信長、からすると、
家康からすると
つまり、信長って、全国的には不買、人気は若干、自分たちの好感度からすると。
落としている、郷土愛というか、やはり、全国的には、人気はありません。
つまり、ノブなら、尾張から
一方、にっぽん。みたいだが、三河（これも、尾張のキソさん線？）から
どちらからも、増えている。
いま、ひさびさに、大隅藩みたら、宮崎（もと日向）って、KYOTOは、日本海側まで領土を増やしている、間違っていたら、あれだけど、日向って、廃藩置県で、外様ではないが、領土が、減っている。
それが、全国に統一的な制度を入れる場合、今でもそうだが、これぐらいのGapがないと制度としても、疑問視されそう。疑問視されて、ポシャる。そういう意味。
gap萌え、それが、さつま、あいち。そういうkyoto には感じたくても感じれないgap萌えが、実は廃藩置県でも、領土が減っているけーすcaseがあるかも、でした。
カスハラヲする客は神様でなく。カス。
西洋でも、人気がある西洋と、人気のない西洋がありますか？
さつまが、〃いも、ってあるが、さつまも、半島の、どっちか知らないが、
廃藩置県！！！
は？廃藩置県。1871年8月29日
それで、愛知が、その半島ごとに合った、藩が、自部が尾張藩を（自分が知多＝で、自負するから、自分が、自負するから「自部」ってなった。愛知は、県レベルでは「じぶ」り熱！？）
感じるにあたり。廃藩置県&米騒動って、５０年離れているじゃん
感じるにあたり、廃藩置県って、令和の米騒動が「この付近(1918年)で？発生したコメ騒動？」WWⅢみたいに、起きているのやら、起きていないのやら分からないが、廃藩置県って、「さつま」が、そこだけにならなくて、「かごしま」になった。
半島を、公武合体みたいに、徳川の御三家＝自部だけに、公武＝くげ＋征夷大将軍で、カンフルしたが、それは、それとして、
カンフルとか、知ったようなこと書けるのに、どうして、それも英文で、こちらの方の、それも、センシティブな（→前者は、興味ないが、marriageというか、興味のネタになるから（＝後者、それも、そのコア））内容を、、、、わざわざ読む。
わざわざ、読む。それが、せつぞくし。その英文（＝日本語の分かりやすい、分かっている内容を、シンプルに記号みたいに、英文化しているため）は、教科書に載っていたら、変わっただろうか？それは、別として、ＹＯＵＴＵＢＵの〃ＥＲに、教育系〃ＥＲがいる。
親心として、教育というか、熱をもって学習（つくばって、御三家の「副」の、あの県？）、勉学に中国でも同じ、ハゲんでは欲しい。それは、リニア。りかいできなくもないが。理解で生線。ません。なません。「な」でなく「き」。ちなみに、NORTHのKOREAで、キーボードの見たら、キー「N」と「K」は、違うが、近くにある。まるで、韓国と北朝鮮のように、あれ？言い過ぎた。そっちは、スタバがスナバでなく。あまり、北も悪く書きたくないので、言い過ぎたくないし。書き過ぎは、いまごろ遅いが。南と北で、どの経度？緯度？、それの何度かで。キー「N」と「K」は、違うし、接しているみたい。北は、国民は、テスラに接していないが、南は接している。不買になるぐらいなら、韓国の人も、北の方がよいと感じるかも。それが、「初」で、その現象が、APPLE製品で起こりえなかった事が起きたかどうかは、それは、そのことで自分に、不利益が生じて欲しくはないが。正直、テスラの行き過ぎたフォルムは、愛知県というか、そこら辺で不買の逆のTOYOTA車からすると、「（いいのか分からんが）正直、ヘンテコ」なアメ車からすると、良いのかもしれないが、車の、テスラがデザインとして選んだ、APPLEならAPPLE製品として選んだ、「選んだ」、選んだ車のデザインとして（選んだ）もの＝フォルムって、北は、見たことあるのかな？
ただ、「つみまし」されたネタは、こなし、北朝鮮ではないが、弁証法的に、融合、核融合で得られた。あらたな課題も。それが、WIKIPEDIAで「日本人として知りまくった」日本の内容を英文で読んだら？
ああ、もどすか。わとう。なとー。話頭が、すこし、行き過ぎた。違う方に、行き過ぎたため。回収。伏線を回収、どこまでできるか分からないが。先ほどのは、入れ子で、回収すると、ヘンテコ」なフォルム
これが、当該ＰＡＧＥ＝公武合体Emperor＆shōgun
Chikako, Princess Kazu (和宮 親子内親王, Kazu-no-miya Chikako naishinnō, 1 August 1846 – 2 September 1877) (Kazunomiya) was the wife of 14th shōgun Tokugawa Iemochi. She was renamed Lady Seikan'in-no-miya after she took the tonsure(いわゆる仏門) as a widow. Chikako was the youngest child of Emperor Ninkō.
こちらは、美人です！
こちらの方の
センシティブな（→前者は、興味ないが、marriageというか、興味のネタになるから（＝後者、それも、そのコア））内容
有栖川宮熾仁親王（ありすがわのみや たるひとしんのう）
In 1851, Chikako was engaged to Prince Arisugawa Taruhito (有栖川宮熾仁親王). However, this engagement was subsequently broken when the Imperial court needed someone for a political marriage with the Tokugawa shogunate. Such a marriage had been arranged by the rōjū Andō Nobumasa and Kuze Hirochika in order to foster reconciliation between the Imperial court and the shogunate, but the original candidate for the marriage died in 1861.[1] Subsequently, the Shogunate petitioned the court for a royal marriage between Princess Kazu and Shogun Tokugawa Iemochi.
GETTY IMAGES
community
When your job separates the family
The Foreign Element
LOUISE GEORGE KITTAKA
CONTRIBUTING WRITER
I met Haruko soon after I got married. The mother-of-two, who lived in my apartment building, was a valuable source of information about life in Japan. One day in March, she told me her husband was being transferred to another city.
"I'll miss you, but you must be excited," I said.
Haruko laughed, shook her head and said, "The kids and I aren't going anywhere!"
This was my introduction to tanshin funin(たんしん␣ふにん), the custom of married company employees leaving their families behind when they are transferred.
Transfers usually take place in March at the end of the japanese business year, and reasons for splitting the family include not wanting to interrupt children's education or give up a house, caregiving duties for elderly parents（介護離職かいご␣りしょくもあり、令和ではこれも重要）and, increasingly, the spouse's career（実際は、これが一番重要。アメリカで、人種構成は、白人、ヒスパニック、アジア、そして黒人。この表現構成と似てます。最後に「くさい」重要な要素。「たんしんふにん」って表現として何？って、再構成する可能性があるぐらいの要素くさい。）. Or to quote one Japanese wife, "I just got sick and tired of moving every few years."
"If you are a seishain (full-time employee) you are obligated to accept any assignment that the company gives you, and to refuse an assignment is tantamount to quitting.（これが、ザ昭和の要素）" says Rochelle Kopp, the managing principal of Japan Intercultural Counseling. "This enables Japanese companies to move their seishain around without giving much thought as to whether the employees want to do it or not
Divide and conquer
As a newlywed, the idea of tanshin funin shocked me, but my viewpoint shifted a few years later when my husband's firm asked him to move to Buffalo, New York. My career at a major publishing company was taking off(この方が、まあ、西洋人が日本人の気質に近づき、近くなった一点、そして、もう一点が、「くさい」が若干、緩和), but we had also just learned we were expecting our first child（ホンマは、これがUPの理由の主要な「クリアー」な理由）. He went to the United States while I stayed behind in Tokyo to work until the cut-off date for flying while pregnant（これがホンマのたんしん␣ふにん）. （cut-off：意味④《米》近道）（pregnantでのフライトで「cut-off date？年度末」まで）
I quickly made new friends in Buffalo and our baby boy was a joy, but to this day I don't think my husband understands how much it hurt to give up my job. （餌だな）
We expected to return to our lives in Japan after three years stateside, but then he was sent to Nashville, Tennessee, to do his MBA. Meanwhile, I'd earned a graduate degree and was poised to start an internship in Buffalo ーーanything to improve my employability upon returning to Japan. In a case of deja vu I was newly pregnant again, and this time I wanted to have my baby in a familiar place. We lived in different states for six months until after our daughter's birth.
After we reunited in Tokyo two years laterーーand welcomed a third childーーmy husband was asked to manage a subsidiary in different prefecture.(いわゆる、単身赴任でなく、「転勤：他の県の子会社へ」。この西洋人のdeja vuとして、餌みたいだが、pregnant毎、旦那から転勤の命令の知らせ。あくまでも、この３番目の子供を得たとする西洋人の私見。) He went; the rest of us stayed. I didn't relish the idea of interrupting the kid's school and day care, nor did I want to derail my burgeoning freelance writing career. After three years, he was moved to yet a different prefecture, providing further proof that my decision had been right.
During those five years of domestic tanshin funin life, my husband came back to Tokyo two or three weekends a month, and we went to stay with him about once a month, with the kids sleeping on futons(ふとん) piled on the floor of his "business bachelor pad." People asked if it wasn't tiring the needs of three little ones and my career all on my own. Truth be told, nothing much had changed: Even when my husband lived in Tokyo, he usually came home after the kids were in bed and was frequently away on work trips overseas. (「たんしんふにん」って表現として何？って、再構成する可能性があるぐらい。日本でも敢えて、「たんしんふにん」とするだけで男女差別。昭和は昭和。令和は令和。それが、今は一番の近道。cut-off)
if it was tiring ～；単身赴任を目の当たりにした本人が西洋人なだけで、こういう心配事は「たんしんふにん」あるある。自分の紙面での注釈「そうやって、子供の必要性と、自分のcareer」を、必要以上に追求って、、、、だが、平成は平成。
Communication is key
Our latest tanshin funin adventure began last year after a surprise request for my husband to move to China for two years. Our kids are now all young adults, so this time it was work and elderly pets keeping me here. My husband comes back to Japan every six to eight weeks on business trips, and I visited him for the first time over the Chinese New Year in February.
My husband has mostly worked for the Japanese offices of international firms（いわゆる、外資なので）ーーin theory, he could perhaps have refused his assignments. This isn't an option for Japanese prefectural workers like Kathryn Akasaka's husband, who are often expected to move on a regular basis. Since the first transfer in 2010, Akasaka, an English teacher, chose to stay in Morioka for her work and ongoing medical care for their younger daughter. Her husband comes home every weekend and for holidays.
"We make it work by devoting our weekends to each other and the family," Akasaka says. "He keeps up with the kid's favorite TV shows and interests, and so they always have something to talk about. Technology has also made it possible for us to stay connected. (令和なので、スカイプ。)
a way of life；生活様式、（いつもの）習慣、日常茶飯事
Sometimes, tanshin funin can end up being a way of life. Seichi Kato spent a total of 16 years living apart from his wife and children. When he was initially transferred from Shiga Prefecture to Tokyo in 2004, the rest of the family stayed behind as they didn't want to give up their house. Despite Kato's best efforts, company restructuring and industry changes Long-distance over the ensuing years made it impossible to secure a position in Shiga until the pandemic made telecommuting an option.
Kato is pleased to finally be home, but, perhaps unsurprisingly, it hasn't all been smooth sailing.
"The most challenging aspect of my tanshin funin experience has been communication with my wife since my assignments ended," he says candidly, adding that he is making ongoing efforts to improve the situation.
Moms on the move
COVID-19 also changed the plans of Makimi Murata, currently on assignment in the States for a Japanese manufacturing firm. When Murata was dispatched in 2018, she took her 12-year-old daughter along while her husband stayed behind in Japan. Her overseas stay was prolonged when the pandemic hit, and her daughter subsequently entered American high school, so Murata asked for permission to stay put until graduation--an experience she says has taught her not to sweat the small stuff.
"I believe maintaining a positive mindset is essential." Murata says. "Instead of stress- ing over every detail, I try to approach chal- lenges with the mindset that things will eventually fall into place as long as you remain fit and well."
Mothers on tanshin funin company assignment are something of a rarity. However, there are women out there choosing the "together apart"lifestyle of their own accord in order to further their career and better provide for their fermily.
GO OUT GIRL ！GO AWAY！！😭
きりんさん フォロー 2024年7月20日 Androidアプリから投稿
僕はロザムンド・パイクが怖すぎて駄目。PTSDですよ。
スパイとか、殺し屋とか、彼女はどの作品でも暴力の限りを尽くすし。
そしてあの氷のような表情。
冗談じゃなく死の臭いがするんですもの。
😱ｶﾞｸﾞｶﾞｸﾌﾞﾙﾌﾞﾙ
ロザムンドさんの親御さんは、
本当のことを言うと娘の“活躍"をあんまり喜んではいないんだろうなぁと思います。
-----これをAIとして、学習というか、DEEP LEARNし
2024年7月20日 Androidアプリから投稿より
ロザムンド・パイクという方が、その彼女が、どの作品でも暴力（スパイとか、殺し屋とか）の限りを尽くす。
この“活躍"をあんまり喜んではいないんだろうなぁと思われるコメント。
電子辞典で、provideの次にprovidenceが、あり。「神の摂理（せつり）」の意味。；摂理のしるし、天佑（てんゆう）（略：Prov.）つまり、汎用性があり。
American Brenda Kaneta is a case in point. As the breadwinner in her family, Kaneta is based in Osaka while her husband and four school-age children live in Nagano Prefecture. She had been a freelance translator and interpreter but accepted a job as interim manager at an entertainment company during the pandemic that ended up becoming a full-time position.
"People were generally surprised," Kaneta says. "My husband got tons of praise for being this 'amazing dad' who looked after his kids." Reactions from Japanese women included both "You go girl!" comments and expressions of sympathy that she had to go out and work and be separated from her kids.
"At the end of the day, I wanted to go because I love Osaka, and I loved the job." says Kaneta, who had discussed the possibility of doing tanshin funin with her husband even before committing to marriage. "If you are career-driven, make sure your partner knows that before you get married and understands that you expect to play equal roles in parenting so that you can both take advantage of any opportunities that arise."
Things to come
Kopp points out that many aspects of the company transfer system are out of step with current hiring goals.
"Making transfers to far-flung locations a prerequisite to climbing the corporate ladder tends to systemically disadvantage women." she says. "Enabling people to pursue careers while being permanently based in regional cities --rather than always staffing regional locations with people sent from the head office in Tokyo or Osaka -- would make sense for Japan as it tries to revitalize regional areas."
Change is afoot, and some large Japanese firms are dismantling their mandatory transfers. AIG Japan Holdings, for example, now has employees register as "mobile" (willing to transfer to other regions) or non-mobile" and give their preference of work location. There are no financial penalties for opting out of transfers, but mobile employees are given extra incentives for their flexibility when their preferences don't align with actual work locations. An unexpected benefit has been a ten-fold increase in applications among new graduates, suggesting that young people appreciate these policies.
If asked to take on an assignment you really don't want, you can always try saying "no" like Steven, an Australian father working for a Japanese firm. (Steven asked to be identified by his first name only).
"I was offered a job in another prefecture, but it would have impacted my wife's career, and we may not have secured a day care spot for our child," he says. "My job is important, but I think that being a couple means considering the needs of both partners."
Steven says his Japanese managers told him he was "throwing away a chance," but they eventually accepted his wish to stay put. In the past, when my days were dictated by the needs of our children, I sometimes envied the solitude(=孤独) i imagined my husband was enjoying during his tanshin funin assignments. However, after recently visiting him in China, I realize it can also be a lonely existence: I am surrounded by friends, neighbors and community in Tokyo; the closest he has to friends are the fellow japanese tanshin funin expats in his building.
GETTY IMAGES
community
When your job separates the family
The Foreign Element
LOUISE GEORGE KITTAKA
CONTRIBUTING WRITER
I met Haruko soon after I got married. The mother-of-two, who lived in my apartment building, was a valuable source of information about life in Japan. One day in March, she told me her husband was being transferred to another city.
"I'll miss you, but you must be excited," I said.
Haruko laughed, shook her head and said, "The kids and I aren't going anywhere!"
This was my introduction to tanshin funin(たんしん␣ふにん), the custom of married company employees leaving their families behind when they are transferred.
Transfers usually take place in March at the end of the japanese business year, and reasons for splitting the family include not wanting to interrupt children's education or give up a house, caregiving duties for elderly parents（介護離職かいご␣りしょくもあり、令和ではこれも重要）and, increasingly, the spouse's career（実際は、これが一番重要。アメリカで、人種構成は、白人、ヒスパニック、アジア、そして黒人。この表現構成と似てます。最後に「くさい」重要な要素。「たんしんふにん」って表現として何？って、再構成する可能性があるぐらいの要素くさい。）. Or to quote one Japanese wife, "I just got sick and tired of moving every few years."
"If you are a seishain (full-time employee) you are obligated to accept any assignment that the company gives you, and to refuse an assignment is tantamount to quitting.（これが、ザ昭和の要素）" says Rochelle Kopp, the managing principal of Japan Intercultural Counseling. "This enables Japanese companies to move their seishain around without giving much thought as to whether the employees want to do it or not
Divide and conquer
As a newlywed, the idea of tanshin funin shocked me, but my viewpoint shifted a few years later when my husband's firm asked him to move to Buffalo, New York. My career at a major publishing company was taking off(この方が、まあ、西洋人が日本人の気質に近づき、近くなった一点、そして、もう一点が、「くさい」が若干、緩和), but we had also just learned we were expecting our first child（ホンマは、これがUPの理由の主要な「クリアー」な理由）. He went to the United States while I stayed behind in Tokyo to work until the cut-off date for flying while pregnant（これがホンマのたんしん␣ふにん）. （cut-off：意味④《米》近道）（pregnantでのフライトで「cut-off date？年度末」まで）
I quickly made new friends in Buffalo and our baby boy was a joy, but to this day I don't think my husband understands how much it hurt to give up my job. （餌だな）
We expected to return to our lives in Japan after three years stateside, but then he was sent to Nashville, Tennessee, to do his MBA. Meanwhile, I'd earned a graduate degree and was poised to start an internship in Buffalo ーーanything to improve my employability upon returning to Japan. In a case of deja vu I was newly pregnant again, and this time I wanted to have my baby in a familiar place. We lived in different states for six months until after our daughter's birth.
After we reunited in Tokyo two years laterーーand welcomed a third childーーmy husband was asked to manage a subsidiary in different prefecture.(いわゆる、単身赴任でなく、「転勤：他の県の子会社へ」。この西洋人のdeja vuとして、餌みたいだが、pregnant毎、旦那から転勤の命令の知らせ。あくまでも、この３番目の子供を得たとする西洋人の私見。) He went; the rest of us stayed. I didn't relish the idea of interrupting the kid's school and day care, nor did I want to derail my burgeoning freelance writing career. After three years, he was moved to yet a different prefecture, providing further proof that my decision had been right.
During those five years of domestic tanshin funin life, my husband came back to Tokyo two or three weekends a month, and we went to stay with him about once a month, with the kids sleeping on futons(ふとん) piled on the floor of his "business bachelor pad." People asked if it wasn't tiring the needs of three little ones and my career all on my own. Truth be told, nothing much had changed: Even when my husband lived in Tokyo, he usually came home after the kids were in bed and was frequently away on work trips overseas. (「たんしんふにん」って表現として何？って、再構成する可能性があるぐらい。日本でも敢えて、「たんしんふにん」とするだけで男女差別。昭和は昭和。令和は令和。それが、今は一番の近道。cut-off)
if it was tiring ～；単身赴任を目の当たりにした本人が西洋人なだけで、こういう心配事は「たんしんふにん」あるある。自分の紙面での注釈「そうやって、子供の必要性と、自分のcareer」を、必要以上に追求って、、、、、差別になると困るのでCUT。
Communication is key
Our latest tanshin funin adventure began last year after a surprise request for my husband to move to China for two years. Our kids are now all young adults, so this time it was work and elderly pets keeping me here. My husband comes back to Japan every six to eight weeks on business trips, and I visited him for the first time over the Chinese New Year in February.
My husband has mostly worked for the Japanese offices of international firms（いわゆる、外資なので）ーーin theory, he could perhaps have refused his assignments. This isn't an option for Japanese prefectural workers like Kathryn Akasaka's husband, who are often expected to move on a regular basis. Since the first transfer in 2010, Akasaka, an English teacher, chose to stay in Morioka for her work and ongoing medical care for their younger daughter. Her husband comes home every weekend and for holidays.
"We make it work by devoting our weekends to each other and the family," Akasaka says. "He keeps up with the kid's favorite TV shows and interests, and so they always have something to talk about. Technology has also made it possible for us to stay connected. (令和なので、スカイプ。)
a way of life；生活様式、（いつもの）習慣、日常茶飯事
Sometimes, tanshin funin can end up being a way of life. Seichi Kato spent a total of 16 years living apart from his wife and children. When he was initially transferred from Shiga Prefecture to Tokyo in 2004, the rest of the family stayed behind as they didn't want to give up their house. Despite Kato's best efforts, company restructuring and industry changes Long-distance over the ensuing years made it impossible to secure a position in Shiga until the pandemic made telecommuting an option.
Kato is pleased to finally be home, but, perhaps unsurprisingly, it hasn't all been smooth sailing.
"The most challenging aspect of my tanshin funin experience has been communication with my wife since my assignments ended," he says candidly, adding that he is making ongoing efforts to improve the situation.
Moms on the move
COVID-19 also changed the plans of Makimi Murata, currently on assignment in the States for a Japanese manufacturing firm. When Murata was dispatched in 2018, she took her 12-year-old daughter along while her husband stayed behind in Japan. Her overseas stay was prolonged when the pandemic hit, and her daughter subsequently entered American high school, so Murata asked for permission to stay put until graduation--an experience she says has taught her not to sweat the small stuff.
"I believe maintaining a positive mindset is essential." Murata says. "Instead of stress- ing over every detail, I try to approach chal- lenges with the mindset that things will eventually fall into place as long as you remain fit and well."
Mothers on tanshin funin company assignment are something of a rarity. However, there are women out there choosing the "together apart"lifestyle of their own accord in order to further their career and better provide for their fermily.
(令和の世でも、レアーではある、Mothers on tanshin funin company assignment,として単身赴任とする会社による転勤中となるMoms on the move（これがエス）、がfurther～fermilyを動詞、副詞として訳すのが明示されるために、「彼らのcareerをさらに大きくするため、そして、彼らの(さらなる)蓄えがfurtherly(←better)」提供というか、準備させるため)」と記す。 provideには、ちなみに、名詞の時はない。一方、providenceが、電子辞典で、provideの次にあり。「神の摂理（せつり）」の意味。；摂理のしるし、天佑（てんゆう）（略：Prov.）つまり、汎用性があり。
American Brenda Kaneta is a case in point. As the breadwinner in her family, Kaneta is based in Osaka while her husband and four school-age children live in Nagano Prefecture. She had been a freelance translator and interpreter but accepted a job as interim manager at an entertainment company during the pandemic that ended up becoming a full-time position.
"People were generally surprised," Kaneta says. "My husband got tons of praise for being this 'amazing dad' who looked after his kids." Reactions from Japanese women included both "You go girl!" comments and expressions of sympathy that she had to go out and work and be separated from her kids.
"At the end of the day, I wanted to go because I love Osaka, and I loved the job." says Kaneta, who had discussed the possibility of doing tanshin funin with her husband even before committing to marriage. "If you are career-driven, make sure your partner knows that before you get married and understands that you expect to play equal roles in parenting so that you can both take advantage of any opportunities that arise."
Things to come
Kopp points out that many aspects of the company transfer system are out of step with current hiring goals.
"Making transfers to far-flung locations a prerequisite to climbing the corporate ladder tends to systemically disadvantage women." she says. "Enabling people to pursue careers while being permanently based in regional cities --rather than always staffing regional locations with people sent from the head office in Tokyo or Osaka -- would make sense for Japan as it tries to revitalize regional areas."
Change is afoot, and some large Japanese firms are dismantling their mandatory transfers. AIG Japan Holdings, for example, now has employees register as "mobile" (willing to transfer to other regions) or non-mobile" and give their preference of work location. There are no financial penalties for opting out of transfers, but mobile employees are given extra incentives for their flexibility when their preferences don't align with actual work locations. An unexpected benefit has been a ten-fold increase in applications among new graduates, suggesting that young people appreciate these policies.
If asked to take on an assignment you really don't want, you can always try saying "no" like Steven, an Australian father working for a Japanese firm. (Steven asked to be identified by his first name only).
"I was offered a job in another prefecture, but it would have impacted my wife's career, and we may not have secured a day care spot for our child," he says. "My job is important, but I think that being a couple means considering the needs of both partners."
Steven says his Japanese managers told him he was "throwing away a chance," but they eventually accepted his wish to stay put. In the past, when my days were dictated by the needs of our children, I sometimes envied the solitude(=孤独) i imagined my husband was enjoying during his tanshin funin assignments. However, after recently visiting him in China, I realize it can also be a lonely existence: I am surrounded by friends, neighbors and community in Tokyo; the closest he has to friends are the fellow japanese tanshin funin expats in his building.
8. The Process of the Nagoya City Sforza Reconstruction
After Leonardo's model for the Sforza horse had been destroyed by French troops, the original form of this, the largest equestrian monument in the world, was lostirretrievably; (1) Despite the absence of the original work, its inimitable form And size should be studied, Leonardo devoted himself to this work for over a decade and the bronze had been set aside for casting; as we know; Ludo-＼iico Sforza sent it aw-ay for making a cannon. The history of the horse's creation, propagandistic associations, and destruction is very revealing of the relationship between art and politics, as others have explained already; I would like to speak not of these issues: but of others. In June 1989, a full-scale reconstruction of the Sforza Monument(see color fig.4' 5), whose execution I conceived and directed, was unveiled in Nagoya City Japan. Four major issues that emerged from this recreation will be addressed in this chapter. First, I will discuss how the final form of the Nagoya City horse itself is based on Leonardo's own conception as expressed in the Ma@id Codex and other of his drawings. Second, the difference between the Sforza and Trivu.lzio monuments will be elucidated. Third, I will discuss the cider of the Nagoya City reconstruction and its source in the art of Verrocchio and ~'the young Leonardo. Finally the technical aspects of recreating this monument through computer simulation and the selection of the synthetic FRI] rather than bronze:, as our material -will be explained, The conception of the Nagoya City reconstruction is based on relevant drawings in the second of the Madrid Codex. Folio 157 verso introduces these with the sentence "A sera 17 di magio 1491, qui si fard ricordi di tucto quelle cose le quail fieno al proposito del cava1lo di bronze del. quale al j)resente sono in opera:)" that is, "On the evening of 17 May 1491. Here will be kept a record of all those things which will be relevant to the horse of bronze at present under execution. (2) These seventeen folios are critical to reconstructing the Sforza Monument> as we have done in Nagoya City Indeed, the drawings concern only this monument, and are unambiguous in explaining Leonardo*s intentions. On the recto of folio 157 [fig.6-15), there is the famous' head trellised for casting in bronze. The lifted head is that of a rearing horse, such as that found in Leonardo's drawing at Windsor, 12358, revealing the active conception that was to animate the monument [fig.6-8). By folio 151v (fig.6-1.7), be had changed the horse and redefined his notion of the statue. Instead of rearing:, the horse walks 325 72 and raises its head. The letter of 22 July 1489 to Lorenz~o de'Medici reqi.1esting one or two sculptors to cast the enormous bronze horse ridden by Duke Francesco in full armor; may have been written in the intervening years. [3) It is my opinion that this letter signifies Ludovico's fear that Leonardo's rearing horse would have been impossible to cast in bronze. On 23 April 1490, Leonardo took up work on the horse again. (4) Most scholars believe that Leonardo changed the horse's form, having accepted the more realizable walking stance. This presumption may not be correct, because there are two types of horses in the manuscripts after 17 Allay 1491. On folio 157r (fig.6-15), Leonardo dre-w a rearing horse, its head trellised for casting. On folio l51v (Rg.6-17), he changed the posture of the horse again, showing it walking. In my opinion, Leonardo conceived this walking type during the year 1491. On folio 149:r; the walking horse is found again, but reversed from 151v; the bron~ze had to be poured and cast in the ground. The horse is walking and has the same profile as that of 147r; which shows the identical stance. The consistency between the two drawings suggests the definitive form of the horse for the Sforza Monument. The left front leg and back right leg are raised. On. folio 149!; the horse is seen from above, where the left and right legs are positioned differently From this perspective, it is difficult to orient the drawing and read it properly However;, the profiles of the horses are the same and reveal Leonardo's final conception.. (5) What is the difference between the Sforza and Trivulzio monuments, the latter of whose execution was planned about twenty years later?[6) - The horses on folio 179v of the Codex Atlanticus are the major source for our knowledge of the Trivulzio Monument's form; their appearance coincides with drawings of horses preserved in the Royal Library at Windsor Castle.(7) These show the two types seen in the drawings for the Sforza Moriument. The rearing horse is seen in Windsor 12365; the second, a -walking horse, is illustrated in Windsor 12356. Although one horse rears up and the other is walking, in both cases, the horse's head is bent to its neck. In the case of the Sforza Monument horse, though the head is held high, while that of the Trivulzio horse is lowered. In Windsor 12356r (fig.6-11), Leonardo drew the Regisole of Pavia, whose head is identical to that of the Trivulzio horse.(8) The most beautiful of these equine drawings, and the one most similar to the horse of the Sforza Monument, is that of Windsor 12321r;, drawn in silverpoint (fig.6-25). Upon initial examination, it appears that the horse is standing, but the rear legs reveal that the animal is walking; Leonardo has omitted the front, left leg in his drawing of the horse's lower body on the right of the sheet. This type of horse can be found in the drawings of this early period, which, as Kenneth Clark has indicated, may be dated on the basis of the descriptions and writing style.(9) The form of the horse corroborates this dating. Windsor 12348 was written to explain the casting of the hox:se (fig.6-34). It sho-ws a section plan similar to that of the Sforza Monument horse. Windsor 12350 also is typical of this period, its style similar to that of folios 143v-and 144r -73- 3ュヰ of the Madrid Codex. The h.arsels form is identica]. to that of the S.fo.rza ?V!:onument. Windsor 12317 belongs to the earlier period with respect to its style. In !:he corner of the sheet, there is a small sketch of a horse, simple and quickly drawn, that appears to have been executed from memory after the Sforza Monu:in.ent horse. Another drawing on the casting Windsor 12347, is considered by many scholars to reflect Leonardols plans for ei[her of the two equestrian monuments.(10) Clark thought that this was made for the Trivulzio MIonument, Because the drawing style and calligraphy belong to this earlier period. (H) This observation Is supported by the horses draw-n for the Trivulzio Monument, w-hose heads are inclined toward their necks.(12) The same form of the horse for the Sforza Monun-lent is found among i:he drawings of the Trivulzio Monument. V＼findsor~ 12342 shows twe large and three small horses. Each one is different except for the legs. The upper part of the sheet is interesting in this respect> ~for the horses' heads are lifted, like those of the Sforza Monument horse. At the same time:. the horse on the right show-s a low-area head. These probably represent a transitional stage between the two monuments. The small horse on the left of the sheet is very important to reconstructing the finished starue> for here the rider is added. Leonardo represented the horse without a rider in the Madrid Codex, but since his patron wanted an equestrian statue w-ith Francesco Sforza armed as a knight, the artist must have prepared a drawing of this conception. From the first stage of this projects Leonardo always drew a mounted horse. Windsor 12358:r shows a nucle, holding a baton and fuming back, atop a' horse (fig.6-8). The horse's stride corresponds to that of the small w-diking horse of Wincisor 12342, considered a drawing for the Sforza Monument. The maunted rider commands the soldiers behind him to advance; turning toward them with his baton. The same gesture also can be found in three other Windsor drawings, 12344v; 12359, and 12360. In all these cases> the rideris mantle is blowing in the wind. This consistent rendering in mv opinion, signifies that Leonardo always had the same conception before him: clearly; he did not need to repeat the figure each time. He vy-as preoccupied totally with rhe casting of the monument during that period. Leonardo knew about bronze sculpture from his years in Verrocchiors workshop. Leonardo was a member of his shop w~hen the competition for the Colleoni was announced in l479> and when its clay model was completed in ;i.481.(13) His involvement with this work (fig.6-l-a.) greatly influenced his conception for the Sforza Monument, Colleonils head> for example; resembles his profile of a warrior as rec6rded in~ @ British Museum drawing, and the horse itself recalls one standing beneath the broicen arch of the Uffizi Adoration of the Magi and of two Windsor cirawings, 12287r and l2327r. VJas t1).e ziderts j:ace in the Sforza NIonument modeled after a portrait af Francesco Sforza? There are nvo drawings by Pollaiuolo> preiumably for the competition for the Sforza Monument that he was not awarded, that are portraits of Francesco. A gold medallion iri the National Gallery of Art, ~＼lYashington, shows 323 74 his profile (14) and reveals that he was bald:, his blunt features> like those of a Deasa.rit, endearing him. to the people. (15) There are no portraits of the dictator among Leonardo's drawings.. As for the Colleorzi, tb.e "portrait'' is likely to be an idealized rather than a true image. Indeed, the detai!ed representation of a man, , the right side of his chest superimposed by a quickly sketched lion's head, in Windsor l2502r suggests CoHeoni's appearance and temperame-nt. Leonardo seems to suggest that the warrior is bellicose and fierce like a lion. This same type ~appears in Colleonils face, in the visages of the soldiers in the now lost fresco of the Batt-le o/ Arzghiarj in t!-)e Pajazzo Vecc;j-1_;io of Florence, ri-of bronze are only about half 6f this weight. (20) A horse on four legs, much less bvo, could not sustain such enormous weight; indeed, computer calculations indica!;e that one leg can sustain a maxithum of 6 tons. Leonardo's horse would have col1apsecl! Could Leon.ardo have envisioned some ot})er form of support or strut--a. vase, a tree trunk, or a landscape element such as a rocky hillock? These wou!d be unreal.istic and thus unacceptable to Leonardo's imagj1-l_ation. Perhaps Leonardo realized the impossibility of his project. It is in this context that we must read Leonardo's letter of ca. - ;i.494 after Ludovico Sforza sent 187,000 libri to Ercole d'Bste for the casting of carinon. When Leonardo writes that Hof the horse I will say nothing because I know the times,棘〔21】 he also might have recognized that casting such a colossal bronze statue was impossible. The Nagoya City reconstruction was conceived in a systematic way; An ideal composite drawing was made using a camputer siznulation, but it is very difficult to simulate the complex surface of Leonarclo's sculpture without detailed 75 measureme_n_ts of each part.The drawings themselves, of course, don't give any measurements; even if they are approximated> the form cannot be realized through computer simu;ia!:ion alone. A real. clay mode!, t1/＼/0 :rn.eters or about six feet in height, was made by two young sculptors who were graduates of the University of the Arts of Tokyo, the best national art school in Japan. Mr. Kageyam.a and Mr. Isizuka, who studied art in Italy for five years, w-ere se1ecteci. Under the direction of professor A.so of the University of the Arts and myself? i;hey endeavored to create a horse according to Leonardo's drawings. Fbrtunatei.y; the university has an exact copy of the Colleoni to which they referred. After six months of collaboration:, from May ta November 1988j we finished the clay model. The Nagoya City Monument is made df FRI? fiber-reinforced plastic. FR.P is used not o.nly for indust_rial applications, such as making the~ bodies of cars and motorboats, but also for huge sculpture because of its malleability and durability; [22) In rj!ajdng the Nagoya City Monument: we utilized a w-all that is 5 millimeters in thickness. A steel armati.u-e is inside the FRP shell to strengthen it. In making the Nago'ya City A/Ionument, we worlced up from the clay model of 2 meters. W~e took the plastic model made from the clay one and~ used the computer to enlarge its scale to about 8 meters. At first: the industrial scanner traced the surface of this plaster model, using the digital measure. The measurements of every part were taken from. six sides--!:ront, rear, right, left, upper, and lower--to reproduce the original form exactly These measurements were read into the computer, which enlarged them four times more. With these measurements, Numerical Control Latb.ing produced every part with FRP The FRP horse w-as. produced in fifteen. sections. These were assembled and reconstructeci in l:he Exhibition Hall of Nagoya City The total weight of the -work, including. its steqj frame, is only 4 tons. The horse's height from the base is 7.2 meters and of the' :r-:ider, 8.3 meters. The Nagoya City b/Ionument w-as not painted to simulate bronze for two reasons. VVe chose to paint it white to show its details and because the work, after all, is not bronze. The reconstruction realizes a dream both for Leonardo and for us. Its execution in its entirety took one year and two months. It was reconstructed in June 1989, and exhipited in a pavilion of To;cai Bank in the Design Exposition of Nagoya until 23 November 1989. After the exposition closed> the sponsor donated it to Nagoya City It stands in front of the City Hall for the International Congress in Nagoya..
NOTES An early version of culls paper was read at !;he international Congress of the History of Art in Srrasbourg, 1989. For the later conference) I reconsidered the problem and revised my manuscript. 1 am very grateful co Charles Dent, who suggested my participarion in this conference. (1)
りゅうきゅう
くまがわ
これが、土佐が思う、それを考えるきっかり、きっかけ、つまり、トリガになればと思います。
なかやま大国が、どうなるのか、２０００円の中国というか、お城でも、こちらがわの大和だけでない趣
おもむき。
いつも、いつもではないが、ああいう、漢語というか、それが、書かれた屏風。
沖縄の基地問題で、歓談、会談がある、かんだん＝歓談、かいだん＝会談がある。
基地を、「問題」とするのも、人の天使と悪魔で、別々なのかも、、、、、どっちみち、基地同様、北方領土問題だって、戦後の課題で、なにも、解決してない。
ONもしくは、OFFでも、やはり、台湾を、どう捉えるか、それも、自分の中では迷っている。国家と国民で、国家と同様、、、、、沖縄の話で、台湾を持ち出すのも大人の事情、TVといか、NHKの諸説みたいに、大人の事情で、「TVの大人の事情」なんとなく、それを事情という、自体というか、それが、自体を事態と感じることを資して、それを、もちだす（＝「TVの大人の事情」というか、大人の事情を〃）のも、なんか違うような気もするが、、、、、これが、列島でなく、半島でも、持ち出せるので、なんとなく、なんとなくだけなら、自分も良いのだが、、、、
ここに、収束されうるかは、問題ではあるが、あの、焼失部分のある首里城が、ある中山。
それが、球＝きゅう、球磨川。
磨かれた球。流れる球。
この語感のながれ。
ながれる→たま
↑↑↑
ここで、とぶ。PAGE下のPS(02)へ
「くま」川で、水で、BALLではないが、「流れる」。水が流れる。という単語のコロケーションから、「流れる球」として、磨かれた、でなく、「流れる」にした。でも、流れるって、英語、ENGLISHでなんだろう？
たぶん、ここで編集が必要。つまり、加筆ORスクラッチＺERO。９条で窮状。とくに、その３項を、４とするか、加筆というか、「ただし、」として、文字通り、加筆。弘法大師による加筆で「４項が」幻になるか、それが分からない。それは、そうとして、沖縄問題。どう、沖縄を考えるか、やもとで救えなかった琉球、沖縄を、なかやま王様の領土として「感じる→考える」のか、そこにも、自分も、空海も、そうだが、隔たり。海でのへだたり。陸でのへだたり。。。。。相手が、いずこに、、、その世界。そら、という世界、そして、空海なので、うみ、という世界。いわば、海、そして陸でも、そこに、へだたりが存在しうる。ああ、ふかい。<!--おそらく、ここでは、くま川が、球磨川。RYU９（〃条OR縄（縄文じょうもん）、でなく窮状の譲渡したかったが、OKINAWAが、NAWAがJYOUMONNでも「縄」が。鹿児島、薩長同盟の沖に、この「縄」が続き【くま川とりゅきゅう、この符号性を語りたくても、一旦、コメントとして、途中にするか、一時考える。つまり、縄文とOKINWAの、新たな符号点が、くま川とりゅきゅう、この符号性に、符号（くま川とりゅきゅう）として、どんな礎石とも、出来うるか。あるいは、単に、投じられる一石か見極めるため】）石に、符号性に対する「符号」を見立てる-->
ここまで、で、留めると、まじめ？と思われがちだが、「真実」を求める自分としては、そこには、価値がない。
なにに、価値があるか？
やはり、おもむき＝漢語による故事が、かかれた（＝大和風）屏風。が背景。これが、なにか、基地なり、どう沖縄県を捉えるかの一向（〃一揆＝浄土新宗）に、北方領土問題と同様、進まない。そこの原因になりがちだと思う。内地として、「どう沖縄県を捉える」で、それを原因にするのは、すこし抵抗があるが、沖縄の方からすると、内地ってＣＯＯＬ、冷たいと誤解されないだろうか。
なにを伏線として、回収作業と、同時に、なにを書きたかったかを思い出しつつ、日本というか、やまとに、真実があったのかな。
ごめんなさい、忘れた。忘れたっぽい、かな。
P.S.
李Zは。ちゅうろ。あわせ技で、「NIPPON」。Nをとると、IPPON.
「忘れた」っぽい。忘れたで良かった、かな。ryuukyuuが、りゅうきゅうの「uu」で韻を踏んでいる。
KUMAって、KUMA-MONNで、いちおう、全国区かな。KUMA-MONN（Mに対して、「これでも、韻かも」、Aにて「ま」、IPPOU、Mに対して、Oにて「も」）
P.S.
ながれるKYU＝「きゅう」で「たま」
流れるの「りゅう」自体も、「る」で、
| 部首 | 玉部（たま・たまへん・おうへん） |
|---|---|
| 画数 | １１画（玉４＋７） |
| 音読み | ①リュウ |
| ②ル | |
| 意味 | 宝石の一種「琉璃（るり）」に用いられる字。 |
くま川が、球磨川。磨かれた玉（宝石）としてしまって、いいのか？という問題も再燃する。「きゅう」まGAWAとなるのも、また真実ではある。
地名でなく。人名に、使われる「琉」の基本情報
一方、苗字というか、「琉」は「リュウ」と読みます。 「琉」は人名用漢字で、名前に使用することができます。また、「龍」と同じ音（リュウ）の響きであることから、「龍（≒琉球の「琉」）のように躍動感がある、元気でたくましい子に育ってほしい」という願いを込める人もいます。 「琉」を使った名前の例としては、次のようなものがあります。琉楓（るか）等。りゅ る
じ ぢ
Friday, April 28, 2023 | The Japan Times | 9
bilingual
More simple words to power up your conversations in Japanese
BRENDAN CRAINE
CONTRIBUTING WRITER
途中での太い文字で、
Conjunctions are the
connective tissue that
link your sentences
together.By using them,
you can string simple
sentences together to
form complex thoughts.
You can use a range of Japanese conjunc- tions to describe what you think of the tangerines sold at the local market. GETTY IMAGES
Strap on your chaps and coil up your lassos, because it's time to round up some more Japanese conjunctions. Here are three more simple words that will power up your speaking and have you 複雑な文章を繋ぎ合わせている (fukuzatsuna bunshō o tsunagi awasete-iru, stringing together complex sentences) in no time.
I introduced some conjunctions - しかし, それで, のに, etc. - back in February, but here's a quick おさらい (o-sarai, refresher) in case you didn't catch it: Conjunctions, referred to in Japanese as 接続詞(setsuzokushi), are the connective tissue that link your sentences together. A simple Japanese sentence includes at least one 名詞(meishi,noun),動詞(dōshi, verb) and 助詞(joshi,particle). By using 接続詞, you can string simple sentences together to form complex thoughts.
ここでちょっと例を挙げましょう (Koko de chotto rei o agemashō, I'll give an example):If you took a gamble on some marked-down fruit, you might say, このミカンはすごく安かった。でも後で皮をむいたら腐っていた (Kono mikan wa sugoku yasukatta. Demo ato de kawa o muitara kusatte-ita, These tangerines were super cheap. But when I peeled one later, it was rotten). That でも(demo), that's the 接続詞. It shows contrast between two complete clauses and links them into a compound sentence. All this talk of "compound sentences" and "complete clauses" might make you ゾッとする (zotto suru, shudder with horror), but you won't need your waist-high grammar waders to get through this article.
The three 接続詞 covered here are called 並列(heiretsu). As indicated by the kanji,which mean "arranging in a line" and "row/sequence," respectively, these words are used to arrange similar information in sequence. That sounds very technical, but it's actually pretty simple. Think of an English statement like, "I got this bag of tangerines for half off. Plus, I had a coupon!" That plus is the English equivalent of a 並列. Both sentences explain that "the tangerines were a bargain," and the "plus" links them together.
So, how might you say that same statement in Japanese? このミカンは半額セールになっていた。 しかもクーポンがあったんだ! (Kono mikan wa hangaku sēru ni natte-ita. Shikamo kūpon ga atta-n da!) That しかも(shikamo) is the key word. Just like "plus" in English, it is often used to add a secondary statement that drives home the point of the first, or what is called ダメ押し(dame-oshi, "good measure"). しかも is perfect for adding an extra reason or piece of evidence to your statement: このズボンはすごいよ。 シワにならないし染みになりにくい。 しかも洗濯機で洗える! (Kono zubon wa sugoi yo. Shiwa ni naranai shi,shimi ni narinikui. Shikamo sentakuki de araeru!, These pants are amazing. They're wrinkle-free and stain-resistant. Plus, they're machine-washable!)
A similar 接続詞 is また (mata). This is related to the また that means "again," as in expressions like じゃあまた (jā mata, see you later). Where しかも carries a sense of 累加(ruika, compounding), また is used for 添加(tenka, addition/appending). In other words,また is just for adding a second statement that follows the first. It is close to "furthermore" in terms of meaning, but また does not sound quite so 堅い(katai, stuffy and formal).
In this way, また is often used when making two related statements about the same topic. For example, the importance of having a goal and studying regularly to learn a foreign language. 外国語を習得するには具体的なゴールを持たなくてはならない。また、ゴールがあってものらりくらりと勉強するよりは定期的な勉強が効果的です (Gaikokugo o gakushū suru ni wa gutaitekina gōru o motanakute wa naranai. Mata, gōru ga atte mo norari-kurari to benkyō suru yori wa teikitekina benkyō ga kōkateki desu, When learning a foreign language, it is vital to have some sort of specific goal. And, even if you have a goal, studying haphazardly will not be as effective as regular, structured studying).
A similar but more casual way to link two connected thoughts is with あと(ato). You may know this word from phrases like あとどれくらいでつきますか? (Ato dore kurai de tsukimasu ka?, About how much longer till we arrive?) In that context, あと carries the meaning of "remaining time." But as a 接続詞, it indicates something that you just thought of or remembered. In other words, a "remaining thought."
We usually handle this in English by saying "oh," as in, "Hey, can you grab me some potato chips at the store? Oh, and a Strong Zero!" In Japanese, you would say, 「コンビニでポテチを買ってくれない? あとストロングもね (Konbini de potechi o katte kurenai? Ato Sutorongu mo ne). Any time a follow-up thought occurs to you, that's the moment for あと.
Now that we've got these three words rounded up, let's corral them together. And remember -- 接続詞 can be used together. In the last installment, I introduced the word のに(Ok:OCRでは、26種類は単純らしくて、そっちは完遂。日本語は、「の」はO、「に」も形だけでKでokでなくOkと認識). Here's how you might combine it with one of the new 接続詞: このミカンは半額にな っていたのに味がいいよね。 しかも剥きやすい (Kono mikan wa hangaku ni natte-ita noni aji ga ii yo ne. Shikamo mukiyasui, For being half off, don't these tangerines taste great? And they're so easy to peel).
