宅男 otaku，玄關

iWoz 新書快遞》科技宅男的豐富人生

hc曰: 世紀因誤會而喧賓奪主

日語原文 おたく 假名 おたく 羅馬字 otaku

御宅族

一般指熱衷於動畫、漫畫及電腦遊戲等次文化的人，但目前於日本已普遍為各界人士使用而趨於中性，其中也有以自己身為御宅族為傲的人。而對於歐美地區的日本動漫迷來說，這詞語的褒貶感覺因人而異。目前，在日文中御宅族一詞有擴及適用在熱衷於主流文化的興趣、甚至是在職業領域中具有較深造詣的人的趨勢。

「……自己在家裡不出門很宅，或是那些整天上網的人根本是宅男，從這段時間開始便是「宅男」一詞開始在台灣大肆流行。……」

hc 的gmaik紀錄它是2005年7月

Japan hails the return of the nerds

Justin McCurry in Tokyo
Saturday July 16, 2005
The Guardian
Akihabara is an unlikely backdrop to a counterculture that is sweeping Japan.
The restaurants in Tokyo's consumer electronics district are of the fast-food variety. There is not a plush boutique or trendy bar to be seen, and the architecture is down-at-heel. It is one of very few neighbourhoods where the air is thick with the stench of rotting bin bags.
Yet hordes of young men cannot stay away. They are the otaku - geeks in their 20s and 30s who come here to satisfy their appetite for manga comics, television games, animation, whiling away the hours in "cosplay" (costume play) cafes where they are served by young women dressed as anything from French maids to cartoon characters.
It isn't surprising that otaku - which means "your house" and is used as an ultra-polite word for "you" - have long been derided as weirdos.
With poor dress sense, lack of social skills, and obsessive pursuit of their hobbies, they were once pilloried as everything that was wrong with the modern Japanese male.
But they are gaining respectability, as the society that once dismissed now attempts to understand them.
A good place to start is the At Home Cafe, one of about a dozen establishments in Akihabara that caters for otaku. Customers are greeted by women dressed as French maids. For an extra 1,000 yen (£5), they will change into a schoolgirl's uniform before serving coffee, lovingly stirring in every teaspoonful of sugar.
Hiroshi Kato is every inch the otaku, from his bottle glasses, untucked checked shirt, jeans and trainers, down to the paunch and unkempt hair. Though he describes himself as an "ordinary company employee", he is spending Friday lunchtime at the cafe.
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Mr Kato, 36, is reluctant to call himself an otaku, although he admits to a regular TV game habit and to spending a fair amount of time and money in Akihabara's myriad computer and gadget shops.
He doubts, though, that the otaku boom will turn out to be anything more than a momentary fascination. "I think it's great that more people are taking an interest in the otaku phenomenon, but the only ones who really understand it are all here in Akihabara. It won't be long before the outside world are dismissing the otaku as strange again."
The otakus' voracious consumption is impressing economists. According to Nomura Research Institute, the otaku market is worth $2.6bn (£2bn).
Some regard the otaku as a new driving force behind industrial innovation based on satisfying consumers' aesthetic and emotional needs rather than their desire for status.
Some even see them as Japan's best weapon in the Asian fight-back against US domination of popular culture.
For now, though, the successes of otaku-influenced media have been confined to the domestic scene. They include Densha Otoko (Train Man), a book based on a real-life geek's online chat room postings seeking advice on how to approach a woman he met on a train. The book endeared the otaku to the previously dismissive Japanese, selling 1.5 million copies since it was published last autumn. The film version swept to the top of the box-office charts last month.
Such is the otakus' newfound cachet that the search is on for Japan's top 100 geeks. Thousands of men are expected to sit the exam, organised by the Tokyo-based publisher Biblos, in which they will be tested on their knowledge of the fundamentals of the nerd lifestyle - comic books, video games, cartoons, female pop idols and computers.
It is a far cry from the early 1980s, when a columnist used otaku to describe the thousands of men in their 20s who descended on the annual Comic Convention in Tokyo. The word was supposedly the opening gambit in the nerds' faltering attempts to strike up conversations with women.
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Most, though, prefer to confine their contact with the opposite sex to a genre of manga in which female characters are invariably dewy-eyed schoolgirls who, despite their outward naivety, are unfailingly accommodating in bed.
This skewed portrayal of women in manga and interactive computer games has led to charges that the otaku are at the root of unhealthy attitudes towards sex among young Japanese men.
But Momo, a French-maid waitress, says she is happy in the company of men who otherwise have trouble interacting with women. "I like talking to the customers here, even those who seem shy or might be here because they have some sort of Lolita complex."

玄關通往妙道玄旨的門徑或關卡。臺北覺修宮廟聯：登此門得窺大道，由斯戶便識玄關。
稱宗教上深奧精妙的道理。元．無名氏．南極登仙．第二折：玄關妙理，世人不解其中意。
唐代住宅入門處與正廳之間的空間，今日住宅仍存有類似的隔局。唐．岑參．丘中春臥寄王子詩：田中開白室，林下閉玄關。

孫維張主編 {佛源語詞詞典}北京：語文出版社，2007，頁300舉例為瓊瑤之作品！

げんかん　―くわん ₁ 【玄関】

〔近世には「げんか」とも〕
(1)一般に、建物の正面の出入り口。
(2)〔仏〕
(ア)禅にはいる入り口。禅学の入門。
(イ)禅寺の方丈に突出して設けられた、出入りのためのところ。門。
(ウ)禅修行の過程で重要ないし困難な部分。
(3)近世の住宅で、式台の前の駕籠(かご)をおろすための低い板敷きの部分。また、式台を含めた出入り口の全体。
(4)〔玄関を構えることを許されていたことから〕江戸の町名主をいう。〔(2)が原義〕
――を張・る
玄関だけを立派にする。外観を飾る。

三省堂提供「大辞林 第二版」より