IHI 資料造假

 Japan's IHI rigged data for over 4,000 engines at least since 2003

https://english.kyodonews.net/news/2024/04/1b35909379dd-japans-ihi-rigged-data-for-over-4000-engines-at-least-since-2003.html

#KyodoNewsPlus

2024

 米誌タイム「影響力ある100人」に宮崎駿監督ら　日本から4人

https://www.nikkei.com/article/DGXZQOGN17ENQ0X10C24A4000000/?n_cid=DSPRM1489

宮崎氏のほかに選ばれたのは社会学者の上野千鶴子氏、大阪大の林克彦教授、米エール大の岩崎明子教授。各氏の業績は関連記事でもお読みいただけます。

Biden and Kishida Agree to Tighten Military and Economic Ties to Counter China

 

拜登、澤倫斯基。 2024 0410  Biden and Kishida Agree to Tighten Military and Economic Ties to Counter China

2024 0410

Biden and Kishida Agree to Tighten Military and Economic Ties to Counter China

During Prime Minister Fumio Kishida’s visit, President Biden announced tentative plans for Japan to join a U.S.-led coalition with Australia and New Zealand.

Japan will give Washington 250 cherry trees to replace more than 100 that will be torn up during construction.

KUSO日本歷史BP人物 臨終經驗 蒔絵の人間国宝. Japanology Plus explores Japanese life and culture. In this 5-minute digest, we look at lacquerware: durable objects with a distinctive luster.

 

10:50-10:55

Japanology Plus mini

Japanology Plus explores Japanese life and culture. In this 5-minute digest, we look at lacquerware: durable objects with a distinctive luster.

KUSO日本歷史BP人物

〔編譯林翠儀／綜合報導〕如果日本歷史上的偉人活在現代的話，會是什麼造型打扮呢？最近日本網路上吹起一股惡搞歷史名人的風潮，包括日本大教育家福澤諭吉、大文豪夏目漱石、芥川龍之介及島崎藤村等人都被改造成視覺系扮相，酷炫效果令人驚豔。
福澤諭吉有「明治6大教育家」之稱主張「脫亞入歐」論，影響明治維新，他的肖像從1984年起就被印在日圓1萬元紙幣上。表情嚴肅、嘴角略微下壓的諭吉肖像，最近卻被網友改造成滿頭金髮、穿著鼻環、畫著煙燻妝的視覺系扮相。
由於諭吉被改造得炫酷逼人，網友反應熱烈，於是有人加碼將舊版千元鈔上的夏目漱石也加以改造，原本就帶有「憂鬱書生」色彩的夏目，被網友拿來與日本視覺系歌手Gackt「合體」，結果效果更是驚人，網友直呼帥呆了。
在網友接力KUSO下，日本文學巨擘芥川龍之介成了戴著唇環的視覺系王子，已故日本當代文豪太宰治，也如大家預期的被改造成帶有濃厚頹廢派風格，日本文學現代主義大師島崎藤村，則被改造成超萌的羅莉塔造型，網友的驚人創意令人拍案叫絕。

 ***

〔編譯林翠儀／綜合報導〕日本一份調查報告顯示，在自宅過世的患者，有4成比率在臨終前看到過世的親人或神明前來「接引」，且有此經驗者多半能安詳地過世。
看見往生親人或神佛
人在臨終前會有過世的親人或神明前來迎接，已在宗教的輪迴轉世說或生死學中被廣泛討論，但日本可能是第一個官方提供經費，研究臨終「接引」體驗的國家。
讀賣新聞報導，日本宮城縣一群醫療人員組成在宅醫療團隊，去年起和大學研究人員，在文部科學省提供經費贊助下，結合宮城縣及福島縣等地六家在地診所，針對541名已過世患者的1191名家屬進行問卷調查，這些患者都是在家屬守護下於自宅過世。
調 查結果顯示，有4成2的患者在臨終前看到別人看不到的景象，不但看得到、聽得到，也能感受得到，其中一半患者告訴家屬看到已過世的親人，有人則是感受到神 明或光影。研究小組將這種臨終體驗視為宗教指涉的「接引」，調查也發現臨終前的「接引」體驗，緩和了多數患者對死亡的不安情緒，有4成7的臨終患者覺得很 好，持否定意見者僅1成9。
參與這項調查研究的在宅醫療專門醫生岡部健認為，即使臨終「接引」體驗是出自患者的幻覺或妄想，卻可協助患者及其家屬安詳地面對死亡，從這點來看值得給予正面評價。



 -------

大場松魚さん死去　蒔絵の人間国宝

大場松魚さん

大場松魚さん（おおば・しょうぎょ＝蒔絵〈まきえ〉師、人間国宝、金沢美術工芸大名誉教授、本名大場勝雄〈おおば・かつお〉）が２１日、老衰で死去、 ９６歳。通夜は２３日午後７時、葬儀は２４日午前１１時から金沢市元町１の８の２０のセレモニー会館兼六城北で。喪主は長男で横浜薬科大教授の正志（まさ し）さん。
１９８２年、重要無形文化財保持者（人間国宝）に認定された。

 蒔絵

 一種日本工藝美術。以金屬或貝殼塗嵌在漆器表面，構成各種花鳥、山水等圖案的形狀，依製成方法可分為平蒔繪、高蒔繪、研出蒔繪和螺鈿蒔繪等。

 

Maki-e (蒔絵?, literally sprinkled picture) is Japanese lacquer sprinkled with gold or silver powder as a decoration using a makizutsu or a kebo brush. The technique was developed mainly in the Heian Period (794–1185) and blossomed in the Edo Period (1603–1868). Maki-e objects were initially designed as household items for court nobles, they soon gained more popularity and were adopted by royal families and military leaders as an indication of power.

漆器の板屏風に描かれた蒔絵の菊

蒔絵（拡大画像）

蒔絵（まきえ）は、漆芸の技法の一つである。
漆器の表面に漆で絵や文様、文字などを描き、それが乾かないうちに金や銀などの金属粉を「蒔く」ことで器面に定着させる技法である。金属の薄板を定着させる平文（ひょうもん）（または平脱/へいだつ）や漆器表面に溝を彫って金銀を埋め込む沈金、夜光貝、アワビ貝などを文様の形に切り透かしたものを貼ったり埋め込んだりする「螺鈿」（らでん）とは区別される。
「平文」や「螺鈿」が中国起源の技法であるのに対し、蒔絵はその初例を正倉院宝物の金銀鈿荘唐大刀（きんぎんでんかざりのからたち、通称「末金鏤の大刀」（まっきんるのたち））とされており、海外に類例のない日本独自の漆芸技法とされている。

 

Rimpa (琳派 Rimpa),Distinctive Style of Japanese Art Known as Rinpa is Explored in Metropolitan Museum Exhibitio. lacquerware:

10:50-10:55

Japanology Plus mini

Japanology Plus explores Japanese life and culture. In this 5-minute digest, we look at lacquerware: durable objects with a distinctive luster.

Distinctive Style of Japanese Art Known as Rinpa is Explored in Metropolitan Museum Exhibition
May 26, 2012– January 13, 2013

First Rotation:   May 26- September 9, 2012
Second Rotation:   September 12, 2012 – January 13, 2013
Location:   The Sackler Wing Galleries for the Arts of Japan, second floor
Press viewing:   Monday, September 10, 10 a.m. - noon
Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early 17th century and has continued into modern times. Literally meaning “school of Korin,” Rinpa derives its name from that of the renowned artist Ogata Korin (1658–1716). It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with brush techniques.
The exhibition is made possible by The Miriam and Ira D. Wallach Foundation.
A special exhibition featuring some 90 brilliantly executed works of art created in Japan by Rinpa-school artists will be held at The Metropolitan Museum of Art in two rotations; the first opening on May 26 and the second on September 12, 2012. Highlighting the school’s most prominent proponents, Designing Nature: The Rinpa Aesthetic in Japanese Art  will trace the development of the Rinpa style and demonstrate how it continued to influence artists through the 19th and 20th centuries. Comprising some 50 works from the Museum’s own holdings, as well as some 45 loans from public and private collections on the East Coast, the exhibition will include many masters’ renowned works in a variety of media―painting, textiles, lacquerware, and ceramics.
Works on view in the exhibition’s first rotation will include: an early 18th-century, two-panel folding screen, Rough Waves, by Ogata Korin, depicting highly stylized waves; another 18th-century, two-panel folding screen, The Persimmon Tree, by Sakai Hoitsu, the founder of the Edo branch of Rinpa, revealing the ink-painting techniques he learned from predecessors such as Tawaraya Sotatsu; and a 19th-century pair of six-panel folding screens, Morning Glories by Suzuki Kiitsu, who was Hoitsu’s primary pupil and who captured the exuberant proliferation of the blossoms and leaves.
A centerpiece of the exhibition’s second rotation will be the famous Korin Irises at Yatsuhashi (Eight Bridges), with its brilliant array of clusters of purple irises against a gold background. A hanging scroll by Kenzan, Korin’s younger brother, captures an autumnal mood through a depiction of vivid red ivy and a poem rendered in the artist’s distinctive calligraphy.  An early 17th-century screen of calligraphy by Konoe Nobutada features transcriptions by female poets of the Heian court; on loan from Yale University Art Museum, it will be on public display for the first time.
Along with once-in-a-lifetime displays of masterpieces of painting and calligraphy, the exhibition will highlight rare illustrated books, lacquerware, ceramics, cloissoné, and kimono that demonstrate how the Rinpa aesthetic was transmitted over generations into modern times. Special digital displays of illustrated books by Kamisaka Sekka will be available in the galleries so that visitors can “turn the pages” of early 20th-century books that will be exhibited in cases nearby.
By the late 19th century, the idea of a Rinpa school had become firmly established, both in the Japanese consciousness of a national history of art and internationally. To a certain extent, Rinpa became synonymous with the very idea of Japanese art, since its aesthetic extended to the lacquerware, textiles, and ceramics that were transmitted to the West. Prominent among the artists of the modern age who exemplified the transmission of this Kyoto-based aesthetic into the modern consciousness were Shibata Zeshin, a lacquer artist and painter, and Kamisaka Sekka, who excelled in both painting and print media.
The exhibition will be accompanied by a catalogue.
The catalogue is made possible by the Richard and Geneva Hofheimer Memorial Fund.
In conjunction with the exhibition, the Museum offers various education programs, including gallery talks and a Sunday at the Met on September 30.
Designing Nature: The Rinpa Aesthetic in Japanese Art  is organized by John T. Carpenter, Curator of Japanese Art in the Department of Asian Art at The Metropolitan Museum of Art.
The exhibition will be featured on the Museum’s website at www.metmuseum.org.
# # # 
September 6, 2012

From Wikipedia, the free encyclopedia

  (Redirected from Rinpa)

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Spring Landscape, unknown Rimpa school painter, 18th century, six-screen ink and gold on paper.

Rimpa (琳派 Rimpa^?), is one of the major historical schools of Japanese painting. It was created in 17th century Kyoto by Hon'ami Kōetsu (1558–1637) and Tawaraya Sōtatsu (d. c.1643). Roughly fifty years later, the style was consolidated by brothers Ogata Kōrin (1658–1716) and Ogata Kenzan (1663–1743).
The term "Rimpa" is an abbreviation consisting of the last syllable from "Kōrin" with the word for school (派 ha^?) (with rendaku changing this to "pa"), coined in the Meiji period. Previously, the style was referred to variously as the Kōetsu school (光悦派 Kōetsu-ha^?), or Kōetsu-Kōrin school (光悦光琳派 Kōetsu-Kōrin-ha^?), or the Sōtatsu-Kōrin school (宗達光琳派 Sōtatsu-Kōrin-ha^?).

Contents 1 History 2 Later development 3 Modern Rimpa 4 Style 5 Notable Rimpa artists 6 References

History

portion of Sōtatsu's Fūjin Raijin-zu

Hon'ami Kōetsu founded an artistic community of craftsmen supported by wealthy merchant patrons of the Nichiren Buddhist sect at Takagamine in northeastern Kyoto in 1615. Both the affluent merchant town elite and the old Kyoto aristocratic families favored arts which followed classical traditions, and Kōetsu obliged by producing numerous works of ceramics, calligraphy and lacquerware.
His collaborator, Tawaraya Sōtatsu maintained an atelier in Kyoto and produced commercial paintings such as decorative fans and folding screens. Sōtatsu also specialized in making decorated paper with gold or silver backgrounds, to which Kōetsu assisted by adding calligraphy.
Both artists came from families of cultural significance; Kōetsu came from a family of swordsmiths who had served the imperial court and the great warlords, Oda Nobunaga and Toyotomi Hideyoshi, in addition to the Ashikaga shōguns. Kōetsu's father evaluated swords for the Maeda clan, as did Kōetsu himself. However, Kōetsu was less concerned with swords as opposed to painting, calligraphy, lacquerwork, and the Japanese tea ceremony (he created several Raku Ware tea bowls.) His own painting style was flamboyant, recalling the aristocratic style of the Heian period.
Sōtatsu also pursued the classical Yamato-e genre as Kōetsu, but pioneered a new technique with bold outlines and striking color schemes. One his most famous works are the folding screens ”Wind and Thunder Gods" (風神雷神図 Fūjin Raijin-zu^?) at Kennin-ji temple in Kyoto and "Matsushima" ( 松島^?) at the Freer Gallery.

Later development

portion of Ogata Kōrin's Kōhakubai-zu

The Rimpa school was revived in the Genroku era (1688–1704) by Ogata Kōrin and his younger brother Ogata Kenzan, sons of a prosperous Kyoto textile merchant. Kōrin's innovation was to depict nature as an abstract using numerous color and hue gradations, and mixing colors on the surface to achieve eccentric effects, as well as liberal use of precious substances like gold and pearl.
His masterpiece "Red and White Plum Trees" (紅白梅図 Kōhakubai-zu^?) c. 1714/5, is now at the MOA Museum of Art in Atami, Shizuoka. A dramatic composition, it established the direction of Rimpa for the remainder of its history. Kōrin collaborated with Kenzan in painting designs and calligraphy on his brother's pottery. Kenzan remained as a potter in Kyoto until after Kōrin's death in 1716 when he began to paint professionally. Other Rimpa artists active in this period were Tatebayashi Kagei, Tawaraya Sori, Watanabe Shiko, Fukae Roshu and Nakamura Hochu.

Modern Rimpa

Rimpa was revived in 19th century Edo by Sakai Hōitsu (1761–1828), a Kanō school artist whose family had been one of Ogata Kōrin’s sponsors. Sakai published a series of 100 woodcut prints based on paintings by Kōrin, and his painting "Summer and Autumn Grasses" (夏秋草図 Natsu akikusa-zu^?) painted on the back of Kōrin’s "Wind and Thunder Gods screen" is now at the Tokyo National Museum.
Paintings of the early "Rimpa" artists were anthologized in small paperback booklets such as the Korin gafu (The Korin Picture Album) by Nakamura Hochu, first published in 1806. This was followed by an original work by Sakai Hoitsu called the Oson gafu, published in 1817.
Sakai had numerous students who carried the movement forward into the late 19th century, when it was incorporated into the Nihonga movement by Okakura Kakuzo and other painters. The influence of Rimpa was strong throughout the early modern period, and even today Rimpa-style designs are popular. One later artist of note is Kamisaka Sekka.

Style

Rimpa artists worked in various formats, notably screens, fans and hanging scrolls, woodblock printed books, lacquerware, ceramics, and kimono textiles. Many Rimpa paintings were used on the sliding doors and walls (fusuma) of noble homes.
Subject matter and style were often borrowed from Heian period traditions of yamato-e, with elements from Muromachi ink paintings, Chinese Ming dynasty flower-and-bird paintings, as well as Momoyama period Kanō school developments. The stereotypical standard painting in the Rimpa style involves simple natural subjects such as birds, plants and flowers, with the background filled in with gold leaf. Emphasis on refined design and technique became more pronounced as the Rimpa style developed.

Notable Rimpa artists

• Hon'ami Kōetsu
• Tawaraya Sōtatsu
• Ogata Kōrin
• Ogata Kenzan
• Sakai Hōitsu
• Kamisaka Sekka

References

• Leach, Bernard. Kenzan and his tradition;: The lives and times of Koetsu, Sotatsu, Korin, and Kenzan. Transatlantic Arts (1967). ASIN: B0006BPM10
• Mizuo, Hiroshi. Edo Painting: Sotatsu and Korin (Heibonsha Survey of Japanese Art). Art Media Resources (1972). ISBN 0-8348-1011-5
• Saunders, Rachel. "Le Japon Artistique: Japanese Floral Pattern Design of the Art Nouveau Era. From the Collection of the Museum of Fine Arts, Boston." Chronicle Books (2010). ISBN 978-0-8118-7276-8
• Stern, Harold P. Rimpa Masterworks of the Japanese Decorative School. The Japan Society (1971). ASIN B0000EEBUB
• Stanley-Baker, Joan (1984). "Japanese Art." London: Thames and Hudson Ltd.

善本喜一郎的東京絕景

1984年，東京攝影師善本喜一郎花了幾天時間在東京周圍拍照。當時他沒預料到，這些照片日後將會發展為一個長期計畫。東京變化快速，善本覺得自己成為了時代的記錄者。

https://www.instagram.com/kiichiro.yoshimoto/

2020年新冠疫情流行迫使人們待在家中，這位62歲的攝影師決定趁機整理成堆的舊底片。他找到了1000張底片，內容是當時曾在藝廊展示過的1980年代東京黑白街景。

這位商業攝影師說：「起初，我不記得曾經拍過這些照片。我喜歡看著這些照片，想著如果可以重回這些地方，拍攝相同的照片來對比過去和現在的話，應該會很有趣。」

從那時候起，善本帶著他的數位相機走遍東京，再次造訪他於40年前首次拍攝時的場景。

Backstories
東京的過去與現在：攝影師記錄的40年變化

(星期五) 2023年 2月 10日

方寸華族

 【方寸華族：日本近代貴族興衰史】

#小田部雄次

目錄

序章大眾印像中的華族－點綴鹿鳴館的人們／001

章華族的成立／010

1從公卿、諸侯到華族／010

2《華族令》與「公、侯、伯、子、男」爵位的製定／017

3作為上流階級所擁有的特權及所盡義務／039

第二章「天選階層」的基本結構／052

1華族之全貌／052

2華族會館與學習院／070

3第十五國立銀行的建立與華族農場／088

4明治時期對華族的批判／099

第三章過度膨脹的華族－從明治到大正／113

1日清、日俄戰爭與華族的「軍人化」／113

2從無業者到女電影演員－多元的職業／135

3北韓貴族的苦惱／155

4貴族院／176

第四章通往毀滅之路──從大正到昭和/195

1經濟基礎的瓦解／195

2西園寺公望與「改革華族」的崛起／218

3醜聞／234

4日中戰爭與太平洋戰爭時期／250

終章日本式「貴族」的終結－戰敗與戰後／268

後記／293

史料及參考文獻／298

附錄華族一覽／306

#方寸華族：日本近代貴族興衰史

#小田部雄次

#訂大陸書請找結構群

#最專業的大陸書店

#結構群電話02-23628951

#結構群Line-a23628951a（非群組）

◇愛子さま、学習院大を卒業 「私にとって一生の思い出」 皇、皇后両陛下の長女愛子さまは20日、学習院大の卒業に合わせ、宮内記者会からの質問に文書で回答されました

 ◇愛子さま、学習院大を卒業　「私にとって一生の思い出」

皇、皇后両陛下の長女愛子さまは20日、学習院大の卒業に合わせ、宮内記者会からの質問に文書で回答されました

Donald Keene 和林水福談谷崎潤一郎（Tanizaki Junichiro，1886-1965）

Donald Keene 和林水福談谷崎潤一郎（Tanizaki Junichiro，1886-1965）
Donald Keene的看法，參考其 5 Modern Japanese Novelists 一書首篇。



聯合文學出版社約發行林水福翻譯 谷崎潤一郎（Tanizaki Junichiro，1886-1965）作品至少8本。


自由副刊】谷崎潤一郎的另一面
2015/08/09 06:00


◎林水福

谷崎潤一郎（Tanizaki Junichiro，1886-1965）給人印象，不是單一的。寫作技巧一流，化虛構痕跡於無形，獲多次諾貝爾文學獎提名等正面形象。另一方面，也有生活豪奢，生性風流等一般人容易歸類為負面的形象。

尤其是谷崎與長女鮎子之間，予人印象是父女「感情不睦」。

緣起谷崎潤一郎一生有三次婚姻。1915年和石川千代第一次婚姻，翌年長女鮎子出生。本來家庭和睦，但沒多久，夫妻感情生變。谷崎喜歡千代之妹せいこ（seiko），兩人來往頻繁，谷崎甚至常與之同住，讓千代獨守空閨。

谷崎1919年3月遷居東京都本鄉區（今、文京區），與附近的佐藤春夫開始密切交往。佐藤眼看谷崎夫妻感情變薄轉涼，千代遭冷落，或許由憐生愛，對千代關懷備至，希望能終身照顧她。本來谷崎也已答應佐藤，願「讓妻」給佐藤，自己則與妻妹共效于飛。

哪知seiko後來反悔，不嫁谷崎了。谷崎心想如果再讓妻給佐藤，自己豈不兩手空空？於是也反悔，佐藤因此心情鬱悶，於1920年6月至10月旅行福建、台灣，以紓解心情；衍生後來學者探討佐藤春夫與台灣之旅的議題。這恐怕是佐藤始料未及的吧！

1921年谷崎與佐藤因千代夫人的讓渡問題導致絕交。那時谷崎住在神奈川縣小田原，因此，文壇、學界通稱這事為「小田原事件」。

1930年谷崎、千代、佐藤三人達成協議，聯名發信，說明谷崎與千代離婚，千代與佐藤春夫結婚；即所謂「細君讓渡事件」（老婆讓渡事件）。大意是「……這次我等三人合議，千代離開潤一郎，與佐藤結婚。谷崎與佐藤交誼如前，上述情事，望能諒解，祈今後交情更為深厚。有朝一日請媒人，正式發表，先以此短函通知。」

千代與佐藤結婚，鮎子依附母親，與佐藤同住。最近橫濱市的神奈川近代文學館公開展示谷崎潤一郎寄給長女鮎子從1930年8月到1958年12月的二百二十五封信函。這些信是鮎子長男、兵庫縣蘆屋市谷崎潤一郎紀念館名譽館長竹田長男（六十八歲，現居東京都）持有，藉今年谷崎逝世五十年機會公開。

谷崎曾公開表示不願意付鮎子的養育費，予人冷淡父親形象。但從這次公開的信函看來，谷崎對鮎子仍處處關懷，充分表露人父對子女的「愛心」。例如：鮎子二十二歲時信函，對鮎子戴假髮乙事說：「我不贊成戴假髮，並不是出自個人趣味而是戴假髮頭髮會變紅，有減少之虞。」（38年8月）又第一個孫子誕生後的1944年11月給鮎子信中說：「期待他趕快能走能跑！」還故意使用小孩用語。

其中夾雜一封給佐藤的信中說：「我化名在神戶租了個地方（這是絕對祕密）。」屢述與妻（筆者註：這是指第二任太太谷川丁未子）不和，對人妻森田松子（註：後來二人結婚，谷崎第三任太太）的熱情，以及離婚交涉的困難等，這也「證明」二人「交誼如前」！？●





聯經出版社
導讀（節錄）
從初期短篇作品看谷崎潤一郎的特質／林水福

一、
谷崎潤一郎的藝術本質為何？這是難解的問題。初期，被稱為惡魔主義作家，中期被稱為無思想的異國情趣美的作家，進入昭和年代（1925）被稱為「回歸古典」時代，繼承日本美的傳統的作家。最後是晚年的老熟期時代，有以思慕美麗的母性為主題的《少將滋幹之母》，也有以老年與性為主題的《鍵》、《夢浮橋》，最後是谷崎文學代表作之一，也有人視為最高峰的《瘋癲老人日記》。

谷崎出現日本文壇當時，自然主義文學盛行，風靡文壇；谷崎採取反抗立場，發表唯美、頹廢的〈刺青〉〈秘密〉〈幫間〉等作品，其特異的題材與嶄新風格受到高度肯定，因此，被稱為唯美主義或耽美主義作家。1912年發表〈惡魔〉，模擬西歐19世紀末文學的惡魔主義，因此又被視為惡魔主義文學。

惡魔主義，起源於十九世紀末的歐洲，從醜惡、怪異、怪奇、恐怖中找出美的觀念，可見頹廢、反社會傾向。波特萊爾和拜倫等是代表性作家。谷崎潤一郎初期作品可見惡魔主義作品。處女作刺青是其典型作品。

雖然如上述谷崎一生中風格數變，但也有貫穿一生的東西，如女性崇拜、戀足癖。所以，谷崎初期小說的翻譯，無論是欣賞谷崎寫作風格或研究，皆有其意義。

二、
有人說從作家的處女作可以看出作家的特質與未來發展的方向。這句話用在谷崎潤一郎身上似乎也適用。

谷崎潤一郎在1910及11年發表〈刺青〉、〈少年〉、〈幫間〉等作品之後，永井荷風於1911年11月在《三田文學》發表〈谷崎潤一郎氏的作品〉指出谷崎作品的特質有三：
1. 從肉體的恐怖產生的神秘幽玄。從肉體上的慘忍體會到痛切的快感。
2. 都會性格。
3. 文章的完美。還說「谷崎氏於混沌的現今文壇無論出身、教養皆傑出的作家。」文壇大老的讚辭，有如給了谷崎進入文壇的進場卷。如同後來夏目漱石稱讚芥川龍之介的〈鼻子〉，作用之大實非台灣文壇所能想像。

1910年十一月發表於第二次《新思潮》的〈刺青〉，可視為處女作，出世之作。
江戶的刺青師清吉多年來宿願是希望在光輝的肌膚，刺入自己的靈魂。終於第四年在深川的料理屋平清之前看到一雙從轎子後邊露出的素足「在他銳利的眼中，人的腳跟他的臉一樣有著複雜的表情。那個女人的腳，對他而言是尊貴的肌肉的寶玉。從拇趾到小指纖細的五趾形狀，色澤不輸在繪之島拾獲的淺紅色貝殼，腳踝圓滑像寶玉，讓人懷疑是不斷以清冽的岩石間的清水洗出來的皮膚潤澤。這雙腳是喝男人的鮮血成長，是踐踏男人骷髏的腳。有這雙腳的女人是他多年來追求的、女人中的女人。」他在女人背上刺了一隻女郎蜘蛛，他的靈魂融入一滴一滴的墨汁，那刺青就是他一切的生命。

清吉把靈魂給了女的之後，主從地位完全逆轉，女性內藏的魔性與虐待狂傾向明顯顯現出來。她對清吉說：「你首先會成為我的肥料！」

面對憧憬的女性之前，男的毫無招架之力，願意為女的做任何事，可以忍受女的對他的虐待行為，不但不意為忤，還甘之如飴。後來的《痴人之愛》主角河合讓治把十五歲的少女奈緒美塑造成無論精神或肉體都很美的理想的女性；然而，當肉體方面「比理想還美麗」，讓治成了「痴人」為了獲得奈緒美的愛，無論奈緒美做出什麼脫序的行為，讓治都得接受，不得干涉。

從〈刺青〉就已出現的這種女性崇拜思想，《春琴抄》或許可說是其典型作品。春琴被熱水燙傷當夜佐助趕到春琴枕邊，看到春琴悽慘的面容不敢正視，趕緊轉開臉。春琴不希望佐助看到自己醜陋的面容，佐助能了解春琴這樣的心情，為了讓春琴安心佐助自己用針刺瞎雙眼。小說中這場面的描寫極為悽慘，想嘗受同樣痛苦的自虐達到極致。

〈刺青〉中另一個引人注意的是對女人美麗的腳的執著，〈富美子之足〉可見對腳的細微觀察與偏執，說是典型的戀足癖也不為過。最後的作品《瘋癲老人日記》，我把颯子腳的拓本比擬成佛足石，自己死後拓本製成石碑，讓自己永遠被颯子踩在腳下，合而為一。

秘密
1911年發表於《中央公論》。當時能在《中央公論》發表作品代表夠格作家。

主角的「我」為了排遣鬱悶心情，逃避目前的生活，想找隱身之處。後來找到淺草松葉町附近真言宗的寺，那是位在大都會「如蜂巢交錯的大小無數街道」的小巷轉角處的「另一世界」，我以它為隱身之處。每天晚上男扮女裝混進照明燈和弧光燈照射的淺草公園的人群裡徘徊。透過秘密的穿著看到的事物，一切都很新奇。

某夜，在電影院裡遇見往上海的船上有過關係的T女，被她識破身分。女的要我遮住眼睛，用人力車載我到不知何處的家。分不清是現實還是夢中，「我」享受著這樣的愛的冒險。「我」出自好奇心，嘗試種種推理，最後找到女的住處；然而，一切謎題解開之後，「我」拋棄了女的。這裡存在著解開初期谷崎文學利用強烈的色彩與感覺創造出的官能世界的「裝置」。作品最後寫道：「我的心逐漸對『秘密』」等的緩慢、淡淡的快感無法滿足，傾向追求色彩濃厚、滿是鮮血的歡樂。」這裡暗示著之後大正期谷崎文學的方向性。

1989年的日本在全球風光

 今天的美國與經濟繁榮時期的日本或中國截然不同。但對於「股票長期來看總是上漲的」或「買入時間並不重要」這樣的觀點，後兩者的經歷顯然都可以被當作慘痛的反例。有時確實如此。

 

不需要爆發一場戰爭或一場疫情，就能破壞市場的長期回報。糟糕的經濟決策、疲軟的人口結構和負面的政治都足以摧毀市場回報。日本的例子很有啟發性。

 

回想1989年，那時候的日本在全球簡直是風光無兩。日本經濟在1988年成長了6.7%。索尼(Sony)當時剛剛以34.5億美元的價格收購了好萊塢最大的製片商之一哥倫比亞電影公司(Columbia Pictures)。在1989年10月，日本房地產公司三菱地所(Mitsubishi Estate)控股了紐約市的洛克菲勒中心(Rockefeller Center)。在東京的地價達到頂峰時，日本皇宮的土地要比佛羅里達州的所有土地加在一起還值錢。然而之後日經指數在20世紀90年代的頭兩年總計下跌了約60%。後來多次反彈也都以失敗告終。

Laura Kriska.The English language does not demand perfection of Japanese

 

Nikkei Asia 

26分鐘  · 

OPINION: It is time that Japanese businesspeople realize that the English language is a secret weapon they could use to make an immediate positive impact on the global position of their companies, writes Laura Kriska.

ASIA.NIKKEI.COM

The English language does not demand perfection of Japanese

Laura Kriska.

Laura Kriska is a leading Japanese business consultant specializing in communication and teamwork. She is dedicated to creating successful relationships between Japanese and Americans in the workplace. Kriska's writing has appeared in Cosmopolitan, Working Woman, Self, and Mangajin. Google Books

Born: Tokyo, Japan

Books: The accidental office lady

Japan soars toward record highs. Japan soars toward record highsJapan soars toward record highsJapan’s space agency confirms breakthrough high-precision moon landing.Number of foreign workers in Japan surpasses 2 million

 Japan’s space agency confirms breakthrough high-precision moon landing

As China’s markets stumble, Japan soars toward record highs

Number of foreign workers in Japan surpasses 2 million for first time

where and when the cherry blossoms are expected to bloom this year.

 

CNA 

FYI: Planning to visit Japan? Here's where and when the cherry blossoms are expected to bloom this year. https://cna.asia/3TWEsXS

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