Earticle

중국의 유구한 역사 속에는 선사시대의 신화, 선진시대(先秦時代)의 산문, 한왕조(漢王朝)의 부(賦), 위진남북조의 고체시(古体詩),당의 율시와 절구, 송의 사(詞), 원의 곡(曲), 명과 청의 소설이라는 문학형식이 존재했다. 본고에서는 한시(율시를 중심으로)와 근대시(이른바「자유시」와「신율시」등을 포함하여)의 계승관계와 그 전개, 영향 등에 대해서 고찰해 보기로 하겠다. 율시, 절구 등의 한시에는「압운(押韻)」「평측(平仄)」「대구(対句)」등의 엄격한 규칙이 있고, 고대 중국 문인들, 두보, 이백 등을 대표로 하는 시인들은 수많은 시를 남겼다. 그 한시도 송나라 때에는 장단구(長短句)의「사(詞)」로 변형되었고, 원나라 때는「곡(曲)」이 유행했으며, 명과 청나라 때는 소설이 주류를 이뤘다. 20세기 초의 민국시대(民国時代)에는「신문화운동」이 발흥하여 신시(新詩)와 자유시가 대두되기 시작하였다. 그 신시와 자유시 중에는 율(律)과 운각(韻脚)등을 모두 무시한 자유로운 형태의 것도 있는가 하면, 이른바 신율시도 있었다. 이 신율시파의 대표적인 인물은 쉬즈모(徐志摩)씨와 원이둬(聞一多) 씨로, 각각 다른 시풍을 보인다. 원이둬의 시를 읽어 보면, 행진곡 풍의 리듬, 획일적인 정연함과 밸런스를 느낄 수 있다. 그에 반해 쉬즈모 씨의 시는 유려한 멜로디가 들리는 듯 하며, 음절의 정연함과 그 변화가 느껴진다. 구율시(旧律詩)를 잘게 분쇄하여 자수도 행수도 압운도 평측도 지키지 않는 이른바 신체시에 반해, 신율시는 자수, 행수, 압운과 평측 등에 구속되어 있는 구율시와 “무정부주의적 신시”의 중간적인 위치를 주장하며 구율시의 정수를 받아들여 신시운동을 리드해 나갔다. 구율시는 일본ㆍ한국이라는 인접국가에 큰 영향을 미쳐, 한국과 일본의 문인들이 읊은 율시는 실제로 뛰어나며, 게다가 일본의 와카와 하이쿠, 한국의 시조 등에도 큰 영향을 미쳤다. 21세기에 들어서도 2007년에 중국 현대 율시학회 등이 주최하는「신율시 및 율체신시 이론 심포지엄」이 열렸고, 2008년에는 “중국 격율체 신시창작연구회(中国格律体新詩創作研究会)”가 발족되어 신율시의 밝은 미래를 전망해 볼 수 있다.

During the Chinese history, there has ever existed quite a few genres such as the mythology in the prehistoric era, the essay in pre-Qing era, Fu in Han Dynasty, Old Style of Poetry in Southern and Northern Dynasties, Eight-line Regulated Verse and Curtailed Form in Tang Dynasty, Fixed Rhythm Songs in Song and Yuan Dynasty and novels in Ming and Qing Dynasty.In this paper, I would like to try to analyze the succession of the modern Chinese poems from those traditional genres, focusing on the effect of Eight-line Regulated Verse on the poems. To summarize the evolution of Chinese traditional poetry, with the strict rules of Regulated Verse such as metre, tone pattern and couplet and countless great works by famous poets, say, Li Bai and Du fu, these genres has been guaranteeing Chinese poets’ social status as bureaucrats. The prosperity of Regulated Verse was then replaced by Fixed Rhythm Songs during Song and Yuan Dynasty. Consequently, novels became the mainstream in Ming and Qing Dynasty. In the head of the 20th Century, asa result of New Culture Movement, post classical poetry has been born. In the senew types, some works has been made by completely neglecting all those classical rules of Chinese poetry; some are the very verses regulated by new rules, which is New Regulated Verse. Amongst the then poets, Xu Zhimo and Wen Yiduo were the representative soft hose who supported New Regulated Verse. Both of their styles were different respectively. As we read the poems by Wen Yiduo, we will find their march-like rhythm and exquisitely ordered structures. On the contrary, we will discover the melodically and neatly changing syllable of Xu Zhimo’s poems. Compared to the so-called “new poems”, which destroyed the classical rules of Chinese poetry, new regulated verses are thought to stand on the cut-off rule between them so as to lead the New Poetry Movement. It is universally accepted that Regulated Verse has had a far-reaching impact on adjacent countries, Japan, Korea, etc. Not only are the regulated verses by Korean and Japanese poets not bad atany standard, but also classical Chinese poetry has influenced Tanka, Haiku and Sijo. Even in this century, the association of Chinese modern regulated verse held the symposium, New Regulated Verse and its theory, in 2007. The birth of the Board of creation of Chinese New Regulated Verse in 2008 has proven the bright future of New Regulated Verse.

Jinzerong金澤榮 divided Chinese proses into two, the sweet[甘]-sentences and the bitter[苦]-sentences as he metaphorically expressed the characteristics of the literary style for the Chinese successive generations' proses to the taste. He established Kongzi孔子's sentences as the ideal model sentences that tasted sweet, while he indicated all of the Zhuzi諸子' sentences tasted bitter because they pursued the opposite literary style to Kongzi. He thought the examples of the sweet-sentences was started by Kongzi, led to Mengzi孟子 in the age of Zhanguo戰國, to Simaqian司馬遷 in the Han漢 dynasty, and through Hanyu韓愈 in the Tang唐 dynasty to Guiyouguang歸有光 in the 明 dynasty, and then they were succeed by Liangqichao梁啓超 in the late Qing淸 dynasty. Liangqichao thought the most important thing for the progress of literature was an alteration from literature by the Archaic words[古語] to literature by the Contemporary words[俗語] and he suggested not only novelists choose this style but all of the literary works should be written by this style. He wanted to put the spirit and ideas of the west by using the Contemporary words and the usage of foreign language[外國語法] in his new literary style, but he maintained it as the way it was by using the Wenyan文言 instead of the Baihua白話. About this, Jinzerong comprehended Liangqichao commanded the sweet-sentences by the traditional classical style and system. Liangqichao continued to use the Wenyan form instead the Baihua, he ultimately pursued unification of the written and spoken language[言文一致] by using them together in the language life like the modernized western countries. Unlike Liangqichao, Jinzerong had pursued sentences of Kongzi, who had completed unification of the moral philosophy and literature[道文一致]. Because his criticism on Chinese proses was based on the linguistic view of reactionism that represented unification of the moral philosophy and literature, especially when the new literary movement vigorously began to spread, it is considered to help understand the characteristics of Chinese proses which were placed in the center of the Chinese literature.

金沢栄は中国歷代の散文の文体的特徵を味に例えて、甘い味がする文章と苦い味がする文章に区分した。彼はもっとも理想的な文章のモデルとして孔子の甘い味がする文章を設定、それと反対の文体を追究した文章として諸子の苦い味がする文章を提示したのである。彼は甘い味がする文章が戰国時代に孟子で漢代に司馬遷につながったと、次い唐代に韓愈を経て明代に歸有光につながったと。再び淸代末期に梁啓超によって継承されたという判継することができた。梁啓超は文学が進化するための1つのかぎとして、古語の文学から俗語の文学に変化することと見、この文体は小說家だけが採用するものではなく、あらゆる文章で使用されなければならないとした。しかし彼が創出した新文体は俗語と外国語法を使用して西欧の精神と思想を表そうとしたが、文体においてだけは白話ではない文言の形式をそのまま維持した。それについて金沢栄は梁啓超が傳統古文の文体と体裁を通じて甘い味がする文章を駆使したものと理解した。梁啓超は白話ではない文言の形式を維持したが、彼は究極的に近代化された西欧のように言語生活において文字言語と音声言語がともに使用される言文一致を志向した。これとほかに金沢栄が一生をかけて追究した文章は道文一致を完成した孔子の文章である。彼の中国散文批評は、新文學運動が活発に繰り広げられた時期に道文一致に代弁される復古的な言語観に基づいたものであり、數千年間中国文学の中心を占めていた中国散文の特徵理解に寄与できるものと判継される。

This paper explores the nationalism in Japanese films of 20th century. Actor Yosuke Kubotsuka has appeared on "Go", "Madness in Bloom", and "I Go Die Only for You", and these films show such trend. On "Go", he acts 'Sugihara' who feels national identity conflict between Korea, North Korea, and Japan. After this film, he shows nationalistic behaviors, and he plays the role of right-wing gangs who wants to 'clean' Shibuya on "Madness in Bloom". On "I Go Die Only for You", he acts the role of Kamikaze Tokkotai(suicide commando band) who gladly wants to go die for keeping 'something very valuable', that is the family and the nation. It is very difficult to consider such trends of nationalism of young generation of Japan as the uprising of political nationalism, or the ideological cynicism like seen '2 channel'. But it is more important to recognize two ways of representation of nationalism on the popular culture of Japan, and to discuss how to overcome the exclusive nationalism and to recover the value of 'publicity' of Japanese society.

本稿は2000年代の日本映画が表現する日本社会のナショナリズム的傾向を考察するために、俳優窪塚洋介が出演した一連の映画『GO』、『凶気の桜』、『俺は君のためにこそ死にいく』を分析対象に選択し、それを「アイデンティティ」と「公共性」というキーワードを持って考察した。窪塚は『GO』において、韓国、北朝鮮、日本の間で民族のアイデンティティの葛藤を持つ「杉原」を演じたことをきっかけに明らかにナショナリスト的な言動を示すようになり、それは『凶気の桜』において渋谷を「掃除」しようとする右翼ギャング役を演じることにつながっていく。しかしこの映画において表現される「日本人というアイデンティティ」というのは「想像＝創造」される性質のものでその意味内容が空虚である。以後『俺は君のためにこそ死にいく』において窪塚は「大切なもの」を守るために散華していく特攻隊員役を演じることで一定の政治的態度を選択するようになる。即ち、「決断主義」的な姿勢を持って特定の政治理念のイデオロギーを示すようになる。　このような窪塚的な行動に見られるような日本の若者のナショナリズム的傾向について、それを「2ｃｈ」的な「アイロニーの空回転」として捉えるか、あるいは既存の政治勢力に回帰する現象として見るかは今の段階では判断しかねるだろう。しかしこのような両方向の表現が現在の大衆文化領域において表れているのは確であり、重要なことは提起されている「公共性」の回復の問題についてどのような方向、あるいは意味内容を持って応えていくかであろう。

This thesis examined the methodology of historical research of Ota Kinjo　known to be the authority of Japanese methodology of historical research in the development process of the study of Confucian classics by returning it to the internal problem of Japanese history of thought. Kinjo made the restoration to Confucius and Mencius as the task and concentrated his energies on thorough historical research of the Confucian classics in the process returning to Confucius and Mencius. In this process, Kinjo pursued edification from the inside of individual heart and the big characteristic of Confucianism of the second half. It should be noticed that there was thorough historical research of the Confucian classics in the background leading this.

本稿は經學の展開過程において日本的考証學の開山と知られている太田錦城の考証學を日本思想史の内部問題に還元して検討したものである。錦城は孔孟への復古を求め、經書の徹底的な考証に尽くした。ところが錦城は經書注釈だけに止まったのではなく、聖人の道を把握して、それを社会共同体の中において、民衆の生きることへの方向性を提示する方へ進んだ。そこで錦城は徂徠學を超えて、個人心性の内部に問題の関心を置いた。このように18世紀後半期の儒學が個人の心性内部に強い関心があったことと、これを主導する背景に經書の徹底的な考証があった点に注目すべきである。

In the 2002 years, Tsukurukai was divided by different standpoints about America after the 9ㆍ11 terror. Needless to say, there had been conflicts between them concerning Taiwan. But after the 9ㆍ11, they could not overcome the differences of their 'thought'. The second division came into existence in the 2006 years. The conflicts between NishioㆍFuzioka group and Yagi group, concerning the contents of Texts and 'the strange Mails', were originated by more 'inner politics' than thought. Yagi group was relatively close to conservative politicians. In conclusion, Yagi group made new organaizations, Kyoiku Saisei Kiko and Kyoukashokaizen no Kai. Yet there was Nippon Kagi, the gigantic leviathan, We can get the hints about the result of the leviathan's growth through the investigation about the Japanese political history in 1930s.

2002年つくる会は2001年の9ㆍ11テロ及びアメリカについての立場の違いによって分裂した。もちろん、それ以前すでに台湾をめぐる論争によって、西尾側と小林側の間に葛藤の種は蒔かれていた。ところが、9ㆍ11テロ以後、アメリカや「アメリカ」によって表象される「近代」を批判する反米保守主義と、民主主義ㆍ市場経済それから日米同盟に信頼のエールを送る親米保守主義の間に伏在している「思想的な対立」は、前者のつくる会からの離脱で終わった。 2006年には二つめの分裂があった。それは教科書の内容及び怪メール事件などによって象徴される西尾ㆍ藤岡側と八木側のものである。2006年の分裂は思想的であるよりは、「政治的なもの」に近かった。事実上、八木グループは保守派政治家たちと親密な関係にあった。したがって、八木グループは新しい組織をつくって、つくる会から離脱した。八木のつくった新しい組織とは、「再生機構」や「改善の会」である。ところが、これらの黒幕には、「日本会議」という巨大なるレヴィアタンが潜んで隠れている。このレヴィアタンの未来へのヒントは、1930年代の日本の政治史及び政治思想史への研究を通じて得られると思える。

In Confucian cultural regions, clothes were understood as an expression of courtesy that distinguished the upper and lower classes. In that sense, clothes represented Chinese clothes defined as the gown of the late king, which symbolized other civilization than that of the barbarians. Hanseo(漢書) and Sagi(史記) show that clothes in those times were already established as a tool unfolding the civilization theory as the political ideology based on Sino-centrism. 'Clothing culture', the phrase often used to symbolize Confucian civilization, well implies the civilizational and political features of Confucianism itself. This study tried to grasp the self-awareness and mutual perception of Japan and Joseon by examining how the daily action of 'putting on' or 'wearing' were woven into an ideology under the order system of East Asia based on Confucianism in modern society. After its foundation, Joseon introduced and legalized the official uniform system of the Ming dynasty. Along the way, official uniforms became deeply internalized as a Confucian civilization supported by the Sino-Barbarian concept. After the collapse of the Ming dynasty, when the notion that Joseon inherited the culture of China strengthened in Joseon, the nation's official uniforms served as a symbol that made people realize that Joseon was the center of the world. Based on this, Joseon's official uniforms performed the mission to enlighten 'uncivilized' Japan in its relationship with Japan reestablished after two Japanese invasions of Korea. Japanese people including Arai Hakuseki(新井白石) and Amenomori Hoshu(雨森芳州), however, saw Joseon's official uniforms, a symbol of civilization, from the hegemonic viewpoint. For them, Joseon's official uniforms were nothing more than a symbol of subordination far from being a symbol of civilization. The contrasting views of Joseon and Japan on Joseon's official uniforms that inherited that of the Ming dynasty are seen as a reflection of the confusing order of East Asia after the Qing's replacement of the Ming dynasty.

儒教文化圏において衣服は上下貴賤を区別する「礼」の標識として理解されていた。この際、「衣服」とは、「先王の法服」として規定された中華のものであり、「夷狄」のそれとは異なった文明の象徴でもあった。儒教的文明性を象徴するのによく使われていた「衣冠文物」という言葉は儒教そのものに内包する文明性と政治性をよく表している。本稿では、近世社会において「着る」という日常が儒教を背景とした東アジアの秩序体系のなかでいかにイデオロキ化されていたかをとおして日朝それぞれの自意識と相互認識を把握しようとするものである。朝鮮が建国そうそう明の官服制度を取り入れて法制化していくなか、官服は華夷思想に支えられた儒教的文明性の象徴として根強く内面化されていた。明が滅ぼされてからは明の存在しない東アジアにおいて朝鮮こそが中華の文化を受け継ぐという小中華意識が強まっていくなかで、官服こそが朝鮮を中華たらしめた徴でもあった。こうした認識の下で官服は、倭乱(文禄ㆍ慶長の役)以後再び再開した日朝関係において、「野蛮」日本を教化するという使命感の担い手となったのである。しかし、文明の象徴であるはずの朝鮮の冠服を、白石や芳洲などの日本側はむしろヘゲモニーの観点からみていた。要するに、彼らにとって、朝鮮の官服は文明の象徴どころか、册封をうけた属国の印に過ぎなかった。中華の官服制度を受け継いだ朝鮮の官服を見つめる日朝それぞれの視線は明清交替以後の東アジア秩序の混乱を反映する一端であると考えられる。

Taira no Kagekiyo starred a warrior in the The Tale of the Heike . But through Yōkyoku in the The Kagekiyo, Daibutu-Kuyou, Japanese Traditional Music(Gowakamayigyoku) Kagekiyo, the character, Kagekiyo was getting enlarged and grown in Japanese classical puppet play Career Kagekiyo, written by Chikamatsu Monzaemon. Japanese Traditional Music Kagekiyo can be called the best dramatic work in the middle era. This paper shows the clue to the background why Kagekiyo starred an essential character in Heike focusing on many articles dealing with the legend Kagekiyo in the muddle and the modern era. This paper will suggest not whether the legend was a true but what aspects will ne appeared according to the the each period.

「景清」は、『平家物語』では平家の侍の一人として登場するが、以後多くの作品で主人公として登場する。景清のイメージは、謡曲『景清』『大仏供養』『籠景清』、幸若舞曲『景清』、古浄瑠璃『かげきよ』を経て、新浄瑠璃近松門左衛門『出世景清』に至る過程で拡大し成長していく。その頂点にあたる作品は中世劇芸術の幸若舞曲『景清』であると考えられる。本研究では景清伝説を掲載している中世ㆍ近世時代の地誌調査を中心に、景清が平家の集約体を象徴する人物へと変化する背景を知る糸口を考察する。

In this paper, we went over the characteristics of Morandungi, the vol.4, no.2 of Cheondungshinhwa and how Korea and Vietnam took to Morandungi. Also, we took a look at how Japan took Morandungi historically, as reference we looked over the significance of Otogibouko, the vol.3, no.3 of Botantourou. To start, if we take a look at the stages of how the two people fell in love, in the original text, the relationship of the couple began in the order of meeting each other to love, and they did not need any other reasons to make love, except to get rid of their loneliness and sexual desires. However, in Botantourou, the relationship began in the order of meeting each other, the exchanging of Waka, to love and they were used to transform it into a sensitive story, which reminded us of Utamonogatari in the Heian period. The extreme sexual description shown in the original text were also altered to a more moderate style. Furthermore, the later half of the original text, which takes up half of the story, namely the appearance of the mage and the motive of vanquishing monsters were deleted by Ryoui to change the story into a horror story based on a love story. But this was different from the intention of Ku'u, who wrote the original text into a monster vanquishing story. Similarly, it had a different aspect from how the story was understood in Korea and Vietnam. Furthermore, by examining Japan's historical take of Morandungi, with Botantourou, the theme of Morandungi changed from monster vanquishing to a love story based horror story. But, due to this rebirth of Morandungi and Botantourou, these books were welcomed and loved by the Japanese, and it paved the way for literatures that were influenced and followed by Morandungi to appear in various forms.

本稿では『剪灯新話』巻2の第4話「牡丹灯記」の性格、朝鮮とベトナムにおける「牡丹灯記」に対する認識、日本での「牡丹灯記」の受容史について検討し、これをもとにして『伽婢子』巻3の第3話「牡丹灯篭」の意味について考察を行った。まず、二人にとって愛が結ばれる過程を見ると、原作では「男女の出会い→契り」の順で描かれており、孤独感と情欲の解消の他は、二人の愛が叶えられるためには何も必要ではなかった。しかし、「牡丹灯篭」では「男女の出会い→和歌の交換→契り」の順で描かれており、その和歌は『題林愚抄』『名語記』『古今和歌集』などを出典としていた。また、地文にも随所に和歌的な表現が散りばめられ、平安時代の歌物語を髣髴させる叙情的な話として変っており、原作から見られる過激な性愛描写も穏健な描写へと切り替えられている。その他に、話の約半分を占めている原作の後半の部分、つまり、道人の登場と妖怪退治のモチーフも了意は大胆に削除し、恋愛譚として一貫させていた。しかし、これは原作を妖怪退治譚として創作した瞿佑の意図とは異り、同じく妖怪退治譚として理解していた朝鮮とベトナムとも異なる様相を示すものであった。それだけでなく、日本において「牡丹灯篭」以前の先行作品群とも比較した結果、「牡丹灯篭」に至って妖怪退治譚から恋愛譚へと完全に異る性格を持つ作品として主題が替わって再誕生したことが分かった。しかし、このような恋愛譚としての再誕生があったからこそ、結果的には「牡丹灯記」と「牡丹灯篭」がこれほどまで日本人に歓迎され、愛され続け、様々な形として「牡丹灯記」の追従作及び影響作が生まれるようになったと言えよう。

본고에서는 근세문학에 있어서의 『다이헤이키』수용에 대해서, 구스노키 마사시게의 「나키오토코」에 관한 이야기를 중심으로 고찰한 것이다. 「나키오토코」는 『다이헤이키』에서 파생된 『리진쇼』 에서 처음으로 등장하여, 거짓으로 구스노키 마사시게의 시체를 찾으며 실감나게 우는 연기를 통해 적군인 아시카가측을 속이는데 일조한 스키모토 사헤라는 인물이다. 지다이조루리의 「나키오토코」이야기의 특징은, 『리진쇼』에 비해서 가족관계를 비롯한 인간관계가 얽히면서 스토리가 확대되어 간다는 점이다. 작품속의 복잡하게 얽힌 인간관계 안에서 「나키오토코」는 주인공을 축으로 한 스토리전개에 필요한 보조적인 역할을 하고 있다. 예를 들면, 『난보쿠이쿠사몬도』에서는 구스노키집안과 호우조집안의 대립구조 속에, 「나키오토코」는 새주인인 구스노키집안에 대한 의리와 전주인인 호우조집안에 대한 충성 사이에서 갈등한다. 일반적으로 지다이죠루리에는 자기를 희생하여 충성을 다하는 인물들이 종종 등장하는데, 호우조집안에 대한 충성을 지키기 위하여 목숨을 버린「나키오토코」는 지다이조루리의 전형적인 인물이라고 할 수 있겠다. 그리고, 한편으로 「나키오토코」는 호우조집안에 대해 충성을 다하기 위해 천황을 적대화 함으로써 마사시게전설 속에서 강조되어져 온 천황에 대한 절대적인 충성을 상대화하고 있다. 이처럼 조루리작품 속에서 전개되고 있는 「나키오토코」의 이야기는 장르에 특성에 맞추어 새로운 전개양상을 보이고 있는데, 이것은 『리진쇼』의 에피소드가 근세문학에 강한 영향을 미치고 있었다는 것을 보여주는 구체적인 예로서도 중요한 의미를 가지고 있다고 할 수 있다.

This paper aims to reveal the impacts of incorporating tales of the nakiotoko into the legend of Kusunoki Masashige as he was portrayed in “Nanbokuikusamondō” and “Kusunokimukashibanasi” jōruri stories by critically analyzing the nakiotoko tales in the jidai-joruri genre, and in relation, its effects on the acceptance of “Taiheiki” in early modern Japanese literature. Nakiotoko, refers to the character Sugimoto Sahee, who successfully deceived his enemies, the Ashikaga clan, leading to their ultimate victory by his vivid acts in search of his leader Kusunoki Masashige’s body. Although he was not included in the original version of “Taiheiki”, he made his first appearance through an extended story named “Rijinsho”. The features of nakiotoko tale in the jidai-joruri genre lies, mainly in the complexity of personal relationships, starting from within the family and gradually expanding throughout the story. Although it is not rare to see that, as one of the characteristics of the jidai-joruri genre, the main character being placed at the center of the story, and the events in relation to him expanding in abstracts, the nakiotoko tale in this case, however, places its focus on the sub-character, which provides a strong support to the complexity and sophistication of the story as a whole. For example, in “Nanbokuikusamondō”, the tales regarding family relationship expands even beyond the father and sister of the nakiotoko, and then from which creates a Kusunoki family – Houjo family opposition. In this case, the nakiotoko is left in a constant mental conflict between the moral obligation to his new host Kusunoki and the allegiance to his old lord the Hojo family.

Wani is a man who lived in ancient age. He is known for the man who teach japanese chinese character and give them some china books like analects(論語) and thousand character classic(千字文). His story is documented in detail the kojiki. In premodern age, the story of wani became the object of interest. and many scholars have researched his story. As a result, it has been criticized in many ways. Someone said that His story is not true or partially true. And someone said it is unquestionable true. In this discussion, story of wani also became the method of proving kojiki’s sincerity.

王仁伝承は日本文化の起源を示していたので必然的に人々の関心の対象にならざるをえなかった。特に主体的な立場で周りの世界と文化を把握し、日本固有の文化について再検討し始めた近世に至って王仁伝承に対する関心は一層高まった。王仁が『論語』と『千字文』を伝えたという『古事記』の伝承は様々な角度から検討され、多様な見解をもたらした。その始まりは『論語』についての疑問提議であったが、ほとんどの論議はその史実性に疑問の余地があった『千字文』の方にその焦点が当てられていた。そして近世においても王仁伝承はほぼ事実として認められた。しかし注目したいところは王仁伝承が認められていく過程である。認められたとは云うものの、本居宣長のように王仁伝承について批判を強めた人がいたことも確かである。しかし宣長に対する喜多村信節の批判からも分かるように近世の人において王仁伝承に対する批判は『古事記』に対する批判と同様に考えられた。特に『古事記』を聖なるテキストと見做していた国学者たちにとってそれは大きな問題であり、彼らは必ず王仁伝承の事実性を確認しなければならなかった。近世に至って王仁伝承は始めて論議の対象となり、このようなジレンマを背後に置いて検討されたのである。

Zenzo Kasai himself has confessed, “I have only written works that are like self-portraits. I could not let myself to write anything else.” Kasai is a representative modern “I novel” author who has drawn out his life experiences and portrayed the heart of <Myself > in his works. In the past, Kasai has been criticized as an advocate of aestheticism or an author who has ignored common sense and moral because of his belief, “Broken lives, broken mankind, that is where my art originates,” and his attitude that he will “sacrifice himself and anything around him for the sake of literature.” However, as a person, he is a supporter of tradition and family and can be considered a tragic writer who, more than anyone, yearned for a loving family but could not carry out a life as a family man. The pain, grief, despair and hopelessness in his personal life are what produced Kasai literature. In other words, Kasai’s personal and literature lives both began with <Grieving Father> and ended with <Grieving Husband>. In Kasai’s works, the general theme is comprised of family relationships such as <A Father-Son Relationship>, <A Husband-Wife Relationship>, <Relationship with girlfriend Osei>, as well as his life in which he suffered from <despair and agony in his two contradicting personal and artistic life>. This article tries to discover a new aspect of Kasai literature by analyzing the meaning of family in Kasai’s life, especially in the married life with his wife Tsuru.

葛西善藏は自ら“自畵像のやうなものばかり書いて来た。その他には何も書けなかつたのである󰡓と告白しているように、自分の直接的な生活体験を素材に＜私>の心情をありのまま作品の中に描写した日本近代私小説の典型的な作家である。 今まで葛西は“文藝の前には自分は勿論,自分に附隨した何物をも犧牲にしたい󰡓という作家的な態度と、“生活の破産、人間の破産、そこから僕の芸術生活が始まる”という芸術的な信念のため、人生の常識と人間生活の規約を無視した作家、または藝術至上主義者であると同時に藝術一切主義者として評価されてきた。しかし、生活人としての葛西は日本的な古伝統主義者であり、家族主義者として誰よりも家族的な情愛に満ちた家庭生活に憧れていたにもかかわらず家庭人としての生を生きられなかった悲しい作家であるとも言える。そのような実生活での苦痛と悲哀、絶望と挫折は葛西文学を形成する直接的な要因になったとも言える。つまり、葛西の生と文学は<哀しき父>から始まり<悲しい夫>で終わったのである。葛西の作品の中には実生活と芸術という二律背反的な生の中での悩みと絶望を繰り返していく葛西自分の率直な生活は勿論、<父と子の関係>, <夫婦關係>, <同棲女おせいとの関係>などが 作品形成の主なテーマとなっている。 本稿では葛西にとっての家族の存在、特に妻つるとの結婚生活についての分析を通して葛西文学の全體像の一斷面を新たに照明した。

The “Lemon” describes the main character <I>’s mind which denies the approaching death due to his tuberculosis and the darkness of his ruined life. Main character’s illusion was a wandering evolved out of his longing for a ray of hope in the infortunateness of life. Lemon is <I>’s mind and also is the symbol of his soul. It could be the expression of the feeling that makes the main character who is suffering from the tuberculosis and facing the death to remind his young days. So, <I> in the “Lemon” is the process of self-establishing by understanding the effort to overcome the infortunateness of sad reality. We can find out pursue of psychological catharsis as a result of self-contemplation. In this sense, we can make positive and paradoxical inference through the presentations like factors of psychological unstableness or approaching death. It is not avoiding the problem of survival and reality, but having a will to accept and improve them. So to speak, the solitude and weariness of reality do not end by itself. It could be said that those feelings have in-depth meaning because they trigger the catharsis of life and self-recognition which goes with overcome beyond the anxiety.

「檸檬」は 主人公<私>の肺病とともに、死と生活との暗さを否定しようとする意識世界が描き出されたものである。<私>の錯覺は不吉な生から光を掘り起こそうとする心からはじまった彷徨と言える。<私>が生の光を認識するまでの過程が<檸檬>を通して効果的に描かれている。作品の中の檸檬は<私>の心になりながら、魂の象徴にもなる。肺病で苦労し、死に向かっている自身に子供の時の様子を思い出させる心情の表出であるのが分かる。つまり、「檸檬」の<私>は憂鬱な現實に対する不吉さの克服を認識するにしたがって、自己を探していく過程、自己凝視の結果として精神的カタルシスを追求したのが見える。この点からして、心理的な不安や死の問題などの提示を通じて一つの逆說を見つけることができる。それは生存の問題と現實の問題を免ずることではなく、現実の暗さを受け入れてから、克服と改善とを図ろうとした意志の表出と言えるだろう。すなわち、現實の孤獨、倦怠などがそのままでの様子ではないということである。その不安をふみこえて、生のカタルシスと自己認識との肯定的な論理をうみだす。そこに深い意味があると思う。

This research paper is to study characteristics and aspects of female main characters in literary works by Miyamoto Yuriko, through characters representing Nobuko and Hiroko. It is so because this paper intended to find out whether literary works by Miyamoto Yuriko pursue feminism, and make the specific analysis of features of novel that a female appears as the main character. In this regard, this research paper examined the status of each female main character appearing in 『Nobuko』, 『Do-Pyo』, 『Ban-Shu.Heya』. The female characters in the three works have the trait in common that they view the world not feeling frustrated in the male-dominated society, in the first place, and they dont' try to internalize viewpoints from males, and instead, look themselves into mirror and reflect who and what they are, in the second place, and the female main characters have the bi-sexual characteristics, as are described by narrators. These three works appear to depict that males are beaten by females, on the first surface. But, it is deemed that considering females cannot exist in the space where males don't exist, these three works place the focus on blocking sexual difference. The Literary work world by Miyamoto Yuriko that portrays females as main characters and does not highlight females, too much, is expected to secure the position in the Japanese modern literature history, in the sense that her literary works are obviously different from feminism-based novels, which portray females as main characters and don't highlight males.

この論は、宮本百合子文学の女主人公の位相について捉え返してみて、表現のレベルで彼女の文学の特徴について考えることを目論んでいる。伸子やひろ子と表象されるヒロインたちは、フェミニズム文学と読まれてきた百合子文学の内実をより鮮明にしてくれるはずである。󰡔伸子󰡕、󰡔道標󰡕、󰡔播州平野󰡕の三つの作品を対象にして、それぞれの主人公の位相を分析した結果、つぎのようなことが言えるのではないか、と考える。彼女たちに共通する特徴とは、一つ目に、男性中心の社会において怖じることなく＜見る者＞であったこと、二つ目に、男性の視線を内面化しないで、その代わり自ずから自己を＜見る者＞であること、そして最後に、語りの方法からわかるように中性的な語り手であることである。つまり、百合子文学は、男性が不在する空間なのであり、女性の勝ち気な攻めが効く世界でる。男性を不在させる方法は、最初から性というものを無効にしてしまうような、方法なのである。

This paper was investigated for data formation process about Ota Julia, works introduction with Ota Julia motif and her image appeared Endo's 『A woman called Yuria』among them. The record of Ota Julia that is a motif in Japanese modern literature was written based on a letter writing of a missionary and Spain Ambassador to have mission works in Japan at that time. And it was succeeded based on this in Japanese Christāo history. The Christāo traditions and legends in modern times formed by popular belief and are implied a common means for ｢the healing of illness｣. And the basis of this historical literature data and Christāo transmission have been published a number of the literary works for Ota Julia motif. Endo's 『A woman called Yuria』 of those is earlier work in contemporary works and belongs to the early works in Endo literature. The Yuria's image that is the motif of Ota Julia to be depicted in the work showed up the medium for her from the perspective of Konishi of Daimyo and Tanaka of a lower samurai for a critical perspective about the Imjin war. Also, during deploying Japan's Christāo history is depicted image about the Christianity acceptance in the Orient through the appearance of Yuria (= Ota Julia) Joseon Woman who is the Christāo in Konishi and Japan. Endo made the other people as the woman with「The exotic beauty that have not seen Japanese women 」for Yuria's image who is same Asian in the works. Thus, Western Christianity to be accepted in the Orient was embodied through the motif of Ota Julia, Joseon woman.『A woman called Yuria』in the Endo literature is not perspective about the religious culture acceptance that looked at the viewpoint of Western and is able to relativize the viewpoint about the religious culture's acceptance of the Orient.

本稿では、日本の現代文学においてモチーフになっている朝鮮女人である大田ジュリアについて遠藤周作の『ユリアとよぶ女』を通して彼女のイメージを考察した。大田ジュリアは壬辰倭乱時、小西行長軍によって日本へ連れられ、そこでジュリアという洗礼をうけ切支丹になった。韓国で彼女に対する史料は殆ど見つからない。日本でもその当時、宣教活動をした宣教師の書簡と切支丹の民間伝承によって形成されたものである。このような、大田ジュリアをモチーフにした作品が現代文学の中で描き出されているので、まず、日本の切支丹の歴史の中で切支丹である大田ジュリアに対する資料の形成過程とそれを基づいて書かれた現代作品などを紹介した。その中で遠藤の『ユリアとよぶ女』は初期作品である。遠藤がこの作品の中で大田ジュリアをモチーフにして描き出した朝鮮女人ユリアのイメージは、壬辰倭乱にたいする日本人の批判的な観点が彼女を通して浮き彫りにされている。また、日本の切支丹の歴史を展開しながら同じ東洋人であるユリアのイメ－ジを異國的な美しさを持っている女性として他者化させることによって,東洋における基督教の受容に対する姿を表している。『ユリアとよぶ女』は遠藤文学において西洋の視点から見た宗教文化の受容ではなく、東洋の視点から見た宗教文化に対する観点を相対化した作品であるといえるのである。　

I studied the transition in ‘Uttō’ based on the reference of the Middle Ages. As a result, the meaning and usage of a modern language ‘Uttō’ ’has been expanded along with the extinction of the adjective ‘Ibseshi’. ‘Uttō’ was used to describe 'Depiction of the psychological state' and 'Depiction of the specific conditions'. The nounal usage was the mainstream before the the medieval spoken material, I could confirmed the adjectival usage of ‘Uttōshii’ through the medieval spoken material. The meaning of ‘Uttōshii’ had shared the area of the meaning with ‘Uttpun’ ‘Ikidoori’ ‘meiwakuda’ and ‘Kinodokuda’ The usage of ‘meiwakuda’ ‘Kinodokuda’ had been used frequently in the the modern literature.

本論文は「鬱陶」の変遷過程を中世資料を中心として考察したものである。その結果、現代語の「鬱陶しい」は形容詞「イブセシ」の消滅と関連性があることがわかった。また、「鬱陶」は「人間の心理状態の描写」と「具体的な状態の描写」の意味で使われ、中世口語資料意外の古典文献には名詞的用法が用いられているのに対して、中世口語資料には「鬱陶しい」の形容詞的な用法を確認することが出来た。「鬱陶しい」の意味は「鬱憤」「憤り」「迷惑だ」「気の毒だ」と類似な意味領域を共有し、近世文献には「迷惑だ」と「気の毒だ」の用法が拡大していることがわかった。

본 연구 목적은 아쿠타가와류노스케 작품들간에 시간 추이에 인한 문체 변화가 있는지를 쯔쯔이(2011)와 상이한 변수를 바탕으로 검증하는 데에 있다. 사용한 변수는 문장(文長) 평균값, 문장(文長) 표준편차, Guiraud 치, 명사 비율, MVR(동사 빈도에 대한 형용사, 부사, 연체사[連体詞] 빈도의 비율)의 5 가지이며, 이들 간의 상관행열(correlation matrix)에 대해 PCA(Principal Component Analysis)를 실시했다. 그 결과 아쿠타가와의 문체는 시간 흐름에 따라 간결해 졌음과 동시에 문장(文章)의 간결성에 관해 안정성이 커진 것으로 확인되었다. 그러므로 아쿠타가와류노스케 작품의 문체에 경년변화가 있음이 쯔쯔이(2011)와 다른 변수를 대상으로 해도 검증됨으로 결론지을 수 있다.

This study explores whether it is possible to demonstrate Akutagawa Ryunosuke’s stylistic shift over time, with the use of variables different from those that are used in Tsutsui’s previous study. The variables used in this investigation are five style-indicating features: average sentence length, standard deviation of sentence length, Guiraud’ Index, the frequency ratio of the occurrence of noun, and MVR, which is a ratio of the frequency of the occurrence of adjectives, adverbs, and rentaishi to that of verbs. PCA (Principal Component Analysis) is conducted on the correlation matrix among the data indicated by those five features. The result of PCA illustrates Akutagawa’s stylistic shift over time, suggesting the establishment of his writing style towards the last stage of his career. It is concluded that Akutagawa’s stylistic change over time is confirmed by variables other than those that are used in Tsutsui’s previous study.

본 연구는 「동영상을 이용한 언어 학습 방법」을 활용하여, 주로 일본어의 「카타카나(カタカナ)의 어원」에 대하여 연구한 것이다. 종래의 연구는 각각 문자가 어떤 한자의 일부에서 파생되었는가에 대한 오직 평면적인 인쇄물에 의해 인식하는 것이 일반적이었다. 본 연구는 종래의 평면적인 교재에서 습득할 수 없는 가시성(可視性)과 가청성(可聴性)의 특색이 있다고 할 수 잇다. 연구 대상은 일본어의 [카타카나(カタカナ)]의 50음이다. 또 카타카나의 유사문자도 알기 쉽게 동영상으로 구축되어 있기 때문에, 그 어원의 이해도를 아주 쉽게 접근할 수 있다. [카타카나의 어원]을 <영상언어(화)>로 구축할 경우, <가시성(可視性)><가독성(可読性)><가청성(可聴性)>등을 염두에 두고 설계하였다. ① 동영상을 구축할 경우에는 백터 방식을 채택하였다. 그것은 영상을 크게 확대하여도 화면의 흐림 현상이 없기 때문이다. ② 동영상의 움직임에는, 왼쪽에서 오른쪽으로, 중심부에서 중심부로, 카타카나에서 한자로, 한자에서 카타카나로, 다양한 움직임으로 설계하여, 학습의욕 효과를 환기시켰다. ③ 문자언어 서체는, 일본어의 카타카나의 서체, 즉<고딕체>로 하여 그 서체에 가까운 문자와 유사하게 설계하였다. ④ 동영상의 제작기법은, 주로 모핑(Morphing) 기법으로 구축하여, 그것은 [카타카나의 자원]에 대한 학습방법으로는 이것이 최적의 방법이기 때문이다. ⑤ 영상언어를 구축할 경우 주목되는 것이 동영상의 색상이다. 칼라보다 오히려 흑백 쪽이 학습자가 지루함이 덜하다는 것이 실험을 통해 알 수 있었다. 이 [동영상을 이용한 언어 학습 방법]은, <On-Line>나 <Off-Line>에서도 이용할 수 있는 콘텐츠이다. 특히 유비쿼터스 환경에서 활용한다면, <때>와 <장소>를 가리지 않고 언어 학습 기능을 향상 시킬 수 있을 것이다.

In this research it mainly inquired about Japanese "Etymology of katakana" taking advantage of "the language learning method using an animation." If it was in the conventional study method, it was common to recognize with superficial printed matter chiefly about each character having been derived from the part or radical of what kind of Chinese character. In this research, it can be said that the point which gave the mobility which is not acquired even if it asks former type superficial teaching materials, and hearing nature on a grand scale has the big special feature. The object of research is the Japanese "Etymology of katakana"Japanese syllabary table. Moreover, the character which is equivalent to the similar character of katakana is also considered that it became very easy by building by an animation intelligibly to understand the Etymology. the time of building "Etymology of katakana" in <an image language> 󰠏 <visibility> 󰠏 it designed, having boiled <readability <audibility>> etc. always and keeping them in its mind. In order to clarify such a feature, it is admitted that it is required to give the following features to a <image language>. When building image, the way of the vector system is excellent. That is because there is no blurring of a screen even if it adjusts the size of an image. It seems that much more greediness for learning can be evoked from the central part from the right to the left from the left to the right by showing various motions from katakana like [from a Chinese character ] to katakana to a Chinese character to the central part when a motion of animation is observed. It designed in character language style of handwriting, having respected the style of handwriting<Gothic font> of Japanese katakana, and imitating the character near the style of handwriting. At the manufacture technique of animation, it built by morphing technique. That is because this was the optimal method as the study method for "Etymology of katakana." When building image language, the color of the picture was observed, but color showed that the way of monochrome does not make a student feel weariness rather. This the "language learning method using an animation" is contents which are seen also by <On-Line> and <Off-Line>. If even ubiquitous environment can be used especially, a <time> and a <place> are not chosen but a language learning function can be improved. On the other hand, although there is each feature in a spoken language, a character language, and an image language from the first, it is as follows when the feature of <the image language> which this research aims at is summarized.

This paper is a study to verify the effect of the web based image dictionary-Lee & Han(2011)- for the Japanese education. There are various merits of image based Japanese education. Among them, mathemagenic effects and memory consolidation are the representative effects. In this paper, we expecially explore the very effect of the memory consolidation. It will be argued that image dictionary enhance Japanese education and learning by stimulating both right and left sides of brain, be one of learning strategies also. We divide two groups, one for text based learning and one for image based learning. Each group memorizes 25 Japanese words with different method and takes 3 time test for 3 consecutive weeks. The results of each test will be the subject of the statistical verification.

本論文は李ㆍ韓(2011)で構想して開発されたウェブ(web)基盤イメージ辞書の効果性を統計的に検証するためのものである。イメージを使った日本語教育の利点は色々挙げられるのであるが、大きく学習促進効果(mathemagenic effects)と左右両脳の同時刺激による長期記憶への固定化(memoryconsolidation)でまとめられる。本論文は特にイメージ辞書が長期記憶への固定化に影響を与えるのかを統計的に検証したものである。そのためにイメージ辞書活用学習グループとテキスト活用学習グループの二つのグループに分け、事前テストと2回に渡る事後テストを行い、それぞれのテスト結果を分析した。その結果、イメージ辞書を活用した学習が従来のテキストを活用した学習に比べ、長期記憶を保つに役立つことが統計的に検証されたのである。これで長期記憶を維持するには本稿のイメージ辞書が効果的な教育方法であることが証明されたのである。最後に統計的に有意味な結果ではないものの、短期間での予告されたテストの場合においても、イメージ辞書を活用した学習がテキストのみの学習よりよい結果をもたらしたことから、イメージ辞書が日本語学習を促進する効果があることと言えるのである。

This is the analysis on Teacher's Satisfaction in SJP Team Teaching class of Silla University in 2011. I researched 33 teachers, including both native teachers and non-native teachers, and got effective answers. The purpose of the survey is to understand the process of SJP Team Teaching and to make it more effective. The questions are (1)basic data (2)teaching form (3)the purpose and syllabus, and (4) the content. The results show the different aspects from earlier research(KimㆍChi 2011) that evaluated teaching form. More concrete and objective survey for both teachers and learners should be done to create more effective team teaching classes.

本稿は新羅大学での2011年度1学期に行った教養日本語SJPの教員に対する満足度調査を分析したものである。調査対象は、ネイティブ及びノンネイティブのSJP担当教授の合計33名であり、すべての33名の有効回答を得た。調査の目的は、新羅大学で行われている日本語講座SJPの現状を把握し、チームティーチングの効果を高めることである。アンケートの内容は、(1)基礎資料、(2)運営形態　(3)教育目標及び講座構成 (4)敎育内容の四つで構成されている。調査の結果、先行研究(金世連他2011)の学習者の満足度と同じ傾向もあったが、いくつか違った結果もあり、特に運営形態の評価方式に相違があった。今後のSJP講座のチームティーチングに関して、いくつかの改善案と課題を提案するとともに改善案をより具体的に裏付けることができる方案を模索するため、チームティーチングの評価方式に対して学習者と教授者を対象に、より客観的かつ具体的な分析を今後の課題としたい。