?? ??? ??? ????? ?? ??? (Ryukei Yano and the Media Literacy in Modern Japan)

In this article, we analyse the stylistics of Ryukei Yano by examining Nihon Buntai Moji Shinron. Our analysis suggests that he presented the so called ��double stylistics�� as an ideal stylistics to convey to a number of people what he learned in modern Japan. His stylistics stands out among the contemporaneous intellectuals in that it was not affected by the illusion of verbal written unity, a sound centred principle, and that it surpassed the mere idealism of the scholars of kana stylistics and roman alphabet stylistics. He was also aware of the inefficiency of the existing kambun stylistics and the difficulty of learning kanji, but he objected to the kango abolishing movement, paying attention to the advantages of kango; it complements the phonetic aspects of Japanese native words, it is visually easily recognisable, and it is economical in terms of the printing media. Yano proposed the double stylistics as an intermediate semiotic system by properly resolving the following dichotomic factors: (i) language and sentence, (ii) voice and characters, and (iii) kanji (ideogram) and kana (phonogram). The double stylistics supported the publishing capitalism most effectively in modern Japan. In the history of the Japanese literature, compared with the analyses of modern novels based on verbal written unity, Yano��s stylistics analysed official documents and it may be viewed as a sideline of the modern stylistics. Still, his stylistics should be re evaluated as a critical alternative to the analysis based on verbal written unity.

In this article, we analyse the stylistics of Ryukei Yano by examining Nihon Buntai Moji Shinron. Our analysis suggests that he presented the so called ��double stylistics�� as an ideal stylistics to convey to a number of people what he learned in modern Japan. His stylistics stands out among the contemporaneous intellectuals in that it was not affected by the illusion of verbal written unity, a sound centred principle, and that it surpassed the mere idealism of the scholars of kana stylistics and roman alphabet stylistics. He was also aware of the inefficiency of the existing kambun stylistics and the difficulty of learning kanji, but he objected to the kango abolishing movement, paying attention to the advantages of kango; it complements the phonetic aspects of Japanese native words, it is visually easily recognisable, and it is economical in terms of the printing media. Yano proposed the double stylistics as an intermediate semiotic system by properly resolving the following dichotomic factors: (i) language and sentence, (ii) voice and characters, and (iii) kanji (ideogram) and kana (phonogram). The double stylistics supported the publishing capitalism most effectively in modern Japan. In the history of the Japanese literature, compared with the analyses of modern novels based on verbal written unity, Yano��s stylistics analysed official documents and it may be viewed as a sideline of the modern stylistics. Still, his stylistics should be re evaluated as a critical alternative to the analysis based on verbal written unity.