f8\u304d\u624b\u306e\u300c\u5fc3\u6027\u300d\u306f\u306a\u304b\u306a\u304b\u8a00\u8a9e\u5b66\u30fb\u65e5\u672c\u8a9e\u5b66\u306e\u67a0\u5185\u306b\u3082\u3063\u3066\u304d\u306b\u304f\u3044\u3002\u3057\u304b\u3057\u3001\u305d\u306e\u3053\u3068\u306b\u3064\u3044\u3066\u3067\u304d\u308b\u304b\u304e\u308a\u539f\u7406\u7684\u306b\u8003\u3048\u308b\u3053\u3068\u306b\u3088\u3063\u3066\u3001\u8a00\u8a9e\u5b66\u30fb\u65e5\u672c\u8a9e\u5b66\u306e\u67a0\u7d44\u307f\u3092\u518d\u691c\u8a3c\u3059\u308b\u3053\u3068\u306f\u3067\u304d\u308b\u3060\u308d\u3046\u3057\u3001\u305d\u308c\u306f\u4e00\u5b9a\u306e\u610f\u7fa9\u304c\u3042\u308b\u3053\u3068\u3068\u8003\u3048\u308b\u3002<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Part 03: Who Reads, Who Writes?, or, <\/strong><strong>\u8ab0\u304c\u3088\u3080\uff0f\u8ab0\u304c\u30e8\u30e0<\/strong><\/h2>\n\n\n\n<p>The potential for orthographic multiplicity brings attention to the role of the author in deciding how language is represented. This act can, in turn, prompt a reader to consider said author\u2019s intent, itself leading to a distinct form of consciousness informed by both explicitly literary and linguistic concerns. This consciousness, one that necessitates a reading subject in conversation with an author or authorial entity, is beyond the purview of traditional linguistic analysis because it takes into consideration individual variation coupled with perceived subjectivity. Linguistics, after all, is imagined to be a scientific (and thus quantifiable) practice.[15]<\/p>\n\n\n\n<p>I have demonstrated throughout this serialization the significance and value considering written language in modern and contemporary literature. Konno, on the other hand, has demonstrated the value of considering the use of written language in older texts. In this concluding section I present two examples from Konno\u2019s essay. Konno examines a manuscript of the <em>Heike Monogatari <\/em>\u5e73\u5bb6\u7269\u8a9e housed in the Keio Institute of Oriental Classics, known as the \u65af\u9053\u6587\u5eab in Japanese, that likely dates from the Muromachi period (1336-1392). A passage from the first book of the manuscript includes the following section. [16] (Note that the text is <a href=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/2023\/02\/14\/architecture-05\/\" target=\"_blank\" rel=\"noreferrer noopener\">right-originating vertical writing<\/a>, the \uff0f indicates a line break, and all furigana appears on the right side of the Sinographs.)<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u7fa9\u738b\u3001\u5165\u9053\u6bbf\u30cb\u7533\u30b7\u30b1\u30eb\u30cf\u3001<ruby>\u904a<rp>(<\/rp><rt>\u30a2\u30bd\u30d2\u30ce<\/rt><rp>)<\/rp><\/ruby>\u8005\u30ce\u63a8\u53c2\u30cf\u3001<ruby>\u5e38\u7fd2<rp>(<\/rp><rt>\u30c4\u30cd\u30ce\u30ca\u30e9\u30d2<\/rt><rp>)<\/rp><\/ruby>\u30cb\u30c6\uff0f\u30b3\u30bd\u4f8d\u30d8\u3002<ruby>\u627f<rp>(<\/rp><rt>\u30a6\u30b1\u30bf\u30de\u30ef\u30eb<\/rt><rp>)<\/rp><\/ruby>\u30cb\u672a\u30bf\u3001\u5e74\u30e2\u82e5\u30a6\u4f8d\u30d5\u30ca\u30eb\u30cb\u3001<ruby>\u9069<rp>(<\/rp><rt>\u30bf\u30de\u30bf\u30de<\/rt><rp>)<\/rp><\/ruby>\u601d\u30d2\u7acb\u30c6\u53c2\u30ea\u30bf\u30eb\u30cb<strong><ruby>\u7121\u4eba\u671b<rp>(<\/rp><rt>\u30b9\u30b2\u30ca\u30af<\/rt><rp>)<\/rp><\/ruby><\/strong>\u30e2\uff0f\u4ef0\u30bb\u30e9\u30ec\u30c6\u7688\u30b5\u30bb\u7389\u30cf\u30f3\u30b3\u30c8\u30b3\u30bd\u4e0d\u4fbf\u30ca\u30ec\u3002<br><br><em>Gi<em>\u014d<\/em>, ny\u016bd<em>\u014d<\/em>dono ni m<em>\u014d<\/em>shikeru wa, asobimono no suisan wa, tsunenonarai nite koso saburae. Uketamawaru ni imada, toshi mo wak<em>\u014d<\/em> sabur<em>\u014d<\/em> naru ni, tamatama omoitatte mairitaru ni <strong>sugenaku<\/strong> mo <em>\u014d<\/em>serarete kaesasetamawan koto koso fubin nare.<\/em><\/p><\/blockquote>\n\n\n\n<p>The corresponding passage from the standard version of the <em>Heike Monogatari<\/em>, followed by Royall Tyler\u2019s translation, follows.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u7947\u738b\u3001\u5165\u9053\u6bbf\u306b\u7533\u3051\u308b\u306f\u3001\u300c\u3042\u305d\u3073\u8005\u306e\u63a8\u53c2\u306f\u3001\u5e38\u306e\u306a\u3089\u3072\u3067\u3053\u305d\u3055\u3076\u3089\u3078\u3002\u5176\u4e0a\u5e74\u3082\u3044\u307e\u3060\u3092\u3055\u306a\u3046\u3055\u3076\u3089\u3075\u306a\u308b\u304c\u3001<ruby>\u9069\u3005<rp>(<\/rp><rt>\u30bf\u30de\u30bf\u30de<\/rt><rp>)<\/rp><\/ruby>\u601d\u3072\u305f\u3064\u3066\u53c2\u308a\u3066\u3055\u3076\u3089\u3075\u3092\u3001<strong>\u3059\u3052\u306a\u3046<\/strong>\u4ef0\u305b\u3089\u308c\u3066\u304b\u3078\u3055\u305b\u7d66\u306f\u3093\u4e8b\u3053\u305d\u3001<ruby>\u4e0d\u4fbf<rp>(<\/rp><rt>\u3075\u3073\u3093<\/rt><rp>)<\/rp><\/ruby>\u306a\u308c\u3002\u300d(<em>Nihon koten bungaku zensh\u016b<\/em> vol. 45: 36)<br><br><em>Gi<em>\u014d<\/em>, ny\u016bd<em>\u014d<\/em>dono ni m<em>\u014d<\/em>shikeru wa, \u201casobimono no suisan wa, tsune no naraide koso saburae. Sono ue toshi mo imada osan<em>\u014d<\/em> sabur<em>\u014d<\/em> naru ga, tamatama omoitatte mairite sabur<em>\u014d<\/em> o, <strong>sugenau<\/strong> <em>\u014d<\/em>serarete kaesase tamawan koto koso, fubin nare.<\/em><\/p><\/blockquote>\n\n\n\n<p>[Hotoke, bluntly dismissed, was leaving when] Gi addressed her lord and master:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u201cIt is normal for any dancer<br>to present herself uninvited.<br>Besides, they say she is only a girl.<br>Now that she has come so bravely,<br>you are <strong>too harsh<\/strong> to order her gone.<br>I would feel sorrow and shame for her!\u201d<\/p><cite>(<em>The Tale of the Heike<\/em>, tr. Royall Tyler, Penguin Classics, 2014)<\/cite><\/blockquote>\n\n\n\n<p>Among the numerous (and obvious) orthographic differences between the two manuscripts is the visual representation of the morpheme <em>sugenaku<\/em>\/<em>sugenau <\/em>(curt; brusque; blunt).[17] The term is visually represented in two ways: first, by the three-character Sinograph-string \u7121\u4eba\u671b and, second, phonetically in kana as \u3059\u3052\u306a\u3046. The association between the character combination \u7121\u4eba\u671b (\u201clacking popular favor\u201d) and the morpheme <em>sugenaku<\/em>\/<em>sugenau<\/em> is witnessed elsewhere but is by no means an established one.[18] Though we have no way of knowing authorial (or scribal) intent, it is reasonable for a reader to imagine this as an intentionally creative orthographical choice echoing \u2013 or is it strengthening? \u2013 the sense of being \u201ctoo harsh\u201d on the dancer. This metacommentary also helps fill in the shades of meaning associated with <em>sugenaku\/sugenau<\/em>. It is also telling that \u7121\u4eba\u671b is not the way <em>seuganau<\/em> is represented in other extant manuscripts of the <em>Heike<\/em>. We cannot know whether the author thinks to himself, \u201cAha! Look how creative I am to write <em>sugenaku<\/em> this way,\u201d but it is certainly possible.[19]<\/p>\n\n\n\n<p>Similar creative orthographical choices are peppered throughout the Keio manuscript. For example, we see the two character Sinograph string \u6dfa\u733f (lit., \u201cshallow monkey\u201d) representing the adjective <em>asamashi<\/em> (base; pitiful; shameless; disgraceful). &nbsp;The choice to visually represent <em>asamashi<\/em> with \u6dfa (\u201cshallow\u201d), usually read <em>asa<\/em>, and \u733f (\u201cmonkey\u201d), read <em>mashi<\/em> or <em>mashira<\/em>, is, if not novel, irregular.[20] It is hard to say how much attention we ought to pay to these choices, but the fact remains: they add visual textuality to a text otherwise rooted in aurality. Texts published in the Edo Period such as the <em>Z<em><em>\u014d<\/em><\/em>ho k<em><em>\u014d<\/em><\/em>eki jizukushi ch<em><em>\u014d<\/em><\/em>h<em><em>\u014d<\/em><\/em>ki k<em><em>\u014d<\/em><\/em>moku<\/em> (\u5897\u88dc\u5e83\u76ca\u5b57\u5c3d\u91cd\u5b9d\u8a18\u7db1\u76ee) demonstrate similarly diverse approaches to representing language. Just one example, chosen at random, is the representation of an onomatopoeic expression by means of Sinographs: \u5982\u9dfa\u3005\u3005 (<em>nyoro nyoro<\/em>, lit. \u201clike a heron\u201d) for \u201cwriggling.\u201d It is not hard to imagine the neck of a heron swaying left to right in a manner that evokes a wriggling motion. I direct readers to Konno\u2019s piece for a detailed discussion of this and other examples.<\/p>\n\n\n\n<p>While we can only speculate about the motive behind such orthographical choices, they indicate some level of playfulness or creativity, in other words, intention, on the part of the writer. Exploring these fringe orthographical cases can challenge traditional linguistic frameworks while underscoring the significance of individual experience in text-based modes of representation that use text itself as a means of representation. While concepts such as authorial intent might be less important in mainstream linguistic discourse, we cannot ignore the role these choices \u2013 and the consciousness it creates \u2013 play in the experience of reading Japanese literature.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Concluding Remarks<\/strong><\/h2>\n\n\n\n<p>Our exploration of the architecture of written Japanese has taken a novel approach: not quite a back-and-forth letter exchange nor an essay series written in alternating turns, both Konno Shinji and I have presented our different perspectives on a variety of topics. Our different skillsets and overlapping interests made this possible. For example, Konno is first a linguist deeply interested in literature while I am a literary scholar deeply interested in linguistics; Konno is primarily concerned with older texts while I am primarily concerned with newer ones; Konno\u2019s eyes are always on the text while mine are on larger theoretical questions often informed by Konno\u2019s findings. This last point is the most important one: Konno\u2019s commitment to philological integrity, and my interest in theoretical approaches to thinking about the Japanese writing system, allow for our ideas to converge beneath the roof of what I\u2019ve called an architecture of script. In other words, Konno\u2019s work demonstrates how the eight major elements of the Japanese writing system \u2013 its architecture \u2013 is not something new to the modern or contemporary period. Rather, Konno\u2019s work reveals that the architectural integrity of the writing system, and all those interesting bits, have a long and particular history.<\/p>\n\n\n\n<p>To recapitulate, those eight elements are: (i) the coexistence of Sinographs, hiragana, and katakana, (ii) typographic markers derived from both Chinese manuscript culture and Western typographical practices, (iii) bidirectional text that runs right-to-left in vertically oriented writing and left-to-right in horizontally oriented writing, (iv) predictable space distribution in non-cursive texts, (v) complex and variegated uses of furigana, (vi) the existence of a base text, (vii) the principle of interchangeability, and (viii) an expansive or open set of Sinographs. Many of these elements are interesting as stand-alone features of the written language, but they shine most brightly when used in combination with each other and when considered in their larger literary context. Indeed, it is the question of context \u2013 how they are used and to what ends \u2013 that has been the primary focus of this series. Konno and I are especially interested in thinking about the role the Japanese writing system and, by extension, writing in general, plays in the creation of literary spaces.<\/p>\n\n\n\n<p>Obvious though it may seem, and thus perhaps surprising, this is one of the first studies in English or Japanese to provide a theoretical framework from which to analyze the use of written language in <em>any text<\/em> written in the Japanese writing system.[21] This framework, which I call an architecture of script, allows one to approach the use of script in any text both synchronically and diachronically. This is important for a number of reasons: for example, it allows the critic to contextualize a particular author\u2019s way of visually representing language (e.g., Akutgawa Ry\u016bnosuke) within a larger literary context (e.g., global modernism) while, at the same time, allowing one to analyze the particular relationship between narrative content and the visual representation of language within a single text (e.g., \u201cThe Faint Smiles of the Gods\u201d \u795e\u795e\u306e\u5fae\u7b11 or \u201cA Fool\u2019s Life\u201d \u6216\u963f\u5446\u306e\u4e00\u751f). As I outlined, two interrelated concepts useful to scholars thinking about the relationship between content and the visual representation of language are <strong>text-world<\/strong> and <strong>worldbuilding<\/strong>.<\/p>\n\n\n\n<p>A text-world is the text as it appears before a reader, a static object that is the result of an author or authorial hand. Significantly, it understands both narrative content and the visual representation of language as equally important components of the literary experience. The existence of a text-world challenges the tendency of both reader and critic to strip narrative content away from the visual representation of language; it rejects the practice of discussing texts in abstract ways that neglect their material existence. Conservative though it may seem, a discussion of text-world in no way suggests, among other things, untranslatability. Both Konno and I reject such a notion. [22] Instead, I suggest that non-normative orthographies used to visually represent language in a text-world be understood not as untranslatable but non-transferable into different script ecosystems, i.e., different architecture of scripts. For example, the effect of furigana in a Japanese text cannot be transferred onto a text written in the alphabet much in the same way a text written in all lowercase letters cannot be seamlessly represented in the Japanese writing system since the architecture of Japanese is not capable of representing upper and lower cases. Everything can be translated, we know this; and while some things can be <em>approximated<\/em> not everything can be <em>transferred<\/em> between script architectures.<\/p>\n\n\n\n<p>Worldbuilding, on the other hand, refers to the act of creating a text-world. It encompasses every authorial choice relating to script: in what manner a word or phrase or entire text is visually represented, whether a character string will have furigana attached to it, or if the Sinographs used originate in the standard Japanese character set. It is a series of discreet decisions that come together to form a larger text-world; it is worldbuilding because \u2013 and this is key \u2013 it directly relates to how narrative content itself is visually represented. Worldbuilding in the context of a text-world refers as much to narrative content as it does to how that narrative content is constructed. As I have tried to stress throughout this series, one can formally analyze both written language and narrative content, but onlyby reading one against the other can meaning-via-representation can be discerned.<\/p>\n\n\n\n<p>If the process of worldbuilding depends on discreet decisions, the resulting text-world is, for the reader, the entranceway into a narrative. The idea of worldbuilding, theorized in the context of science fiction literature, is also discussed in conversations of tabletop, computer, and video gaming. In fact, the shift from text-world to worldbuilding, from being an object received from an author (e.g., the world of Middle Earth created by Tolkien) to a process users participate in (e.g., in tabletop role-playing games such as <em>Dungeons &amp; Dragons<\/em> or the computer game <em>The Sims<\/em>), highlights the relationship between reader and writer in a literary context. While most readers of literature receive text-worlds created for them by an author, it is also true that whenever a reader composes a text they, too, engage in worldbuilding. This is different from, say, the world of art where most consumers do not themselves paint or the world of music where most consumers do not themselves compose music. We can state thus: the concepts of text-world and worldbuilding refer to different perspectives on the same object, namely, the text. If the text-world is a reader-oriented perspective on an object, then worldbuilding is a creator-oriented perspective on an action.<\/p>\n\n\n\n<p>Abstract though such a conversation may seem, it is critical for establishing a framework from which to analyze the use and function of written language in literary texts. The specter of phonocentrism \u2013 the privileging of speech over writing \u2013 casts a long shadow over the worlds of linguistics and literary criticism. This, of course, is not a new insight: Jacques Derrida, the prominent French philosopher, critiqued phonocentrism as a belief rooted in an insistence that spoken language is closer to the true meaning (or essence) of words with writing seen as a secondary, derivative form. Derrida argued against this hierarchy, asserting that both speech and writing are distinct forms of representation, and neither can claim primacy over the other.[23] Nevertheless, Derrida\u2019s interventions, which are regarded as the intellectual basis for deconstruction, largely rejected phonocentrism because of its binary structure. Important point though it may be, Konno and I offer a complementary justification for critiquing phonocentrism and, as previously discussed, the \u201cwritten language bias\u201d in linguistics.<\/p>\n\n\n\n<p>Konno has recently called this approach to the study of language \u201c<a href=\"https:\/\/tanemaki.iwanami.co.jp\/posts\/8016#kanto\" target=\"_blank\" rel=\"noreferrer noopener\">Non-Saussurean linguistics<\/a>\u201d (\u975e\u30bd\u30b7\u30e5\u30fc\u30eb\u7684\u8a00\u8a9e\u5b66). Though I will save a full account of Konno\u2019s approach for another occasion, the understanding of language by Ferdinand de Saussure, whose work established the foundation of the field of modern linguistics, significantly influenced structuralism and semiotics, and indeed the larger field of linguistics. Saussure\u2019s theories, however, were developed primarily atop languages with an orthography, i.e., languages whose written representation appear in alphabetic or otherwise phonetic-based scripts. Japanese, however, as we have seen, challenges these basic assumptions. Non-Saussurean linguistics, together with the emerging field of grapholinguistics, is an attempt to rethink the foundations of linguistics and refocus our attention onto the visual representation of language as a discreet mode of communication.<\/p>\n\n\n\n<p>Which brings me to our conclusion: next steps. Over the past year, Konno Shinji and I have presented arguments and approaches some will find useful when thinking about the role of written language in literature. Konno, for his part, has provided the historical basis and precedents for the more abstract concepts I describe. Where I see universality in application across time, space, and genre \u2013 that is, all writing confirming to a certain architecture \u2013 Konno sees moments of particularities in texts tethered to a material reality. These approaches are not at odds with one another. Moving forward, Konno and I will work to bridge the gap between literature and linguistics, and make the case that the study of linguistics is the study of literature and the study of literature is the study of linguistics. This basic understand will help us to rethink the histories of both the literature and languages we rely on.<\/p>\n\n\n\n<p>Just as this serialization began with words of gratitude to the Hituzi Syobo Publishing Company, especially editor-in-chief Matsumoto Isao, so to shall it end with them. We thank Hituzi Syobo for giving us a platform to think about an often overlooked topic and for the time to think about these issues over the course of one year.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>[1] As I mentioned in my discussion of grapholinguistics in <a href=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/2024\/03\/06\/architecture-13\/\">Part 13<\/a>, some critics argue that the process of visualizing language and the accompanying act of categorizing discreet linguistic patterns \u201ccreated\u201d concepts such as phonemes, words, punctuation, as well as the very idea of a sentence.<\/p>\n\n\n\n<p>[2] Johanna Nichols, <em>Linguistic Diversity in Space and Time<\/em>, The University of Chicago Press, 1992: 274-5.<\/p>\n\n\n\n<p>[3] Robin Dunbar, \u201cWhy only humans have language,\u201d in <em>The Prehistory of Language<\/em>, eds. Rudolf Botha and Chris Knight, Oxford University Press, 2009: 29.<\/p>\n\n\n\n<p>[4] I am being loose with my use of the terms \u201cspeech\u201d and \u201clanguage.\u201d Speech is, in the strictest sense, a method for <em>verbally<\/em> communicating linguistic information while language includes speech but also encompasses representation via text, signing, and gesture.<\/p>\n\n\n\n<p>[5] David Lurie says this in <em>Realms of Literacy<\/em>: \u201cDespite its emergence much earlier in the Central Plains of China, there is no evidence of the presence of writing in the Japanese archipelago until around the final century BCE, during the Yayoi period (ca. 900 BCE\u2013ca. 250 CE). The first substantial domestically produced texts [\u2026] do not appear until the fifth century CE\u201d (Harvard University Asia Center, 2011:17).<\/p>\n\n\n\n<p>[6] Perhaps the most famous example of such a claim was by Hirata Atsutane \u5e73\u7530\u7be4\u80e4 (1776-1843) in his <em>Kanna hifumi no tsutae <\/em>\u795e\u5b57\u65e5\u6587\u50b3 (1824), which can be accessed online <a href=\"https:\/\/www.wul.waseda.ac.jp\/kotenseki\/html\/ho02\/ho02_04229\/index.html\" target=\"_blank\" rel=\"noreferrer noopener\">here<\/a>. These claims were, and continue to be, rejected on various grounds by both philologists in the Edo Period (e.g., Ban Nobutomo \u4f34\u4fe1\u53cb in his 1820 <em>Kana no motosue<\/em> \u4eee\u540d\u672c\u672b) and linguists in the modern period such as Hashimoto Shinkichi \u6a4b\u672c\u9032\u5409 and Yamada Yoshio \u5c71\u7530\u5b5d\u96c4. Nevertheless, the strong drive to locate pre-Sinographic writing in Japan remains strong: texts such as Ikeda Mitsuru\u2019s \u6c60\u7530\u6e80 <em>A Hotsuma Dictionary: Into a World Before Sinographs <\/em>\u30db\u30c4\u30de\u8f9e\u5178\uff1a\u6f22\u5b57\u4ee5\u524d\u306e\u4e16\u754c\u3078 (Hotsuma kank\u043e\u0304 kai, 1999) and Harada Minoru\u2019s \u539f\u7530\u5b9f <em>An Introduction to Writing from the Age of the Gods <\/em>\u795e\u4ee3\u6587\u5b57\u5165\u9580 (Bing Net Press, 2007) are evidence of the ideological value of this argument.<\/p>\n\n\n\n<p>[7] In Fn. 01 of Konno\u2019s piece, he considers the appropriateness of using the term <em>kainarasu <\/em>\u98fc\u3044\u6163\u3089\u3059 to describe the Japanese relationship with Sinographs. Konno notes that Inukai Takashi \u72ac\u98fc\u9686 claims the famed linguist K\u014dno Rokur\u014d \u6cb3\u91ce\u516d\u90ce used the term as a translation of the term \u201c[to] adopt.\u201d Konno is suspicious, and for good reason: he can\u2019t seem to locate a source verifying this fact. I mention this because <em>kainarasu<\/em> is best translated as \u201c[to] tame [an animal],\u201d an image out of place in our discussion. Adaptation is not taming, and to think otherwise will lead to grave misunderstandings.<\/p>\n\n\n\n<p>[8] I again quote Lurie: \u201c[F]ew scholars today would employ the outmoded term \u2018ideograph\u2019 (\u201ca mode of writing consisting in symbolizing an idea directly, as distinguished from the linguistic form by which it is expressed\u201d [Coulmas 1996, 224]). Even the term with which it is usually replaced, \u2018logograph\u2019 (\u201ca written sign which represents a word or morpheme\u201d [ibid. 309]), has come under severe criticism. With respect to the modern Chinese writing system, such criticism rests on the argument that graphs correspond primarily to syllables and only secondarily to the morphemes that make up words alone or in combination. However, in discussing literary Chinese writing, it makes sense to maintain the term \u2018logograph,\u2019 though it is important to recognize that in this context as well graphs can often be said to correspond to morphemes rather than entire words. Because literary Chinese morphemes are generally monosyllabic, and the majority of words in the classical language are monomorphemic, characters correspond in many cases to words, but also, simultaneously, to the syllables that are the phonetic form of those words. This means that the system is inherently hybrid, regardless of whether it is taken to be dominated by a logographic principle\u201d (Lurie, 173-4).<\/p>\n\n\n\n<p>[9] \u201cThe \u2018Du\u014dsh\u00ec [\u591a\u58eb \u201cNumerous Officers\u201d]\u2019 chapter [\u2026] states: \u60df\u6bb7\u5148\u4eba\u6709\u518a\u6709\u5178 \u2018It was that [your] ancestors of the Yin had bamboo books and codices.\u2019\u201d Qiu Xigui, <em>Chinese Writing<\/em>, trans. Gilbert L. Mattos and Jerry Norman, The Society for the Study of Early China, 2000: 62-3. For reference, the authoritative version of Qiu\u2019s text is known in Chinese as <em>W\u00e9nz\u00ecxu\u00e9 g\u00e0iy\u00e0o: xi\u016bd\u00ecngb\u011bn<\/em> \u6587\u5b57\u5b66\u6982\u8981: \u4fee\u8ba2\u672c (The Commercial Press, 2019) and has been translated into Japanese as <em>Lectures on Chinese Sinography<\/em> \u4e2d\u56fd\u6f22\u5b57\u5b66\u8b1b\u7fa9, trans. Inahata K\u014dichir\u014d \u7a32\u7551\u8015\u4e00\u90ce, Sakikawa Takashi \u5d0e\u5ddd\u9686, and Ogino Tomonori \u837b\u91ce\u53cb\u7bc4 (T\u014dh\u014d gakujutsu hon\u2019yaku s\u014dsho, 2022).<\/p>\n\n\n\n<p>[10] Recall that before the development of kana these different uses of Sinographs were formally indistinguishable from each other. That is, determining whether a Sinograph was being used ideographically or phonetically was context dependent. For literate readers this was not as onerous as it might seem. The text from which the phonetic representation of Emperor Wakatakeru\u2019s name appears, which I have underlined, follows: \u5176\u5150\u540d\u52a0\u5dee\u62ab\u4f59\u5176\u5150\u540d\u4e4e\u7372\u5c45\u81e3\u4e16\u3005\u70ba\u6756\u5200\u4eba\u9996\u5949\u4e8b\u6765\u81f3\u4eca\u7372\u52a0\u591a\u652f\u9e75\u5927\u738b\u5bfa\u5728\u65af\u9b3c\u5bae\u6642\u543e\u5de6\u6cbb\u5929\u4e0b\u4ee4\u4f5c\u6b64\u767e\u7df4\u5229\u5200\u8a18\u543e\u5949\u4e8b\u6839\u539f\u4e5f. A contemporaneous reader of Japanese would have no trouble recognizing that the character-string&nbsp; \u7372\u52a0\u591a\u652f\u9e75 does not, at the very least, indicate meaning. The name is inscribed on the Inariyama Burial Mound Sword \u7a32\u8377\u5c71\u53e4\u58b3\u51fa\u571f\u9244\u5263 excavated in 1968 in Saitama Prefecture. It is discussed in Okimori Takuya\u2019s \u6c96\u68ee\u5353\u4e5f <em>The Birth of Japanese <\/em>\u65e5\u672c\u8a9e\u306e\u8a95\u751f (Yoshikawa k\u043e\u0304bunkan, 2003: 20-2) and briefly by Lurie in <em>Realms of Literacy <\/em>(377-8).<\/p>\n\n\n\n<p>[11] In fact, Sinographs are used identically to <em>man\u2019y\u043e\u0304gana<\/em> in modern Chinese to represent non-Chinese words such as \u5339\u5179\u5821 P\u01d0z\u012bb\u01ceo for \u201cPittsburgh\u201d or \u5361\u54c7\u4f0a k\u01cew\u0101y\u012b for \u201ckawaii,\u201d itself the Japanese word for \u201ccute.\u201d Perhaps one reason this use of Sinographs in Chinese did not lead to the development of a standardized phonetic set or subset of characters is because such instances, though not uncommon, are generally limited to proper nouns and thus constitute a relatively smaller subset when compared to Japanese.<\/p>\n\n\n\n<p>[12] Kana did not one day appear out of nowhere. The <em>man\u2019y\u014dgana<\/em> \u2013 that is, characters used for the phonetic value \u2013 began to be written in cursivized forms differentiating them from the Sinographs used logographically. The early 9<sup>th<\/sup>-century <em>Tagaj\u014d ato urushigami kana monjo <\/em>\u591a\u8cc0\u57ce\u8de1\u6f06\u7d19\u4eee\u540d\u6587\u66f8 is an example of this intermediary script (Okimori, 205-7).<\/p>\n\n\n\n<p>[13] To be clear, the adaptation of Sinographs is not referring to the creation of new Sinographs. There are countless historical examples of newly created Sinographs representing words and concepts not only in Japanese but in Korean, Vietnamese, and in modern and contemporary Chinese.<\/p>\n\n\n\n<p>[14] Konno has explored the principle of interchangeability in his own terms in <em>Japanese: A Writing System without an Orthography<\/em> \u6b63\u66f8\u6cd5\u306e\u306a\u3044\u65e5\u672c\u8a9e (Iwanami shoten, 2013). See pgs. 1-15 for his discussion of orthography and how he understands the term and how it relates to Japanese.<\/p>\n\n\n\n<p>[15] This is not to say that linguistics and language use is not quantifiable. My argument, instead, is that it can be more than that. While my discussion in the previous installment about the emerging field of grapholinguistics demonstrates the need for such considerations, I note in passing that the study of writing systems and their use in various linguistic environments has largely sat outside the discipline of mainstream linguistics, namely, sociolinguistics. The general differences between the two fields are outlined in Gerard Van Herk in <em>What is Sociolinguistics?<\/em>: \u201cThe sociolinguistic approach, on the other hand, is empiricist \u2013 we only trust evidence that we find out there in the real world. We assume that it\u2019s our job to describe and explain what we hear people saying (ideally, by recording them). Sure, there will be some noise, some ums and uhs and sentences that just peter out, but on the whole, we find that everyday speech is far more structured than people think. (In fact, the idea that real speech is hesitant and meandering originally came partly from studies of the language of professors. Hmmm.)\u201d (Wiley, 2012: 11). Here, again, we see the desire to \u201cdescribe and explain\u201d what they <em>hear<\/em> people <em>saying<\/em>, ideally recording them, thereby skipping the whole tedious practice of writing!<\/p>\n\n\n\n<p>[16] This corresponds to what is today known as the Gi\u014d chapter.<\/p>\n\n\n\n<p>[17] Note that Konno references yet a third variant manuscript of the <em>Heike Monogatari <\/em>that uses the form <em>sugenaku<\/em>. I have opted to reference the passage contained in the <em>Nihon koten bungaku zensh\u016b<\/em> since it is the most readily accessible form of the text both in Japan and abroad.<\/p>\n\n\n\n<p>[18] Perhaps the most intuitive visual representation of the term using including Sinographs is \u7d20\u6c17\u7121\u3044. Numerous dictionaries do offer \u7121\u4eba\u671b as an orthographical option for <em>sugenaku\/sugenau<\/em>, for example: the Muromachi period <em>Bunmeibon setsuy\u014dsh\u016b<\/em> \u6587\u660e\u672c\u7bc0\u7528\u96c6, <em>Mei\u014d gonenbon setsuy\u014dsh\u016b<\/em> \u660e\u5fdc\u4e94\u5e74\u672c\u7bc0\u7528\u96c6 (1496), <em>Tensh\u014d j\u016bhachibon setsuy\u014dsh\u016b<\/em> \u5929\u6b63\u5341\u516b\u5e74\u672c\u7bc0\u7528\u96c6 (1590), <em>Kuromotobon setsuy\u014dsh\u016b<\/em> \u9ed2\u672c\u672c\u7bc0\u7528\u96c6 (Muromachi period), <em>Ekirinbon setsuy\u014dsh\u016b<\/em> \u6613\u6797\u672c\u7bc0\u7528\u96c6 (1597), <em>Wakan on\u2019yakusho genji k\u014dg\u014drui dai setsuy\u014dsh\u016b<\/em> \u548c\u6f22\u97f3\u91c8\u66f8\u8a00\u5b57\u8003\u5408\u985e\u5927\u7bc0\u7528\u96c6 (1717). Other orthographical variations found in other dictionaries include \u7121\u8a6e\u65b9, \u7121\u4eba, \u7121\u4eba\u6c17, and\u7121\u7d20\u6c17.<\/p>\n\n\n\n<p>[19] We can say with near certainty that the scribe was a man!<\/p>\n\n\n\n<p>[20] Interesting though it may be, it is attested in both earlier and later texts. An example from the 13<sup>th<\/sup>-century is from book 7 section 29 of the <em>Konjaku monogatari<\/em>: \u201cThere is a temple grown wretched and old\u201d (asamashiku furuku naritaru tera ari \u6d45\u733f\u304f\u3075\u308b\u304f\u6210\u308a\u305f\u308b\u5bfa\u3042\u308a). More recently, for example, we see it in a section entitled \u201cA Discussion of Wretched Copies and Originals\u201d (Asamashii funpon tanehon no sengi \u6dfa\u733f\u3057\u3044\u7c89\u672c\u7a2e\u672c\u306e\u8a6e\u8b70) in the essay \u201cMeiji Historians\u201d (Meiji no shironka \u660e\u6cbb\u306e\u53f2\u8ad6\u5bb6) by Shirayanagi Sh\u016bko \u767d\u67f3\u79c0\u6e56 (1884-1950) included in volume 77 of the <em>Meiji bungaku zensh\u016b<\/em> (Chikuma shob\u014d, 1975).<\/p>\n\n\n\n<p>[21] Judy Wakabayashi has discussed the challenges the Japanese writing system presents to translators. In this context she provides a brief history of furigana, what she refers to as a \u201ccontrapuntal device,\u201d in \u201cTranslating in a Forked Tongue: Interlinear Glosses as a Creative Device in Japanese Translations,\u201d <em>Translation and Interpreting Studies <\/em>1.2 (2006) 3-41. More recently, Wes Robertson has, in <em>Scripting Japan: Orthography, Variation, and the Creation of Meaning in Written Japanese <\/em>(Routledge, 2020), analyzed the use meaning of script variation in manga. While an interesting example of how a theoretical understanding of script can be applied to actual case studies, it is also the case that Robertson is largely concerned with manga. Sean Nicholson\u2019s point about the title of Robertson&#8217;s monograph will be helpful to those considering reading it: \u201cGiven this inventory of the actual materials investigated and the topics dealt with, I would suggest a more appropriate title might be something like \u2018Orthographic Variation in Japanese Manga Focusing on First-Person Pronouns\u2019 as opposed to the overly broad current title, which encompasses the entirety of written Japanese\u201d (Sean Nicholson, Book Review:\u00a0<em>Scripting Japan: Orthography, Variation, and the Creation of Meaning in Written Japanese<\/em>\u00a0(Wesley C. Robertson),<em>\u00a0Language in Japan<\/em>, 2024, Volume 1, Pages 111-116).<\/p>\n\n\n\n<p>[22] In one of the few considerations of how script shapes translation practices, the aforementioned Judy Wakabayashi notes that \u201cscript as a material\u201d factor, and its more extreme use cases, can \u201craise the specter of untranslatability.\u201d Judy Wakabayashi, \u201cScript as a Factor in Translation,\u201d <em>Journal of World Literature 1 <\/em>(2016) 173-194: 177.<\/p>\n\n\n\n<p>[23] This, of course, is the main thesis of Derrida\u2019s 1967 <em>Of Grammatology<\/em> (Baltimore: The Johns Hopkins University Press).<\/p>\n","protected":false},"excerpt":{"rendered":"\u4eca\u91ce\u771f\u4e8c [Part1] \u3000\u751f\u7269\u3068\u3057\u3066\u306e\u30d2\u30c8\u304c\u3069\u306e\u3088\u3046\u306b\u3057\u3066\u8a00\u8a9e\u3092\u7372\u5f97\u3057\u305f\u304b\u306f\u308f\u304b\u3089\u306a\u3044\u3051\u308c\u3069\u3082\u3001\u8a00\u8a9e\u3092\u7372\u5f97\u3057\u305f\u300c\u77ac\u9593\u300d\u3092\u60f3\u5b9a\u3059\u308b\u306a\u3089\u3070\u3001\u305d\u306e\u300c\u77ac\u9593\u300d\u306b\u6587\u5b57\u304c\u306a\u304b\u3063\u305f\u3053\u3068\u306f\u78ba\u304b\u306a\u3053\u3068\u3068\u3044\u3048\u308b\u3060\u308d\u3046\u3002\u3064\u307e\u308a\u300c\u8a00\u8a9e\u304c\u6587\u5b57\u3092\u3082 [&hellip;]","protected":false},"author":6,"featured_media":3405,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,16,395,396,411,14],"tags":[],"class_list":["post-5651","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rensai","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\/5651","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=5651"}],"version-history":[{"count":3,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/5651\/revisions"}],"predecessor-version":[{"id":5654,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/5651\/revisions\/5654"}],"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=5651"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/categories?post=5651"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/tags?post=5651"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}