I hate expressions like \u201cbecause fiction writers are professionals in language\u2026\u201d This way of putting it disregards how restrictive or coercive language can be, as well as language\u2019s power to exclude the things beyond what it names.<\/p>\n\n\n\n
For many reasons I\u2019ve been thinking a lot lately over the period of my life from when I was in preschool to when I was a teenager. But whenever some memory having to do with language crops up, I feel my body resist it, the sort of resistance I would feel if my freely roaming body were suddenly pinned down at the shoulders by hands from above.<\/p>\n\n\n\n
\u201cYou need language to communicate,\u201d or \u201cYou need language to leave traces of yourself.\u201d Are these even true in the first place? They were true for me when I was a kid, and they were true all the way up until now, and yet when I would do my best to talk clearly about something, people would ask me to \u201ctell them in a way they could better understand what I meant.\u201d<\/p>\n\n\n\n
It was odd. I would put all my effort, all my body into my words, my voice, and my gestures to transmit what I wanted to communicate. How could some people have the nerve to just lie back and judge the person trying to communicate with them, saying, \u201cI get it\/I don\u2019t get it\u201d? It\u2019s a phenomenon in and of itself that some people will use every ounce of energy they have to communicate something that happened, some scene that unfolded right in front of them, to other people in such way that the other person won\u2019t just say in response, \u201cGive me a demonstration of it right here so that I can better understand.\u201d This phenomenon is not the fact that we understand <\/em>things per se, but that we can bear witness to them and remember them.<\/p>\n\n\n\n A writer being able to write a story depends on whether or not they have internalized the notion that trying to \u201cunderstand things\u201d through fiction is a superficial endeavor that only uses one part of the brain. If people wrote fiction only in order to understand things, then stories would be skimpy little things, but people don\u2019t write fiction in order to understand <\/em>something; they write stories that have something about them which can\u2019t be explained fully in words, and if you tried to, it wouldn\u2019t the same story as the one you read.<\/p>\n\n\n\n The sound of an instrument, the lines and colors of a painting, the textures and shapes of raw material for a sculpture, the movements of a dance and the dancer\u2019s form. The language in a story is similar to these mediums in that it\u2019s not there to merely explain or transmit something to the reader. Well, you might say it\u2019s impossible for the language in a story to not<\/em> have any such function at all, but one vision I have of writing goes like this:<\/p>\n\n\n\n I\u2019m holding in my hands some kind of sticky gas the size of a balloon, which I\u2019m slowly rotating, kneading it into different shapes. <\/p>\n\n\n\n Another person then holds a gas of roughly the same viscosity, which they rotate and whose shape they manipulate just as I do, only lagging a bit behind me in time\u2026<\/p>\n\n\n\n Oh gosh, I don\u2019t like how this is going, it\u2019s like we\u2019re part of some cult. I do what I do for myself, and what happens in the reader\u2019s mind has apparently little to do with what I do\u2014 in fact, barely corresponds with what I do at all.<\/p>\n\n\n\n I write about Kojima Nobuo\u2019s Splendid Days <\/em>later on in this collection of essays, but when I was reading his novel The Fable<\/em>, I felt a surge within me more intense than I had experienced reading any of his others, and I wanted to run out and chuck the book I was writing. In The Fable<\/em>, language written as<\/em> language goes beyond the limited functions of communication or explanation, whirling instead in the force of its own anarchic sound. <\/p>\n\n\n\n Kafka was the first to write this kind of story. \u201cInterpretations\u201d along the lines of \u201cthe anxiety lurking in the depths of the modern mind\u201d or \u201chow bureaucracies control every nook and cranny of modern society, etc. etc.\u201d keep you at a level of reading where you\u2019re not really paying attention to how Kafka\u2019s sentences are strung together, but then, when you\u2019re right in the middle of reading his sentences, it doesn\u2019t feel like interpreting; more than anything, it feels like you\u2019re there with him as he\u2019s writing, as he shows you how thrilling, <\/em>how fun <\/em>it can be to read with the eye of a writer.<\/p>\n\n\n\n Kafka probably did not even write with that purpose in mind. Or rather, it\u2019s unlikely Kafka had any \u201cpurpose\u201d in his writing at all. When some scene for the beginning of a story presented itself to him, he let himself be guided by that scene to write sentences and characters and settings and thoughts, and he would just write, not even knowing where he would end up, and so what I find wonderful about all these stories and fragments he wrote this way is that they end right when Kafka thought, \u201cI can\u2019t go any further.\u201d Fortunately, he did reach the end of some stories, but since writing something to the end was not Kafka\u2019s number-one priority, his readers don\u2019t have to deal with any of the literary devices other writers contrive out of an obligation to complete a story, falling prey to thoughts like, \u201cI shall<\/em> complete this story,\u201dor, \u201cIn order to complete this story (in order to not get stuck in the middle of writing it) I must do this thing here, and this thing thus.\u201d It\u2019s because Kafka\u2019s stories don\u2019t have these devices that it\u2019s so hard to remember their plot.<\/p>\n\n\n\n It\u2019s no wonder that \u201cThe Metamorphosis\u201d is Kafka\u2019s most widely read story, the main reason being that its shocking plot, in which the main character transforms into a pest, is easy to understand and easy to relay to people, but I suspect it\u2019s also because the story is an outlier amongst Kafka\u2019s stories in that readers are actually able to remember the overall plot.<\/p>\n\n\n\n After reading one of his novels like The Castle <\/em>a few times, you would think you would have a good sense of its contents. You\u2019d think, \u201cin this part of the book he wrote this<\/em>, and then it went something this<\/em>\u201d\u2014 in other words, a sense of orientation you would expect to have after having finishing a normal novel, and yet The Castle <\/em>leaves you with no such sense. By \u201corientation,\u201d I mean grasping the most fundamental details of a situation, like where you find yourself, and what the year, month, and day it is in that moment. When we broaden this meaning of this word to include the ability to have a bird\u2019s-eye view of a story, we find that readers who want to \u201cunderstand\u201d or \u201ccomprehend\u201d the story will try to see it from this vantage point, even though Kafka in fact lacked this ability entirely.<\/p>\n\n\n\n As a writer, Kafka did not seek to work on his stories from a bird\u2019s-eye view. So in this respect, it\u2019s not like the people who interpret his fiction as exploring \u201cthe anxiety lurking in the depths of the modern mind\u201d and so forth are, shall we say, wildly off-the-mark. Instead, it\u2019s the more the case that critics are quite right to worry when they sniff out hints in Kafka\u2019s text telling them they shouldn\u2019t read his work from a bird\u2019s-eye view, not so much because it undermines them as readers, but because it is far more undermining to the Image of the Author to have a writer who doesn\u2019t work on stories-in-progress from any broad overview of his own making. <\/p>\n\n\n\n Perhaps more than those who create a work, those who receive a work need the image of the Author to be one in which authors have a blueprint for the work they\u2019re about to write, and that they take it upon themselves to change their plan as necessary during the writing process. The creator of a work of art is the one who understands it best. If you want to ask about a piece, it\u2019s best to ask the creator of it.<\/em> Such a stable conception of the author-work connection is perhaps even more necessary to the reader than having a main character as the center of a story.<\/p>\n\n\n\n It\u2019s easy to see what I mean when you\u2019re a reader, for whether you\u2019re reading the introduction to a novel or watching the opening scenes of a movie, if it\u2019s hard to know what the world inside the narrative is like, you feel, in a sense, a very heavy mental burden. The effort you spend trying to enter a fictional world becomes painful when you have no guarantee that the world you\u2019re entering will eventually open into a panorama as clear to you as it would expect it to be to the creator of that world.<\/p>\n\n\n\n For example, Kafka\u2019s \u201cThe Great Wall of China\u201d is an unfinished story\u2014or better yet, an abandoned fragment whose ending he never reached\u2014a fairly long fragment that starts with a description of the construction of the Great Wall of China. Is there anybody who, after reading this story, is able to explain how and at what point near the end it switched from being about an emperor living in Beijing to being about \u201cyou\u201d waiting by a window for the arrival of a messenger the emperor sent? Surely not. I don\u2019t even remember how it exactly ended, that is, the end at which point he stopped writing. For some reason, after the story about the emperor\u2019s messenger comes a story about the narrator\u2019s father.<\/p>\n\n\n\n Isn\u2019t the reader straying from the action of the story when, after they\u2019re done reading, they begin making interpretations about it like, \u201cOK, so basically, the Great Wall of China represents\u2014\u201c even when they have nothing to say about the plot? A reader who talks about a story with interpretations like that must want to be active and productive in their attitude toward it. These readers assume, in their conception of the author-story relationship, that the author, too, willingly chose to have a certain attitudes or opinions about their own work, a conception we see reflected in other places, like in how 19th<\/sup>– and 20th<\/sup>-century people dealt with the world. They conceived of people as beings who should effect change in the world, productive in their engagement with art, who should control the world and works of art, not as beings who panic, not knowing what to do in the face of art and the world.<\/p>\n\n\n\n Kafka was a truly remarkable person\u2014 and a remarkable writer. As you read his letters to Felice and Milena, you see that he was a torrent of words. Almost every night he wrote letters so long they would probably fit on ten or twenty standard sheets of A4 copy paper. We don\u2019t know how often the days he wrote letters and the days he wrote stories coincided, but we do know that he wrote in a diary on top of it all. It wasn\u2019t so much a diary crammed with different recordings of his daily life than a collection of stories in the form of fragments. The distinction between what was a diary entry and what was a story had almost no meaning to Kafka; Kafka just sat down and wrote.<\/p>\n\n\n\n He called what he wrote not \u201cpieces\u201d or \u201cstories,\u201d but \u201cdocuments,\u201d if I remember correctly, and writing not \u201cwriting,\u201d but \u201cscratching,\u201d the kind of scratch that leaves a mark, a kratzen<\/em>. In other words, Kafka didn\u2019t write; he blared out words; he beat words out like a drum. What he wrote was was evidence of his language, a trace of it. Something akin to the afterimage of a dancer in motion. <\/p>\n\n\n\n His goal wasn\u2019t to reproduce something that happened before he started writing; he wrote in order to listen to the things that would come to him as he wrote. I\u2019m not referring to Kafka\u2019s \u201coriginality.\u201d Essentially, there\u2019s a disconnect between him and other writers. That\u2019s what I\u2019m trying to get at; although, since I was raised on a diet of writers other than Kafka, the answer is elusive to me. Then again, once in a while a substantial sensation arises inside me, a sensation which leaves me as instantly as the state of enlightenment leaves the meditator, as D\u014dgen (allegedly) put it. Athletes describe the same thing. You practice and you practice, then at some point springs up the feeling \u201cThis is IT!\u201d and yet it vanishes just as quickly as it came.<\/p>\n\n\n\n We read Kafka\u2019s diary and see that, here and there he would write, \u201cthe past few days have been going smoothly.\u201dBut recently I\u2019ve begun to think that it wasn\u2019t going so smoothly for him. Every single day, whether it was fiction or letters or his diary, Kafka would just keep putting language into different sounds. Like athletes in their intensive practice, like D\u014dgen in his devotion to Zen meditation, Kafka devoted himself to finding those moments with language when that particular elusive sensation would arise. <\/p>\n\n\n\n People\u2019s appreciation of steady effort and time thus accumulated is based off of the exceptional achievements of exceptional individuals who were able to access such a sensation. Without any trace of a special feat, the immense number of hours leading up to it (and surrounding it) goes unrecognized, and is lost to the obscurity of time\u2026 Such a vision of how the way the world works is mistaken from the get-go, for what a boring direction it has pushed human knowledge toward.<\/p>\n\n\n\n I may have come to think this way by spending all my time taking care of my indoor and outdoor cats. People might leave traces of themselves, but cats never do. It\u2019s true. At least, that\u2019s what I thought at first. We proudly describe things we haven\u2019t even done as individuals as part of \u201chuman history,\u201d and relegate people who haven\u2019t achieved anything to the outskirts of history. We have therefore relegated ourselves to the outskirts of history. But my cats, who were so young, healthy, and not much trouble to take care of in 2003, developed various ailments as they got older. Seldom did my care for them ever result in any apparent improvements to their health; in fact, my attempts changed hardly anything. Yet I couldn\u2019t moan on about how I had failed to help my cats\u2014the only thing I could do was think about the next step I had to take with them.<\/p>\n\n\n\n The process of creating a story is harder to see than that of anything else. In the case of music or dance, art takes a physical form: you can view rehearsal sessions, and during the show, the performers may make mistakes with their instruments or their footwork, and yet both people who make art and people who experience it think all of this is to be expected with art. Even with paintings, anyone can see the process of colors being spread across a canvas to form the image recorded on that canvas, and even people who don\u2019t paint can imagine the process of how a painting is painted long after it is complete, by seeing the brushstrokes and the order in which the colors were layered over each other. One could say painting is the trace of a hand\u2019s movement.<\/p>\n\n\n\n Perhaps it\u2019s strange for me, a writer, to say that the art form most aloof to me is fiction, yet if I were to think about fiction on its own terms, I would probably only think of it in terms of \u201cwell-written stories and not-so-well-written stories.\u201d The excitement I experience when I encounter a work of music, dance, or painting is stronger than the one I experience when I read a story, and it is this sort of \u201cexcitement\u201d that directs my interest primarily to things in the process of being created than those in a state of completion.<\/p>\n\n\n\n If you\u2019ve already completed a work, the process of its creation will literally be \u201cthe process of being created,\u201d but for someone who is still in the middle of creating something, it\u2019s more like \u201cthe process of creating something that might not ever be completed.\u201d I bet that almost everybody who writes fiction has experience starting a story, only to abandon writing it along the way, with the first hurdle to clear for people who have not debuted as a writer being to finish a piece, to write a piece to the very end.<\/p>\n\n\n\n They write a story to the end for the first time, they repeat writing all the way up to an ending a few times, then they debut as a writer. For a while even after their debut, they will be anxious about how they \u201cmight not finish this one.\u201d Many people probably think writers have \u201cgot a knack for writing something to the end.\u201d However, it\u2019s not really that they \u201cwrite something to the end,\u201d but rather that writers have only grown used to devices they\u2019re obligated to use to prevent a work from falling apart as they work backwards from its ending to construct it.<\/p>\n\n\n\n Many people would wonder if that\u2019s what writing something to the end essentially is, but it\u2019s not. The phrase \u201ca knack for writing to the end\u201d that I used is at odds with the image I have of what writing a story is like. \u201cWriting to the end\u201d means starting to write something, then forging further and further ahead, while \u201ca knack\u201d means doing something based on a structure and working backward from a plan instead of doing it clumsily and incompetently. Nobody but me calls what I\u2019ve been talking about \u201ca knack for writing to the end,\u201d which has been bogging me down here for a while after it slipped out of my pen by accident. And which is why I\u2019ve had a day and a half\u2019s worth of writer\u2019s block over the past two paragraphs.<\/p>\n\n\n\n Writing a story focused on moving forward instead of working back from the story\u2019s ending brings us back to Kafka, but I never tire of coming back to him. The idea that you can convey the meaning of a word by writing it once is the same approach people have when they record words on a computer, yet our brains are but one part of the human body, and we have to repeat a word many times for it to be entered into our brains \u2014 although perhaps the word \u201center\u201d now calls to mind pressing the enter key to input a word on a computer.<\/p>\n\n\n\n When it comes to writing a story, trying one\u2019s best to keep moving forward as one writes from a place of uncertainty is in a totally different universe from what happens when one starts with the ending of a story and backtracks from there, for the former takes no notice of whether or not the story is in its final form, as fiction is returned to the act of \u201cwriting,\u201d or rather, is diffused within the act of \u201cwriting,\u201d or more precisely still, fiction is turned into \u201cwriting\u201d itself.<\/p>\n\n\n\n In which case fiction is no longer a set of forms. One day, a guitarist and a soprano saxophonist met in a room, and from morning till night they improvised with each other, playing whatever came to their head. My friend learned about it the next day.<\/p>\n\n\n\n \u201cWow, that sounds awesome. I wish I could have been there,\u201d he says. <\/p>\n\n\n\n Isn\u2019t that nice.<\/p>\n\n\n\n Your friend tells you, \u201cMan, I was working on my novel the whole day yesterday.\u201d<\/p>\n\n\n\n You say, \u201cWow, that sounds awesome. What a great day.\u201d<\/p>\n\n\n\n It\u2019s not all together impossible to picture fiction writing being this way if you consider it through the lens of a guitarist and a saxophonist spending the day improvising together. Perhaps that sort of experience is what you\u2019d get if you refined what Kafka was doing and applied it to writing.<\/p>\n\n\n\n To write like a musician plays an instrument, like a dancer dances a dance. To finally release the act of writing from its bonds, so that it can move around freely after having been subservient too long to a ruler who bids \u201cThou shalt record.\u201d<\/p>\n\n\n\n What I mean is, it would be a mistake to say that anything I know of Kafka\u2019s writing is in thanks to his friend Max Brod, who went against Kafka\u2019s wishes and refused to burn his manuscripts.<\/p>\n\n\n\n Even if Max Brod had burned Kafka\u2019s manuscripts and nothing of what he wrote were to ever circulate, the world would have still found out about Kafka at some point.<\/p>\n\n\n\n How would that be possible? Because writing is an act, not something you complete and leave behind.<\/p>\n\n\n\n We fall into language\u2019s trap when we obsess over bequeathing completed works. What rules us is not some person or organization who exercises their authority and power over us, but language itself. It may very well be, then, that language is the \u201chighest supervisor\u201d in \u201cThe Great Wall of China.\u201d It\u2019s not when you\u2019re analyzing but right in the middle of reading that you truly feel this ineffable force. It\u2019s no exaggeration to say that being an expert in language sets up Foucault\u2019s panopticon within your body, shackling you to its norms. A subject only exists within language\u2019s scope.<\/p>\n\n\n\n There are many artistic techniques from the past of which only the best results (or \u201cmodels\u201d) remain, whose level of craft is no longer attainable today. Celadon, mother-of-pearl inlaid work, katanas, Meissen porcelain, Jumeau dolls\u2026 It\u2019s not that geniuses reached a level of mastery in these techniques which no one will ever reach again, but that people have mistaken the products of their mastery for forms and models to work off of.<\/p>\n\n\n\n Or perhaps a craft reaching a certain level is a step in the wrong direction, leading us away from the perspective of art as an act. It\u2019s no coincidence that those who were highly skilled in a craft came under the protection of monarchs and emperors. In order for an artistic craft to continue unbothered, it must not be seduced by beauty; it should remain \u201cjust about good enough.\u201d<\/p>\n\n\n\n To put it another way, maybe craft is all about moving further and further away from beauty (or, in the case of stories, writing further and further ahead in the story) before it can converge to a polished and refined point. The guitarist and saxophonist I was writing about earlier are Derek Bailey and Steve Lacy. Even now when I hear them play together, only very rarely am I able to tune into that feeling of floating they seem to embody, like kids wandering along as they play, but one day, when I am able to listen to them in a more spontaneous, natural way, perhaps I will be able to see the nature of things, knowing finally how to use language, unclouded by language.<\/p>\n\n\n\n Hosaka Kazushi<\/p>\n\n\n\n Autumn 2012<\/p>\n\n\n\n <\/p>\n\n\n\n \u8a00\u8449\u306e\u5916\u3078 – \u6587\u5eab\u307e\u3048\u304c\u304d<\/p>\n\n\n\n \u300c\u5c0f\u8aac\u5bb6\u306f\u8a00\u8449\u306e\u30d7\u30ed\u3060\u304b\u3089\u300d\u3068\u3044\u3046\u8a00\u3044\u65b9\u304c\u5acc\u3044\u3060\u3002\u3053\u306e\u8a00\u3044\u65b9\u306f\u8a00\u8449\u3068\u3044\u3046\u3082\u306e\u306e\u62d8\u675f\u529b\u3068\u304b\u5f37\u5236\u529b\u3068\u304b\u3001\u3042\u308b\u3044\u306f\u8a00\u8449\u3067\u540d\u6307\u3057\u305f\u3082\u306e\u306e\u5916\u3092\u6392\u9664\u3059\u308b\u529b\u3068\u304b\u305d\u3046\u3044\u3046\u3082\u306e\u306b\u5bfe\u3057\u3066\u7121\u95a2\u5fc3\u3059\u304e\u308b\u3002 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For many reasons I\u2019ve been thinking a lot lately over the period of my life from when I […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[1],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=\/wp\/v2\/posts\/50"}],"collection":[{"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=50"}],"version-history":[{"count":1,"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=\/wp\/v2\/posts\/50\/revisions"}],"predecessor-version":[{"id":51,"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=\/wp\/v2\/posts\/50\/revisions\/51"}],"wp:attachment":[{"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=50"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=50"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/redwoodandcherry.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=50"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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\u3000\u7d50\u672b\u304b\u3089\u306e\u9006\u7b97\u3067\u306a\u304f\u3001\u300c\u66f8\u304d\u304d\u3089\u306a\u3044\u304b\u3082\u3057\u308c\u306a\u3044\u300d\u3068\u3044\u3046\u4e0d\u78ba\u304b\u3055\u3068\u3068\u3082\u306b\u3001\u3072\u305f\u3059\u3089\u524d\u3078\u524d\u3078\u3068\u66f8\u3044\u3066\u3044\u304f\u3053\u3068\u306f\u3001\u5c0f\u8aac\u3092\u66f8\u304f\u3068\u3044\u3046\u884c\u70ba\u306b\u304a\u3044\u3066\u9006\u7b97\u3068\u306f\u307e\u3063\u305f\u304f\u6b21\u5143\u306e\u9055\u3046\u51fa\u6765\u4e8b\u3067\u3042\u308a\u3001\u305d\u308c\u306f\u3044\u305a\u308c\u5b8c\u6210\u5f62\u3068\u3044\u3046\u3082\u306e\u3092\u554f\u984c\u306b\u3057\u306a\u304f\u306a\u308a\u3001\u5c0f\u8aac\u3092\u300c\u66f8\u304f\u300d\u3068\u3044\u3046\u884c\u70ba\u306b\u9084\u5143\u3059\u308b\u3068\u3044\u3046\u304b\u3001\u300c\u66f8\u304f\u300d\u3068\u3044\u3046\u884c\u70ba\u306e\u4e2d\u306b\u62e1\u6563\u3055\u305b\u308b\u3001\u3068\u3044\u3046\u304b\u3001\u300c\u66f8\u304f\u300d\u884c\u70ba\u305d\u306e\u3082\u306e\u306b\u3055\u305b\u308b\u3002<\/p>\n\n\n\n
\u300c\u3042\u3001\u3044\u3044\u306a\u3042\u3002\u4ffa\u3082\u305d\u3053\u306b\u3044\u305f\u304b\u3063\u305f\u306a\u3042\u3002\u300d
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\u3068\u8a00\u3046\u3002
\u3000\u30ae\u30bf\u30fc\u594f\u8005\u3068\u30bd\u30d7\u30e9\u30ce\u30fb\u30b5\u30c3\u30af\u30b9\u594f\u8005\u304c\u5373\u8208\u6f14\u594f\u3092\u3084\u308a\u3068\u308a\u3057\u305f\u4e00\u65e5\u3092\u7d4c\u7531\u3055\u305b\u3066\u8003\u3048\u308b\u3068\u3001\u5c0f\u8aac\u3092\u66f8\u304f\u3053\u3068\u306e\u3053\u3046\u3044\u3046\u30a4\u30e1\u30fc\u30b8\u3082\u307e\u3093\u3056\u3089\u3042\u308a\u3048\u306a\u304f\u3082\u306a\u3044\u3002\u3068\u3044\u3046\u304b\u30ab\u30d5\u30ab\u304c\u3057\u305f\u3053\u3068\u3092\u7d14\u5316\u3055\u305b\u3066\u3044\u304f\u3068\u305d\u3046\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u3093\u3058\u3083\u306a\u3044\u304b\u3002<\/p>\n\n\n\n
\u3000\u30ab\u30d5\u30ab\u304c\u66f8\u3044\u305f\u3068\u3044\u3046\u305d\u306e\u3053\u3068\u3092\u79c1\u305f\u3061\u304c\u77e5\u3063\u3066\u3044\u308b\u306e\u306f\u3001\u53cb\u4eba\u306e\u30de\u30c3\u30af\u30b9\u30fb\u30d6\u30ed\u30fc\u30c8\u304c\u30ab\u30d5\u30ab\u306e\u5e0c\u671b\u3092\u88cf\u5207\u3063\u3066\u3001\u30ab\u30d5\u30ab\u306e\u66f8\u3044\u305f\u539f\u7a3f\u3092\u71c3\u3084\u3055\u306a\u304b\u3063\u305f\u304b\u3089\u3060\u3001\u3068\u3044\u3046\u306e\u306f\u9593\u9055\u3044\u306a\u306e\u3060\u3002<\/p>\n\n\n\n
\u3000\u306a\u305c\u3001\u305d\u3093\u306a\u3053\u3068\u304c\u53ef\u80fd\u306a\u306e\u304b\u3002\u66f8\u304f\u3053\u3068\u306f\u5b8c\u6210\u3055\u305b\u3066\u6b8b\u3059\u3053\u3068\u3067\u306a\u304f\u3001\u884c\u70ba\u3060\u304b\u3089\u3002<\/p>\n\n\n\n