Earticle

본고에서는생태비평(Eco-criticism) 문화‧문학에대해서다음과같은두가지청사진을제시하고자한다. 첫번째는지구의문제인환경문제에대해문화와문학의측면에서 어떤기여나접근이가능한가하는것이다. 이문제를생각할때중요한것은환경문제가 자연과학‧생명과학의문제인동시에인문과학적인, 문화‧문학적인문제라는것을명확히 하는 것에 있다. 오늘날 이와 같은 관점에서 다양한 연구성과가 보고 되고 있는데, 본고에서는한일양국의원예문화의모습을단초로하여한일단시문학을대표하는홋쿠(発句，하이쿠(俳句)) 와시조를중심으로이상에서언급한문제에대해서고찰해보았다. 두 번째로는 환경문제가 국경을 초월한 국제적인, 트랜스 내셔널(Transnational) 한 문제라는점이다. 그러나종래일본에서국제적이라고불린문화론‧문학론은일본문화‧문학론, 또는중일‧한일비교론이라는명칭에서알수있듯이, 여전히국가라는틀로부터 벗어나지 못하고 있다. 환경과 문화‧문학을 교차시켜 생각하기 위해서는 당연히 문화‧문학쪽에서도 국제적인, 트랜스 내셔널한 사고가 요구된다. 본고에서는 앞서 언급한 한일비교를통하여제시된문제를, 동아시아까지그범위를확대시킴으로서국가와민족을 초월하여문화‧문학에대해서고찰하는 것의 의미에 대해서검토해보고자하였다.

This report suggests two rough frameworks about eco- criticism, culture and literature; “How can we approach a worldwide environmental problem through cultural and literary side?” In addition to natural sciences and life sciences, the humanities, culture, and literature are also connected to environmental problems. Various results of researches based on this view are reported nowadays. In this report, I will mention horticulture in Japan and Korea. Then, I will pick up some haiku and sijo( Korean poetic form) representing short poem literatures of both two countries and argue about this theme. The other one is “Environmental problem is international and transnational problem.” However, theories of culture and literature are still argued nationally. To consider environmental problems through cultural and literally side, having an international and transnational view is essential. In this report, I will think about the meaning of culture and literature through international and transnational view by widening problems from Japan and Korea to East Asia.

In the modern Japanese poetry, there are many works that grasp the creature appearing in poetry as main theme, not a simple poetic material. Especially Hagiwara- sakutaro, a representative poet of the Taisho Period, is actively expressing a feeling of vitality through many plants, animals, and microbes. While this actively extends the range of the biological world having remained in the world of mortals, This fundamentally denies a fixed idea that only human beings are superior to other creatures . Hagiwara makes full use of a special sense near to illnese or perversion in expressing these contents. So a diseased or deformed animal often appears in his animal poetry. In this study, I analyzed these poetic features of his through Poetical Works of "Tsukinihoeru" and "Aoneko". After all, The consideration for various expressions of the creature appearing in the poetry of Sakutaro will be an important text in synthetically grasping the organic mutual relation between living things constituting the biological world.

日本の近代詩には植物、動物といった生物を主な詩的対象物として描いた作品が少 なくなく、萩原朔太郎はその代表格といえよう。特に、『月に吠えると『青猫を 中 心とする初期詩集には植物と動物、ひては微生物に至る生物系全般についての格別な 関心が目立っている。それは彼の詩の核心のテーマである生命感を表すうえで、特有 の病理感覚に根付いた‘異常趣向’というより、今まで人間の周辺的な存在に止まって きた生物界の範疇を積極的に拡大するなかで、人間のみがあらゆる生物の優位に立 ち、君臨するという固定観念を根本から否定するものである。このような詩人の特別 な生物学的認識が犬と猫といった人間に親しい動物だけでなく、詩の世界ではほとん ど関心外だった軟体動物や、爬虫類、微生物、さらに地上と地下を行き来する植物の 旺盛な生命力に至るまで、人間を含めた生物界全体についての積極的な関心を齎した ものと見られる。こういう意味で朔太郎の詩に登場する多彩な生物表現は生物界を構 成している各生命体間の有機的な関連性を把握するうえで、重要なテキストとなるは ずである。日本の近·現代詩の課題がが文明と科学一辺倒の物質万能社会が齎した非情 でドライな人間情緒を克服することにあるとすれば、唯一の解決策は人間と植物(草 木、花)、動物、微生物といった生態系の構成要素全体を相互依存し、調和し合うもの と受け止めなければならないといえよう。換言すれば、日本近代詩に現れた生物表現 はその背後にある詩人の美意識や価値観並びに現代社会のメカニズムの究明を可能と する一方で、人類が処している生態環境の危機状況を照明する手助けとなる。これを 打開するためには、既存の科学一辺倒の物質的でドライな観点から離れ、科学が蔑ろ に してきた文学特有の暖かい視線で問題点と解決策を模索する必要があるといえよう。

The ecological imagination of Kim Nam-jo's poetry is based on the tradition of Christian thought. In the poetry of Kim, we can find sense of guilt and negative solitude based on the Christian thought. The faith of the poetic self turns the ‘relation-disconnection’ between the God and the human, the God and the nature, the nature and the human, to the ‘relation- connection’. The self has a Platonic orientation toward the heaven. And she shows the idea of Aristotelian organic nature. Both are based on the Christian theology. The organic nature is experienced as the Holy Mother. The concept of the Holy Mother is connected with the ancient mother goddess. But the Holy Mother belongs to the heaven unlike the mother goddess. The imagination of the Holy Mother resets the relationship between the nature and the human to the relationship between the mother and the children. Kim dialectically connects the science and the theology. Reinterpreting scientific cosmology from the perspective of faith, she shows the image of the planet earth as a community of lifes surrounded with the God's blessing. Kim's ecological imagination is not limited in the boundary of the earth, her ideal ecological community is the eco-topia of whole cosmos. Her ecological imagination shows interest in the relationship between the earth and the cosmos. Kim's imagination of Christian ecology has very important meanings in the history of Korean modern poetry, in the dimensions of post-war eco-poetics, the imagination of the Holy Mother and the dialectical imagination of the science and the eschatology.

金南祚の詩におけるエコロジー的想像力は、キリスト教の伝統に基盤を置いている と言えよう。彼の詩からはキリスト教の二元論に基づいた罪の意識や孤独に対する否 定的な認識が確認される。詩的自我は信仰を媒介にして絶対者と人間、絶対者と自 然、自然と人間の間における二元論的な「関係の断絶｣を、一元論的な「結ばれた関 係｣に転換させている。 詩的自我は天体に対してはプラトンのような指向性を示しながら、大地に対しては アリストテレスの有機体論的自然観を表している。この二つの想像力はプラトン主義 とアリストテレス主義が共存するキリスト教の思想と繋っている。 金南祚の詩において有機体論的自然は聖母を通して経験される。聖母は古代の地母 神信仰と関連している。しかし、金南祚の詩における聖母は、地母神とは異なって天 体に属する存在として形象化されている。聖母に対する想像力は自然と人間の関係を 母と子供の関係に再構築している。 金南祚のエコロジー的想像力においては、科学と神学の関係を証明しようとする努 力が見られる。詩的自我は、信仰の観点から科学的な宇宙論を再解釈しつつ、絶体者 の恵みを受けている生命共同体としての地球のイメージを形象化している。 また、金南祚のエコロジー的想像力の範囲は、地球に限られていない。詩的自我の 理想としている生態共同体は、宇宙へと広がっている。このようなエコロジー的想像 力は地球中心主義から離れ、地球と宇宙の関係を省みさせている点において興味深い 。 金南祚のキリスト教エコロジーの詩学は、戦後のエコロジーの詩学、聖母に対する 想像力、科学と終末観の証明などの問題において重要な意味を持っているといえよう 。

The purpose of this study was to examine Torigoe Seiki‘s experiences in Chosen, a cartoonist and Haiku writer who came to Chosen a hundred years ago. He served as a cartoon journalist in a magazine "Chosen" and published a book titled "Chosen Manga"(=Chosen Cartoons, 朝鮮漫畵). His Haiku unveiled his strong identity as a cartoonist. The magazine "Chosen" and his book "Chosen Manga" were investigated to find out what desire he cherished as a cultural translator who cartooned Japan's 'Chosen chi(知 =knowledge)', and that cartoon was compared to his illustration of Tamahama Kyosi's novel "Chosen" that he made immediately after his return to Japan. It's ultimately meant to shed light on his will of cultural practice that was revealed in the book "Chosen Manga". All the efforts will make it possible to find out what his desire as a first Japanese author of the "History of Japanese Cartoons"(1924) stemmed from.

この論文は約100年前に朝鮮に渡ってきて活動した漫畵家であり俳句作家であった 鳥越靜岐という人の朝鮮経験を考察したものである。彼は主に雜誌朝鮮で漫畵 ジャーナルリストとして活動しながら、朝鮮漫畵という單行本を出刊した。彼の俳 句でも漫畵家としてのアイデンティティへの強い執着がみられる。 まず、この論文では雜誌朝鮮と朝鮮漫畵を通じて帝國日本の「朝鮮知｣を漫畵 で構成した文化飜譯者だった彼が抱いた慾望を考察しようとした。そして、その作業 と彼が帰国後すぐ行った高浜虛子の小說朝鮮(1911)の揷畵作業を比較して、とくに 朝鮮漫畵を通してみせた文化實踐の意味を明らかにしようとした。これは、彼が日 本初の日本漫畵史(1924)の著者として漫畵というジャンルを通して表した慾望がど こから来されたものであるかを明らかにする作業につながるのである。

The Asia-Pacific War in 1941 is also a war which Koreans suffered in modern times and caused a tremendous change to the topology of Korea at that time. The Greater East Asia War and the Korean Peninsula published in 1942 is an important book which discussed the topology of Colony Joseon in connection with this war shortly after the Asia-Pacific War broke out. The authors of this book were ideologues representative of ‘national literature’ during the latter part of Colony Joseon Era, who were Japanese intellectuals residing in Joseon and intellectuals from Colony Joseon. They understood the reshuffle of East Asia’s regional order caused by the Asia-Pacific War from the perspective of Colony Joseon on the one hand, and attempted to reestablish the topology of Colony Joseon in the reshuffling process of East Asia’s regional order on the other hand. At that moment, Colony Joseon’s topology was transformed from logistics base for advance into the Continent after the Second Sino-Japanese War into logistics base for building ‘the Greater East Asia Co-Prosperity Sphere’.

1941年のアジア-太平洋戦争は、近代韓国人の体験した戦争であるだけでなく、近 代韓国の位相(topology)に甚大な変化をもたらしてきた戦争であった。1942年、人文社 編集部が編纂し出版した『大東亜戦争と半島は、アジア-太平洋戦争勃発直後におけ る植民地朝鮮の位相問題を、この戦争と結びつけて議論した著書として意味を持つ。 この本の執筆陣は植民地後半期における「国民文学｣のイデオローグたちとして、当 時ヘゲモニーを構築していた在朝日本人知識人と植民地朝鮮の知識人たちであった。 彼らはアジア-太平洋戦争の勃発による東アジア地域秩序の再編成の過程を、植民地朝 鮮を軸として理解する一方、東アジア地域秩序の変動過程の中で植民地朝鮮の位相を 新しく構築しようとした。この際、植民地朝鮮は日中戦争以来の大陸前進兵站基地と しての位置から一歩進んで、帝国の大東亜共栄圏建設の足場としての帝国前進兵站基 地として位置づけられた。要するに、アジア-太平洋戦争で象徴される1940年代前半に おける帝国日本の東アジアへの膨張主義政策に沿って、新たに構想された大東亜共栄 圏という地域主義秩序の下、朝鮮の位相を調整して強化していたのである。これは結 局、新しく想像されたアジアの中で、新しい朝鮮を創り出すプロジェクトの一環で あったと言えよう。

This paper examines the landscape movements in Japan. Landscape of a local area displays its unique characteristics. Residents engage in citizen movements to protect the landscapes of their localities. First, this paper will introduce the history of landscape movements and the current trend in Japan. Landscape movements gained precedence after the rapid economic growth period aiming to improve quality of life during the rise of ‘the regional era’ in early 1970s. Then, it will express how the meaning of landscape has changed and been recognized as time passed. Presently, a strong link exists between landscapes and the identity of a local area. Therefore, landscape movements are in the process of seeking their regional identity. A local area is considered to actively construct its own identity. However, landscapes in local area are largely affected by central government policy. Therefore, there is a need for autonomous residents to play a role in preserving and building regional landscapes. Finally through the example of landscape movements, this paper will examine resistance and appearance of movement participants. This will suggest a necessary role of residents in preserving landscapes in local areas.

本稿は日本の地域における景観運動に関して考察したものである。地域の景観はその地域の 特徴や個性を表し、地域らしさを表出する要素である。このような景観を保存し形成するために 地域の住民は開発に反対し運動を起こすこともある。本稿においては、日本の地域運動の流れを 概観し、地域での景観運動の形成背景や最近の動向について述べる。要するに、景観運動は高度 経済成長期を経て、暮らしの質を高めようとする意識変化、地方の時代への転換などを背景に日 本の地域で発生し始めた。そして、このような景観の意味は時代の変化とともにどのように認識 されてきたのかを述べ、景観を保存するための運動は地域の住民にとって地域のアイデンティ ティを追求する過程として変化してきたことを考察する。 現代の地域は地域の中でアイデンティティを形成する空間的な側面が強調されてきている が、地域の景観は中央の景観政策、地域政策の影響をうけ、結果的に日本的な景観として帰結す る。このような地域において景観の保存と形成には住民の役割が求められる。つまり、住民が景 観の価値を形成し、それを地域に広げていくことが必要である。本稿では、景観保存運動の例と して、広島県福島市の鞆の浦埋め立て架橋建設問題に関する景観運動を紹介し、運動の参加者ら の抵抗の形成過程と運動の様相を提示する。これを通して地域の内部で景観を通して地域を活性 化するための住民の役割と景観保存の必要性を考える。

본고는 근대 겐지모노가타리 비평사를 ‘모노노아와레’와 천황제를 중심으로 고찰한 것이다. 『겐지모노가타리』는 근대 이후 천황제와 관련하여 많은 비판을 받아 왔다. 그 이유는 이 작품이 천황제의 근간을뒤흔드는 문제점을 포함하고 있기 때문이다. 특히 근세이후 ‘모노노마기레’와 노리나가가 주장한 ‘모노노아와레’는『겐지모노가타리』를 평가하는데 주된 용어로서 사용되어 왔다. ‘모노노마기레’는 ‘남녀 간의 밀통’과 ‘황통(皇統)의 혼란’ 이라는 의미로 사용되었고, 이 ‘모노노마기레’를 유교적 관념에서 파악한 것에 대한 비판으로 노리나가가 ‘모노노아와레’라는 관념을 제시하게 되었다. 메이지, 다이쇼시대에『겐지모노가타리는천황제의 근간을 뒤흔드는‘ 모노노마기레’ 문제 때문에 윤리적인 비판을 받게 되는데, 이와 함께 노리나가의 ‘모노노아와레’설도 ‘모노노마기레’ 문제로부터 독립되기 시작하였으며, 『겐지모노가타리』에 나타난 밀통, 황통의 문제는 비평사에서 교묘하게 회피되기 시작한다. 쇼와기에접어 들어 군국주의가 짙어지는 가운 ‘모노노마기레’가 문제시 되어『겐지모노가타리』는 더욱 맹렬한 공격을 받게된다. 반면에 이 작품을 옹호 하고자 하는 사람들 조차도‘모노노아와레’에 대한 왜곡된 해석을 제시함으로서 당시의 교육정책에 이 작품이 얼마나 잘 부합되는지를 강조하고 있다. 이러한 경향은 ‘모노노아와레’가 근대초기에는 일본의 국민성으로, 군국주의에서는 일본정신으로 변화해 가는 과정을 통해서 더욱 뚜렷이 드러나며, 그들이시대적필요성에 의해서 노리나가의 ‘모노노아와레’설을 재해석하고 있다는 점을 명확히 하였다.

This manuscript is about considering the history of criticism of Genji Monogatari on modern times. In Chapter 1, it analyzed that the expression of ‘Mononoaware’ has been used as the meaning of 'adultery between male and female' and 'smeariness of the imperial line' in modern times, and revealed the concept of Norinagaga ‘Mononoaware’ has been used against the recognition of ‘Mononomagire’ by Confucian concept. In Chapter 2, it considered that Genji Monogatari was ethically criticized due to ‘Mononomagire’, which is a basis of the Japanese emperor in Taisho period, including the mood of that ear. In Chapter 3, it pointed out that ‘Mononomagire’ became an issue as Genji Monogatari was criticized in the process of militarism getting conspicuous when it was the beginning of Showa, and the logic of people who tried to support it was also self-contradictory. In Chapter 4, it examines how ‘Mononoaware’ has been changed, from a Japanese character in the beginning of modern time, to the Japanese spirit in militarism, then clarified that they are re-interpreting the theory of Norinagaga ‘Mononoaware’ by their needs of the times.

중국과 조선소화를 포함한, 동아시아소화 전체를 시야에 놓고 에도 하나시본의 방귀 이야기에 등장하는 인물양상을 바라보았을 때, 우리는 이들 방귀이야기들 중 여럿이, 동아시아에서 일찍이 공유되어 왔을 가능성을 상상할 수 있다. 즉, 중국의 어리석은 사위 이야기가 일찍이 동아시아에서 널리 유포되었다는 것은 주지의 사실인데, 그 안에 보이는 「어리석은 사위와 장모의 방귀｣를 다룬 이야기가, 사실은「며느리와시어머니의방귀｣를 다룬 이야기와 쌍을 이루고 있다는 사실을 놓고 볼때, 이러한「시어머니의방귀｣를 다룬 소화가 중국에서 일본과 조선으로 각각 전래되었을 가능성을 충분히 추정해 볼 수 있는 것이다. 또한, 새로운 유화 자료를 통해 우리는, 에도 하나시본에 보이는「하녀의방귀｣를 다룬 이야기가동아시아에서 공유 되었을 가능성을 알 수 있으며, 에도 하나시본 속에 보이는「도둑의방귀｣를 다룬이야기가 중국 소화의 영향을 받았을 가능성, 그리고 이러한「도둑의방귀｣를 다룬 이야기를 구연하는 과정에서「성대연기｣가행해졌을가능성과, 그것이에도 시대에 일본에 전래된 중국소화의 영향에 의한 것일 가능성을 추정해 볼 수 있겠다. 끝으로, 에도 하나시본의 방귀이야기에는 유곽의「유녀와손님｣ 사이에서 벌어지는 방귀 관련 해프닝이 많이 보이는데, 이는, 『우지슈이모노가타리의방귀이야기나, 근세 초기의 남색관계에서의 방귀이야기에서 보는 바와 같이, 사랑하는 관계의 두 인물을 설정하는 기법이 일본의 방귀이야기에서는 오래전부터 이용되어 왔고, 그러한 전통이 태평성대의 도래에 따른 유곽문화의 발달과 소화제공자의 환경변화에 따른 청중층의 변화라는 여러 가지 시대적 변화와 맞물린 결과, 유녀의 방귀｣를 다룬 방귀이야기가에도　하나시본에 풍부하게 나타난 것이 아닌가 여겨진다. 그리고 물론, 「시어머니와 며느리｣, 「하녀와 주인｣, 「도둑과 집주인｣등, 상대방 앞에서 방귀 소리를 내는 것이터부시 되는 긴장관계가「유녀와손님｣사이에서도 여전히 존재한다는 사실에는 변함이 없다 하겠다. 에도 하나시본의 방귀 이야기는 동아시아에서의 웃음과 소재의 공유의 실태를 여실히 보여 준다는 점에서 주목할 만하다 하겠다.

The diffusion of comedic stories throughout East Asia influenced the Edo Hanashibon (Japanese funny tales of the Edo period) where fart stories became a major subject. We have considered the whole horizon of funny tales in East Asia, which includes Korean ones too. If we take a look at the characters that appear in “fart stories” in general, we can find some of the features that are common to this particular genre all over East Asia (In our research this area includes only China, Korea and Japan). In the Edo Hanashibon compilation we have the work titled “The mother-in-law’s fart” “The maid’s fart”(We can find the same theme in Aesop’s fables and “The tale of the wise Sinbad”. ), and “The burglar’s fart” which became a common tale to those three countries in East Asia between the 16th and 19th centuries. Lastly, we will center in another subject of the Edo Hanashibon. In this compilation we could also find many funny stories about the theme of fart’s happening in prostitution scenes, that is to say, between the prostitute and her client. The funny point of these stories is the same as the one in “the mother-in-law”, “the maid” or “the burglar”, namely the taboo represented by the act of farting before a partner to whom the relationship is quite strained. The abundance of these stories is probably the result of the particular moods of that period, which asked often for such kind of setting and such kind of strained-related characters. We postulated that the latter formation of tales is just the natural development of these concrete motifs.

센슈(泉州)의 사카이(堺) 출신 고야마쵸산(小山朝三)은 당시, 거의 알려져 있지 않았던 사람이다. 나가사키(長崎)에 표류한 중국인에게 중국어를 배우고 린케(林家)에 입문하여, 1680년 갑작스럽게 쓰시마(對馬)번에 녹을 받아, 1682년 통신사행을 수행하였다. 이 수행을 맡아, 1683년에도(江戶)에 돌아갔다가이듬해인1684년사거했다. 고야마쵸산의 행동을 보면, 한일문사가 창수 할 때 자리를 같이하여 시전(詩箋)을 옮겨쓰고필어창 수의 내용을 기록하는 것이 그 주된 임무였는데, 이는 쓰시마번과 막부의 정책에의한 것이었다. 고야마쵸산은 한편, 일본 국내의 정치와 문화 활동 상황을 자세히 기록하여 통신사측에 제공했는데, 당연히 이는 통신사들이 복명서의 일부에 이용했을 것이다. 필담 창수를 모두 기록한 것이 이후 창수집 간행의 계기가 되었고, 이후로 시문집이 속속 간행되었다. 이 상황의 중심에 있었던 사람이 바로 고야마쵸산이었다.

Koyama Chosan is not still well known in scientific society. He was born in Sensyu Sakai, learned chinese language from chinese drifters, who were landed in Nagasaki. Than, he managed to entrance into Rinke, and in 1680, the year when Ietsuna Shogun get sick, Koyama started his service to Tsushima feudal clan. In 1682, he attendance upon Korean diplomatic corps to Edo and back to Thushima. Next year he back to Edo and in 1684 passed away on his 5th year on service to Tsushima feudal clan. Koyama's main mission was to be present in the room with delegation, compose and interchange chinese poetry, handwrite these poems and making records. It could be mentioned, that everything must be done according to the regulation of chinese poetry, that was intend by policy between Tsushima clan and Edo government. However, compare the Koyama Chosan and diplomatic corps before him, Koyama's records about affairs in Japan were really detailed. Also, he usually present his data to diplomatic corps. As a matter of course, author used a part of his report on mission to Edo in this report. In addition to this, poetry and prose made by Koyama, all exchanged correspondence between diplomatic corps and japanese also could be found. Due to that records it becomes available to publish the book on collection of writing and the interchange of the chinese poetry. And the person who played a central role was Koyama Chosan.

The objective of this study is to look at the points of view shown by those from the Edo era towards the Japanese emperor through the Joruri works. Even if it is not easy to think about the appearance of the Japanese emperor in the Edo era compared to those in other periods, there have been many literary researches regarding the images of the Japanese emperor in the Edo era since 1970s due to the active historical researches about that period. In particular, by focusing on the Joruri works related to such events as the Jinshin War and the Hogen Rebellion among various works with the Japanese emperor as one of the main characters, this study focuses on the development of the event regarding the succession of the crown in each play. Also, through such a process, it also deals with the points of view shown by people towards the Japanese emperor. As a result, it can be concluded that the Joruri authors of the modern time had an ethical idea towards the Japanese emperor. They even described all those princes who caused rebellions as sacred beings who could not be influenced by any punishment.

本稿は、壬申の乱と保元の乱を題材とする浄瑠璃作品を取り上げ、そこに描かれ た位争いをめぐる展開と、天皇像を分析することで、江戸時代庶民の天皇観を考察し ようとするものである。 これまでの歴史研究では、江戸時代の天皇は不可視であるとされてきた。だが、近 年、江戸時代の天皇や朝廷の生活や幕府の統制、また、朝幕関係を明らかにする研究 成果が出され始めている。従来の研究では、幕府が朝廷を厳しく統制したため、両者 間で激しい対立関係が生じた。このことが、近松の執筆態度に影響を与えてきたと指 摘される。しかし、晩年、後水尾天皇は幕府と朝廷間の安定した関係を維持してい た。霊元天皇も朝儀再興に力を注いでおり、大嘗祭が復活していた。大嘗祭の復活 は、近松に天皇劇『天智天皇を書かせる契機となった。 浄瑠璃作者は劇中において、保元の乱を崇徳院と後鳥羽天皇の対立ではなく、源氏 と平氏の対立と位置づけることで、反逆を企てた天皇が処罰される場面を回避してい る。壬申の乱を描いた作品では、大友皇子を「悪｣として登場させながらも、結局は 「善｣として態度を改めさせている。それは天皇を倫理的な人格者として描こうとす る理想主義的心情の表れとして読み取ることができる。また、大友皇子の死は『日本 書紀などの記述による単なる自害ではなく「民｣や「法力｣によるものとしている。 このように、浄瑠璃作者は天智天皇、大海人皇子、後鳥羽天皇だけでなく、反逆を 起こした皇子も処罰されない神聖な存在として扱っている。本稿は、近世浄瑠璃作者 が抱いた天皇に対する儒教的聖天子としての倫理的理想像が、作中の天皇像に反映さ れ、天皇（皇子）を天照大神の子孫として神聖視する浄瑠璃作者の姿勢があったこと を明らかにした。

Ueda Akinari, a man of letter of Edo-era in the 18th century of Japan, is a famous writer of Yomihon and an well-known nativist scholar, whereas his Haikai works has not been researched much. In the mean time, precedent studies found very few of Haikai interchanges made by Akinari and Buson, at most simply mentioning the memorial phrase written by Akinari honoring Buson. To probe aspects of interchanges between Akinari and Buson, this study contemplated the effects of the interchanges to the world of their works, mainly focusing on the elegy to Buson and critical review of foreword that Buson sent for a work of Akinari. As a result of the contemplation, we can say that Akinari understood Buson's haikai had been based on Basyo's haikai through the elegy for Buson sent by Akinari, and he highly praised Buson's achievements of great Haikai works especially with his deep knowledge of Chinese poetry. Meanwhile, Buson's evaluation of Akinari could be found in his letters and others. He understood well non-secular character of Akinari and estimated high Haikai works of Akinari. As we probed how such mental interchanges of two men of letters affected Haikai works in reality, we could find a phrase similar with Buson's in the Haikai works of Akinari, which he wrote being conscious of Buson's Haikai. Also, in Haikai works of Buson, the existence of phrases influenced by Akinari's works like Yomihon and Asajigayado in Ugetsu Monogatari could pointed out.

江戸時代の文人である上田秋成は読本作者であり、国学者として知られているた め、彼の俳諧作品や当時の俳人たちとの交流についてはそれほど研究が進んでいない と思われる。その中、秋成と蕪村との俳諧交流については、従来の研究において天明 三年に没した蕪村のために几董が編んだ追善集『から桧葉』に長文の前書をそえた追 悼句が入られていることと、句の中に、秋成が蕪村を「かな書の詩人」と定めている ことが知られているが、蕪村に対する的確な評価とされているにもかかわらず、その 具体的な事情は分からなかった。 本稿では、同時代を生きた秋成と蕪村との交流の様相を見るため、秋成が送った蕪 村への追悼句と蕪村が秋成に送った序文などを中心に二人は互いにどんな理解を持っ ていたのか、また、そのような交流が各々の俳諧作品にどのような影響を与えていた のかについて考察した。 その結果、まず秋成の蕪村への追悼句を通して、秋成は蕪村が芭蕉に傾倒している ことを理解しており、蕪村が漢詩に対する豊かな教養や知識を持って俳諧作品を作っ ていることを認めながら、それを高く評価していることが分かった。一方、蕪村の秋 成に対する評価については、俳諧の切字を論じた『也哉鈔』に送った序文などを通し て彼がどんな人物であったのかを知っており、秋成が芭蕉の作品を意識していること などが伺えた。 さらに、秋成の俳諧作品のうちに蕪村句と類似な趣向を見せる句があることや蕪村 の俳諧作品の中に秋成の読本作品『雨月物語』の「浅茅が宿」を意識して作られた句 のあることなどを指摘した。

『취미의유전』은<나>가 과거의 체험을 바탕으로 소설을 쓰는 상황을 기술하는 과정이다. 따라서, 자신에 얽힌 과거의 체험 및 사실을 서술하는 <나>가 이작품의 중심 인물이다. 본 작품은 제1장서두 부터제2장 중반부에 걸쳐 그가/ 대량살상을 초래하는 전쟁의 잔혹함을 시상(詩想)한것/ 병사들의 생사를 건필사적인 마음이 숭고한 환상으로 나타나 눈물을 흘린 것 / 전장에서 생환(生還)한 병사와 그의 모친이 재회하며 기쁨과 애정을 나누는 모습에 가슴이 뭉클해진 것 / 영웅 같던 고(浩)씨가 전장에서 하찮은 벌레같이 미미한 존재로 느껴지며 무참한 죽음을 맞이한 상황을 상상한것/ 고씨의 전사를 슬퍼하는 남겨진 모친의 현실을 불민(不憫)하고 측은하게 여긴 것 등을 서술하고 있다. 한편 작품 후반부에는, 그가 고안한 유전적인 이론이 옳았다는 체험이 중심적으로 쓰여지며 그러한 체험담을 기술하기 위해 소설을 쓰고 있다는 언설(言說)도 서술되어 있다. 그러나<나>가 쓰는 소설의 종결부는 염전적인 내용으로 끝나며, 나아가, <나>가관념적이고 애매한 염전관을 심화시켜나가는 사상(事象)도 검증할 수 있다. 본고는이러한『취미의유전』의 작중세계를 면밀히 분석하여, 이 작품이 특수한 형태의 염전소설임을 고찰한 논문이다.

Natsume Soseki wrote his early short story,『Shuminoidenwhich was published in the magazine 『Teikoku-bungaku on January 10th in 1906. The story process of this novel is about a past event of writing a story by the main character, ＂I＂. Therefore, this ＂I＂ is the main character of this work. In the later part of the book written by ＂I＂, the main character confesses that he was writing the story which was based on his own personal experience that indicates that the heredity theory that he developed was correct. But the introducing part of the story written by ＂I＂ begins with some abhorrence against the War, along with many other contents that show such abhorrence in the same contexts. The closure of the story also contains some degree of pacifism on war. Furthermore, the readers may validate the ideology of the main character in which the vague and conceptual ideas of war-wearines gets its depts. In this study, such contents of the book was minutely analyzed with a view to examine the fact that the story『Shuminoiden is a special form of anti-war novel.

본고는『朝鮮』의 저자인 교시(虛子)가, 초출시(初出時)의『朝鮮』중 많은 부분을 삭제·개정했던 문제에 대해, 그 삭제에 관한 작가의 의도와 예술적인 이유에 관해 고찰했다. 교시(虛子)의 소설이론에 의하면, 작가가 주체적인 입장에서 사물을 적극적으로 묘출(描出)하기 위해 “주관”이 중시되어, 그 “주관”을공고케 하기 위한 목적으로 확실한 객관적 사생(寫生)과 그 기법(技法)이 중요시되었다. 하지만 미에키치(三重吉)의 “부산에 있던 아이의 묘사 같은 지나친 강조 표현은 거꾸로 소설전반의 예술적 가치를 잃게하다” 는 평가에 의해, 교시(虛子)가 예술성의 저해를 우려한 결과, 주인공을 비롯한 등장인물의 이력이나 내면에 대한 묘사를 거의 삭제해야 했을 가능성이 있다. 따라서 교시(虛子)의 객관사생(客觀寫生) 에 대한 개념과 의도 뿐만 아니라 교시(虛子) 자신이 가지는 “주관”이 무엇인지를 정확히 파악하기 위해, 앞으로 한층 더 정밀한 고찰이 필요하다.

In this report, I put emphasis on investigating why such an enormous revision and deletion was done from original novel "Chosen", investigating as well as the author Kyosi’s own intention to do it. As for his theory of writing novels, for more positive expression of the subject, the author’s “subjectivity” as well as technique, was regarded as greatly important, for the accuracy of the objective description. However, guessing one possibility that Miekichi’s review that such a excessive emphasis as Pusan’s scene, just like the conversation between the Korean boy and Japanese merchant couple, is a big impediment to artistry, had a great influence on Kyosi to delete his original sentences, especially the history and internal description of characters. Therefore, more correct investigating what was Kyosi’s own “subjectivity” and his conception of the objective description, will be very important problem to be elucidated.

The purpose of this paper is to compare Yeom Sang-seop's Before Hurrah with Arishima Takeo's Take the Love by Force without Mercy. Before Hurrah that developed by Protagonist Yi In-hwa’s journey from Tokyo to Seoul, reproduces the reality of colony Korea. In 1920’s, Yeom was interested in 'Life', the aspects of colonists’ life in Before Hurrah are related to Arishima’s 'Habitual Life' and 'Intellectual Life'. The figure of Koreans who are overwhelmed by the power of outside world like colonial rule corresponds to 'Habitual life'. And the figure of Koreans who compromise with government power to maintain their trivial personal profit corresponds to 'Intellectual Life'. Meanwhile Yi In-hwa who hated the being of his sick wife and longed for love with Japanese café waitress Shizuko, realizes that his own love for others was just false or hypocrisy passing through itinerary. The change of perceptions about love is effected from Arishima’s unique idea that love is not showing mercy on other but taking other’s individuality by force without mercy in order to find the coincidence between the two individuals and to reach at one. And the change aims for 'Impulsive Life' that guarantees the brilliant exploit of individuality. Moreover Yeom gave a hint about 'Hurrah' that is the figure of independence by expanding individuality in personal dimension to individuality in ethnic dimension. In other words, the relation between Yeom and Arishima in Before Hurrah proves author’s plan to draw and show the validity of decolonization by appropriation.

本考は廉想渉の『万歳前』と有島武郎の『惜みなく愛は奪ふ』を比較検討したものであ る。留学生の李寅華の帰国旅程について物語る『万歳前』は植民地時代の朝鮮のことを 生々しく再現する。1920年代、廉想渉は'生活'の問題に深く関心を持っていたが、作品から 現れる朝鮮の現実は有島武郎の'習慣的生活'と'知的生活'に対応する。植民地支配という外 部世界の影響に圧倒される朝鮮人の姿は'習慣的生活'とつながっており、権力と妥協して個 人的な利益に汲々としている朝鮮人の態度は '知的生活'とつながっているといえる。一方、 二豎に冒された妻を度外視して、日本人女給の静子との恋愛を渇望していた彼は旅行を通 じて自分の愛が虚位と偽善に過ぎないことを悟るようになる。愛に対する認識の変化は'愛 は与えること'という観念を偽善的だと批判して、'愛は奪うこと'即ち、両個性との一致点を 探索し一致させることが真の愛だと把握した有島武郎の特有な思想に影響受けたもので、 個性の自由な活躍を重視する'本能的生活'を志向する。さらに、廉想渉は個人的な次元の個 性を民族的な次元に拡大させることにより、'万歳(独立)'の必然性を暗示する。即ち、『万 歳前』で確認された有島武郎の影響は'専有'を通じて脱植民的な主題を導出しようとする作 家の企画だと解釈できる。

본 논문은 아케치의 외모와 탐정방법, 특기, 주거, 인간관계등의 묘사를 통해서 그의 이미지의 변화를 고찰했고, 편의상「초기단편소설｣「통속장편물｣「소년물｣로 나누었다. 초기단편소설에 나타난 아케치는 탐정소설을 좋아하는 괴짜이었다. 복장은 신경을 쓰지않고, 긴머리털을텁수룩하고있다. 화술과 암호해독에재능이 있고, 인간연구와 진실규명이 그의 목적이다. 통속장편물에 등장한 아케치는 옷을 맵시있게 입는 멋쟁이이고, 서양인처럼 보인다. 그는 변장, 격투, 사격과 운전을 잘 하는 만능탐정이다. 소년물에 묘사된 아케치는 이십면상과 대등하게 싸우기 위해서, 그의 능력과 장비가 강화되었다. 아케치와 이십면상과의 관계는, 홈즈와 루팡의 관계로 간주되기 때문에, 아케치에는 홈즈의 이미지가 강하게 투영되고 있다.

This paper inquires into changes in the image of Akechi through his appearance, the way of his investigations, his specialty, his residence or human relations. For convenience's sake, works are divided into three groups such as the early short stories, the popular full -length novels and the juvenile novels. Akechi is a strange man who is very fond of detective stories in the early short stories. He never minds clothes and has long curly hair. He controls people with skillful speaking and is good at breaking a code. His main purposes are the research in humans and the investigation of facts. Akechi, who is a sharp dresser, looks like Westerners in the popular full-length novels. He is an all-round detective who is good at the art of disguise, martial arts, shooting and driving a car. Akechi's ability has strengthened to do battle with Twenty-Faced. The relationship between Akechi and Twenty-Faced is regarded as one between Holmes and Lupin, so the images of Holmes are strongly reflected in the images of Akechi.

This study explored 『Moeagaru-midorinoki』trilogy of Kenzaburo Oe and identified the linking point and differentiating point of the ‘individual’ and ‘community’ formations to the other novels of Kenzaburo Oe. The novelty of such formations was also examined in addition. 『Moeagaru-midorinoki』trilogy were published in 1990s when there were many turbulences and changes in and out of Japan. In the 1990s, the world finished the Cold War and globalization was accelerating. Oe reflected on this time later and said that he was quite disturbed and he felt he was pushed to the dead-end as a novelist. He said he had turbulent days after the socialism had fallen down. The works of Oe at that time directly and indirectly reflect the aspects of the time and the internal world of Oe. The characters, arrangement of community and the formations reflect the influences of the time. In modern age, the meaning of distance and space became thin by the facilities of civilization. The trans-national individuals and individuals on the boundary increased. With such time background, Oe did not stay in the village community which had been the space of folklore. He searched for more fluid and ‘open’ community and more subjective life as an individual. The value of village community as a “base of operation” had been emphasized in all of his works. Such value is preciously succeeded in 『Moeagaru-midorinoki』trilogy, while they secure the relativizing viewpoint of it.

大江健三郎の長編小説『燃えあがる緑の木三部作は、前作に見られた共同体の造形を 一方で受け継ぎながらも、他方では新しい思想と形態の共同体を模索している。この三部 作が発表された一九九〇年代、日本は内外的に様々な変動を経験した。何より冷戦が終結 し、グローバル化が進んだ。大江はこれまでなかった社会の大きい転換の中で根本的に揺 り動かされる日々を過ごし、小説家としても行き詰まっていたと自らこの時期を回顧して いる。『燃えあがる緑の木三部作はこのような作家の内面と時代相をあらゆる面において 反映しており、登場人物や共同体の造形にもそのような時代相が影響している。この論文 は『燃えあがる緑の木三部作における〈個人〉と〈共同体〉の造形が、かつての大江の文 学と連係あるいは差別化される地点を確かめ、その新しさをめぐって考察した。文明の利 器により距離と空間の意味が縮小し、トランスナショナルな個人、境界線上の個人が増え ていく時代を背景に、大江は、従来のように土俗的な伝承の空間としての〈村〉にだけ固 着されず、より流動的で外に開いた共同体とより主体的な個人の有様を提案している。そ して、かつてから強調してきた根拠地あるいは本拠という観念を一方では大事に継承しな がら、他方ではそれを外に向けて相対化する視野を確保している。

<Somersault> of Oe Kenzaburou written in 1999 is the work converted from announcing the end of his writing career. This study considered the reason for converting of Oe Kenzaburou more specifically, analyzed writer's determination how to signify in work. And considered awareness in 'God' of characters and relation of awareness in God of Oe Kenzaburou. Also this study analyzed relation of God and words, and many different 'changes' showed in the work. First, this study pointed out that 'Patron' and 'Guide' are parts of the savior and the prophet in each but each part was inverted. In them, 'God' is 'nature God' as a whole of universe. This is related that Oe Kenzaburou had devoured Spinoza Books at that time. Next, this study analyzed for 'Gii' and 'Ikuo' connecting to 'new man's church'. Also 'Ikuo' accepts that an old painter, Kiz said man can rejoice without God, and he builds the church without God. This can be seen the remark for free of the soul in man. Above all, this is the work based deeply on anguish and pray for free in inner side of man, and the work of humanism excluding God.

1999年発表された大江健三郎の『宙返りは大江の絶筆宣言から‘転向chugaeri’した 作品である。本稿では、大江が転向した理由をより詳しく考察し、作品に作家の決意 が如何に描かれているかを分析した。また、登場人物たちの‘神’への認識と、大江の それとの関係を考察した。なお、神と言葉の関係と、作品に表れた様々な‘転換’など を分析した。 まず、師匠と案内人の、救い主と予言者としての役割の‘転倒’を指摘し、彼らにお ける‘神’とは宇宙の総体としての‘自然’神であることを明らかにした。これは、大江が 当時スピノザ関連書籍を耽読していたこととも無関係ではない。 次に、‘<新しい人>の教会’を継ぐギーと育雄について分析した。また、育雄は老画 家木津の、神なしでもrejoiceできる、という言葉を受け入れ、師匠の神不在の教会を 引き継いで運営するが、これは大江の、人間の魂の解放のための言説として見ること ができる。何より、この作品は人間内面の自由に対する苦悩と祈りが色ごく出てい る、神を排除したヒューマニズムの作品である。

본 연구는 사범대학생들의 교원자격 취득과정에 필수과정으로 이수하게 되어 있는 교육실습과정이 예비 일본어교들의 능력 계발에 어떠한 영향을 미치는지에 대해서 조사 분석하고자 하였다. 첫째로 실습학교에 대한 기본적인 정보와 함께 전공교과와 교육 전반에 관련한 정보로서 사용 교과서등에 대한정보가 미리 제공되어야 한다고 본다. 둘째로 교육실습 전반부에서는 학교 차원에서 준비한 특강과 지도교사의 수업참관을 통하여 이론과 실제의 융합을 꾀하도록 한다. 셋째로 예비 일본어 교사들은 교육실습과정을 통하여 학생들과의 정서적인 관계를 형성하면서 미래의 일본어 교사로서의 자격을 갖추어 나가도록 하여야 한다. 교육실습과정을 완료한 다음 일본어 교사의 수업능력에 대한 단순한 피드백이나 토론이 이루어지는 것이 일반적이지만 유능한교사의 배출을 위해서는 대학측으로 부터의 예비 일본어교사들이 현장에 임할때 수업참관을 통한 피드백을제공하고, 교육실습이 완료한 이후의 후속 프로그램등의 제시로 예비 일본어교사들을 위한 지원체계나 양성프로그램 등이 다양하게 전개되어야 할 것이다.

The purpose of study was to investigate how pre-service teacher practicum affected Japanese teachers' ability development, which they should have Japanese teacher. More specifically, this study attempted to seek what pre-service teacher expected and sought as future teachers throughout the 4-week-long practicum in local school. Additionally, it sought to see how pre-service teacher saw future Japanese teacher. Data sources came from pre-questionnaire, their practicum log, and in-depth interview. The findings of this study indicated that pre-service teacher did not have specific information about schools such as what kinds of Japanese textbook they have used, how their curriculum have been structured, except basic information of the local schools such as their locations and size. Drawing upon these finding, implications for the teachers' ability development program, and specific recommendations for future are proposed as well.

Tandem이란 원래 2인용 자전거를 가리키는 말로 유럽 여러나라에서 활발히 실시되고 있는 외국어 학습법의 하나이다. Tandem 학습법이란 서로 모어가 다른 화자 두 명이 조를 짜서 서로의 모어를 배움과동시에 자신의 모어를 가르치는 형식으로 서로가 도우면서 자립적으로 학습하는 학습법이다. 글로벌화에 따라한 국내에서의 유학생수는 확실히 늘어나고 있지만 각 언어의 모어화자인 그들을 적극적으로 외국어 학습에 편입시키고자 하는시도는 지금까지 별로 이루어지고 있지않다. 부산외국어대학에서는Tandem학습법을 2009년도 부터 교육과정에 적용하고 7개의 학과(일본어학부, 중국어학부, 러시아어과, 태국어과, 베트남어과, 중앙아시아어과, EU지역통상학과: 2010년기준)에서정식과목으로서 개설되어 있다. Tandem 코스 운영 형식은 2가지로 예를 들면 「일본어 - 한국어 Tandem｣코스에서의 사용언어는 일본어와 한국어이고, 중앙아시아어과의 「다언어Tandem｣코스에서의 사용언어는 우즈베키스탄어, 터키어, 카자흐스탄어이다. Tandem 수업의 목표는 파트너와의 협동학습을 통해 학습목표언어능력의 향상은 물론, 자립학습능력과 이문화간의 사소통능력 및 다언어 협동학습능력의향상이다. Tandem 수업 최대의 특징은 각 학생개인에 주어진 목표 언어의 모어화자와의 개인적이고 또 지속적인의사소통의기회이다. 서로에게 교사와 학생의 역할을 다하면서 이문화간의 의사소통 체험도 자연스럽게 가능하고, 또 의사소통과정에서 일어 날수 있는 오용과 문제점등은 자신의 파트너에게서 직접 해결할수도있다. 또 하나의 특징은 학습자가자신의 언어레벨에 맞추어 학습목표를 정하고 학습내용과 학습방법등을 선택할수 있어 교육학이론의 관점에서 보면 자율학습의한 모델이 될수있다. 따라서 교사의 주된 역할은학습자의 학습활동의 조력자, 관찰자, 관리자 및 상담역이다. Tandem 수업은 외국어 교육의 효율을 향상시키기 위해 중요한 역할을 하는 모어화자와의 얼굴을 대면한 의사소통의 경험, 이문화 간 의사소통의 체험, 민간외교 레벨에서의 외국어 사용이라는 요소를 달성할 수 있는 수업으로서의 가능성이 상당히 엿보인다. Tandem 수업의 성과를 향상시키기 위해서는 앞으로도 Tandem 수업의 문제를 포함하여 여러 가지 시점에서의 지속적인 연구가 행해져야 할 것이다.

The purpose of the Tandem course is to improve learners’ target language proficiency, help learners interact with peers from different cultural backgrounds, and elevate the multilingual cooperative learning ability of learners. The Tandem course has numerous distinguishing characteristics: every learner has an opportunity to communicate with target language speakers, experience cross-cultural role-plays in groups, and his or her poor sentences or wrong pragmatic transfers can be corrected fact-to-face. Simply put, this method pursues a self-directed learning method. Accordingly, a teacher's role is as a facilitator, conductor, and consultant. Originally known as the Tandem Approach, it is one of the widely utilized foreign language learning methods in European countries. As a self-directed learning method Tandem is practiced in a group in which two foreign language learners, with different mother tongue backgrounds, learn L2 from his or her counterpart, exchanging roles. In the globalization era, the number of foreign students in Korea has been increasing; however, little attention has been given to consider them a potential source of instruction in the foreign language learning context to date. Building on prior literature, PUFS has positively adopted the Tandem teaching and learning method since 2009, introducing it into the curricula of several departments by the end of 2010, e.g., Japanese, Chinese, Russian, Thai, Vietnamese, Oriental studies, and European Union studies. Currently, two types of Tandem courses are utilized. The first is a Japanese-Korean Tandem course, where the two languages, namely Japanese and Korean, are a vehicle of communication and interaction. The other is a Multilanguage Tandem course with Uzbek, Turkish, and Kazakh as the languages. Falling back on prior cases, the Tandem courses have the potential to improve learners’ foreign language proficiency through face-to-face interactions in the target language. To utilize this method more efficiently at PUFS, further studies are extremely necessary.

This study investigated the effect of gender and age of interlocutors on the frequency and objects of compliments in the first meeting conversation. Conclusions are summarized as follows. For Korean, they compliment talking partner more frequently than Japanese and the objects of compliment are various such as belongings, appearance, capability, personality and relationship. For Japanese, the objects of compliment are limited to capability and relationship and they tend not to compliment private objects such as appearance and personality. Despite of these difference, both language have common traits, that is, younger persons don't compliment elder persons often and women compliment talking partner more frequently than men.

本研究では日韓の社会人の初対面会話に見られる「ほめ行動｣の様相をほめの頻度 とほめの対象に焦点を当て、対話者間の年齢と性別という要因と絡めて調べてみた。 その結果を簡単にまとめると以下のようである。韓国人は日本人よりほめの頻度が高 いうえに、ほめの対象も所有物、外見、能力、性格、関係者など、様々な領域に渡っ ていた。それに対し、日本人の場合は、ほめの対象が能力と関係者に限られており、 特に私的領域に属する外見や性格などはほめの対象にはあまりしないとい点で韓国人 と相違していた。一方、日韓ともに年齢的に下の人は上の人に対してあまりほめな い、また女性が男性より相手をよくほめるという点で類似していた。このような日韓 の言語行動についての知見を日本語教育の現場で積極的に活用することで、両国の文 化が相互により深く理解でき、異文化間の円滑なコミュニケ-ションに役立つと思う。

본 논문은 중고일본어의 시간표현 체계를 현대일본어의 관점에서 연구한 논문으로 당시의 시간표현을 나타내는 형식「キ･ケリ･ツ･ヌ･タリ･リ｣에「裸の形(基本形)｣를 포함하여 각 형식의 텐스/아스펙트적인 의미를 알아보고 각각의 형식들이 현대일본어의 시간표현 체계 중 어느 위치에 해당하는 지를 고찰해보았다. 먼저, 시간표현을 크게 상태성술어와 동작성술어로 나누어 살펴본결과, 상태성술어의경우, 현재와 과거라는 텐스적인 대립은 성립하지만 아스펙트적인 대립은 성립하지 않는다는 사실과 7개의 형식 중「キ･ケリ･ツ｣만이 사용되었다는 것을 알 수 있었다. 반면 동작 성술어의 경우에는 현대일본어와 마찬가지로 텐스/아스펙트의 대립이 존재하고 7개의 형식이 고루 나타나있는 것을 알 수 있었다. 또한, 각각의 형식들의 의미에 있어서 어떠한 문맥 가운데에서도 바뀌지않는 기본적인 의미와 문맥에 따라 또는 상황에 따라 의미가 바뀔 수 있는 이차적의미를 분석해보았다. 7개의 형식의 의미를 분석한 결과, 중고일본어의 시간표현은 현대 일본어의 시간표현과 달리 형식이 분화되어 있으면서도 문맥에 따라 텐스, 아스펙트적인 의미가 크게 좌우된다는 것을 알 수 있었다.

This is a study of Time-related expression system in the Middle Ages from the perspective of modern Japanese. I studied the forms of Time-related expressions in the Middle Ages - that is, 「ki, keri, tsu, nu, tari, ri｣and「the original form｣, including the meanings of Tense and Aspect of each forms. And I studied too the position between each forms of Time-related expressions in the Middle Ages and Modern Japanese's Time-related expressions system. At first,I separated the stative predicate and the action predicate. In the case of the stative predicate, there is opposition of Tense between present and past. However, there isn't opposition of Aspect. And I knew only that「ki, keri, tsu｣of seven forms had used. Otherwise, The case of the action predicate, there are opposition of Tense and Aspect. And I knew that 「ki, keri, tsu, nu, tari, ri｣and「the original form｣had used. Also, I analyzed the basic meaning of each forms that no changing in the context and the secondary meaning of each forms that can change in the context or in the situation. This result shows that Time-related expression system in the Middle Ages is different with Modern Japanese's Time-related expression system. That is, seven forms of Time- related expression in the Middle Age have each independent meaning but the meaning of Tense and Aspect can be changed by the context.