シナジーのメタファー４

この広告は30日以上更新がないブログに表示されております。
新規記事の投稿を行うことで、非表示にすることが可能です。

5　Existential logic

　The problem isn’t what is the presence, but I consider logically that something exists. Hanamura （2019）explains that “nothingness and creation” appears in the analysis of the language of modal quantity logic and the model structure.
　There is a modal sentence called the Balcan principle. One part is the Balcan sentence ( (∀x) NPx → N(∀x) Px): N is necessity, P is existence) which means “if Q exists, Q already exists” to the model structure MQ ＜K,R,D＞（K is a non-empty set of ‘possible world’, R is the reflexive relation with K, and D is the domain of individuality）and is the statement that dispels the creation from nothingness out of nowhere.
　The other is the contrapositive Balcan sentence (N (∀x) Px → (∀x) NPx) that means “Q is existing and it is impossible that Q can’t exist in future” and denies the extinction to nothingness.
　When the nothingness of Kawabata intersects with love, it sublates. In other words, it already exists and does so in future. Considering this, existing nothingness can adjust with the Balcan principle and the combination of “nothingness and creation” becomes possible. But what is it in terms of a scientific approach? To resolve the problem, I define Kawabata’s creation as the ideal form composed of theorem and formula, and see the characters as artificial and deformed processing.

花村嘉英（2019）「川端康成の「雪国」から見えてくるシナジーのメタファーとは−『無と創造』から『目的達成型の認知発達』へ」より　translated by Yoshihisa Hanamura

　Feelings are divided into instantaneous emotion and continual awe, and emotion can be classified into internal emergence and external inducement. Feelings are supposed to combine with behavior, and when I analyzed “Sansho the Bailiff” and “Jingoro Sahashi” of Ogai Mori, I explained how to make the synergic metaphor of “Ogai and feelings” (Hanamura 2017). Facial expressions get stimulated from five senses, therefore they are induced. But if repressed feelings appear for some reason, the feelings emerge.
This paper explains the issue of whether the output of “nothingness and creation” of the reading brain can reach its objective or not. Moreover, I set facial expression as the second column of informative cognition 1 to combine with artificial feelings and I derive the formula (1).

（1）“nothingness and creation”（the output of the reading brain）
“（five senses）informative cognition 1 and facial expression”
“artificial feelings”
“cognitive development”

　Where I can confirm （1）, the synergic metaphor of “Yasunari Kawabata and cognitive development” will come into effect.
　Hanamura （2019）explains that “nothingness and creation” appears in the analysis of the language of modal quantity logic and the model structure.
　There is a modal sentence called the Balcan principle. One part is the Balcan sentence ( (∀x) NPx → N(∀x) Px): N is necessity, P is existence) which means “if Word Q exists, Q already exists” to the model structure MQ ＜K,R,D＞（K is a non-empty set of ‘possible world’, R is thea reflexive relation with K, and D is the domain of individuality）and is the statement that dispels the creation from nothingness out of nowhere.
　When the nothingness of Kawabata intersects with love, it sublates. In other words, it already exists and does so in future. Considering this, existing nothingness can adjust with the Balcan principle and the combination of “nothingness and creation” becomes possible. But what is it in terms of a scientific approach? To resolve the problem, I define Kawabata’s creation as the ideal form composed of theorem and formula, and see the characters as artificial and deformed processing.
　Hanamura（2019）explains that facial expressions show human character and the mental state or physiological state of human beings. Character is used to evaluate character physiognomically and psychology, and physiology uses the facial information to understand the other person and physical condition. The creation by Kawabata also tries to set the ideal type and to form the character including artificial abnormality.
　Moreover, artificial feelings are applied to create a photomontage of police.

花村嘉英（2019）「川端康成の「雪国」から見えてくるシナジーのメタファーとは−『無と創造』から『目的達成型の認知発達』へ」より　translated by Yoshihisa Hanamura

4 Cognitive development type robotics

　Conventional robotics set out as the coalescence between intelligence and body. But it is hard to fit in, therefore one would conclude that such a robot acts and learns by itself in the design stage. This is so-called cognitive development type robotics.
　Hanamura （2019）explains that cognitive development type robotics is the dynamic intelligence that initially starts with an incomplete robot (intelligence and body), and then lets the robot develop this from communication and behavior.
　Cognitive development robots start with undeveloped intelligence and body, and team up with objective achievement type robots. For example, a cleaning robot doesn’t understand at first where a room gets dusty. But, by cleaning repeatedly, the robot learns that the room gets dusty under the sofa. Then when it moves there, the suction action commences automatically.
　In Kawabata’s “Snow Country”, the nothingness that sublates by combining with love is an uneducated intelligence and love is the active body, and they disallow each other and develop into a higher unity. The unity is an affection which Kawabata wrote gratefully, and it combines with objective achievement type AI. Love is to appreciate and hold near and dear, for example, a love of study or embracement of man and woman or parent and child, and an affection is the heart to give someone their love.
　A main character originally exists as substance and there is an individual that Kawabata molds the main character and gradually shapes him. This is his creation. I will research the substance and the individual which Kawabata pursued, while associating the facial expressions read from “Snow Country”. The facial expression is used in every roman letter when explaining the characters, and it is compatible with the input and output of a facial system besides sense organs (five senses) receiving information from the external world.

花村嘉英（2019）「川端康成の「雪国」から見えてくるシナジーのメタファーとは−『無と創造』から『目的達成型の認知発達』へ」より　translated by Yoshihisa Hanamura

3 Synergic reading

　The output of the reading brain (linguistic cognition) seen as “nothingness and creation” slides aside during the input of informative cognition. This process needs to adjust to academic achievement by actual practice and qualification to prevent non-special lines (social science, informative science, biological science and medical science) from being kept intact as a black box (Hanamura 2015 and Hanamura 2017). Actually, there is a L format such as “culture and nourishment” and “law and energy” in cultural science and social science, but art and science do not have any L model or the like.
　However, in this paper I set the research format to the vertical axis as linguistic cognition and the horizontal as informative cognition on the L model because it is useful to merge the reading and writing brain. I can recognize what an author wanted to convey by writing because I can not only understand the language, but also my reading brain draws near to the writing brain of the author.
　When the research format is only vertical, I adjust the poles of art and culture or other minor subjects by sliding the cognitive ruler.
　When reading each sentence by L, I can find the goal gradually while creating the relational database. What does it show in the world of AI or the brain activity of healthy people? I believe that an uneducated AI will grow bit by bit in consideration of a specific purpose. In this sense, I could create the combination with Kawabata by imaging a person.
　Furthermore, the database of a novel is the relational research tool by which I can check against existing literature analyses and various science research. It is the combination between arts and informatics that humanities researchers should deal with besides corpus, parser, machine translation (memory) and quantitative linguistics.

花村嘉英（2019）「川端康成の「雪国」から見えてくるシナジーのメタファーとは−『無と創造』から『目的達成型の認知発達』へ」より　translated by Yoshihisa Hanamura

2 Nothingness and creation

　I interpret the reading brain of “Snow Country” with “nothingness and creation”, because a researcher Mizuho Takada defined his nothingness as follows.
　His nothingness is the feeling that can be seen as the origin of Kawabata who grew up as an orphan, in a wider, bigger and more free reality than all existence. The nothingness stemming from his little-known father and mother can lead to being bigger than a blue sky, and Kawabata’s literature came into the world with a fusion of love and death. In particular when nothingness goes with love, the implication of sublation, that is, an affection appears and with love comes death, the combination makes a grand leap forward to the sky, or it lies buried in the ground. Two conflicting concepts reply to each other by sublation, while they develop as a high level unit.
　Moreover Takada explains the creation of Kawabata. Kawabata plays with animal life and biology when writing his novels and defines an ideal form and grows it as artificial and deformed. For example in Snow Country, Shimamura is an introspective, muttering and emotional being, Komako is a woman with memorable fingers, and Yoko is a woman with a fire in her eye. These are the creations of Kawabata.
　Actually, his own background is lonely and the novels of Kawabata including Snow Country reflect a grateful heart. Shimamura reciprocates with Komako in Snow Country. For example, Komako thanks the old lady for her care of the child, but scolds her a little. Komako receives thanks as a servant for the small acts of kindness from the old lady, while she considers her own situation because nobody sets up a clean bed for her.

花村嘉英（2019）「川端康成の「雪国」から見えてくるシナジーのメタファーとは−『無と創造』から『目的達成型の認知発達』へ」より　translated by Yoshihisa Hanamura

1　Synergic metaphor

　The analysis of literature is based on the interpreting mind of a reader, while a synergic metaphor is the macro analysis method used to research the writing brain of an author．Basically, I use the shape of an “ L ” to denote the reading brain on its vertical arm and the writing brain on the horizontal arm．I then create a database by plotting each scene on the L graph．Next, I build an ensemble of many combinations to merge both cognitive activities, and look for the path of a signal within the brain．
　Synergic metaphors that I devised previously are “Thomas Mann and fuzzy”, “Luxun and chaos”, “Ogai Mori and feeling” and “Nadine Gordimer and motivation”. I considered the writing style as the writing brain of each author, in particular the problem-solving scene is a significant object of analysis. This time I selected “Snow Country” (1948) by Yasunari Kawabata (1899 - 1972) and consider “nothingness and creation” as his reading brain, and the object achievement type cognitive development as his writing brain.

花村嘉英（2019）「川端康成の「雪国」から見えてくるシナジーのメタファーとは−『無と創造』から『目的達成型の認知発達』へ」より　translated by Yoshihisa Hanamura

3　まとめ
　
　リレーショナル・データベースの数字及びそこから求めた標準偏差により、川端康成の「雪国」に関して部分的ではあるが、既存の分析例が説明できている。従って、この小論の分析方法、即ちデータベースを作成する文学研究は、データ間のリンクなど人の目には見えないものを提供してくれるため、これまでよりも客観性を上げることに成功している。

【参考文献】
花村嘉英　計算文学入門−Thomas Mannのイロニーはファジィ推論といえるのか？　新風舎　2005
花村嘉英　森鴎外の「山椒大夫」のＤＢ化とその分析 中国日语教学研究会江苏分会 2015
花村嘉英　从认知语言学的角度浅析鲁迅作品−魯迅をシナジーで読む　華東理工大学出版社　2015
花村嘉英　日语教育计划书−面向中国人的日语教学法与森鸥外小说的数据库应用　日本語教育のためのプログラム−中国語話者向けの教授法から森鴎外のデータベースまで　南京東南大学出版社　2017
花村嘉英　从认知语言学的角度浅析纳丁・戈迪默　ナディン・ゴーディマと意欲　華東理工大学出版社　2018
花村嘉英　川端康成の「雪国」から見えてくるシナジーのメタファーとはー「無と創造」から「目的達成型の認知発達」へ　中国日语教学研究会上海分会論文集　2018

2.2　標準偏差による分析

　グループＡ、グループＢ、グループＣ、グループＤそれぞれの標準偏差を計算する。その際、場面1、場面2、場面3の特性1と特性2のそれぞれの値は、質量ではなく指標であるため、特性の個数を数えて算術平均を出し、それぞれの値から算術平均を引き、その2乗の和集合の平均を求め、これを平方に開いていく。
　求められた各グループの標準偏差の数字は、何を表しているのだろうか。数字の意味が説明できれば、分析は、一応の成果が得られたことになる。　

◆グループＡ：五感（1視覚と2その他）
場面1（特性1、5と特性2、0）の標準偏差は、0となる。
場面2（特性1、5と特性2、0）の標準偏差は、0となる。
場面3（特性1、4と特性2、1）の標準偏差は、0.4となる。
【数字からわかること】
場面1、場面2、場面3を通して、視覚情報が多いため、「雪国」は、五感の中で視覚情報が鍵になる作品といえる。

◆グループＢ：ジェスチャー（1直示と2隠喩）
場面1（特性1、3と特性2、2）の標準偏差は、0.49となる。
場面2（特性1、2と特性2、3）の標準偏差は、0.49となる。
場面3（特性1、4と特性2、1）の標準偏差は、0.4となる。
【数字からわかること】
「雪国」は、当時の世相を反映させた作品のため、場面1、場面2、場面3を通して、隠喩が少ないことがわかる。

◆グループＣ：情報の認知プロセス（1旧情報と2新情報）
場面1（特性1、2と特性2、3）の標準偏差は、0.49となる。
場面2（特性1、2と特性2、3）の標準偏差は、0.49となる。
場面3（特性1、0と特性2、5）の標準偏差は、0となる。
【数字からわかること】
場面1、場面2、場面3を通して、新情報の2が多いため、ストーリーがテンポよく展開していることがわかる。

◆グループＤ：情報の認知プロセス（1問題解決と2未解決）
場面1（特性1、1と特性2、4）の標準偏差は、0.4となる。
場面2（特性1、0と特性2、5）の標準偏差は、0となる。
場面3（特性1、1と特性2、4）の標準偏差は、0.4となる。
【数字からわかること】
「雪国」は、戦中戦後の日本の一つのストーリーを反映した作品のため、場面1、場面2、場面3を通して、問題未解決が多いことがわかる。

花村嘉英（2018）「川端康成の『雪国』のバラツキについて」より

場面3　駒子の叫び

駒子の叫びは島村の身内を貫いた。葉子の腓が痙攣するのといっしょに、島村の足先まで冷たい痙攣が走った。なにかせつない苦痛と悲哀とに打たれて、動悸が激しかった。
A２B１C２D２

葉子の痙攣は目にとまらぬほどかすかのもので、すぐに止んだ。
その痙攣よりも先きに、島村は葉子の顔と赤い矢絣の着物を見ていた。葉子は仰向けに落ちた。片膝の少し上まで裾がまくれていた。地上にぶつかっても、腓が痙攣しただけで、失心したままらしかった。
A１B１C２D２

島村はやはりなぜか死は感じなかったが、葉子の内生命が変形する、その移り目のようなものを感じた。
A１B２C２D２

葉子を落とした二階桟敷から骨組の木が二三本傾いて来て、葉子の顔の上で燃え出した。葉子はあの刺すように美しい目をつぶっていた。あごを突き出して、首の線が伸びていた。火明りが青白い顔の上を揺れ通った。
A１B１C２D２

幾年か前、島村がこの温泉場へ駒子に会いに来る汽車のなかで、葉子の顔のただなかに野山のともし火がともった時のさまをはっと思い出して、島村はまた胸が顫えた。
A１B２C１D１

花村嘉英（2018）「川端康成の『雪国』のバラツキについて」より

場面2　東京

「君が東京でさしずめ落ちつく先とか、なにをしたいとかいうことくらいきまってないと危ないじゃないか。」
「女一人くらいどうにでもなりますわ。」と、葉子は言葉尻が美しく吊り上がるように言って、島村を見つめたまま、
「女中に使っていただけませの？」
A１B１C２D１

「なあんだ、女中にか？」
「女中はいらんです。」
「この前東京にいた時は、なにをしてたんだ。」
「看護婦です。」
「病院か学校に入ってたの。」
「いいえ、ただなりたいと思っただけですわ。」
A１B１C１D２

島村はまた汽車のなかで師匠の息子を介抱していた葉子の姿を思い出して、あの真剣さのうちには葉子の志望も現れていたのか微笑まれた。
A１B２C１D２

「それじゃ今度も看護婦の勉強がしたいんだね。」
「看護婦にはもうなりません。」
「そんな根なしじゃいけないね。」
「あら、根なしじゃいけないね。」
「あら、根なんて、いやだわ。」と、葉子は弾き返すように笑った。
A１B２C２D２

その笑い声も悲しいほど高くすんでいるので、白痴じみて聞こえなかった。しかし島村の心の殻を空しく叩いて消えてゆく。
「なにがおかしいんだ。」
「だって、私は一人の人しか看病しないんです。」
A１B２C２D２

花村嘉英（2018）「川端康成の『雪国』のバラツキについて」より