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A Study on Tsukimi Folk Custom in Japan Tsukimi(月見; Moon-viewing) refers to the Japanese tradition of holding parties to view the Harvest moon on August 15th on the lunar calendar. Japanese people were hesitant to view the moon alone and willing to enjoy every changing phase of the moon. They gave specific names to each of the moon phases according to the moon rising time since August 14, a day before the full moon, and tend to pair up the full moon of August with the moon of September 13. Through the moon-viewing, they used to imagine that there lived Wolinjangja(月人壯子), Kagua-hime, Akariyanija and Brothers-Gone-to-the-Moon. Meanwhile, as the people predicted the agricultural abundance through the moon-viewing on the day, this event was a significant seasonal custom of agriculture. The day also represented the traditional holiday for people to pray for an abundant harvest of rice farming. Such proofs can be clearly found in the offerings of dango and taro for the moon goddess. As time elapsed the offerings changed. However, the taro was never missing in an altar beyond time. As an alternate name for the mid-autumn full moon is the Taro-Full-Moon(Imo-Meigetsu; 芋名月), taro is an indispensible staple food among the offerings. It means that this seasonal custom of agriculture originated from the harvest ritual of farm produce. And this day was also the preliminary festival to pray for an abundance of rice farming. Where people finished rice-harvest they expressed gratitude by offering rice. On the other hand, people wished for a bounty of rice where they did not finish rice-harvest. As above mentioned, Tsukimi custom represented not only harvest ritual of farm produce, but also the preliminary festival to wish for an abundance of rice. And on this day the Shintos of Hachiman(八幡) denomination held a memorial worship service for the deceased souls of no family as seen in fish release ceremony. And humans, goblins and animals enjoy together on the day. On the day, village children stole and ate the offered food to the moon goddess in other families and village people enjoyed tug-of-war, sumo and a circle dance. Meanwhile, Gappa as a goblin living in the water was capering over river and mountain. And especially a racoon out of animals transformed itself to deceive humans on the occasion, or tapped its stomach, sing and play under the moon light. Likewise, Tsukimi folk custom of Japan provided people with enjoyment of nature, prediction of agricultural crops, unfolding of mythical imagination and pleasure of dance and play.

旧曆8月15日を日本では月見という。その名のようにその日の主な民俗行事は、月を迎え鑑賞することである。日本人は一人で見ることを避ける傾向があり、また毎晩変わっていく姿を楽しむ伝統があった。そして15日を基準にして、1日前の14日から月末まで毎晩の月の変化を見ながら其々の名前も付けたりした。それと共に8月の満月を9月13日の月と一緒に見る民俗文化も生じて來た。また月を通してそこに住む人々も考えたりした。一方15日の月は農耕歲時にも大切な日であった。月を見て農事の收穫を豫測し、また月神の供物を見ても分かるように、その日は芋を中心とした畑作物の收穫祭日であった。それだけではない。稻草祭のように、その日は稻作の豊作を祈願する日でもあった。それからこの日は無緣の死靈を慰めるために、八幡系神社を中心に放生會を行う日であった。またその日、子供たちは人の月神の供物を盗んで食べながら楽しみ、村人は綱引き、相撲、圓舞などを楽しんでいた。そして証誠寺の狸囃子傳承のように、狸たちも楽しく遊んでいた日であった。このように日本人は、8月15日を満月を切っ掛けで自然を楽しみ、農作を豫測し、神話的想像力を広げ, 人間と妖怪そして動物たちがいっしょに楽しく過ごす日だと思ったのである

‘Hate Korea’ and ‘Hate China’ as Taste-Net Right and Nationalism in Contemporary Japan In this article, I examine the emergence of Net Right and their nationalism, represented by ‘Hate Korea’ and ‘Hate China.’ Although 2 Channel, the most largest anonymous internet forum in the Japanese-based internet, is considered to be the source of Hate Korea and Hate China movements, it is impossible to consider 2 Channel as Hate Korea and Hate China intrinsically, because those posts are only a part of 2 Channel. Net Right, referring to people who continue to leave right-wing posts repetitively, expressing hate South and North Koreas and China as anti-Japan countries or ‘specified Asia’, emerged from 2 Channel since the early 2000's. They are clearly differentiated from existing right-wing activists, in that they are centered on the internet and do not express the respect toward the Imperial House of Japan. As conlcusion, I argue that ‘Hate Korea’ and ‘Hate China’ in the Japanese-based internet reflect a new kind of nationalism, so-called ‘nationalism as play’ and the gap disparity in contemporary Japan. Therefore, it is necessary for us not only to examine the discourses of Hate Korea and Hate China, but to pay attention to the backgrounds that Hate Korea and Hate China have emerged from.

この論文は、最近注目を集めているネット右翼の登場や彼らの嫌韓・嫌中発言の特徴や意味を考察する。まず嫌韓・嫌中の発生地として知られている2ちゃんねるは、実際分析してみると嫌韓・嫌中的な発言はごく一部にすぎず、2ちゃんねる自体を嫌韓・嫌中的サイトだと決めつけるのは難しい。また、2ちゃんねるを起源として生まれた用語である｢ネット右翼｣は、インターネットで右翼な発言を繰り返す人であり、韓国・北朝鮮や中国を｢反日｣的な国家と見なし、｢特定アジア｣と名付けて嫌悪するのを主な特徴とする。インターネットを中心に活動しており、また皇室に対する敬愛に欠け、嫌韓・嫌中を優先するネット右翼のスタンスは既存の右翼とは大きく掛け離れており、両者は全く別の土台から生まれてきたことも明らかになった。結論的に、日本語のインターネットにおける嫌韓・嫌中は｢遊戯としてのナショナリズム｣という新しいナショナリズムの側面を持っており、日本国内における格差問題を反映している。したがって、ネット右翼の嫌韓・嫌中自体を問題化するより、それらが発生した背景により注意を払うべきである。

Rhetorics of Exclusion/Inclusion : Travelling Korea and Cultural Imperialism in Modern Japan This essay examines cultural imperialism of modern Japan by looking at the Japanese travelogues on Korea. The working mechanism of cultural imperialism is the contest and cooperation between stories of inclusion and exclusion. The Japanese travelogues on Korea began to appear in the 1890s and increased at the turn of the 20th century when the modern tourism began. While comparing and contrasting the travelogues written before and after the Japan's annexation of Korea in 1910, I argue that the stories of exclusion were preponderance before 1910. As Korea became the part of the Japanese empire in 1910, there began to appear the stories of inclusion and to compete with the stories of exclusion. The subtle change was derived from the growing perception developed in Japanese society that recognized the need to efficiently govern and colonize Korea.

この論文は近代日本の韓國倂合という歷史のなかで具體化された日本文化帝國主義を‘排除’と‘包攝’の論理と作動樣式の共存、またはこの兩者間の競爭と妥協という枠のなかから分析するのを目的にする。分析の焦點は日本の朝鮮に対する文化政策より、大衆媒體のなかで現れた朝鮮に対する認識の變化である。このような研究のために、近代帝国主義の中で出現した旅行記を中心とする。特に1910年の强制倂合を時點して,1910年前後で出現した旅行記を比較しながら日本の文化帝國主義で現れた‘排除’と‘包攝’の物語の作動樣式を考察する。1910年、大韓帝國が日本帝國に强制に倂合されるまでは‘排除’の論理が優勢したが, 帝國の一部で編入されてからは‘包攝’の論理も活性化されたといえる。以後,この兩者間の競爭は韓國および中國で出現した反帝國主義民族主義との關係の中で日本に逆流し日本の統治體制と位階秩序の維持または批判の形成に逆動性を附與したのである。

Taiwanese writers during the Japanese occupation period did not often depict Japanese Imperial Emperor and family since they were more concerned with colonial policy in colonial Taiwan than imperial power that only symbolized the national body for the colony. But in A Railway Runningthrough Taiwan, anovelbythe Japanesewriter Nisikawa Mituru, who had long stayed in Taiwan, he represents the majesty of Imperial Household and reconfigures the history of Japanese living in Taiwan through the lens of a photographer character and the style of reportage. Through closely analyzing the text, this paper attempts to articulate how Japanese writers in Taiwan represent Japanese Imperial Household in the process of colonial modernization and the meanings of these representations as well as the double consciousness of homeland within these Japanese writers’ identities throughout the history of colonial Taiwan and Japanese imperialism.

日本統治期台湾人作家によって、天皇ならびに皇室についてふれた<植民地テクスト>は決して多くない。植民地作家たちは<国体>を象徴する皇室権力を描くことよりも、植民地政策に対する抵抗を描くことに力を注いでいたものと考えられる。然しながら、在台日本人作家である西川満著󰡔台湾縦貫鉄道󰡕には、撮影者(カメラマン)のレンズ、あるいは、報道文学の筆を通して、皇室の威厳が展示され、また日本の外地における植民地の歴史を再構築している様相を見て取ることができるのである。この度の発表は、テクスト分析を通して、植民地における現代化工事事業において在台日本人作家が如何に皇族の偶像を形作り、また、そこに包含されることとなる象徴性に如何なる意味が付加されるのかを明らかにしたい。そして植民地の歴史を再解釈することで在台日本人作家が自らのアイデンティティを保持している“双郷意識”について言及したい。

A study on the flying motif of Dengu Dengu are characterized as taking different forms and characteristics over the centuries. The dengu were originally thought to be monsters that looked like winged birds. Thisimage was embodied in the Gonjaku Monogatarishu, published during the Heian period. In the middle ages, dengu were described as ascetics of the Shugendo sect, characterized by an unusually large nose and a red face. In the modern ages, they have come to be depicted as ridiculous, humorous creatures, easily tricked by humans. Although they have changed in their appearance over the centuries, dengu are still described as using their wings to fly. But the supernatural powers ascribed to dengu as ascetics of Shugendo are closely associated with mountain worship and Esoteric Buddhism. It is not only the dengu that possess occult powers for flying in the sky. We can also find tales of Buddha, Buddhists and many other gods flying in the sky, flying on monk's canes in the Historical Records of the Three Korean Kingdoms, as well as instances of Buddhist monks riding clouds. It is well known that with the arrival of Buddhism from China and Korea, Buddhist scriptures had an enormous effect on Japanese folk tales. Therefore, it seems that the dengu's ability to fly most likely derived from the supernatural powers detailed in the Buddhist scriptures.

天狗は時代によって各々違う形態と性格を持つのが特徵で、はじめは羽で飛行する鳥の形の神秘化された妖怪であった。このような天狗のイメージは平安時代の󰡔今昔物語集󰡕で確認できる。中世には修驗道の行者の姿をして鼻が大きく赤い顔の天狗が現れて、近世になって人間に騙されて間抜けな諧謔的存在に表現されていた。このように時代によって天狗の形態が変化されたが、羽を着けて空を飛ぶという性格は一貫している。しかし、修験道の山伏と一体化した天狗の神通力は仏教の山岳信仰と密教が結び付いたのである。 空を飛ぶ神通力を持っているのは天狗に限られたことではないと思われる。佛典に現れた仏⋅佛弟子⋅様々な神たちが空を飛び回って、韓國の󰡔三國遺事󰡕には飛ぶ錫杖、雲に乗る僧侶など空を飛ぶ話が登場する。 佛典は中國⋅韓國を通じて日本に傳來し、大きな影響を与えたのは周知の事實である。したがって、天狗の飛行の能力は日本の固有のものではなく、佛典の神通力から始まったと思われる。

문학작품의 <수용> 측면이 특히나 강조되는 현대에 있어서는, <텍스트의 작용>이라는 점이 간과되기 쉬우나, 그 문학작품의 독자적인 사회성이나 역사성을 엄밀하게 추구할 필요가 있다. 그러한 시점에서, 본 논문에서는 일본고전문학 중에서도 특히 난해한 󰡔무라사키 시키부 일기󰡕 에서 과거에 해석이 극단적으로 대립되어오던 마타리꽃 와카증답장면에 대해서 고찰하여, 고도의 풍류를 몸에 익힌 문화인으로서의 미치나가와 그에 훌륭하게 응답한 시키부 자신의 모습을 묘사한 것이, 단순한 주인과 뇨보의 교류를 나타낸 것이 아니라, 연인 관계를 가장하여 연가(戀歌)를 읊은 유희성이 강한 것이며, 그것은 󰡔고킨슈󰡕 이래의 전통적인 연가와는 다른 새로운 연가의 수용 방법의 제시였음을 밝혀내었다.

Interpretation and Reception of the Diary of Lady Murasaki : Focus on Waka Exchanged Scene with Patrinia scabiosaefolia In modern, it is easy to overlook <the play of text>, since aspect of literature's <reception> is especially emphasized, However, we should place a high value on literature works' characteristic. With that principle in mind, I studied about waka exchanged scene concerning patrinia scabiosaefolia in the Diary of Lady Murasaki, that has been discussed intensely before. And I proved that lady Murasaki intended to describe her lord Michinaga as a high cultivated man and herself as a trustworthy court lady responding to her lord's expectation.

Mishima Yukio's Literary World and Sports : focusing on The Realistic Argument on Sports Mishima Yukio is known as aestheticist for his major work Kinkakuji until 1960s when there was a drastic change in the world of his work. As his interest in reality had been increased, he had become more and more radical nationalist, and finally he committed hara-kiri with clamoring for the revival of militarism and the Emperor system. This change of his ideology was reflected in the world of his work. Then, what was the motivation of the change? This thesis had been started from this question. I have thought of that motivation associated with his interest in sports in this thesis. This is because the most noteworthy change in that transition period was his concern for sports, looking back on Mishima Yukio's real life. Thus, in and around The Realistic Argument on Sports which is condensed into his interest in sports, I analyzed the detailed process that he tried to remodel the body with body-building and boxing, and then he started kendo so as to reconstruct the mind. As a result, I had found that he had faced the incongruity between body and mind since he had been deep into the world of sports so that his yearning for or blind faith in body, power, or absolute authority had been intensified. In addition, I had figured out how this change had effects on the world of his work or his ideology.

代表作「金閣寺」によって三島由紀夫は耽美主義作家として知られているが、1960年頃から彼の作品世界には大きな変化が起きることになる。現実に対する関心が深まるにつれて彼は段々急進的な民族主義者になっていき、結局軍国主義や天皇制の復活を叫びながら割腹自殺をすることになるが、彼のそういう思想的な変化は作品世界にもそのまま反映されたのである。では、そういう変化のきっかけは果たしてなんだったのか。この研究はそういう疑問から始まったわけである。そのきっかけをこの論文では彼のスポーツに対する関心と関連付けて考えてみた。なぜなら、三島由紀夫の実際の人生を辿ってみると、そういう過渡期におきた最も注目すべき変化が正にスポーツに対する関心だからである。したがって、スポーツに対する彼の関心が凝縮されているエッセイ｢実感的スポーツ論｣を中心にして、ボディ・ビルやボクシングを通して肉体の改造を試みた後、剣道の世界に入門して精神の改造を図っていく過程を詳細に分析してみた。その結果、スポーツの世界に深入りしていくにつれて、次第に精神と肉体の不調和が生じ、肉体や力、あるいは絶対権力に対する憧憬や盲信が育まれていったことを確認した。そして、そういう変化が三島の文学世界や思想に及ぼした影響も確かめることができた。

<膝栗毛물>작품군 중에서 본고 고찰대상인 합권󰡔東海道中栗毛弥次馬󰡕의 문학사적 가치를 확인하기 위해서는 선행작품과 비교하여 어디가 다른지, 작자, 또는 화공은 무엇을 창조했는지를 밝히는 것이 중요하다하겠다. 선학에 의한 논고가 거의 보이지 않는 󰡔東海道中栗毛弥次馬󰡕 군 중에서도 鈍亭魯文作・芳直画의 滑稽本風合巻과, 岳亭春信作・芳幾画의 短編合巻에 대해서 다른 <膝栗毛물>과 비교하면서 고찰하였다. 원작에는 없는 본문의 창출 및 내용의 개변 부분을 지적하고 그 특징을 규명함으로써 작자들의 의도를 살핀 결과, 抄録家로서의 鈍亭魯文의 일면과, 岳亭春信의 풍부한 創作性이 부각되어졌다. 전자의 경우, 후반부는 원화와 여정을 달리하고 있지만 전체적으로는 새로운 취향이 부족한 작품이라고 하지 않을 수 없다. 창작담이라고 할만한 장면은 없으며 끝맺음 익살(오치)을 변경하는 정도의 각색은 있다 하더라도, 작품 전체적으로는 원문을 거의 충실하게 따르고 있다고 할 수 있기 때문이다. 한편 후자의 경우 横浜絵등에 취재한 듯한 창의성이 돋보이는 창작담이 군데군데 있으며 유행에 민감한 春信의 창작자세가 엿보였다. 또한 魯文과 岳亭가 적은 서문・발문 등으로부터 <膝栗毛물>을 집필하려고 한 의의를 살펴보면, 집필경위와 동기는 양자 모두 대동소이하다. 단 魯文이 스스로 표방하는 언설과 같이,｢戯作의 첫 여행｣시기에 있어서 ｢抄録家로서의 魯文｣의 창작방법을 여실히 보여주는 전형적인 증거가 될 수 있는 작품이라는 점이 특이하다 하겠다.

About the creation and artificiality in “TokaidoutyuKurigenoyaziuma” It is important to clarify what the author or the painter created it compares it with a precedence product at then to confirm value of the history of literature of “TokaidoutyuKurigenoyaziuma” which is the text of this report in the workgroup of the Hizakurigemono where was diffident in. In “TokaidoutyuKurigenoyaziuma”, I considered about Gokan of TonteiRobun product / Yosinao image and the Gokan GakuteiHarunobu product / Yosiiku image while comparing with while comparing it with other “Kurigemono”. As the result, it become clear GakuteiHarunobu’s rich fictiveness and of TonteiRobun’s one side as the person of abstract. In addition, both wring motives resemble it when they investigate the significance that was going to write preface from Robun and Gakutei who wrote down. But, in the case of Robun, a point to profess itself to be a creation method of "Robun as the person of abstract" by oneself was peculiar.

<Kitchen> literally translation criticism based on RT Enough to be called as the translated-book republic, the translated book’s share rate in Korean publishing market is as big as 29%. Especially, Japanese translated books won the top in terms of total number of published books and the issue rate base competing against American ones. Based on such increasing demands, about 10 professional writers translating Japanese books into Korean ones are remarkable. But closely looking into the situation, Kim, Nan-Joo’s translating books are overwhelmingly more than other translators’. Such a leaning towards only one translator can affect the quality of translation, leading to generate low-quality outcomes. In the field of Britain & American Literature, the translation criticism is developed in its own way, but the translation criticism filed of Japanese literature is rare right now. This paper purposes to suggest some problems in translating Japanese literature which is uncritically accepted bcritically analyzing the <Kitchen>, a representative translated book of Kim, Nan-Joo.

韓国は翻訳書共和国と言われるほど、全体出版市場に翻訳書が占める割合が29%にもなる。特に、日本文学が韓国の文学翻訳市場において、2006年を節目に出版総数と発行部数いずれも米国文学を抜いてトップとなった。そのようなニーズを受け、90年代以降10人前後の専門の日韓翻訳家たちの活動に弾みがついた。ところが、金・ナンジュの翻訳量が圧倒的に多いのが現状である。このような翻訳市場の一人占め現象は、翻訳の品質低下にもつながりかねない。しかし、英米文学に対する翻訳批評がそれなりに活発になされているのに対し、日本文学に対する翻訳批評は皆無に近い。本論文は、現在文学翻訳で圧倒的な地位を占めている金・ナンジュの代表的な翻訳｢キッチン｣の韓国語翻訳をクリティカルに分析することにより、今までの日本文学翻訳の問題点を提起することを目的とする。

Origination of RyuKyu⋅Okinawa Identity - Based on Contents of Literature - The most noticeable feature in forming of Okinawa(RyuKyu) identity is that it changed and circulated according to each generation. To distinguish this by generations, first. the point of origin can be the Sino-Japanese War after the ‘disposition of RyuKyu'. During this age, as the Chinese power was reorganized to Japan, ‘Okinawan' was set since the Okinawan was the body to be assimilated by oneself. However, this brought out the paradox which showed the principal of Okinawan more clearly as they abandoned ‘Okinawa way' and desired complete assimilation to Japan. This paradoxical situation, which was confronted by Okinawan Identity, stood out more as the assimilation policy of Japanese Empire was fully fledged. Though the intellects of Okinawa in this age recognized Chosun and Taiwan as the minority problem and sympathized deeply of the segregation accompanied with colonizing, they wanted to keep their distance from it and exposed two sided recognition. This here clearly shows the limits of Okinawan Identity which can only be visualized through the distinctions with other nationalities. The identity, that was contended between Okinawa and Japan, developed into more complex aspect as Japan experience land battle during the World War II, and through the occupation of American troops. In other word, they were placed in situation where they had to seek their identity again since they were in the boundary of not being the ‘Japanese' even if they were but not even the American by the intervention of new variable called America. Lastly, the generation, since the ‘return' to Japan to present, displayed more variety of aspects than any other generations.

沖縄(琉球)アイデンティティーの形成において、もっとも著しい特徵と言えば、それぞれの時代によって絶えず変化し、流動してきた点であろう。これを時期的に区分すると、まず｢琉球処分｣以後、日淸戦争を基点とする時代をあげることができる。この時期には中国(淸国)から日本へと力の再編が完了し、沖縄人自らが｢同化されなければならない主体｣として｢沖縄(人)｣という範疇を設定するようになる。しかし｢沖縄的なこと｣を捨てて日本に對する完全な｢同化｣を欲望すればするほど｢沖縄(人)｣という主体、あるいは範疇がもっと鮮明になる逆說を生むことになる。沖縄アイデンティティーが直面したこのような逆說的な狀況は、日本帝国の同化政策が本格化することによってもっと目立つようになる。この時期の沖縄知識人たちは朝鮮や台湾をマイノリティー問題として認識し、植民支配が伴う根深い差別に深く共感しながら、もう一方ではこれらと距離を置きたがる二重的認識を露呈する。沖縄と日本の間で絶えず拮抗するアイデンティティーは、第二次世界大戦当時に日本唯一の地上戦を経験し、長い間、米軍占領の歷史を経ることでもっと複雜な様相をみせる。すなわちアメリカという新しい変数が介入することによって、｢日本人｣でありながら｢日本人｣ではない存在、なおアメリカ人でもないどこにも属さない｢境界｣の位置で自分のアイデンティティーを模索しなければならない状況に置かれるのである。最後に日本への｢復帰｣以來、現在に至るまでの時期は、どのような時代よりも多樣な様相で沖縄アイデンティティーが表出されていることがわかる。その中、｢復帰｣と｢反復帰｣を取り囲んだ論争は｢琉球処分｣以來現在に至るまで、何回も｢帰属変更｣を繰り返してきた沖縄アイデンティティーの混線を集約的にみせてくれている。なお、沖縄伝統(土着)文化に対する愛着と自負心が強化される現象を指摘することができるが、そのなかには(地域)文化の多様性を立てて現代沖縄社会の病弊を隱蔽しようとする日本政府、もしくは｢本土人｣と沖縄の間の暗黙的合意が作動していることを容易に捉えることができるだろう。

｢작은 왕국:小さな王国｣(大正7年「中外」発表)은 마에바시(前橋:G県M市)를 무대로 한 작가 타니자키의 小説로 동경에서 移住한 가난한 小学校教員인 카이지마는 권력투쟁에 있어 패배하여 담임을 맡은 아동들이 만든 공유의 世界에 휘말려들어 아이들이 발행한 紙幣를 실질적으로 사용하는 스토리로 구성되었다. 小説｢우리들의 일그러진 영웅｣의 舞台는 韓国地方都市인 江陵에 있는 작은 초등학교에서 絶対的権力을 유지하면서 학우들을 휘어잡는 엄석대에 반기를 든 한병태의 시점에서 서술되어 간다. 그러나 새로 부임한 6학년 담임이 엄석대의 부정을 발각하고 석대의 독재를 무너뜨리고 학반의 민주화를 불러 일으킨다. 본 연구논문은 ｢우리들의 일그러진 영웅｣과 ｢작은 왕국｣이라는 作品에 登場하는 人物의 性格이나 特色을 中心으로 주로 엄석대,한병태,누마쿠라, 카이지마를 비교한 것에 그 특색을 찾아 볼 수가 있다. 󰡔우리들의 일그러진 영웅󰡕과 ｢작은 왕국｣에 登場하는 엄석대와 누마쿠라를 비교하면 다음과 같다. 作品背景은 李承晩政権末期인 1959年 강릉으로 전학 온 한병태는｢級長｣인 엄석대가 絶対的 권력자로 군림하여 한병태는 석대에게 抵抗을 하지만 담임조차 석대의 그 절대적 権威를 막을 수가 없어 마침내 병태도 석대의 휘하에 들어간다. 級長인 석대가 군림하여 同級生들은 음식을 바치고 답안지 바꿔치기도 스스럼없이 행한다. 이에 병태는 모든 방법과 수단을 총동원하여 석대의 굴종에 저항하지만 아무 소용없게 된다. ｢작은 왕국｣에서 특정 지을 수 있는 모티브는 ｢누마쿠라共和国｣이 발행한 貨幣、｢百貨店｣的欲望의 形態、｢G현M시｣라고 하는 架空의 이니셜은 Y국민학교라 칭하는 부분과 그 유사성을 발견할 수가 있다. 카이지마라고하는 危機的<主体>의 존재는 엄석대의 절대군주와 매우 흡사하여 등장인물의 성격과 구조가 유사하여 「우리들의 영웅」을 발표한 작가 이문열이 타니자키의 ｢작은 왕국｣을 참고한 개연성이 매우 높은 것으로 사료된다.

Our Distorted Hero and A Small Kingdom A Small Kingdom (小さな王国, 1918) by Tanizaki is a short story about an elementary school teacher, Kaizima. This poor teacher, who was transferred from Tokyo to this elementary school in Maebashi, became involved in a world of common property built by the losers in the power struggle in the class he was in charge and actually used the counterfeit money they had issued. Our Distorted Hero by Yi Munyeol is a novel about a small elementary school in Gangreung, a city in Korea. The story is from the perspective of Han Byeongtae, who stood against Eom Seokdae's absolute power over the classmates. The teacher in charge of the sixth grade was at first helpless, but finally found the injustice imposed by Eom Seokdae and overthrew his absolute rule and restored democratic atmosphere in the class. The purpose of this paper is to compare A Small Kingdom and Our Distored Hero with special reference to the main characters of the two works, especially Eom Seokdae and Han Byeongtae vs. Numakura and Kaizima. When one compares Eom Seokdae with Numakura, one can notice something interesting as follows: The distictive motifs in A Small Kingdom are the counterfeit money issued by 'Numakura Republic', the greed shown in the department store running, the fictional initials such as 'Prefecture G, City M', and they are astonishingly similar to the motifs found in the story of Y Elementary School as found in Our Distorted Hero. Judging from such similarities between A Small Kingdom and Our Distorted Hero in terms of their structures of the stories and the characteristics of main characters, it is highly possible to assume that Yi Munyeol had read Tanizaki's work before he wrote his novel.

The formation of Meirokusha(明六社) and the characteritic of civilization during the period of Meijiishin(明治維新) Meirokusha(明六社) was the first academic society in Japan as well as it gave a great poitical influence over Meiji(明治). In the beginning the members of Meirokusha emphasize mostly on civil rights, but later on they formed power collaborating imperialism. Most members had knowledge of Chimese literature and were influenced by the Confucian ideas which applying Confucianism in learning new Western culture as well. They thought the two major motive force for National development were religion and education. However, religion mostly implied「People's freedom」toward members, therefore to rally members and make them work actively would be education. Their goal of education was flowering civilization and recognized its success was depending strongly on the Government's modern reformation and institutionalization. Overall, to most members, the strategic idea of the western culture was thought as hegemonism which gave them the awareness of imperialism following Western culture through mighty army force.

明六社は日本において最初の学術団体であり、なおかつ明治政権の政策的な理念を提供する機関として大きな役割を果たした。明六社員たちはほとんどが民権を強調したが、時が経つにつれ天皇制帝国主義に協力するようになってきた。多くの明六社員は漢学の素養を持ち、儒学の用語を使いながら儒教的な価値観を媒介に洋学を受け入れる形を取った。明六社員たちは国家の発展は宗教と教育を通じてこそ可能であると認識した。しかし彼らは、宗教は｢人民の自由｣である視角を見地したため、より積極的に取り組むことができるのは教育であると認識するようになった。また彼らは教育の方向を文明開化に置き、そのためには政府が主導的に近代的な改革措置を行い、制度化するのがまず必要であるという共感台も形成した。しかし近代日本で西洋文明化という戦略的な意識は、明六社員においても西洋のヘゲモニズムを目前に、それと同一化する方向を選択するようになる。

The Japanese Romantics’ ‘Returning Travel’ to Ancient Times : Ancient Japan and overcoming modernism Yasda Yojūro, a representative figure of the Japanese Romantics, visited Korean ancient capitals Gyeongju and Buyeo in May 1938. In his account on the travel to Korea published after he returned home, he acknowledged the influence of continental culture on Japanese ancient culture but rather he developed a paradoxical theory of comparative culture asserting the greatness and fruitfulness of ancient Japan’s cultural receptive capacity. Furthermore, he completed his writings on ‘Returning Travel’ to ancient Japan based on his account of trip to Korea by incorporating Korean scenery unreasonably into the Japanese traditional lineage of Utamakura. On the other hand, it was Nara that another Japanese romantics Kamei Katsichirō had explored several years since October 1937. To him, Nara was more “the Rome of his home country” suggested to Goethe than an old Japanese city with the remains of ancient Japan. Nara, which was in a metonymical relation with Rome, was a place that reduced the amplitude of turning from Marxism to Japan and, at the same time, led him to ancient Japan. In these ways, they attempted to spatialize romantic speculation in the form of travel note, and achieved the common ideological and literary task of ‘overcoming modernism’ through the representation of ancient Japan.

日本浪曼派を代表する文学者である保田與重郎は、1938年5月、再び朝鮮の古都である慶州や夫餘を訪ねた。帰国後発表した朝鮮旅行記において彼は、日本の古代文化が大陸文化から大きく影響された事実を認めつつも、その事実に却って古代日本の文化的受容力の偉大さ・豊かさを見るという、逆説的な比較文化論を展開したのであった。さらに、朝鮮の風景を日本の伝統的な歌枕の系譜の中に無理やり組み込むことによって、自身の朝鮮旅行記を、古代日本への<回帰旅行>の紀行文に仕立て上げるということをしたのである。他方、同じく日本浪曼派に属した亀井勝一郎が1937年10月以来毎年のように赴いた先は、奈良の地である。ただし、彼にとって当初の奈良は、古代日本の痕跡がそれ自体として残存する日本の古都である以前に、ゲーテに示唆された｢自国のローマ｣であった。その意味で、ローマと換喩関係で結ばれた奈良は、マルクス主義から｢日本への回帰｣という両国間の転向の振幅を縮めてくれる地であると同時に、古代日本へと彼を導いてくれる地であった。このように、彼らは、紀行文というかたちで、各々のロマン的思惟の空間化を図りつつ、古代日本表象による｢近代の超克｣という共通の思想的・文学的課題に取り組んでいたのである。

The ‘Content and Form Theory’ of Akutagawa Ryunoske's Literature Arts -Focused on the The General Theory of Literature Arts and Early Spring- 'Literature Arts' Which Akutagawa Ryunoske acknowledges through The General Theory of Literature Arts endow 'Forms' with 'Contents' through 'a few of words'. Here 'The form of Literature Arts'' is the shape of words which are appeared and form of voice in each page, and 'The Contents of Literature Arts''is the concept that is stemmed from the vocabulary. Likewise, if 'Contents' is shown by 'a few of words' which is on the basis of 'Forms', The 'Content and Form Theory' of Akutagawa Ryunoske's Literature Arts are located in <the inseparable relationship>, not <the Front and Rear relationship>. And this has a thread of connection with Ferdinand de Saussure who caused the issue about 'the expectation of the existed concept than language'. By the way, the writing which Akutagawa Ryunoske headed toward was the novel-writing nearing the lyric. And the enabling this writing depends on the quantity which is how much the novel express the auditory sense. Early Spring which is directly showing the process put together the meaning and sound of words can be the place of the embodiment of the literature view.

｢文藝一般論｣を通じて窺って見た芥川龍之介の｢文藝｣とは｢幾つかの言葉｣を通した｢内容｣に｢形式｣を与えたものである。ここで｢文藝の形式｣とはページの上に書かれた単語の模様と音の形態であり、｢文藝の内容｣とはその単語によって表れるものである。このように｢内容｣が｢形式｣の基盤になる｢幾つかの言葉｣によって概念付けられる性質である以上、文芸の｢内容と形式｣は芥川龍之介が一貫的に主張した如く<先後関係>ではなく、<不可分の関係>に置かれるようになる。これは｢言語より先に存在する既成概念を予想すること｣に対して問題提起をしたフェルディナン⋅ド⋅ソシュ―ルと脈を共にすると云えよう。一方、芥川龍之介が志向したライティングは抒情詩に近い小説を書くことであった。そしてこうしたライティングを可能にするのは小説で聴覚性を如何に生かすかによる。｢言語の意味と言語の音｣を一つになるよう仕向ける過程を直接に見せてくれる｢早春｣はそういう点で文学観の具現の場であると云えよう。

Study on Impact Relation between Literature and Film in 1920s ―Emergence of Film-Novel and Its Background― This study centers on the impact relation of literature and film in 1920s focusing on the phenomena of 'cinematization of newspaper serial stories' and 'film-novel.' As the popular demand for film rapidly increased in the 1920s, the newspaper serial stories were good materials for films. Targeting the newspapers at the time for analysis, the status of cinematization of newspaper serial stories in 1910s and 1920s was empirically investigated, based on which the background of emergence of film-novel and its development were examined. By comparing and analyzing the film-novels of various forms, the significance of cine-novel in cultural history was revisited, and the dynamic impact relation of 'literature and film' of 1920s was revealed.

本研究は、1920年代における文学と映画の影響関係を｢新聞小説の映画化｣と｢映画小説｣を中心に考察したものである。映画が大衆的人気を集めた1920年代、新聞連載小説は映画の材料であった。当時の新聞を分析対象として、1910年代と1920年代の新聞連載小説の映画化現象を実証的に調査し、映画小説が登場するまでの背景とその展開を考察した。当時の映画小説を比較・分析することによって、映画小説の文化史的意味を照明し、1920年代のダイナミックな<文学と映画>の影響関係の一面を明らかにした。

일본서기고훈에서는 동일한 의미를 나타내는 복수의 어휘가 존재하며, 그 어휘들이 각각 사용되는 용법이나 기사내용면에서 차이를 보이는 경우가 있는데, 그 중에서 친족어휘는 일본서기고훈이라는 문헌적 특수성으로 인해 그런 경향이 두드러진다. 본고에서는 아버지에 표현하는 어휘인 ｢カソ(kaso)・チチ(chichi)｣에 대해서 고찰해 보고자 한다. 조사 자료로는 ｢カソ｣가 일본서기 관련 문헌에만 보이므로 7종의 일본서기 고사본에 한정하여 각각의 어휘의 용법과 기사내용을 중심으로 검토해 보았다. 그 결과, ｢カソ｣는 천황계열이 124예 중 45예가 보이나, 전반적으로는 다양한 기사내용에서 보이므로 ｢カソ｣가 기본고훈임을 알 수 있다. 그에 비해 ｢チチ｣는 소수이기는 하나 천황계열에서는 일체 사용되지 않고, ｢カソ｣에서는 보이지 않던 형제의 용례가 보이는 등 이전 논문에서의 ｢ハハ｣와의 상관관계가 엿보인다. 이와 같이 이 두 관점을 관련시켜 판단해 보면, 아버지의 경우는 분명히 밝혀야할 중요성이 낮으므로 복수의 어휘로 분화되지 않고, 기본어휘로서 ｢カソ｣를 채택하고, ｢チチ｣는 다른 문헌들과는 달리 아버지를 나타내기 위한 어휘보다는 ｢カソ｣가 담당하지 않는 부분을 보충해주는 보조적인 어휘로서 사용한 점을 추측해 볼 수 있다. 이러한 점을 통해 소수이기는 하나 의도된 목적을 가지고 두 어휘가 구별되었을 가능성이 있다.

On the Vocabulary Which Designates “Father” in ‘Kokun’ in Nihonshoki In 'Kokun' in Nihonshoki there exist plural vocabularies designating the same meaning, and there are cases in which those vocabularies show differences in their uses and descriptive contents, and, among them, kinship vocabulary present itself as the most prominent example due to the documentary specialty of Nihonshoki. The present paper tries to study on "カソ"(kaso) and "チチ"(chichi) which designate "father". As its research data, considering the fact that "カソ" only appears in the documents related to Nihonshoki, they had been limited to 7 ancient transcripts of Nihonshoki, each of whose use of vocabulary and descriptive content were mainly dealt with. In "カソ", consequently, the heavenly-sovereign system examples are 45 among 124, but, on the whole, they present themselves in various descriptive contents, that we can see that "カソ" is a fundamental 'kokun'. Comparing with that, "チチ" shows fewer examples, without any example at all in the heavenly-sovereign system, and sometimes shows the use of brotherhood the use of which was not shown in the case of "カソ", that it exhibits a certain relationship with "ハハ" of the previous paper. When we conclude correlating those two points of view in this manner, we can see that "father" was not subdivided into plural vocabularies for its importance for distinct clarification is low, "カソ" was chosen for the fundamental vocabulary, and "チチ" is, different from other documents, used as a supporting vocabulary which supplements in the parts that "カソ" takes charge of. From this we can draw the possibility that those two vocabularies were, though being a small number, distinguished on a intended purpose.

The Study on the Morphological Classification of the Emotional Word in Korean and Japanese As this study is about the emotional word in Korea and Japan, the cases of samples from many dictionaries and emotional words in various countries are collected. And these collected emotional words are classified morphologically. The morphological classification is mainly divided by the parts of speech and the others, such as word classification and phrase classification and so on. Therefore, the range, the usage of emotional vocabulary and the morphological characteristics could be known through this study which is about the morphological classification of emotional word in Korea and Japanese.

本稿では、韓日両言語の感情語彙について考察するため、両国の大辞典類と從來の研究資料に基づいて形態別分類を行った。形態別分類は、品詞別分類と品詞以外の形態別分類に分けて分析⋅考察し、得られた結果は次の通りである。品詞別分類からみると、韓日両国とも名詞に該当する感情語彙の比率が最も高く、事物の性質や状態を表す形容詞に感情語彙が多く属していることが分かった。品詞以外の形態別分類では、韓国語の場合は慣用句、動詞化、名詞化、形容詞化に、日本語の場合は慣用句、名詞化、動詞化に分けて分布されていることが分かった。本研究によって韓日両言語における感情表現の方式と言語使用傾向を断定的に定義することまではできないが、形態別分類による分析結果から日常生活での使用の比率が高いと見ることができるため、断片的な両言語母語話者の感情語彙の言語使用傾向を把握することができたと言えるだろう。本研究に基づき、今後はより多くの資料を対象にし、韓日両言語母語話者の感情表出の様相と言語使用傾向を把握していく。

중⋅상급 한국인 일본어학습자가 문법항목을 습득할 경우, 습득이 쉬운 항목과 어려운 항목이 있다. 그 중, 아스펙트｢테이루｣｢테이타｣는 일본어학습자에 있어 어려운 문법항목에 해당된다. 본 연구에서는, 아스펙트｢테이루｣｢테이타｣의 문법항목은 중⋅상급레벨의 한국인 일본어학습자의 입장에서 어떠한 항목이 쉬우며, 어떠한 항목이 어려운가를 명확하게 정리하고자 한다. 먼저, 학습자가 아스펙트｢테이루｣｢테이타｣를 습득할 경우, 중⋅상급 한국인 일본어학습자는 어떠한 부분에서 오용을 범하는지 그 습득상황을 조사한다. 다음으로, 아스펙트｢테이루｣｢테이타｣의 문법항목을 시점에 관한 난이도, 동사타입에 관한 난이도, 공기관계에 관한 난이도를 설정하여, 세 가지 관점에서 학습자의 난이도를 SPSS를 이용하여 정리한다. 이러한 결과를 野田(2001)의 문법항목의 난이도 가설 조건을 적용하여 문법항목의 난이도를 분석한다. 이와 같은 분석을 통하여 중⋅상급 한국인 일본어학습자의 아스펙트｢테이루｣｢테이타｣의 효과적인 습득방안을 체계적으로 정리하여, 학습자의 보다 높은 수준의 일본어 커뮤니케이션 능력 향상에 도움이 되고자 한다.

Study on the difficulties of ｢te-iru｣｢te-ita｣ Researching of the difficulties to study ｢te-iru｣ ｢te-ita｣ - In the view of grammar. When Korean students studying Japanese grammar, there are difficult parts and also easy parts for them. Especially, aspect ｢te-iru｣｢te-ita｣ is difficult part for Korean students. In this research, define the difficult part and easy part for Korean student who learning Japanese language about the Aspect ｢te-iru｣ ｢te-ita｣ 1. When students learn how to use ｢te-iru｣ ｢te-ita｣ check the condition of acquirement of knowledge 2. In the view of tense, verb type, sentense. I checked the difficulties with SPSS 3. The difficulties was analyzed noda's theory(2001) of grammar section.

외국인이 제2외국어로 말할 경우, 발음⋅문법상의 실수는 의외로 쉽게 용인될 수 있다. 하지만, 사회적⋅문화적인 실수는 “예의가 없다” 등의 오해를 불러일으킬 소지가 있다. 언어체계가 유사하다고 하는 한국어와 일본어도 그 예외는 아닐 것이다. 그 중에서도 ｢거절｣언어행동은 상대방의 의향에 반하는 행위이므로, 한층 더 주의가 필요하다. 본 논문에서는 거절당한 제안자의 입장도 ｢거절｣행위의 한 부분으로 간주하여, 거절당했을 때 취하는 언어행동 및 그때 느끼게 되는 불쾌함에 대해 한일 양 언어를 비교⋅고찰했다. 그 결과, 거절당했을 때, 한국인이 일본인보다 보다 더 불쾌감을 느낀다는 것을 알 수 있었다. 또한, 한일 양국 모두 능력부족을 이유로 거절당하는 것 보다, 개인의 심리나 원칙을 이유로 거절당하는 경우 불쾌함이 더 증가하였다. 이를 통해, 거절 시 그 이유에 대해서도 주의가 필요하다는 사실을 엿볼 수 있었다. 언어행동에 있어서는, 한일 양국이 비슷한 양상을 보였으나, “사과한다” 는 부분에서는 큰 차이를 보였다. 이는 한일 양국의 인간관계에 대한 근본적인 차이를 보여주는 것으로, 일본어 교육 시 충분한 설명을 통해 차이를 숙지시켜야 할 것이다.

linguistic Behaviors and Feelings of Offendedness on Rejected Situations in Korean and Japanese When a foreigner speaks in the second language, high tolerance for errors or mistakes in grammar and pronunciation is unexpectedly all too often shown. Misunderstanding or intolerance is, on the other hand, likely to occur in the case of sociocultural factors. There is no exception for Korean and Japanese even considering the fact that both linguistic systems are very much alike. Especially, we should take further and further caution concerning ｢the refusal act｣, given that this expression is against interlocutor's opinion. This paper, in which regards the case of one whose proposal is rejected as a part of refusal act, touches on speech acts brought about and feelings of offendedness when rejected through cross-linguistic comparisons and analyses between Korean and Japanese. The findings suggest that Koreans feel more offended when rejected than Japanese do. On top of that, Koreans as well as Japanese are more likely to feel offended when refused grounded on their own personal psychology and principle rather than lack of capability of accepting the proposals or offers. It, therefore, sheds the light on the implication that we should take more attention to the reasons of refusal. When it came to a majority of linguistic behaviors, both countries have shown much of resemblance, and yet the sharp contrast in the case of "refusal". It can be said that there may be considerably a fundamental discrepancy in the interpersonal relationship between two countries. This issue should be stretched in educational section, with the suggestion that teacher lead students to further enlightenment on the gap between both countries.

The Consonantal and vocalic information to the Perception of Japanese initial stops by Osaka speaker and Tokyo speaker This study noted the difference between the Osaka dialect and the Tokyo dialect in the balance of the politeness degree of the pronunciation of the consonant and the vowel, and aimed that the difference of perception was observed between the Osaka dialect speaker and the Tokyo dialect speaker. It experimented that identified the voicing contrast and the articulatory port by both speaker group in word initial stops. For experiment, the source sounds were divided to "Consonant part" and "Vowel part", and were connected "Consonant part" and "Vowel part" of another sounds. The degree of the affection of Vocalic information or Consonantal information used in identifying both the voicing contrast and the articulatory port as perceptional clue was examined. As a result, the following findings were obtained. First, the difference of the perceptual distinction was both observed between the two groups at a part of combination. Second, the Tokyo speaker used Consonantal information for identification as a perception clue whereas the Osaka speaker used Vocalic information in listening the sounds that connected the voiced "Vowel part" with the voiced "Consonant part". In conclusion, it has been understood that the Tokyo speaker uses Consonantal information to the identification of the voicing contrast, whereas Osaka speaker uses vocalic information in the the sounds that join voiced "Consonant part" and voiceless "Vowel part" together. In word initial stops, it can be said that there is a difference in the balance of the politeness degree of the consonant and the vowel between the Osaka dialect and the Tokyo dialect in perception because Osaka speaker and Tokyo speaker's perceptional distinction are different.

本稿は子音と母音の発音の丁寧度のバランスにおいて大阪方言と東京方言間で差異が見られることに着目して、知覚においても大阪方言話者と東京方言話者の間に差異が観察されることを予測し、両話者群による語頭破裂音の有声性と調音位置を同定する実験を行った。実験においては、原音声を｢子音部｣と｢母音部｣に分節し、別の音声の｢子音部｣と｢母音部｣と継ぎ合わせた加工音声を作り両方言話者に聞かせた。それを聞いて両方言話者が有声性と調音位置を同定する祭、優先的な手がかりとして用いる｢母音部｣情報や｢子音部｣情報の関与の度合いを調べ、両方言話者間に差異がみられるかを考察した。その結果、以下のような知見が得られた。一部の組み合わせにおいて両方言話者の間に知覚判断の違いが観察された。有声の｢子音部｣と有声の｢母音部｣を継ぎ合わせた音声に対し、大阪方言話者は｢母音部｣情報を、東京方言話者は｢子音部｣情報を優先的な手がかりとして同定に用いた。また有声の｢子音部｣と無声の｢母音部｣を継ぎ合わせた音声に対し、有声性の同定に大阪方言話者は｢母音部｣情報を、東京方言話者は｢子音部｣情報を用いることが分かった。語頭破裂音の知覚において、大阪方言話者と東京方言話者の知覚傾向が異なることから、知覚においても大阪方言と東京方言の間には子音と母音の丁寧度のバランスに差異があると言えよう。

A Review of Japanese Textbooks of 7th Educational Curriculum Revision and some Proposals The realization of communicative function and cross-culture education according to educational objectives of ｢Foreign language of daily life｣is important to both learners and educators. Therefore, first of all, essential expressions of communicative function, which are the core point of eight different middle school Japanese textbooks called 「생활일본어」 will be analyzed. In addition, as the essential information for the development of education skills and teaching materials according to the goal of the present and future educational curriculum revision, the result of this research will be provided, by analyzing the characteristics of the communicative functional examples and sentences used in the whole textbooks.

｢生活外國語｣の教育目標である意思疎通能力の向上及び異文化への理解を高めることが、学習者及び教師にとっては何よりも重要である。そのため本稿ではまず中学校の生活外国語で使用される日本語教科書󰡔生活日本語󰡕の8種類の核心事項である意思疎通の基本表現を分析する。そして、意思疎通に使われた例文及び教科書全般にわたって採用された意思疎通における基本表現の機能及び特徴を分析し、その結果を現在、または今後の改訂敎育課程の教育目標にあたる学習者や教材開発の基礎資料として提供する。その結果、8種類の教科書では教育課程解説書の例文をよく反映して編纂されたことがわかった。使用率を見ると偏差もさほど大きくなかった。また、改訂教育課程にそって文法や文型より教育目標である意思疎通の機能に重点を置いた教材を開発していることがわかった。

본 연구는, 한국과 일본의 대학생 16쌍의 초면회화에 보이는 자기개시에 주목하여, 자발도에 의한 자기개시의 출현에 보이는 특징을 검토한 것이다. 자발도에 의한 자기개시를 5 타입으로 분류하여 분석한 결과는 다음과 같다. 1. 한국어 모어화자는 일본어 모어화자에 비해, 초면의 상대에게 자기개시 하는 빈도가 높다. 2. 자발도에 의한 자기개시의 5타입 모두, 한국어 모어화자의 자기개시가 일본어 모어화자의 자기개시보다 출현 빈도가 높다. 3. 일본어 모어화자에게는 ｢상대방의 질문에 대답하는 자기개시｣가, 한국어 모어화자에게는 ｢자기개시에 설명을 덧붙이는 자기개시｣가 가장 많이 출현했다. 4. 이러한 결과는 한일 양국의 자기개시 행위에 대한 의식의 차이에서 비롯되었음이 증명 되었다.

Contrastive study in Japanese and Korean of self-disclosure on first-acquaintance with strangers : the feature of self-disclosure by appearance of spontaneousness This study examines self-disclosure on first-acquaintance conversation with strangers by comparing the data of 8 pairs of Japanese students and 8 pairs of Korean students. Self disclosure is classified as 5 type. Results of the study are as follows: 1. Korean students tend to do more self-disclosure than Japanese students to strangers. 2. Self disclosure of 5 type is appeared more in Korean students than Japanese students. 3. The self disclosure of the type of responding to the other person is appeared the most highly in Japanese students. And the self disclosure of the type of adding explanation to self disclosure is appeared the most highly in Korean students. 4. It is proved that the difference between Japanese and Korean students’ self-disclosure is due to the difference of consciousness about self disclosure of the two countries.