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A Research on the Narrative of Japanese War Heroes This paper summarizes how the narrative of Japanese war heroes is changed and described according to the ages in the syntactic point. In order to trace the narratives on war heroes from the Meiji Era to the year of 1945 including war heroes of the Middle Ages, we targeted the media of newspaper, magazines, movies etc. and novels and dramas for the consideration. And we also argued the situations that the movement of a rightward shift which advanced with the economic decline of Japan revives the war heroes before the lost war. Firstly, we considered Oda Nobunaga and Kusnoki Masashige who were the typical gods of war of suppression and integration. We discussed the fact that in case of Nobunaga, it didn’t receive much attention up to modern times, and in case of Kusnoki Masashige, it didn’t get much attention either to the modern times in spite of varied images but both heroes began to be revered after the modern times. Secondly, we clarified that Nogi Maresuke and Hirose Dakeo, and Tachibana Suta who acted in the war after the modern times became the gods of war in the songs and textbooks and be used in the education. Finally, we reviewed a social background regarding a rightward shift of Japanese society and restoration phenomena of war heroes, and studied novels and movies as to Tojo Hideki as a case thereof. We clarified that Japanese right-turning resulted from the collapse of the innovative powers which have checked conservatives, and hence the situations occur where the matter on the liability of a war is evaded.

本稿は日本の戦争英雄をめぐるナラティブが時代によって如何に変化し、叙述されているかについて通史的に総括したものである。中世時代の戦争英雄を始め、明治時代以後から1945年までの間、戦争英雄をめぐるナラティブを、新聞、雑誌、映画などのメデイアおよび小説、演劇を対象に考察を行っている。さらに、日本の経済の衰退とともに進展してきた右翼化の動きが、戦前の戦争英雄を復活させてゆく傾向についても論じている。最初に平定⋅統合の軍神としての役割を果たした織田信長と楠木正成について考察してみた。信長は近世まではあまり注目されず、楠木正成も近世においては様々なイメージを有していたが、二人とも明治維新以後、軍神として祭られるようになったことについて論じた。二つ目に近代の戦争において活躍した乃木希典や広瀬武夫、橘周太が、唱歌や教科書を中心に軍神化され、教育に活用されたことについて述べた。最後に日本社会の右傾化と戦争英雄の復活の現象についてその社会的な背景を探り、その一例として東條英機に関する小説や映画の扱い方について論じた。日本の右翼化は保守主義者を牽制してきた革新勢力の没落によることであり、それによって戦争責任の問題が追及されない現象が起っていることを明らかにした。　

Japanese Modern Literature and the war hero This paper discusses the process of deification of KyuGunsin found in Aikoku-Shisyu and Gunsin-Ni-Tsuzuke. Aikoku-Shisyu is a collection of patriotic poems read aloud on radio after the outbreak of the World War II. Miyoshi Tatsuji’s work, “The names of nine pearls”, is a poem that praises the KyuGunsin and compares them to pearls based on Japanese lyrical tradition. Gunsin-Ni-Tsuzuke was published to present KyuGunsin as heroes and puts emphasis on inheriting their patriotism.

本稿では、九軍神の神格化の過程を󰡔愛国詩集󰡕と詩歌集󰡔軍神につづけ󰡕の作品を中心に考察した。󰡔愛国詩集󰡕は太平洋戦争勃発以後、ラジオで朗読された愛国詩を集めたものである。三好達治の｢九つの真珠のみ名｣は日本詩歌の伝統を基に書かれた作品で、九軍神の滅私奉公の精神を賛美し、彼らを真珠として美化している。詩歌集󰡔軍神につづけ󰡕は九軍神を護国の神として奉るために刊行されたもので、彼らの精神を受け継ぐことを力説している。

Tojo Hideki's 'Postwar' In postwar Japan, Tojo Hideki, who has been represented in novels and movies, was greatly human. As the result, we can say that the novels and movies came into existence. But the human crimes which are different from novel and movie have been concealed or made ambiguous. Particulary if the first scene are in case of Tojo Hideki as Prime Minister or the retired Tojo Hideki, the dramatic effect is noticeable. Nevertheless, it is problematic in expressing not 'human' but human being itself.

戦後日本の小説や映画で描かれた東条英機は、あまりにも｢人間的｣であることによって、小説や映画そのものを成り立たせている。しかし、小説や映画とは異なる、｢人間｣の罪を隠したり、曖昧にしたりしてもいる。特に映画の最初の場面が1930年代における中国での東条英機ではない、1940年代首相のときの彼であったり、󰡔プライド 運命の瞬間󰡕がそうであったように、退官しての東条である場合、劇的な効果は目立つのであろうが、｢人間的｣でない、｢人間｣自体を示すには問題があろうと思える。 　主人公が東条英機ではなく、東条と日本から虐げられていた別の｢人間｣であったならば、｢人間｣それ自体の複雑さと、｢人間的｣であり、｢悲劇的｣な東条というメッセージに感動していつづけることは出来ない。

본고에서는 전후 일본에서의 학도병상의 변용을 검토하여 전쟁체험론의 배후에 있던 사회적인 역학에 대하여 고찰하였다. 1949년에 발간된 전몰학도병의 유고집󰡔들어라 해신의 소리를(きけわだつみのこえ)󰡕은 연간 매상 4위를 기록하는 대 히트작이 되었다. 하지만, 전몰 학도병의 전쟁체험은 일본의 일반적 국민을 대표할 수 있는 것이 아니다. 전전(戦前)의 대학진학률이 2, 3퍼센트에 지나지 않았기 때문에 당시 대학생이라고 하면 국민대중과는 동떨어진 엘리트였다. 그럼에도 불구하고, 그들의 수기가 널리 읽혀진 배경에는 냉전의 격화와 한국전쟁의 발발과 더불어서 사람들에게는 ｢교양｣에 대한 공감과 동경이 있었다. 리쓰메이칸대학(立命館大学)에서는 이 유고집이 계기가 되어 건립된 ｢와다쓰미기념상(わだつみ像)｣을 둘러싸고 총장, 교수, 학생들 모두가 ｢부전(不戦)의 맹세｣를 다짐하였는데, 거기에서도 ｢교양｣과 ｢반전(反戦)｣을 향한 신뢰가 뒷받침되는 학도병상을 찾아볼 수 있다. 그러나 1969년이 되자 전공투(全共闘)계의 학생에 의해 와다쓰미기념상이 쓰러지는 사건이 발생하였다. 그것은 ｢교양｣｢반전｣에 근거한 학도병에 대한 공감이 상실되었음을 보여준 것이다. 그렇다면, 어째서 종래의 학도병상을 상실하게 된 것인가. 또한, 1960년대 말 이후로 학도병과 전쟁체험을 둘러싼 인식은 어떻게 변화해 갔는가. 이러한 문제들에 대하여 본고에서는 『들어라 해신의 소리를』과 ｢와다쓰미기념상｣을 둘러싼 언설을 가지고 시계열적(時系列的)으로 그 경위를 살펴보고자 하였다.

The transformation of the images of student soldiers : the discourses of “war experiences” and their social background in post-war Japan. The aim of this paper is to analyze the transformation of the images of university student soldiers in postwar Japan, in order to examine the social background of the discourses on war experiences. Kike Wadatshumino Koe(Listen to the voice of the God of sea), which was the collection of posthumous writings of 75 fallen student soldiers, was published in 1949. This book became the fourth best seller in 1950. Most readers were moved deeply by the writings of the dead student soldier sand they sympathized with the antiwar sentiments of these soldiers. But, the war experiences of university student soldiers were different from those of ordinary Japanese. The rate of students who went on to universities was only 2 or 3 percent in prewar Japan. They were the elite in Japanese society. Nevertheless, so many Japanese read the student soldiers’ writings in Kike Wadatshumino Koe, because many people admired and respected the liberalarts(Kyoyo) in addition to the anxiety they felt about the intensification of the Korean war and the cold war. In Ritsumeikan University, the president, professor, and students held an anti-war meeting around the Statue of Wadatshumi built in 1953, which had to do with Kike Wadatsumino Koe. We can see the image of student soldiers which was based on the sympathy for “liberal arts” and “anti-war”. However, the statue was broken by the new-left students in 1969. They didn’t have sympathy for the “liberal arts” and the “antiwar” sentiments of the dead student soldiers. Why did the former images of student soldiers fade out? How have the image of student soldiers and the recognition on war experiences changed since the end of 1960’s? This paper considers these subjects through examining the archaeology of the discourses on KikeWadatsuminoKoeandtheStatueofWadatsumi.

Intellectual Circuit in Modern times looking at Ancient Times -Choi, Nam-seon’s Logic of Words and Things- Choi, Nam-seon created a new Dangun Mythology under the colonial rule. This paper doesn’t mean the mythology is ‘Dangun’ as a ‘modern discourse’ directly imitating the West, but the mythology was the mythology interpretation as a created ‘Joseon Narrative’ while following Armateras Omikami(goddess of the Sun in Japanese mythology) interpretation as it was, exclusively possessed by Japanese scholars. Looking into it from the present sense, it could be a ‘ fiction’ caused by the fierce ideological offensive & defensive battle reproducing the place of memory as Korean people and the place of memory as Japanese people. However, what is important, Choi, Nam-seon created globality using a ‘New Realizing Language’ while accepting the words and things in Choi, Nam-seon’s perception, that is, the language of ‘Tengri’ and the interpretation of things of ‘megalithic culture.’ The meaning of ‘Language and Idea’ in such manifestation, has the meaning of ‘external eyes’ by Garadani Gojin as suggested in the preface. The problem is the very this point. Chon, Nam-seon created modern ‘Mythology’ adopted the idea through the language and established ‘Meta History’ of new ‘Creation of the World of Spirit’ while discovering the integration with things. The mythology rather implied the de-Nation-State theory which wouldn’t be embraced by an imperial discourse. What we should take note of is that Choi, Nam-seon’s narratives on Dangun connoted the ‘epistemic danger’ of integration between the language and things, and on the other hand, it also partook of the modernity summoning the new past as a mythology. In other words, the mythology suggested the meta-mythology which has to ‘tenaciously interrogate’ in the shaking, say, this mythology could be collected in the magnetic field of a modern Nation-State or it could be reconstituted as a new principal agent.

本稿は、崔南善の新壇君論を確認するものである。つまり、日本の植民地支配というコンテクストの中で、朝鮮の｢神話｣を再構築することを<言葉>と<物>の関係から明らかにすることである。崔南善は、直接西欧体験をしたり、西欧の｢近代学問｣を取り入れたわけではないが、日本の近代知識人の学問を模倣する形で｢近代｣を経験し、そのディスプリンを援用する形で朝鮮ナレティヴを創出したのである。これは、現在的な意味からみても、国民国家の中で｢シンボル｣作りの思想戦との戦いと見られないこともないと思われる。とりわけ、柄谷行人の指摘通り、外部の主体というのは自分が｢超越的な場所｣にいると思うのではなく、超越的な主体を揺さぶるところにあるとみる視点を借りれば、白鳥庫吉や鳥居竜蔵などが｢天照大御神｣を主張する論理を揺さぶっていることから、崔南善の位置は、超越的な主体を求めたのではなく、相手を揺さぶっている状態を求め続けていると言えよう。ところが、崔南善の認識の限界がなかったわけでもなかった。つまり、鳥居竜蔵が提示した｢シャーマン｣論と｢巨石文化｣論を鵜呑みにし、それに乗ることで、自分の認識を｢一体化｣させてしまったのである。つまり、崔南善も白鳥とか鳥居が提示した｢テングリ｣という言葉を朝鮮語の｢タングン｣と結び付け、それが｢天｣を意味する、｢明るい、白い｣とつながっていることを証明した。そして、それは巨石文化を解釈する理論となり、シベリア民族に見られる｢シャーマン｣とつながっていた。つまり、世界の｢段階説｣である。天の神様と人間社会を疎通する｢シャーマン｣が合理的に説明され、それを記録している｢壇君｣神話を東アジアの普遍思想として、主張したのである。それは、帝国言説を受け入れてつくるもう一つの帝国言説になりうる危険性を含みつつ、朝鮮の起源を再構成しようとする｢朝鮮民族主義｣論の地場を往復していたのであろう。

Social History of Petroleum in High Growth Period of Japan : Focusing on the competition between regulations and demand expansion In this article, we tried to have a glance at the aspects of social changes in the period escaping from the poverty and going toward high growth by reviewing the conflicts and phenomena surrounding the use of petroleum in Japan after war. For this, in the first half, we overviewed the history of petroleum in Japan from the macro perspective and in the second half, the development of oil policy and the responses of corporate and general public were reviewed focusing on the articles on <Asahi Shimbung>. After being defeated in the war, Japan adopted ‘Refining in the place of consumption’ policy that they imported crude oil and refined and then sold the refined oil in domestic market. Although the authority established a policy to regulate the use of petroleum to protect coal industry and save dollars, it was difficult to coerce the demand of companies that preferred diesel oil to coal and the demand of general public who wanted kerosene for the stoves and ranges. The expansion of petroleum use brought big changes to manufacturing activities of companies and home economics, the details of which can be confirmed through newspaper articles in that time. Although the conflicts arising from the use of oil have been there more than 10 years after the war, petroleum became the main energy source surpassing coals in 1962 and onwards.

本研究では、戦後の日本で行われた石油をめぐる葛藤や諸現象を考察することにより、敗戦後の貧困からいわゆる高度成長へ進んで行く時期の社会変化を覗くことを目的とした。そのため、前半では主にマクロの観点から日本石油史を概観し、後半では主に󰡔朝日新聞󰡕の記事を中心に石油政策の展開及び、それに対する企業や大衆の反応を具体的に捉えた。戦後日本では、原油を輸入して国内で精製・販売する｢消費地精製主義｣を採用するなど、石炭産業の保護及び外貨節約のため、石油の使用を統制・抑制する政策と取ろうとした。しかし、石炭のかわりに重油を好む企業や、当時非常にヒットしていたコンロやストーブ用の灯油を求める大衆の欲求を抑制することは出来なかった。石油使用の拡大は、企業の生産活動や家庭生活に大きな変化をもたらし、その具体的な内容は当時の新聞記事などを通じて確認できる。石油使用をめぐる葛藤は戦後10年も以上続ぐが、結局は1962年を皮切りに石油消費量が石炭消費量を凌ぎ、石油が日本の主なエネルギー源としての地位を確立するようになった。

The report of Juddo on Oki island in 18th century 󰡔Cyoseitakesimaki󰡕was published by Yada Takamasa, who was a Shinto priest of Unyou temple. He heared about fishery experiment in Juddo from Tubaki Gizaemon who was also worked in Unyou temple as a fisherman. But the experience story is not also Tubaki's. Tubaki heared the story from Itaya Nanibei. After all Yada edited hearsay story about fishery experiment in Juddo. Because of the characteristic of hearsay, This book distorted the facts by Yada's intention. But we can understand of the recognition about Juddo in that centry by study of the reason why Yada distorted the fact. First, About Tubaki made a voyage to Juddo or not. We can consider the possibility by the same expression he used in the description about the voyage to the Oki and to the Juddo. He says like that the voyage was so hard but the island was a good fishing banks. But that times, the voyage to the Juddo was already prohibited. So Yada could not recognize the voyage openly. In introduction, he says "It is a very shameful thing to write about the voyage to the Juddo." But on the other hand, he was disappointed about the forbidden. In past time, Japanese fisherman made a fortune through the fishery at the Juddo island. This regret was appeared well in this phrase "The Juddo still invites us, it will be forever." Yada published this book based on the desire, Someday the treasure islands (Takesima /Matusima) will be Japanese islands again.

『長生竹島記』は出雲から隠岐の福浦に出漁する椿義左衛門が漁夫の板屋何兵衛から聞いた経験談を、矢田高當が再整理したものである。本論ではその中でも第一章に焦点を当て考察してみた。本書の第一章は『長生竹島記』が何に基づいて書かれたのかを説明している。伝聞をもとに第三者が編纂したという本書の特徴から推測されるように、本書には編者の意図によって歪曲された部分がある。しかし、そのような歪曲がなされた理由を明らかにすることによって、当時の時代背景と竹島に対する認識を理解することができる。まず椿義左衛門が竹島に渡海したか如何かの問題である。これは椿義左衛門が隠岐への渡海を｢風波など問題にもならぬ程、比類のない漁場｣と描写した部分が、序文で竹島の特徴を｢広々とした比類のない漁場｣と表現した部分と一致しているところから、椿義左衛門の竹島渡海の可能性を窺い得る。ただ当時はすでに竹島渡海が禁じられていたため、竹島渡海を公的に認めることができない状況であった。谷田は由緒深い雲陽大社の神主としてのプライドが高く、生計のためとはいえ禁じられた渡海をしていた漁夫たちを｢賤しい｣と表現している。序の｢このような所に書き載せては恥を曝すような事ではある｣という表現やはり、そのような編者の問題意識を垣間見させる。その反面、｢名も千代万代を経ぬらん松島竹島と云ふ｣、｢古くから今に到るまで、異国からの者共がここに通うことの無い島で、また漁を行なうことの無い島であった｣という序文の記述は、日本の漁夫だけに許されていた豊富な漁場を朝鮮にとられたという残念な気持を示している。その気持はいつか竹島・松島を日本の領土に取り戻したいという望みにつながり、それは｢ああ、あれから幾年もの歳月が過ぎ去り、この身は老いてしまったが、なお竹島の緑は千代の寿として、今も我等を招いて居るに違いない｣という表現に凝縮されている。矢田は松竹の二島を永遠の繁栄と利益を保障してくれる宝島と認識し、いつか再び日本の領土としたいという念願に基づいて本書を編纂したのである。

본 연구는 일본의 요괴 이미지가 어떤 패턴으로 구성되어 있는지를 에마 쓰 토무의 귀납적 요괴 형태 분석표와 트리즈 라는 도구를 이용해 규명하려는데 그 목적이 있다. 요괴는 일본인에게 있어서 친근한 존재로 다양하게 활용되는 콘텐츠이다. 다수의 요괴와 요괴담이 현대에도 남아있으며 다양한 방법으로 활용되고 재해석 되고 있다. 때문에 이와 같은 규명을 통해 일본인의 심미의식과 조형원리의 코드를 엿볼 수 있을 것으로 생각한다. 연구 자료로써는 일본전국에 전해지는 요괴를 정리한 󰡔일본의 요괴 전설󰡕에 실려 있는 요괴들을 대상으로 하였다. 먼저 에마 쓰토무의 분석 틀을 바탕으로 요괴의 형태를 단순과 복합 형태로 분류했다. 발명에 있어서 창조적으로 문제를 해결하는 방법으로 제시한 40가지의 발명원리인 겐리히 알츠슐러의 트리즈를 통해 요괴의 형태에 나타나는 변화를 추적하였다. 그 결과 단순구조로 인간의 모습을 한 요괴의 수가 가장 많았고 다음으로 <인간+동물> 형태의 순으로 나타났다. 일본인은 인간과 가까운 어떤 요소를 포함시킴으로써 보다 친근하게 요괴를 즐겨 왔다는 것을 알 수 있다. 트리즈 분석에서는 단순구조의 형태에서 복합구조의 형태로 변화했으며 역동성, 색상변화, 중간 매개물, 국소적 성질, 속성변화, 추출 등의 원리가 많이 사용된 것을 알 수 있었다. 여기서 일본인은 요괴를 다양한 형태로 즐기려하나 결국에는 각각의 요괴가 가진 본래의 특징에 큰 변화를 주지는 못하고 그 특징을 강조하는 형태로 발전시켜 왔음도 알 수 있었다. 그 결과 요괴가 가진 본래의 특징은 재해석되면서도 단순하고 임펙트 있는 모형으로 변화되어 왔다고 말할 수 있다.

A Study on Japanese Yokai Shape Based on TRIZ This study is aimed to find the pattern of Japanese Yokai images by using the analysis table of the inductive Yokai shape prepared by Ema Tsutomu and TRIZ. Yokai is a content which is applied to many fields because Japanese is familiar with it. So, it seems that this finding is shown Japanese aesthetic consciousness and the code of formative principle. Yokais appeared in󰡔The legend of Japanese Yokai󰡕are analyzed by the tool of Ema Tsutomu and TRIZ. Based on the analysis of Ema Tsutomu, the shape of Yokai is divided into simple and complex types. TRIZ of Genrich　Altshuller is used 40 principles of invention as creative ways solving problems in the invention. Here, principles of invention are analyzed in changes of Yokai shapes. It is shown that, most of Yokais are formed by the simple shape like humans, the next, by combining the human and animal. So, it is found that Japanese enjoys the more familiar Yokai as including the close factors with humans. By TRIZ, it is shown that it is changed from the simple shape to the complex shape. And it is used principles, including dynamics, color changes, intermediary, local quality, parameter changes, and taking out. But, it is shown that Yokai is developed to the shape strengthened each feature, not changed dramatically, although Japanese want to enjoy Yokai of various shapes. Finally, the Yokai shape has reinterpreted the original features of Yokai and has changed to simple and impact shapes.

Soviet military government and Japanese Society of postwar Dalian. Japan lost their dominance on Manchuria in August 9, 1945, when Soviet troops defeated Japan and they marched into Manchuria. Japanese immigrant in Manchuria became defeated National refugees and wandered to find a way back home. Meanwhile the Soviet Union almost recovered their power on Manchuria through the Yalta agreement and the Treaty of Friendship between China and the Soviet Union. Under dualistic governance system for organizations, Japanese labor Union was only admitted organization. Japanese in Dalian used to be wealthy and privilege to enjoy luxury life comparing to people in Japan. Moreover they did not go through after war suffering. So it is understandable that they became antipathy to labor union or Community party.

1945年8月9日のソ連軍の進撃で日本は満州での支配権を喪失し、ソ連はヤルター協定と中ソ友好条約によって、日露戦争で失った満州利権の大部分を回復した。大連は、戦闘を経験しないままソ連軍の支配を受けることになり、行政権は中国の市政府にあった。 日本人の組織としては、労働組合だけが認められたが、敗戦直後から満州各地から日本人が移住し、大連の物価は値上がる一方だった。終戦当時、日本本土より裕福な生活を営んでいた日本人たちは、中国とソ連に対しては敗戦意識を持っていなかったゆえ、敗戦国民としての生活の不便をソ連と中国、労働組合に向け反感を抱くことになった。

일본에서 󰡔만요슈󰡕가 민족의 고전으로 자리잡고 학교교육 안에서도 귀중한 교재의 하나로서 교육하게 된 것은 메이지 정부의 문화정책을 기반으로 한다. 훌륭한 문화유산으로 인정받아 일본인의 자존심의 근간으로서 국민국가 형성에 이용되었다. 전후에도 훌륭한 문화유산으로 받아들여야 한다는 상식은 거의 변하지 않았다. 한편 󰡔만요슈󰡕을 제재로 한 소설도 많이 제작되었는데 그 대표적인 작가 중 한 명이 이노우에 야스시(井上靖)이다. 이노우에는 일본의 고도성장기에 󰡔만요슈󰡕를 제재로 한 몇 편인가의 소설을 쓰고 있는데, 거기에는 <옛날의 좋은 일본> 에 대한 회고의 정이 깊이 드러나 있다. 훌륭한 문화유산이자, <옛날의 좋은 일본>의 상징이라고도 할 수 있는 󰡔만요슈󰡕란 대체 어떤 전통 속에서 탄생했는가? 또한 그것은 󰡔만요슈󰡕라는 가집 자체가 체현하는 역사인식과 어떻게 중첩되며, 어떻게 다른가. 그 양상을 역사적으로 개관함으로써 현대 일본인의 고대에 대한 이미지 형성에 대해서 고찰해 보았다.

And historical awareness Manyosyu - Up from the original Manyosyu from of KOKUGO textbooks - In Japan, has become a classic Manyoshu ethnic, bigin to be taught as one of the most important among school education is based on the cultural policy of the Meiji government. Are recognized as outstanding cultural heritage,has been used in the formation of the nation-state as the cornerstone of the pride of the Japrnese people. In the postwar period, and common sense as something to enjoy excellent cultural heritage has not changed much. On the other hand, has been written many novels that Manyosyu Elements, one of the leading artists of which are Yasushi Inoue. Time was in the midst of a period economic growth that Japan, Inoue, has written a novel or hen what’s Subjects Manyosyu, nostalgia to Japan “good old days” appears strongly in there have. Is an outstanding cultural heritage, and that Manyosyu also seen as a symbol of the “good old days”, I wonder what on earth was born from within the tradition. And how to recognize the historical anthology that Manyosyu indeclinable words overlap, how it, or different from each other. Through an overview of the historical aspects, I tried to think about the formation of the image of the ancient modern Japanese.

Indignation and Resistance of Korean Poets under Japanese Rule Under Japanese rule, Korean poets expressed their righteous indignation at Japanese violence and injustice. They aesthetically sublimated their rage, creating resistant poems. Their resistant poems are all rooted in religious faith. Han Yongwoon, Lee Yuksa, Yoon Dongju revealed their resentment and resistance, grounded on Buddhism, Confucianism, and Christianity respectively, convinced of liberation of their fatherland. In light of religious conviction of perpetual history, the secular domination of Japan is rendered powerless and only transient. The characteristics of the three poets are as follows. First, they present balance between aesthetics and politics, utilizing allusion and ambiguity. Second, they show assurance of the independence of Korea from Japan, based on specific religious world views. Third, they reveal optimistic historical vision, assuming sacrifice and action.

日帝強占期においてわが国の詩人は日本帝国の暴力に対して反発を覚え、怒りを露にした。彼らは各々の怒りを美的な水準までに高め、抵抗の詩を作り上げた。これらの抵抗の詩は共通的に宗教的な信念に基づいている。韓龍雲、李陸史、尹東柱の怒りと抵抗はそれぞれ仏教、儒教、キリスト教の世界観に繋っている。彼らは宗教的な信念に基づいて日本の帝国主義に怒りを表し、抵抗したのであり、さらに、民族の解放を確信していた。宗教的な信念に根ざした歴史認識において世俗的なレベルの日本帝国主義の権力は無力であり、はかないものとして見做されていたのである。三人の抵抗の詩が持っている特徴は次の三点にまとめることができよう。一つ目に、詩の有する暗示性や曖昧さを効果的に活用し、美しさや政治性の均衡を保っていることである。二つ目は、三人とも特定の宗教的な世界観に基づいて解放に対する確信を見せていることである。三つ目は、三人とも自己犠牲と実践を前提にした楽観的な歴史的展望を持っていることである。

포스트모던의 역사서사학이 허구성으로 기울고 급기야는 서사의 진실성을 일종의 문화적 환상으로 삼았다. 그러나 신서사학은 진실성을 역사(사실) 서사를 구별할 수 있는 특징으로 보고 허구성을 단호히 부정하였다. 필자의 견해는 역사서사의 진실성은 문화에 있어서 환상도 허구성의 대립도 아니라는 것이다. 역사서술 속의 허구성은 일종의 해석성이다. 이 해석성이 구체적인 담시(짧은 서사시)의 형식을 보여준다. 성공적인 역사서사는 독특한 담시 형식을 통하여 새로운 차원으로 현실세계의 진실성을 드러내고 있다. 본고에서는 󰡔고독과 추구(孤独と追尋)󰡕를 예로 이러한 문제에 대하여 검토하고자 한다. 게네쓰･ 슈(許靖華)의 자전소설인 󰡔고독과 추구󰡕은 독특한 담시 형식과 풍성히 내포되어 있는 상고취미의 새로운 자세를 보여주고 있다. 󰡔고독과 추구󰡕은 시공간 표기의 이중설정에 의해 기호 텍스트와 역사기억의 동형성(同型性)을 보증하고, 서사 결함점의 비심상적(非尋常的) 선택에 의해 가능세계와 현실세계의 동질성을 드러낸다. 동시에, 기호의 집합과 중합(重合)관계를 재구축하여 전통적 서술형식을 초월하고 기호의 시니피앙과 시니피에의 관계를 새롭게 설정함으로써 전통적인 권위언어를 타파하고 있다. 염 황이제(炎,黃二帝)(전설상의 중국인 선조)의 자손으로서 지닌 혈통과 민족정신의 계속이라고 하는 확실한 근기를 굳힌 기초 위에 이미 형성된 집단기억의 역사에 대한 재해독과 재해석을 더하는 그 과정에서 강렬한 비판정신을 보여주고 있다. 예를 들면, 유가(儒家)문화에 대한 다른 측면으로부터의 인식, 다윈주의로의 평가, 치우친 상업지상주의가 가진 나쁜 폐단 등에 관한 비판이다. 그러므로 새로운 차원에서 현실세계의 진실을 나타내고, 독자에게 역사를 투시하여 현재의 사회를 직시할 수 있는 새로운 시점을 제공하였다. 결론으로서, 본 작품은 뛰어난 역사이야기로서 그 리얼리티로부터 두 가지의 의의를 살펴볼 수 있다. 1. 이야기에 등장하는 사건, 인물, 배경과 집단기억이 일치성을 가지며, 2. 이야기가 기존의 집단 언설에서 표현되지 못했던 새로운 시점을 제시한 점이다. 이것은 근현대 중국문학에서 찾아볼 수 있는 상고취미의 새로운 모습이라고 할 수 있다.

A New Phase of Advocating the Ancient in Contemporary Literature -Taking Aloneness and Search as an Example- The postmodern historical narratology tilts toward fabrication or tends to regard the authenticity of the narrative as a cultural illusion, but the new narratology insists on the authenticity as a distinguishing feature of the historical narrative　and rejects fabrication. In our opinion, however, the authenticity of the historical narrative is neither a cultural illusion nor the opposite of fabrication. The fabrication of the historical narrative is an interpretation represented in a narrative format, while a successful historical narrative is precisely presents the authenticity of the real world in a unique narrative format. The present article takes Aloneness and Search an example to discuss this problem. In his autobiography Aloneness and Search, Prof. Dr. Kenneth J. Hsu displays a new phase of advocating the ancient in an extraordinary narrative format and in profound contents. Aloneness and Search embodies the homogeneity of the possible world and the real world by ensuring the isomorphism of the semiotic text and the historical memory in the double form of time and space, and by selecting the narrative breakpoint in an extraordinary way. At the same time, it transcends the traditional narrative mode by resetting the syntagmatic and paradigmatic relations to redefine the relationship between the signan and the designatum and to realize the subversion of the traditional authoritative discourse. On the solid foundation of the continuation of the Chinese blood relations and national spirit, it gives a historical reinterpretation to the extant collective memory and permeates with a strong criticism towards Confucian culture, Darwinism and commercialism. Hence it reveals the true nature of the real world at a new level and provides the readers with a new retrospective of history and perspective of the modern world. The conclusion. The authenticity of a successful historical narrative contains two levels of meaning. First, the event, character and background in the narrative are consistent with the collective memory; second, the narrative reveals new horizons that past collective discourse did not express. This is no other than a new phase of advocating the ancient in contemporary literature.

Discussion on the novel Before Daybreak, and ‘Japan’ Shimazaki Toson dealed with Modern Japanese problematics consistently in his novels, Destruction, Home, and Before Daybreak, etc. Through these novels, themes like discrimination of modern Japan, the problems of collapsed traditional home by modern civilization, and the critical perspective toward modern Japan are issued and discussed contemporaneously and afterward. This article analyzed the narrative structure that there is a disjunction between historical time and individual story. The novel Before Daybreak is based on the documentary diary Daikokuya-diary, which recorded the substances and incidents of early modern Japan or so. Consequently this text follows the historical recordings. By the way, individual story does not match with this historical recordings, so the narrative of this novel demonstrated two paralled narratives. In the last of this novel, Han-jo, the main character of this novel, died from madness. After this, the individual story was absorbed into the historical flow. The thing left in the text is absolute ‘Japan’ whose image is exclusive and idealistic. This notion of Japan disturbed the polyphonic narrative of the text, and this image of Japan caused untranslatable ‘Japan’.

島崎藤村は󰡔破戒󰡕以降、󰡔家󰡕、󰡔夜明け前󰡕にいたるまで、長編小説を通して日本の｢近代｣を持続的に扱ってきた。近代の日本における差別問題や、近代の文明によって滅んでいく舊家の問題、そして、󰡔夜明け前󰡕においては、日本の近代に対する批評的な観点をも見せてくれたのである。本論文は、󰡔夜明け前󰡕をめぐって同時代評から戦後まで議論が続いた、歴史的な時間と個人の物語が乖離しているというナラティブが内包している問題に迫った。󰡔夜明け前󰡕は歴史的な記録である｢大黒屋日記｣に基づいて小説化しており、歴史的な時間の流れが作中人物の半蔵の物語と平行して進んでいく。ところが、半蔵の死後、個人の物語は歴史的な時間の流れに吸い込まれてしまい、排他的て閉鎖的な観念としての｢日本｣のみが残される結果になる。個人の物語と関わりのないレベルで描かれていく歴史の時間は、個人の物語との中で構成しうる空間、或は隠蔽している空白における小説的な想像力を相殺し、絶対的な観念としての｢日本｣を想定してしまのではなかろうか。『夜明け前』の長編形式こそ、翻訳できない｢日本｣を造りあげていると思われる。

Radio wave and PropagationⅢ This paper made ​​a propaganda model in any system in the target Sonjuku(村塾) and I was revealing propaganda narrative whether what was. Phenomenon nation consumes historic figures through intervention of culture media deepening new nationalism to mediate culture. In particular, psychology of desire by the psychological sense of insecurity political and military crisis of the masses, the strong man is by consuming a new historical figure of the Pacific War atmosphere becomes dark. People according to the broadcasting drama's move forward placing material exciting than thorough historical investigation and objectivity, hold ethnic soul by stimulating the historical feelings of imperial Japan. Person of Yoshida Shoin(吉田松陰) presented a typical grounds for an argument headwaters of Asia aggressive policy idea and thought of reverence the Emperor and expulsion of barbarians. When you have seen in Japan, his disciples were subject of the Meiji Restoration, and said that it is a person of historical material that is able to stimulate the nostalgia of them. In draw a person like this, have floated a warm human love of the person that are nearby must the general public and our face personal thoroughly and been distorted, of the person era hope the fact of history that he went I created a mental. Television drama is popular literary genre that from the importance of fact and historical investigation of the history, the intention of directing the imagination of writers acting important.

本稿は國史劇の村塾を対象でどんな方式で宣伝モデルを作ったし、宣伝ナレーティブは何だったのかを糾明した。国家が文化媒体の介入を通じて歴史的人物を消費する現象は文化を媒介にする新しい民族主義を深化させる。特に、太平洋戦争の雰囲気が暗くなると大衆の心理的不安感 政治・軍事的危機による、強い男性を欲望する心理が新しい歴史的人物を消費させた。放送劇に係る人々は徹底的な客観性や歴史的考証より、帝国日本の歴史的感情を刺激して民族魂を催す刺激的な素材を前進配置させるのだ。吉田松陰という人物は尊王攘夷派の思想とアジア侵略主義的思想の源流的論據を提示した。日本で見たら、彼の弟子たちは明治維新の主体だったし、彼らの郷愁を刺激することができる歴史的素材の人物であることだ。このような人物を描くにおいて、彼が行った歴史の事実は歪曲されて徹底的に個人的な面と一般人たちと違いない周辺の人物たちの暖かい人間愛を浮上させて、時代が願う人物の心象を作り上げた。放送劇は歴史の考証と事実の大切さより、作家の想像力と演出の意図が重要に作用する大衆文芸ジャンルだ。したがって文化権力者たちは手軽く介入して彼らの意図どおり動いたのだ。

The Appearance of an Adaptation of a Novel which Has a Mixed Style of Writing Korean with Chinese Characters in it and the Meaning of it ―around a Shadow of ‘So’― The purpose of this paper is to investigate the background of the advent of an adapted story in Korean-Chinese characters and its significance from the perspective of the history of literature. The original text of “ 小's 暗影” is “ Shonoomokage(其面影)”.　The biggest changes between “ 小's 暗影” and “ Shonoomokage” is the transformation of a figure Sayoko (Jung Ja). Sayoko showed an image of a modern woman. She never compromised on love and was very independent. However her image has changed to melodramatic image.　This change is closely related to the change of book title from “Shonoomokage” to “ 小's 暗影”. Since the first issue of Dong-A Ilbo was published, all the adaptations used Korean characters, whereas “ 小's 暗影” used Korean-Chinese characters quite exceptionally. “ 小's 暗影” published on the front page with editorial or political articles bears conclusive witness for that fact. “ 小's 暗影” is an apt example that shows a corelation between the contents of novels, readers and styles.

本稿の目的は、󰡔東亜日報󰡕に連載された翻案小説｢‘小’의 暗影｣を中心に、国漢文混用体翻案小説の登場過程とその文学史的意味を明らかにすることである。｢‘小’의暗影｣の原作は、二葉亭四迷の｢其面影｣である。二つの作品を比較するにあたって目立つのは、女性像の変化である。その変化は作品の題名の変化とも密接な関わりを持つものである。創刊以来、󰡔東亜日報󰡕に掲載された全ての翻案小説が国文体を採用するなか、｢‘小’의 暗影｣が国漢文混用体で書かれたことは極めて例外的なことである。｢‘小’의 暗影｣は、知識人を主な読者層として想定しており、論説や政治に関する記事等とともに新聞の1面に掲載されたということは、それを裏付ける何よりの証拠である。｢‘小’의 暗影｣は、作品の内容と文体、及び読者がどのように関わっているかを考える上で格好の材料と言えよう。

Education of Tokio Kaisei-gakko’s English Language and Literature ―Focusing on The Calendar of Tokio Kaisei-gakko(1874-75)― This study examines "The Calendar of Tokio Kaisei-gakko" wirtten in English by international professors, especially from Tokio Kaisei-gakko amid active employees, the direct messengers of Western studies under the aggressive Westernization policies implemented since Meiji Restoration in Japan. This study contains the analysis of lesson plans, purpose of education, practicality during that era, specifically analyzing contents of Syllabus and Final Examination of English Department that they considered as a General Course. Particularly prioritizing so-called humanities and sociology studies such as English literature, rhetoric, logic, history, philosophy, and political economy, this study will clarify the process of lesson plans, the disciplines, and educational information. Final Examination questions, especially, are considered as meaningful as it contains specific contents of lesson plan of semesters. Through the examination of "The Claendar of the Tokio kaisei-gakko", it is still meaningful that those relative education was specifically held by higher education government institution, besides the fact that whether they actually executed or not. Furthermore, this holds significance as the Western contents of higher education institutions at that time were complemented by 『東京開成學校一覽』written in Japanese.

本稿は、明治維新以後新政府の積極的な西洋化政策の下で西洋学の伝達者であるお雇い外国人、なかでも官立高等教育機関の東京開成学校にて教授として活躍した外国人教授らによって1875年間に作成されたと思われる英文一覧󰡔The Calendar of the Tokio Kaise gakko󰡕についての考察である。具体的には‘豫科’に位置付けられ、当時英語講義を基本とした‘英語英文学科’の‘講義計画’と‘期末テスト問題’ などの内容分析を通じ、実際どのような関連教育が企画され、また教育されたかを考察する。なかでも、英文学と修辭學、論理学のようないわゆる英語と英文学方面の授業を中心とし、実施された教育内容とそのプロセスを明らかにする。特に、‘期末テスト問題’は期末テストに出すために作った問題でありながら、‘講義計画’の具体的な教育内容であるという点にその意味がある。また『The Calendar of the Tokio Kaisei-gakko』の考察を通じ、日本語で作成された『東京開成学校一覧』(1875)に出てこない内容は当時の高等教育機関の西洋学の教育内容を補うという点にも意味がある。

捷解新語의 日本語文에 한국어가 일본어적인 變形을 받아서 나타나는 單語와 韓國語對譯文에 일본어를 借用하고 있는 單語를 자료로 하여서, 外交貿易의 “境界”에 보이는 表象에 관해서 고찰하였다. 資料調査는 變形을 받은 形態로 借用된 단어, 또는 特定語가 표현상 차이를 보이고 있는 것을 대상으로 하였다. 그 결과 借用語는 일본어가 한국한자음으로 표기되어 그것이 일본어로 借用된 것, 한국한자음의 영향을 받아서 외국어로서 借用된 것, 복합어 형태로 變形되어 외국어로 借用된 것이 있다. 固有名詞의 경우 한국 地名은 與格으로 표현되는 경우가 많고, 外交貿易과 직접 관련이 있는 ‘送使’와 같은 것은 한국한자음이 외국어로서 차용된 형태를 보인다. 또 韓国語対訳文에 사용된 일본어 借用語는 한국한자음으로 읽혀졌다. 捷解新語의 日本語文에 한국어에서 借用되어 日本語的으로 變形되어 사용된 것은 당시 江戸와 朝鮮의 外交交易이 이루어진 “境界”에서 特定의 單語가 表象된 결과이며, 이러한 單語가 당시 학습서인 捷解新語에 나타나는 것은 外交交易의 實例를 그대로 敎科書 例文으로 사용하였기 때문이다.

A Study on the Representation Language seen on the <boundary> of foreign culture The purpose of this study is to examine the salient features of word forms in SYOUKAISINGO. SYOUKAISINO is a learning material for foreign trade and thus it has both Japanese sentences and their Korean translations. Interestingly, Japanese sentences in SYOUKAISINGO showed Korean word forms which might be modified by the influence of Japanese letters (i.e., Korean loanwords), and their Korean translations contain Japanese loanwords. This study was conducted based on the loanwords with modified word forms as well as words having expressional differences according to situations. It is assumed that the appearance of Korean loanwords in Japanese sentences of SYOUKAISINGO is a result of expressional forms of specific words which might reflect the borderline situation of foreign trade between Chosun Dynasty and the Edo period. Or, the appearance of Korean loanwords might be due to the fact that SYOUKAISINGO shows actual foreign trade events as an example of learning materials.

Trends and Prospect of Study on Japanese Grammar Education in Korea The purpose of this manuscript is to examine previous research and to suggest areas for future research on Japanese grammar education in Korea, according to the changed Japanese language education in this multi-cultural and multi-language society. As a result of investigation upon expert journals on Japanese language and Japanese pedagogy, it is known that research on Japanese grammar education has changed according to the needs of the times. However, future research on Japanese grammar education should be changed, taking account of understanding field curriculum in Korea, not in Japan. To do so, future research needs to focus on flexibly re-defining grammar education in Japanese language study, re-selecting and re-categorizing grammatical features to be educated, and improvements in teaching methods and textbooks based on reviewing the past and the present.

本稿の目的は、多文化・多言語社会における日本語教育の変化に先立ち、文法教育の位相が低下する中、韓国の日本語文法教育研究の動向をふまえた今後の研究方向を提案することである。日本語学・日本語教育学関連の専門学術誌及び国内大学の日本関連研究所学術誌を調査した結果、時代のニーズや関連領域の変化により、日本語教育や文法教育、その研究の形も共に変化してきたことがわかった。しかし、相変らず韓国での日本語文法教育研究は以前のように言語構造や文法項目に偏る傾向から完全に脱することができていない状態にあるため、韓国の日本語教育の現状を把握すると同時にこれからの文法教育研究の方向を未来志向的に変える必要がある。それは、日本語教育の変化における文法教育の流動的選定、文法事項の再選定及びカテゴリー化、過去と現在の教授法及び教材の検討と改善という三つの点に焦点をあてて要約することができる。

A Contrastive Study on the Address Terms for Family Members in Korean and Japanese This paper carried out a survey on the use of the address terms for family members in Korean and Japanese university students. This paper conducted a contrastive analysis of the investigation outcomes from an angle of sociolinguistics. The important findings are summarized as follows. First, the most commonly used address terms for grandmother is halmeoni(grandmother) in Korean and obaachan(grandmother) in Japanese. Second, unmarried Korean sons and daughters respectively use appa (father) and eomma (mother) most commonly as the address term for father and mother. On the other hand, unmarried Japanese sons and daughters call their father and mother otoosan (father) and okaasan (mother), and married Japanese sons most frequently address their mother as obaachan (grandmother) from the viewpoint of the youngest family member. Third, for the address term for mother-in-law, eomeonim (honorific form of mother) is most frequently called in Korean, however, obaachan (grandmother) is most commonly used from the point of view of the youngest family member in Japanese. Fourth, as the address term for daughter-in-law, emi (plain form of mother) or teknonymy and daughter in law's first-name+san are most commonly used in Korean and Japanese, respectively. Fifth, in the two countries parents call their sons their first-name. In particular, 20 percents of Japanese parents respectively use oniichan (elder brother) and otoosan (father) as the address term for unmarried and married son from the point of view of the youngest family member. Finally, for the address term for spouse, yeobo (honey), jagi (darling) and teknonymy are usually used in Korean. On the other hand, otoosan (father) and okaasan (mother) are generally used for the this term in Japan from the viewpoint of the youngest family member.

本稿では、日韓両国の大学生を対象に、家族間の呼称の実態を調査し、その結果を社会言語学的な立場から対照分析した。主な結果をまとめると次の通りになる。 (1) 祖母の呼称の場合、韓国語では｢ハルモニ｣を多く使い、日本語では｢おばあちゃん｣を多く使う。 (2) 未婚の子女が親を呼ぶ場合、韓国語では男女ともに｢アッパ｣｢オンマ｣を多く使い、日本語では｢おとうさん｣と｢おかあさん｣を多く使う。しかし、結婚した子女が母親を呼ぶ場合、最年少者視点呼称である｢おばあちゃん｣を最も多く使う。 (3) 姑の呼称の場合、韓国語では｢オモニム｣を多く使うが、日本語では最年少視点呼称である｢おばあちゃん｣を多く使用する。 (4) 嫁の呼称の場合、韓国語では｢エミ｣と｢子女の名前＋エミ｣のようなテクノニミーを多く使い、日本語では｢名前+さん｣を多く使い、最年少視点呼称である｢おかあさん｣を補助的に使う。 (5) 子女は両国ともに名前で呼ぶことが多いが、日本語の場合、最年少者視点呼称であ｢おにいちゃん｣(未婚)と｢おとうさん｣(既婚者)も20％程度使われている。 (6) 配偶者の呼称の場合、韓国語では｢ヨボ｣｢ジャギ｣、そしてテクノニミーを多く使い、日本語では最年少者視点呼称である｢おとうさん｣と｢おかあさん｣を多く使う。

The study about the actual conditional application of the ‘Amari(あまり)’ These are the results about the actual conditional application of the degree adverb. Firstly, in a co-occurrence relationship, the group of ‘Amari(あまり)’ shows the character of pure degree adverb whaich modifies the degree of statativity in co-occurence with adjective and stativity verbs. Whereas in negative sentences, ‘Amari(Anmari)’ modifies the amount degree in amount or action through co-occurrence with negative ‘aru(ある)’ and action verbs. On the construction level, ‘Amarini(Amarinimo)’ are usually present in Group B. ‘Amari (Anmari)’ are usually present in Group C. Specifically, the group of positive ‘Amari’ appears many times in the reason and as a cause of the objective situation of ‘~node(ので)’ B group, the group of negative ‘Amari’ appears many times in the sentence of the inverse reason of ‘~ga(が)/keredo(けれど)’ C group. As a result, the group of ‘Amari’ usually occurs in the decision⋅result sentence by the reason and the cause of a real situation, and it is the ambilaterality degree adverb that shows the descriptive aspect and propositional aspect according to the positive or negative usage. Next, ‘Amarini’ ‘Amarinimo’ modifies qualitative degree in positive sentences while ‘Amari (Anmari)’ modifies quantitative degree with qualitative degree in negative sentence according to the result that the semantic characters of group ‘Amari’, which are divided into the qualitative degree and quantitative degree.

程度副詞の｢あまり｣の構文的特徴と意味的特徴について考察した結果は次のようである。まず、共起関係における｢あまり｣系は肯･否定用法において主に形容詞と状態性動詞にかかって状態性の語の程度を限定する純粋程度副詞の特徴を表す。しかし否定用法における｢あまり(あんまり)｣は存在詞｢ある｣の否定と動作性動詞と共起し数量或は動作量についての量的程度を限定する特徴をみせる。また、構文的特徴からみると｢あまりに(も)｣は主にB類｢~ので｣に、｢あまり(あんまり)｣はC類｢~が/けれど｣における出現が多い。これにより｢あまり｣系は｢事實的事態の原因･理由｣による判断･結果をあらわす文において発生し、肯定用法の｢あまりに(も)｣は事柄とモダリティとの中間的側面を、否定用法の｢あまり(あんまり)｣はモダリティ的側面をもつものであることが分かる。次に、｢あまり｣系の意味的特徴を質的程度と量的程度に分けて分析してみた結果、｢あまりに(も)｣は肯定用法において<物･人の状態><感情><感覚>などの質的程度を、｢あまり(あんまり)｣は否定用法において質的程度とともに動作性動詞の<動作量>或は主体や対象の<数量>という量的程度の限定を行う特徴がある。