NHK杯戦囲碁 余正麒7段 対 高尾紳路9段

新春最初のNHK杯戦は黒番が余正麒7段、白番が高尾紳路9段の対戦です。この二人の対戦成績は余7段から見て8勝1敗とトップ棋士同士としては信じられない程偏っています。また、余7段は各棋戦で勝ちまくっていて7大タイトルにも2回挑戦していますが、まだ井山裕太7冠王には手が届かない感じです。布石は黒が右上隅で二間高ジマリ、そして左上隅の白の星に対しいきなり三々入りと、AIの打ち方を模倣した最近流行の布石です。黒は左下隅でもかかった後三々に入り両方で実利を稼ぐ展開でした。局面が動いたのは、白が下辺に開いた黒に打ち込んでからで、白は右下隅と下辺で活きましたが、黒も左下隅を封鎖している白に切りを入れ、こちらも下辺を荒らし、五分五分のワカレでした。その後中央での競り合いがあった後、白は右上隅に手を付けました。ここの折衝は劫になり、劫は黒が勝ちましたが、白は代償に左上隅を取り切りました。この結果は白が地を稼ぎ、黒の容易でない形勢になりました。ここで余7段は右辺を開いている白に横付けを敢行しました。付けてハネて継いだ黒3子は取られてしまいましたが、黒はこの3子を捨て石にして右上隅の白2子を先手で切り離して締め付けることが出来、これで黒が逆転しました。その後白は左下隅で劫を仕掛けるなどして粘りましたが、わずかに及ばず、黒の2目半勝ちになりました。白は右辺の対応が悔やまれます。正しく打っていたらわずかに白が優勢だったのではないでしょうか。

Public romance in Japan (3) — Dai Bosatsu Touge

Everybody agrees that Kaizan Nakazato’s (“中里介山”) “Dai Bosatsu Touge” (“大菩薩峠”, Dai Bosatsu pass) is the first typical example of public romance in Japan, excluding the author himself. He did not accept at all that his novel is classified as a public romance, instead he called it a “Mahayana novel” (“大乗小説”). (Mahayana Buddhism is a school of Buddhism that was missionized in East Asian countries including Japan.)
It is true that the novel is in many aspects beyond any classification. As you can see in the picture, it has twenty volumes in Japanese paper book style, and continued for 28 years (1913 – 1941) to write, yet is still uncompleted.
When we start to read this novel, we are shocked by the first scene where the hero, Ryunosuke Tsukue (“机龍之助”), kills an old male pilgrim on the top of Dai Bosatsu pass without any specific reasons. He further kills Fuminojo Utsuki by a match at a shrine and kidnaps Fuminojo’s wife and rapes her. You may think then this novel is a picaresque roman, but the hero is not at all jovial but very nihilistic. He will become blind later by an accident, but he still keeps killing many innocent people without clear motives.
Although we classify the novel as “public” romance, this novel is rather favored by intellectual people, as Hiroshi Nakatani (“中谷博” ) pointed out. In 1910, Taigyaku affair (“大逆事件”) occurred and Shusui Kotoku (“幸徳秋水”) and his fellows were sentenced to death by the suspicion that they planned to assassinate the emperor of Meiji. The suppression was much strengthened after the affair, and many intellectual people (among them there were many socialists or anarchists) felt depressed. For them, the acts of Ryunosuke, who kills people disregarding conventional morals completely, were kinds of relief.
The novel was turned into a play by Shinkokugeki (“新国劇”) in 1921, and the sword actions in the play made this novel and Ryunosuke Tsukue very popular. It has been so far picturized as well for five times, though all of them handle just early parts of the novel. Through the play and the movies, Ryunosuke Tsukue became a typical character type in Japanese public romance, and we can find many mimics.
Because the intellectual right of the author has already expired, you can read this novel on the internet. As for English translation, I don’t think it has released, unfortunately. If you try to understand public romance in Japan, however, this work is a must-read.

Public romance in Japan (2) — some backgrounds

If you ask some Japanese now about the definition of “大衆小説” (popular literature), answers might be much diversified and vague. There could be no more clear distinction between “pure” literature and popular literature. Regarding the popular literature in its early stage, namely public romance in my word, however, its existence was obviously clear and prominent in the total literature in Japan. Before explaining the details of public romance, let me clarify some backgrounds why it became so popular in Taisho period (1912 – 1926):

(1) Taisho period is often referred with the word “democracy”. (Taisho democracy) Democracy in Japan has not started first since after World War II, but it has its origin in Taisho period. The first universal suffrage was given to all adult males for the first time in 1925. It means common people’s power was strengthened more and more during Taisho period.
(2) Along with the development of democracy, many newspapers started their business from around the end of 19th century. They definitely needed catchy entertainment to attract more readers.
(3) For the above mentioned purpose, some newspapers serialized stenography of “Kodan” (講談). Kodan is a traditional art of story-telling in Japan, mainly of anecdotes of historically famous person. Many tellers of Kodan at that time protested them as infringements of their intellectual right. The accused newspaper companies had to explore some alternatives.

It is important that public romance was called “new Kodan” in the beginning, and it replaced stenography of Kodan in offering entertainment to the readers of newspapers.

ロッシェル・カップ、大野和基の共著の「英語の品格」

ロッシェル・カップ、大野和基の共著の「英語の品格」を読了。これは良書です。日本人の英語学習者は、アメリカは何でもストレートにダイレクトに言う文化で、英語もそうあるべきである、と考えている人が多いのですが、この本はそれが大きな間違いであることを明らかにします。エリン・メイヤーの「The Culture Map」にも、アメリカ人の上司が部下にネガティブなフィードバックをする時は、まずポジティブな指摘から始めて、なるべくネガティブな内容をオブラートでくるむようにするというのが出てきていましたが、この本でも同じことが言われています。気をつけないと、ネイティブは日本人だから英語のニュアンスが良くわかっていないんだろう、なんて好意的には解釈してもらえなくて、なまじ少し英語をしゃべる人の方が大きな誤解と悪印象を相手に与えがちです。また私にとって良かったのは、私にとっては、英語の語彙を今の9,000語レベル(TOEICのReadingでほとんど困らないレベル)から20,000語レベル(TimeとかNewsweekをすらすら読めるレベル)に上げるのが課題なのですが、この本ではネイティブが語彙を強化するために使っている本を3冊紹介してくれています。私は内2冊をAmazonに発注しました。また、主に映画で英語を覚えた人が、映画に出てきた表現をそのままインタビューで使って、相手の人を怒らせる事例が出てきます。後、この本ではいわゆるpolitically correctな表現の話も出てくるのですが、体に障害がある人を言う場合の、disabledやhandicappedが既に古い表現で、今はphysically challengedとか、differently abledとか言わないといけないのだとか。この点はこの本に同意できず、行きすぎじゃないかと思いました。
まったく英語がしゃべれない人向けではないですが、TOEICで800点ぐらい取れる人は読んでおいた方がいい本です。

Public romance in Japan (1) – an introduction –

Did you know that the “Star Wars” story is very much influenced by Japanese period movies?
It is a famous fact that the movie was directly influenced by Akira Kurosawa’s period movie, “The Hidden Fortress” (1958), as George Lucas himself once confessed this. In addition to several direct resemblances of scenes between the two movies, we can also find many similarities between “Star Wars” and other Japanese period (Samurai) movies:
(1) Luke Skywalker is wearing “Kimono”-like attire.
(2) The warriors in the movie fight with swords, namely by lightsabers, in a manner similar to the use of Japanese swords rather than fencing ones.
(3) The hero tries to help a princess.
(4) The existence of a supporting character who is skillful but a little bit nihilistic (namely, Han Solo).
(5) Emphasis on something spiritual rather than physical, in other words, the “Force.”
The characteristics mentioned above are not just limited to the Kurosawa’s movie, but are commonly-used motifs in most Japanese period (Samurai) movies.

Movies started showing in Japan in 1896, and the first movie filmed by a Japanese crew appeared in 1898. Most of the first Japanese movies were period (Samurai) movies, probably more than anything else. One of the most famous movie directors at that time was Shozo Makino, who produced more than 300 period (Samurai) movies. “Ninja” is now quite famous worldwide, but it became so popular more or less for the first time in Japan by Makino’s period movies.

What I would like to introduce in this blog is “public romance” in Japan. In Japanese, we call it “大衆小説”, literally literature for common people. It is usually translated into English as “popular literature”, but let me use “public romance” to describe the works of novelists such as Kyoji Shirai, Shiro Kunieda, Jiro Osaragi, Eiji Yoshikawa, and so on, from around 1920 to 1945. These authors’ romances were widely used for the early-stage period movies.