{"id":47113,"date":"2025-09-11T05:58:24","date_gmt":"2025-09-10T20:58:24","guid":{"rendered":"https:\/\/kochihen.replan.ne.jp\/?p=47113"},"modified":"2025-09-11T06:01:49","modified_gmt":"2025-09-10T21:01:49","slug":"%e3%80%90%e7%84%a1%e6%83%85%e3%81%ae%e6%99%82%e4%bb%a3%e3%82%92%e7%94%9f%e3%81%8d%e3%82%8b%e3%80%8c%e7%9f%ad%e6%96%87%e6%96%87%e5%8c%96%e3%80%8d%e7%94%9f%e7%94%a3%e6%8b%a0%e7%82%b9%ef%bc%8f%e9%b4%a8","status":"publish","type":"post","link":"http:\/\/kochihen.replan.ne.jp\/?p=47113","title":{"rendered":"\u3010\u7121\u60c5\u306e\u6642\u4ee3\u3092\u751f\u304d\u308b\u300c\u77ed\u6587\u6587\u5316\u300d\u751f\u7523\u62e0\u70b9\uff0f\u9d28\u9577\u660e\u300c\u65b9\u4e08\u5eb5\u300d-3\u3011"},"content":{"rendered":"

\"\"<\/a>
\n\"\"<\/a>
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\n\"\"<\/a>
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\n\u3000\u6e90\u5e73\u306e\u4e89\u4e71\u671f\u3068\u3044\u3046\u300c\u7121\u60c5\u300d\u306a\u4e16\u306e\u4e2d\u3067\u713c\u304d\u8a0e\u3061\u306a\u3069\u306e\u60e8\u798d\u304c\u7e70\u308a\u8fd4\u3057\u52c3\u767a\u3057\u3001\u3053\u306e\u7c21\u6613\u3067\u4f4f\u5c45\u5834\u6240\u79fb\u52d5\u306e\u5bb9\u6613\u306a\u4f4f\u5c45\u5f62\u5f0f\u306b\u305f\u3069\u308a\u3064\u3044\u305f\u3002\u6226\u4e71\u671f\u9069\u5fdc\u578b\u306e\u751f\u304d\u65b9\u3068\u4f4f\u307e\u3044\u65b9\u3001\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u3060\u308d\u3046\u304b\u3002\u4eba\u306f\u305d\u306e\u751f\u304d\u308b\u6642\u4ee3\u306e\u4e2d\u3067\u6700\u9069\u89e3\u3092\u3082\u3068\u3081\u3066\u751f\u304d\u629c\u3044\u3066\u3044\u304f\u3068\u3044\u3046\u3053\u3068\u3060\u308d\u3046\u3002\u6df1\u304f\u8eab\u306b\u8feb\u3063\u3066\u304f\u308b\u3002<\/p>\n

\u25cf\u304a\u77e5\u3089\u305b
\n\u62d9\u66f8\u300c\u4f5c\u5bb6\u3068\u4f4f\u7a7a\u9593\u300d\u5e7b\u51ac\u820e\u304b\u3089\u96fb\u5b50\u66f8\u7c4d\u3067\u767a\u520a
\n\u304a\u6c42\u3081\u306fAmazon\u3067\u3002
\nhttps:\/\/amzn.asia\/d\/eUiv9yO<\/a>
\n\"\"<\/a><\/p>\n

English version\u2b07\u3000<\/p>\n

\u3010The \u201cShort-Form Culture\u201d Production Hub in an Unfeeling Era \/ Kamo no Ch\u014dmei’s \u201cH\u014dj\u014d-an\u201d -3\u3011
\nConsidering the economic structure of culture in the era Kamo no Ch\u014dmei lived in, contrasted with the modern world. Japanese hearts were cradled by short-form culture. …<\/p>\n

\u3000We ordinary people living in the modern age are gradually reading fewer books. The economic scale of so-called \u201cpublishing\u201d peaked in 1995 and has since entered a period of nearly halving. Moreover, within that publishing, the proportion occupied by \u201cmanga\u201d is steadily increasing, raising the possibility that traditional prose literary works might become an endangered cultural form. However, even within this trend, the SNS expression medium known as blogs has the potential to survive. …
\nOn the other hand, the era in which Kamo no Ch\u014dmei lived was fundamentally supported by a \u201ccourt culture\u201d economic structure. When asked about the \u201cliterary economic structure of the Heian period\u201d by Google’s AI explanation, it responded as follows:
\n~The literary economic structure of the Heian period was based on wealth concentrated among the nobility through the expansion of manors, which became the foundation for literary activities. Particularly, the spread of kana script and the active participation of court ladies fostered the development of narratives and waka poetry. Literature gained economic backing through being written by wealthy noblewomen, leading to the formation of the \u2018court culture\u2019 that continues to this day.”
\nWithin this context, Yamato Kotoba (the native Japanese language) underwent a period of assimilation following the introduction of Chinese characters since the Asuka period. This assimilation period saw Yamato Kotoba evolve through the development of kana script, moving towards the creation of original national works. By the late Heian period, within this cultural foundation, in 1175, when he was 21 years old, Kamo no Ch\u014dmei gained significant attention by contributing waka poems to the Takamatsu-nyoin Poetry Contest. Today, the literary form of waka has become less familiar, but a cultural foundation had been established that appealed through the uniquely native seven-five syllable short verse form, possessing a powerful ability to evoke musical, visual, and cinematic imagery. I too have been researching this culture of short texts, deepening my recognition of its \u201ccreativity\u201d and developing a strong interest. The fascination lies in how diverse images can be vividly expressed within such concise writing.
\nWithin this cultural world, Kamo no Ch\u014dmei was appointed by the imperial court at age 46 as a \u201cpoet of the Waka Office.\u201d
\n\u3000We can only imagine, but this appointment likely established his leading \u201cposition\u201d within the literary world of the Heian period.
\nFrom there, as a pure \u201cseeker\u201d of expression, he devoted himself fully to writing at this \u201cH\u014dj\u014d-an\u201d hermitage.
\nAmid the \u201cmerciless\u201d world of the Genpei Wars, where disasters like arson raids repeatedly erupted, he arrived at this simple dwelling form, easy to relocate. It represents a way of life and dwelling adapted to times of war. People seek the optimal solution within the era they live in to survive. It strikes a deep chord.<\/p>\n

\u25cfNotice
\nMy book \u201cWriters and Living Spaces\u201d published as an e-book by Gentosha
\nAvailable on Amazon.<\/p>\n","protected":false},"excerpt":{"rendered":"

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