日本の落書き | オピニオン | 英語のニュース | The Japan Times ST オンライン

<table> <tr> <td colspan="9"><a href="/top.html"><h2>週刊ＳＴオンライン</h2></a></td></tr> <tr><td colspan="9"><p>英字新聞社ジャパンタイムズによる英語学習サイト。英語のニュース、英語教材、リスニング、英語の発音、ことわざ、などのコンテンツを無料で提供。</p></td></tr> <tr> <td><a href="/english_news/english_news.htm"><h4>英語のニュース</h4></a></td> <td><a href="/entertainment/entertainment.htm"><h4>英語とエンタメ</h4></a></td> <td><a href="/pronunciation/pronunciation.htm"><h4>リスニング・発音</h4></a></td> <td><a href="/native_english/native_english.htm"><h4>ことわざ・フレーズ<h4></a></td> <td><a href="/writer/writer.htm"><h4>英語とお仕事</h4></a></td> <td><a href="/kids/kids.htm"><h4>クイズ・パズル</h4></a></td> <td><a href="/study_abroad/study_abroad.htm"><h4>留学・海外生活</h4></a></td> <td><a href="/stories/stories.htm"><h4>留学英語のものがたり</h4></a></td> <td><a href="/toeic/toeic.htm"><h4>会話・検定</h4></a></td> </tr></table> <ul><li><a href="/english_news/english_news.htm">英語のニュース</a><br /><ul> <li><a href="/english_news/news/news.htm">ニュース</a></li> <li><a href="/english_news/editorial/editorial.htm">社説</a></li> <li><a href="/english_news/essay/essay.htm">エッセー</a></li> <li><a href="/english_news/opinion/opinion.htm">オピニオン</a></li> </ul> </li> </ul> <h2>このページはフレーム対応ブラウザ用に作成されています。下のリンクは非フレーム使用ページですのでそちらをご覧ください。</h1><br /> <h3><a href="op20000512main.htm?print=noframe">この記事の脚注を吹き出しにして表示するページへ</a></h3><br /> <h2>この記事をプリントする</h2><br /> <h3><a href="op20000512main.htm?print=english">英文をプリント</a></h3><br /> <h3><a href="op20000512main.htm?print=japanese">脚注をプリント</a></h3><br /><br /><br /> <br /><hr size="1" noshade /> <br /><br /><h3>日本の落書き</h3><br /> <p> 日本の落書き筆者がよく使う東京の世田谷線の駅では、最近、落書きに対する警告の表示が目立っている。公共の壁にスプレー書きされているのは芸術なのか、それとも迷惑な落書きか…？ </p><br /> <br /> <h3>Japanese Graffiti By DAVID ZOPPETTI </CENTER> <A HREF="op20000512chu.htm#Latel">Lately</A>, my <A HREF="op20000512chu.htm#atten">attention has been drawn by</A> police <A HREF="op20000512chu.htm#notic">notices</A> in the Setagaya Line station I usually use. According to these, more and more "wall-painting" <A HREF="op20000512chu.htm#incid">incidents</A> <A HREF="op20000512chu.htm#areXo">are occurring along the line</A>. People, <A HREF="op20000512chu.htm#presu">presumably</A> youngsters, are entering by the tracks at night and spray painting both public walls and private houses. Anyone <A HREF="op20000512chu.htm#witne">witnessing</A> this kind of activity is to report it to the nearest police station immediately, the posters say. In other words, <A HREF="op20000512chu.htm#witch">witch hunting</A> for graffiti <A HREF="op20000512chu.htm#delin">delinquents</A> has started in this quiet neighborhood as it has in so many other places of the world. Graffiti, or wall paintings, <A HREF="op20000512chu.htm#origi">originated</A> in the early '70s in New York as <A HREF="op20000512chu.htm#oneXa">one aspect of</A> the new <A HREF="op20000512chu.htm#hip-h">hip-hop culture</A>, which — if you <A HREF="op20000512chu.htm#areXn">are not familiar with</A> it — <A HREF="op20000512chu.htm#revol">revolves around</A> rap music, break dancing, DJ-ing — and graffiti. Traveling to any city in Europe or the United States, it is impossible not to notice spray painting on walls <A HREF="op20000512chu.htm#pract">practically</A> everywhere. Graffiti <A HREF="op20000512chu.htm#range">ranges from</A> simple and unattractive <A HREF="op20000512chu.htm#scrib">scribbling</A> <A HREF="op20000512chu.htm#range">to</A> funny-shaped <A HREF="op20000512chu.htm#lette">letters</A>, but also to <A HREF="op20000512chu.htm#rathe">rather elaborate and skillful drawings</A>. When I <A HREF="op20000512chu.htm#runXi">run into</A> it, I usually have a hard time deciding whether I <A HREF="op20000512chu.htm#amXco">am contemplating</A> some new <A HREF="op20000512chu.htm#authe">authentic</A> form of art or simply a <A HREF="op20000512chu.htm#degen">degenerate</A> act of <A HREF="op20000512chu.htm#vanda">vandalism</A>. I do think, however, that obviously <A HREF="op20000512chu.htm#ugly">ugly</A> and <A HREF="op20000512chu.htm#meani">meaningless</A> writings covering the <A HREF="op20000512chu.htm#facad">facade</A> of a historical <A HREF="op20000512chu.htm#monum">monument</A> or the walls of a nice building definitely belong to the <A HREF="op20000512chu.htm#latte">latter group</A>! The hip-hop movement reached Japan about 10 years ago. But the <A HREF="op20000512chu.htm#Mecca">Mecca</A> of wall painting here has been the 1.5-kilometer-long wall under Sakuragicho Station in Yokohama for close to 30 years now. Until recently, <A HREF="op20000512chu.htm#passe">passersby</A> usually had positive comments, but the recent appearance of more <A HREF="op20000512chu.htm#aggre">aggressive</A> graffiti is causing <A HREF="op20000512chu.htm#react">reactions of rejection similar to those encountered elsewhere</A>. The <A HREF="op20000512chu.htm#commo">common denominator</A> for most graffiti <A HREF="op20000512chu.htm#adept">adepts</A> is the thrill of entering a forbidden area and completing a painting without getting caught. <A HREF="op20000512chu.htm#Behin">Behind this lies</A> a <A HREF="op20000512chu.htm#fasci">fascination for</A> the <A HREF="op20000512chu.htm#provo">provocative</A> and <A HREF="op20000512chu.htm#rebel">rebellious</A> aspects of <A HREF="op20000512chu.htm#perpe">perpetrating</A> an illegal act — and usually results in little more than <A HREF="op20000512chu.htm#hasty">hasty</A> scribbling on the wall. But on the other hand, there are artists who have a <A HREF="op20000512chu.htm#genui">genuine</A>, positive desire to produce deli cate visual works of art that can be enjoyed by many in public places. And some of them <A HREF="op20000512chu.htm#talen">are</A> really <A HREF="op20000512chu.htm#talen">talented</A>. I have seen wall paintings in cities around the world that were both elaborate and <A HREF="op20000512chu.htm#spect">spectacular</A>: <A HREF="op20000512chu.htm#repro">reproductions</A> of famous paintings, highly original and <A HREF="op20000512chu.htm#imagi">imaginative</A> <A HREF="op20000512chu.htm#lands">landscapes</A>, <A HREF="op20000512chu.htm#aeria">aerial views</A> of <A HREF="op20000512chu.htm#futur">futuristic</A> cities. So how should we <A HREF="op20000512chu.htm#dealX">deal with</A> this new trend, with its <A HREF="op20000512chu.htm#under">underlying duality</A> of <A HREF="op20000512chu.htm#goodX">good and evil</A>, <A HREF="op20000512chu.htm#destr">destructiveness</A> and creativity? One <A HREF="op20000512chu.htm#solut">solution</A> might be to provide more <A HREF="op20000512chu.htm#offic">"official"</A> space for graffiti artists, for instance <A HREF="op20000512chu.htm#tempo">temporary architectural structures</A>, or those huge <A HREF="op20000512chu.htm#insip">insipid protection fences</A> surrounding major <A HREF="op20000512chu.htm#const">construction sites</A> could be used. Of course, making things like this official probably <A HREF="op20000512chu.htm#goesX">goes against the spirit of</A> graffiti expression, and certainly removes most of its thrill, but it would certainly protect public and private property more efficiently than simply trying to arrest <A HREF="op20000512chu.htm#offen">offenders</A>. Who knows? What we now see as ugly scribbling on the wall might one day be valued by <A HREF="op20000512chu.htm#archa">archaeologists</A> as remarkable and valuable <A HREF="op20000512chu.htm#fresc">frescoes</A> <A HREF="op20000512chu.htm#repre">representing</A> the spirit and <A HREF="op20000512chu.htm#essen">essence of our era</A>. </h3><br /> <p> <A HREF="#Latel">Lately</A>, my <A HREF="#atten">attention has been drawn by</A> police <A HREF="#notic">notices</A> in the Setagaya Line station I usually use. According to these, more and more "wall-painting" <A HREF="#incid">incidents</A> <A HREF="#areXo">are occurring along the line</A>. People, <A HREF="#presu">presumably</A> youngsters, are entering by the tracks at night and spray painting both public walls and private houses. Anyone <A HREF="#witne">witnessing</A> this kind of activity is to report it to the nearest police station immediately, the posters say.<P> In other words, <A HREF="#witch">witch hunting</A> for graffiti <A HREF="#delin">delinquents</A> has started in this quiet neighborhood as it has in so many other places of the world.<P> Graffiti, or wall paintings, <A HREF="#origi">originated</A> in the early '70s in New York as <A HREF="#oneXa">one aspect of</A> the new <A HREF="#hip-h">hip-hop culture</A>, which — if you <A HREF="#areXn">are not familiar with</A> it — <A HREF="#revol">revolves around</A> rap music, break dancing, DJ-ing — and graffiti.<P> Traveling to any city in Europe or the United States, it is impossible not to notice spray painting on walls <A HREF="#pract">practically</A> everywhere. Graffiti <A HREF="#range">ranges from</A> simple and unattractive <A HREF="#scrib">scribbling</A> <A HREF="#range">to</A> funny-shaped <A HREF="#lette">letters</A>, but also to <A HREF="#rathe">rather elaborate and skillful drawings</A>.<P> When I <A HREF="#runXi">run into</A> it, I usually have a hard time deciding whether I <A HREF="#amXco">am contemplating</A> some new <A HREF="#authe">authentic</A> form of art or simply a <A HREF="#degen">degenerate</A> act of <A HREF="#vanda">vandalism</A>. I do think, however, that obviously <A HREF="#ugly">ugly</A> and <A HREF="#meani">meaningless</A> writings covering the <A HREF="#facad">facade</A> of a historical <A HREF="#monum">monument</A> or the walls of a nice building definitely belong to the <A HREF="#latte">latter group</A>!<P> The hip-hop movement reached Japan about 10 years ago. But the <A HREF="#Mecca">Mecca</A> of wall painting here has been the 1.5-kilometer-long wall under Sakuragicho Station in Yokohama for close to 30 years now. Until recently, <A HREF="#passe">passersby</A> usually had positive comments, but the recent appearance of more <A HREF="#aggre">aggressive</A> graffiti is causing <A HREF="#react">reactions of rejection similar to those encountered elsewhere</A>.<P> The <A HREF="#commo">common denominator</A> for most graffiti <A HREF="#adept">adepts</A> is the thrill of entering a forbidden area and completing a painting without getting caught. <A HREF="#Behin">Behind this lies</A> a <A HREF="#fasci">fascination for</A> the <A HREF="#provo">provocative</A> and <A HREF="#rebel">rebellious</A> aspects of <A HREF="#perpe">perpetrating</A> an illegal act — and usually results in little more than <A HREF="#hasty">hasty</A> scribbling on the wall.<P> But on the other hand, there are artists who have a <A HREF="#genui">genuine</A>, positive desire to produce deli cate visual works of art that can be enjoyed by many in public places. And some of them <A HREF="#talen">are</A> really <A HREF="#talen">talented</A>. I have seen wall paintings in cities around the world that were both elaborate and <A HREF="#spect">spectacular</A>: <A HREF="#repro">reproductions</A> of famous paintings, highly original and <A HREF="#imagi">imaginative</A> <A HREF="#lands">landscapes</A>, <A HREF="#aeria">aerial views</A> of <A HREF="#futur">futuristic</A> cities.<P> So how should we <A HREF="#dealX">deal with</A> this new trend, with its <A HREF="#under">underlying duality</A> of <A HREF="#goodX">good and evil</A>, <A HREF="#destr">destructiveness</A> and creativity?<P> One <A HREF="#solut">solution</A> might be to provide more <A HREF="#offic">"official"</A> space for graffiti artists, for instance <A HREF="#tempo">temporary architectural structures</A>, or those huge <A HREF="#insip">insipid protection fences</A> surrounding major <A HREF="#const">construction sites</A> could be used.<P> Of course, making things like this official probably <A HREF="#goesX">goes against the spirit of</A> graffiti expression, and certainly removes most of its thrill, but it would certainly protect public and private property more efficiently than simply trying to arrest <A HREF="#offen">offenders</A>.<P> Who knows? What we now see as ugly scribbling on the wall might one day be valued by <A HREF="#archa">archaeologists</A> as remarkable and valuable <A HREF="#fresc">frescoes</A> <A HREF="#repre">representing</A> the spirit and <A HREF="#essen">essence of our era</A>. <P><FONT SIZE=3><B>Shukan ST: May 12, 2000</B></FONT><br /> <FONT SIZE=1>(C) All rights reserved</p><br /> <br /> <p> <DL><P> <P><DT><A NAME="Latel"><B>Lately</B></A><DD>最近 <P><DT><A NAME="atten"><B>attention has been drawn by <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>に注意を引かれている <P><DT><A NAME="notic"><B>notices</B></A><DD>通告 <P><DT><A NAME="incid"><B>incidents</B></A><DD>事件 <P><DT><A NAME="areXo"><B>are occuring along the line</B></A><DD>その路線沿いで起こっている <P><DT><A NAME="presu"><B>presumably</B></A><DD>おそらく <P><DT><A NAME="witne"><B>witnessing</B></A><DD>目撃した <P><DT><A NAME="witch"><B>witch hunting</B></A><DD>異分子と見られる人を捜し出して制裁を加えること <P><DT><A NAME="delin"><B>delinquents</B></A><DD>非行者 <P><DT><A NAME="origi"><B>originated</B></A><DD>始まった <P><DT><A NAME="oneXa"><B>one aspect of <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>の一面 <P><DT><A NAME="hip-h"><B>hip-hop culture</B></A><DD>ラップソング、ブレイクダンス、グラフィティなどを含む、街の若者文化 <P><DT><A NAME="areXn"><B>are not familiar with <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>についてあまりよく知らない <P><DT><A NAME="revol"><B>revolves around <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>が中心となっている <P><DT><A NAME="pract"><B>practically</B></A><DD>事実上 <P><DT><A NAME="range"><B>ranges from <TT> </TT>～<TT> </TT> to <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>から<TT> </TT>～<TT> </TT>にまでいたる <P><DT><A NAME="scrib"><B>scribbling</B></A><DD>なぐり書き <P><DT><A NAME="lette"><B>letters</B></A><DD>文字 <P><DT><A NAME="rathe"><B>rather elaborate and skillful drawings</B></A><DD>かなり手の込んだ、見事な絵 <P><DT><A NAME="runXi"><B>run into <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>に出合う <P><DT><A NAME="amXco"><B>am contemplating <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>を鑑賞している <P><DT><A NAME="authe"><B>authentic</B></A><DD>本物の <P><DT><A NAME="degen"><B>degenerate</B></A><DD>堕落した <P><DT><A NAME="vanda"><B>vandalism</B></A><DD>公共物の汚損行為 <P><DT><A NAME="ugly"><B>ugly</B></A><DD>醜い <P><DT><A NAME="meani"><B>meaningless</B></A><DD>無意味な <P><DT><A NAME="facad"><B>facade</B></A><DD>前面 <P><DT><A NAME="monum"><B>monument</B></A><DD>記念建造物 <P><DT><A NAME="latte"><B>latter group</B></A><DD>後者（汚損行為のこと） <P><DT><A NAME="Mecca"><B>Mecca</B></A><DD>活動や関心の中心となる場所 <P><DT><A NAME="passe"><B>passersby</B></A><DD>通りがかりの人 <P><DT><A NAME="aggre"><B>aggressive</B></A><DD>攻撃的な <P><DT><A NAME="react"><B>reactions of rejection similar to those encountered elsewhere</B></A><DD>ほかの街の落書きに対するのと同じような拒絶反応 <P><DT><A NAME="commo"><B>common denominator</B></A><DD>共通の特徴 <P><DT><A NAME="adept"><B>adepts</B></A><DD>達人 <P><DT><A NAME="Behin"><B>Behind this lies <TT> </TT>～<TT> </TT></B></A><DD>その裏には<TT> </TT>～<TT> </TT>がある <P><DT><A NAME="fasci"><B>fascination for <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>に魅了されること <P><DT><A NAME="provo"><B>provocative</B></A><DD>挑発的な <P><DT><A NAME="rebel"><B>rebellious</B></A><DD>反抗的な <P><DT><A NAME="perpe"><B>perpetrating <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>を犯す <P><DT><A NAME="hasty"><B>hasty</B></A><DD>あわただしい <P><DT><A NAME="genui"><B>genuine</B></A><DD>心からの <P><DT><A NAME="talen"><B>（are）talented</B></A><DD>才能のある <P><DT><A NAME="spect"><B>spectacular</B></A><DD>壮観な <P><DT><A NAME="repro"><B>reproductions</B></A><DD>模写 <P><DT><A NAME="imagi"><B>imaginative</B></A><DD>想像力に富んだ <P><DT><A NAME="lands"><B>landscapes</B></A><DD>景色 <P><DT><A NAME="aeria"><B>aerial views</B></A><DD>空から見下ろした図 <P><DT><A NAME="futur"><B>futuristic</B></A><DD>未来の <P><DT><A NAME="dealX"><B>deal with <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>に対処する <P><DT><A NAME="under"><B>underlying duality</B></A><DD>根元的な二重性 <P><DT><A NAME="goodX"><B>good and evil</B></A><DD>善と悪 <P><DT><A NAME="destr"><B>destructiveness</B></A><DD>破壊的なこと <P><DT><A NAME="solut"><B>solution</B></A><DD>解決法 <P><DT><A NAME="offic"><B>"official"</B></A><DD>公認の <P><DT><A NAME="tempo"><B>temporary architectural structures</B></A><DD>仮設の建築物 <P><DT><A NAME="insip"><B>insipid protection fences</B></A><DD>無味乾燥な防護フェンス <P><DT><A NAME="const"><B>construction sites</B></A><DD>建築工事現場 <P><DT><A NAME="goesX"><B>goes against the spirit of <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>の精神に反する <P><DT><A NAME="offen"><B>offenders</B></A><DD>違反者 <P><DT><A NAME="archa"><B>archaeologists</B></A><DD>考古学者 <P><DT><A NAME="fresc"><B>frescoes</B></A><DD>壁画 <P><DT><A NAME="repre"><B>representing <TT> </TT>～<TT> </TT></B></A><DD><TT> </TT>～<TT> </TT>を示す <P><DT><A NAME="essen"><B>essence of our era</B></A><DD>私たちの時代の本質 <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME="<br />"><B><br /> <P><DT><A NAME=" "><B></DL></p> <br /> <hr size="1" noshade /> <ul> <li><a href="/st_contributors.htm">執筆者リスト</a></li> <li><a href="/st_contributors.htm">ＳＴについて</a></li> <li><a href="/st_faq.htm">よくある質問</a></li> <li><a href="/st_advertise.htm">広告掲載</a></li> <li><a href="/st_contactus.htm">お問い合わせ</a></li> <li><a href="/st_our_company.htm">会社概要</a></li> <li><a href="/st_privacypolicy.htm">プライバシーポリシー</a></li> <li><a href="/st_linkpolicy.htm">リンクポリシー</a></li> <li><a href="/st_copyright.htm">著作権</a></li> <li><a href="/st_sitemap.htm">サイトマップ</a></li> <br /> <li><a href="/"><i>トップページに戻る</i></a></li> </ul>