{"id":42015,"date":"2023-10-11T05:48:28","date_gmt":"2023-10-10T20:48:28","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=42015"},"modified":"2023-10-11T21:59:20","modified_gmt":"2023-10-11T12:59:20","slug":"%e3%80%90%e5%89%b5%e9%80%a0%e5%8a%9b%e7%94%9f%e7%94%a3%e6%80%a7%e3%81%ae%e9%ab%98%e3%81%84%e7%a9%ba%e9%96%93-%e8%8a%a5%e5%b7%9d%e9%be%8d%e4%b9%8b%e4%bb%8b%e3%83%bb%e4%b9%9d%e5%8d%81%e4%b9%9d%e9%87%8c","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=42015","title":{"rendered":"\u3010\u5275\u9020\u529b\u751f\u7523\u6027\u306e\u9ad8\u3044\u7a7a\u9593 \u82a5\u5ddd\u9f8d\u4e4b\u4ecb\u30fb\u4e5d\u5341\u4e5d\u91cc\u306e\u5eb5-6\u3011"},"content":{"rendered":"

\"\"<\/a>
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\n\"\"<\/a>
\n\"\"<\/a>
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\n\u7a7a\u9593\u305d\u308c\u81ea\u4f53\u3078\u306e\u8208\u5473\u3068\u3001\u305d\u306e\u7a7a\u9593\u6027\u3092\u76f4\u63a5\u7684\u306b\u5546\u54c1\u5316\u3059\u308b\u65c5\u9928\u3068\u3044\u3046\u4e8c\u91cd\u306e\u610f\u5473\u3067\u3001\u307e\u3053\u3068\u306b\u8208\u5473\u6df1\u3044\u4e8b\u4f8b\u3060\u3068\u601d\u308f\u308c\u308b\u3002<\/p>\n

English version\u2b07<\/p>\n

Creativity Productive Space Ryunosuke Akutagawa, The Hermitage of Kujukuri – 6
\nCapitalism that tries to stimulate the imagination and draw out maximum efficiency in an extraordinary space. A landscape of the first source of Japanese literature that remembers exuberance and produces works of art. …<\/p>\n

I may have a personal attachment to the writer Ryunosuke Akutagawa. For the people of today, the great writers of the Meiji and Taisho periods are almost on the same historical level as Murasaki Shikibu and Sei Shonagon, I suppose.
\nI personally loved “Rashomon,” and I am of the generation that was stimulated by the “writerly” nature of the author’s ability to pin up a scene from history and compose a cross-section of the human conflict. In contrast, the world of You-tube videos is probably much more stimulating in the modern sense. I myself no longer respond to anything like the Akutagawa Prize-winning works of today.
\nHowever, I believe that human beings have always valued creativity, which is the attempt to generate “new ideas” in our minds. As capitalism has taken over society, people have come to pursue “productivity” and “efficiency” even in the face of such creativity.
\nThe spirit of “canning” writers to produce good works and then selling them as literary “products” with high added value became more and more popular.
\nThe writers must have been desperate to create a space that would stimulate their creativity and imagination. In the atmosphere of Akutagawa-so, I was subconsciously searching for the aims of such publishers in the Taisho era. The two photos above show the area around the “writing desk” where Ryunosuke Akutagawa must have been sitting.
\nWhile modern people would prefer not to sit at a desk like this, Akutagawa would have found this kind of posture more suitable for the Taisho period. The writing desk is located on the southwest corner of the room. The desk is located in the southwest corner of the room, which provides the best lighting for working during the daytime. The writing desk itself is very compact, and it can be imagined that it is almost exclusively used as a writing surface. The references must have been scattered on the tatami mats in the surrounding area.
\nThe erosion control forest and hedges must have provided greenery as a surrounding environment where one could occasionally rest one’s eyes, visually assuring peace of mind and body. It must have been an environment where he could release his true nature, since he even wrote a love letter.<\/p>\n

It was a space provided by the people of this era with a commercial mindset that writers would be comfortable in such an environment and produce a large volume of good works. In fact, Akutagawa produced a novel and even wrote a love letter in his exuberance. The ryokan, as one would expect, paid close attention to the “product” and did not give any consideration to personal information, asking permission from the writer and even building an inscription to be used as a symbol of a first-class ryokan, which today continues to cast a net even for people like me (laughs).
\nIt seems dark to me that this “habit” of exposing all information about the inner life of individuals has cast a shadow over the “suicide” culture of subsequent Japanese writers, from Ryunosuke Akutagawa to Osamu Dazai and others.
\nThis is a truly interesting case study in the dual sense of an interest in space itself and the ryokan that directly commodifies that spatiality.<\/p>\n","protected":false},"excerpt":{"rendered":"

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