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受動文はこれまで多くの學者によって硏究されてきた。特に最近では認知言語學の考え方を採用した硏究が出始めている。本稿はこの流れに沿って談話の中の實例を中心にして受動文の(談話上の)意味とその機能について考察する。今までの形式主義の考え方とは違って、認知言語學では受動文の意味を受動文主語の狀態變化表現にその機能があると考えている。實際の調査結果からは、受動文の主語は約82%以上が動作主が省略されている。また主語と動作主の有․非情性を動作主のマーカーといっしょに調べた結果、主語には非情物が立つことが多く、また動作主マーカーも動作性が感じられない「によって」に賴っている傾向が見られる。特に科學を材料にした隨筆にこのような傾向が多く見られた。そ して談話のなかで動作主は常に新情報であり、對象物の狀態變化を文の周辺的要素としてバックアップしていることから、受動文の中の動作主としての役割はなくなって對象物の狀態變化を表すことに受動文の機能が存在することと思う。

形容詞및 形容詞型活用 助動詞의 順接假定條件 表現形式「ずば」類와「ずんば」類의 兩形式은 上代文獻에는「ずは」類로 존재한다.「ずは」의「は」가, 係助詞인지 接續助詞인지에 관하여는 이미 많은 논고가있지만, 一方的으로 결정하기 어려운 것은 사실이다. 係助詞「は」와 接續助詞「ば」는 機能面에서는 서로 文의 陳述과 緊密한 關係를 갖는 점에서 類似하다. 또한 係助詞「は」는「(主題ㆍ對比ㆍ强調)提示」의 意味ㆍ用法으로 條件形式의 源流로 볼 수 있다. 즉, 者는 機能ㆍ意味ㆍ用法에 있어서 서로 相通한다고 보겠다. 따라서, 「ずは」類의「は」는 係助詞「は」이든 接續助詞「ば」이든 文脈上의 味變化를 크게 가져오지 않는다고 할 수 있겠다. 本稿는 日本語의 史的 變遷 過程에서 一大過度期라고 할 수 있는 室町末期에서 近世末期까지의 口語體資料를 中心으로「ずは」ㆍ「ずば」類의 兩形式이 音聲的인 面에서 어떻게 反映되어 있는가를 調査ㆍ檢討해 본 결과, 中世末期의 キリシタン資料까지는「ずは」類로 發音된 것으로 推定되는 한편, 中世末期 以後에는「ずは」ㆍ「ずば」類 兩形式이 보인다. 다시 말하면,「ずば」類의 出現이 中世末期 以後라고 볼 수 있으며,「ずば」보다 이미 存在했던 漢文訓讀의「ときんば」「ずんば」類에 향을 받아「ずは」가 濁音으로 發音되었을 可能性도 排除할 수 없다. 그리고, 假名文獻 資料에서는 淸濁의 表記에 관하여 綿密하지 않은 것을 考慮한다고 해도 이번 調査資料에 의하면 一方的으로 편중된 傾向이 보여, 斷定은 할 수 없으나 作者가 淸濁音중 한 形式을 意圖的으 로 使用한 結果가 아닌가 推定된다.

『千と千尋の神隱し』で2002年カンヌ映畵祭金熊賞を受賞し、2003年には、アカデミ一賞長編アニメ一ション賞にも輝いた宮崎駿は、今や日本を代表する映畵作家として知られるようになった。1941年に生まれた宮崎は、大學卒業後、東映動畵に入社、以後、卓越したアニメ一タ一としての評價を得て、映畵製作の道に進んでいく。 宮崎の作品には、所謂「戰後民主主義」と呼ばれる思想の影響が色濃く見える。戰後民主主義の定義は簡單ではないが、大まかに言えば、主權在民ㆍ平和主義ㆍ基本的 人權の尊重という、日本國憲法の考え方を基礎にした思想である。學生時代からマルクス主義に傾倒していた宮崎は、自分の作品にも社會主義的な要素をあちこちに盛り込んでいる。また、本人自身も、自分が社會主義者であることを極めて肯定的に語っている。東映時代にアニメ一タ一として參加した『太陽の王子ホルス』をはじめ、自身が監督した『未來少年コナン』や『風の谷のナウシカ』という作品には、社會主義的な主張がふんだんに盛り込まれ、それが作品の完成度を高めるのに大いに役立っている。 しかし、冷戰の終結とともに、政治思想の役割が低下し、宮崎は新たなテ一マの模索を始める。その過程で見出されたのが、女性の自立という問題である。男女同權という戰後民主主義の主張を反映して、宮崎の作品には、男性以上の活躍をする女性の姿が描かれている。しかし、その一方で、男性に付き從う古典的な漫畵の女性がそこに同居しているという批判も受けていた。そうした中で作られた『魔女の宅急便』は、普通の少女が自分の職業を求めて努力を續けるという、新たな可能性を示した作品となった。そして、このテ一マは、以後の宮崎作品にも受け繼がれていく。

일본은 주지하고 있는 바와 같이 사계절의 변화가 뚜렷하며 다습한 나라이다. 옛부터 일본인은 계절의 미묘한 변화를 깊이 음미하며 독특한 미의식을 키워왔다. 모든 일본의 문화는 사계절의 변화를 민감하게 받아들이는 마음과 관련이 깊다고 보여진다. 예를 들면 현대를 살아가는 일본인들이 즐겨 짓는 하이쿠(俳句)에) 반드시 계절을 연상시키는 키고(季語)를 집어넣지 않으면 안되게 되어 있다. 하이쿠의 기원에 대해 생각하자면 중세에 완성된 렌가(連歌)의 홋쿠(發句)로까지 거슬러 올라갈 수 있지만 그 무렵부터 홋쿠에는 반드시 키고를 사용하는 규칙이 적용되고 있다. 일본문학을 통시적으로 조망해 보면 자연계에 몰입하여 자연과 일체가 되려고 하는 모습을 역력히 엿볼 수 있다. 사이교(西行)는 귀족사회를 멀리하고 출가하여 아름다운 자연 속에 안주하는 것을 이상으로 삼은 중세의 가인이다. 그는 죽음조차도 휘영청 밝은 보름달이 비추이는 음력 이월의 봄날 벚꽃나무 아래에서 임종을 맞이하고 싶다고 하여 그의 바램대로 그 날 생을 마감하고 있다. 사이교를 존경해 마지않았던 바쇼(芭蕉) 또한 온 생애를 여행에 쏟으며 이를 통해 자연과 인간과 융합한 세계에 하이카이(俳諧)문학의 신경지를 개척한 사람이다. 바쇼는『오이노 코부미(笈の小文)』란 그의 수필집에서「造化に從い造化にかえれ(자연에 따라 자연으로 돌아가라」라고하며 자연에 귀의하라고 주장하고 있다. 자연을 벗삼아 초암에서 생애의 대부분을 보낸 료오칸(良寬)은 자연 즉 자아, 자아 즉 자연의 경지에 이르렀던 사람이었다. 에도시대 말기에 활약한 렌게츠(蓮月)는 역사의 전환기인 격동 속에서 가정도 평탄하지 못해 불우한 생애를 보냈지만 만년은 자연 속에 자신을 맡기고 안주할 수 있었던 인물이었다. 일본 문학가들이 추구한 자연 즉 자아, 자아 즉 자연의 경지는 만물일여(萬物一如)의 세계관이라고 할 수 있을 것이다. 이것은 자연과의 대립속에서 인간의 가능성을 모색해 내려고 하는 서구적 세계관과는 근본적으로 다른 세계관이다. 이 세계관은 근대사회의 폐색적(閉塞的)인 상황으로부터 탈출 가능한 방향을 암시하는 것으로 환경이나 공해문제 등으로 몸살을 앓고 있는 현대인들에게 시사하는 바가 크기 때문에 주목해야 할 것이다.

This paper is to figure out Kenji's view on Nature. To accomplish this aim, what is mentioned has to be developed in order as follows: 1) Kenji's cosmology and imagination 2) nature as a place where all the living things constantly defy each other and deprive the others of life. 3) the modern Western thinking and animism 4) reconciliation between man and the other living creatures 1) As for Kenji's literary works, we can't describe their essence with a word. They should be regarded not merely as childish whimsical fancy, but "the four-dimensional world" evoked without restriction by his imagination. What Kenji calls the imaginative "four-dimensional world", by which he means not pure intellection so much as sensitivity and self-awareness which are grounded in experience, is originally equiped with imaginative competence and prominent mysterious experience. He believes in the "four-dimensional" realm which is different from other real domain in everyday life. He was so extremely rich in his imagination that he felt the urge to express himself through many persons and living things. In reality, he represents a wide range of microscopic domain to the maximam, e.g. the crab's biosphere at the bottom of the river to the galactic cosmos in the infinite sky. 2) What Kenji takes as characteristics of nature is, first of all, that all animals, including human being, lie in the relationship between the killer and the killed, i.e. the eating and the eaten, and yet that only on the basis of this severe environment each of them can keep his own life. In other words, the real domain means nothing other than the place where all living things are subject to the severe laws of nature, e.g. law, such as rule of a food chain or survival of the fittest. As the weaker is compelled to become the victim of the stronger, Kenji's serious agony in his consciousness of this fact urged him to focus his attention on this theme and to write down many stories, such as "フランドン農學校の豚 (The Pig of Flandon Agricultural School)", "よだかの星 (The Yodaka-Star)" and so on. 3) In the history of the West-European thinking man has challenged nature. He has also conquered everything in nature as he desired. Since the Ancient Greek philosopher Protagoras made an assertion that man is just the only decisive criterion for judging everything, human energetic activties are a sequence of brilliant victories for the outer nature. Similarly, according to "Genesis" of the Old Testment God gave the human race "imago dei", the right to control the outer nature around him. The perspective of both ideas made it possible to win scientific victory and technological control over nature. Under influence of this perspective the modern ego fundamentally doesn't give rise to a guilty conscience by which Kenji was tormented, because he had an animistic way of thinking, like those who we call "savage" or "primitive". So long as he stands on this point of view, he must write "なめとこ山の熊 (The Bears of Mt. Nametoko)", where the hero Kojūrō and the bears, irrespective of adversarial relationship, feel pure friendship with each other. Frankly speaking, it might seem quite funny to say that the bears have close affinities with him and the bear-hunter Kojūrō has a respect for the opponent's life. Anyway, because of this he prays unhesitatingly for the dead bear, praying that it may rest in peace after the bear has been shot dead by him. Afterwards, contrary to this happening, another bear struck him dead, so that it could save its own life from danger. A lot of bears, including the killer-bear, mourn for the dead Kojūrō. It is worthy to note that this story ends with impressive depiction of the last scene. 4) Shintoism and Buddihism have a great influence on Kenji. He insists that all the existing things on this planet, namely minerals, as well as man, plants and animals should equally belong to Nature, that is to say, "Great Life" as the Single One. If that is true, we are not necessarily superior to the other things, and therefore we have not any right to master them. To be sure, Kenji embodies this idea with special emphasis, in such works as "セロ彈きのゴーシュ (A Cellist Gohsch)" and others. In seeking to find out a method of solution to this crucial problem, there are two ways open to us; one way is to trace the process of being individually reconciled to the hostile. But this way is not the final place for the peaceful soul, because the chief difficulties emerge when inevitable awareness of the sacrifice of the other's life has stimulated Kenji to make explicit his notion of a struggling spiritual reality, e.g. like "さそり星 (the Scorpion)" in his story "銀河鐵道の夜 (At the Night, Riding on the Galactic Train)", trying to do good in a wicked world. In other words, we may be reconciled with particular concrete living things, nevertheless, we must kill the other's life except them ― in compensation for surviving on the earth. Cosequently, the final solution for this problem is unfinished. Faced with the problem of how to deal with contradictive phenomena in Nature, Kenji took a hint from Shintoism, deriving from ancient Japan and the Buddhism's doctorines, and elaborated the idea that the Universe should interpret as consisting of a harmonic order of substances. By the occurrence of some events others also are produced. This is the Doctorine of Causal Connection of Buddhism. Needless to say, of many Doctorines it is the last meaning which is particularly important from the point of view of Buddhist philosophy. In the great circular movement the individual goes to Nature and returns to himself as Nature. If we broaden the sight range of human impact on the biosphere, the self isn't entirely reduced to nothingness after the arrival of death. This is another way. Kenji declares that salvation can already be found in this world, in so far as the natural subject is illuminated by the light of "十力の金剛石 (The Diamond of Jūriki)". Kenji stands inside the great circular movement, so from this point of view there is a great deal of justification in any activities. In all-comprehensive boundaries the individual appears and disappears with brotherhood. Here the relationship between the killing and the killed implies the mutual dependence and the spirit of reciprocity. As a matter of fact, an echosystem in nature shows that the animals die to the earth and they provide microorganism or plants with their nutritional content. And the man who stands at the top of a food chain, is applicable to this case. The man can be re-born into a pig or cow and so forth. And besides the pig can be re-born into the man. When Kenji looks over natural phenomena on the level of a harmonious whole, he realizes that the adversary system consists in a symbiotic relationship. There supports such a cosmology on the back of Kenji's infant stories. We had no difficulty in recognizing that the ideas, based on it, are expressed at inner part of his works.

Established positive studies of the Japanese political culture are rare. Four cases of them are introduced in this paper. The first one is Conformity and Struggle studied by Ishida Takeshi in 1970. He makes an assertion that the peculiarities of Conformity and Struggle are able to explain directly the advances and changes of Japanese history. The peculiarity of Conformity was derived from conventions of Mura Shakai with low autonomy, and Struggle was permitted within keeping the conformity in Mura Shakai. Japanese organizations are based on strict conformity inside and exclusive closing outside. These peculiarities lead to growth of informal factions in modern huge organizations such as firms, political parties, labor unions, and administrative organs. The second one is the peculiarities of Alienation and Aspiration studied by Nakamura Kikuo. Japanese people such as highly educated, white collars, and college students are discontented with Japanese politics and are reluctant to participate to political activities. But they have much more interest in politics than any other western country. The Third one is Japanese Community Hypothesis suggested by Murakami Yasusuke to explain the reasons of Liberal Democratic Party(LDP) 's grasping political power for the long run. LDP has adopted inclusive political creeds and party policies. The inclusive acceptance is a traditional cultural inheritance of Japanese society. It is claimed that it makes LDP`s great success in obtaining supports from almost social strata. The fourth one is Japan-like Party Hypothesis suggested by Murakami Yasusuke to explain the system management methods of LDP and Social Democratic Party(SDP). This hypothesis accounts for the success of LDP and the downfall of SDP from the side of the system management methods. But these four established political cultural patterns of Japan fail to explain the political cultural shifts during the 1990s. What are the shifts can be obvious by analyzing why the LDP succeeded in returning to powers in 1996. That is to say that Japanese people prefer certain smaller values to uncertain larger ones.

鎌倉時代 무사=재지영주의「家」(이에)는 嫡子를 통한 계승관념이 성립하는 시기로 본고에서는 嫡子인 摠領과 庶子와의 관계, 여성의 지위와 역할 등에 주목하여 이에의 변천과정을 고찰하였다. 특히 上野國(현재의 群馬縣)新田庄를 개발하여 많은 庶子家를 분출하면서 성장하는 新田氏와 庶子家인 岩松氏의 관계에 주목하여 摠領과 庶子의 관계를 검토한 것이다. 부모가 所領을 분할상속에 의해 일족에게 분급하면 분급된 所領은 「摠領權」에 의해 公事의무가 수행되었다. 이러한 것을 근거로 선행연구에서는 강력한 摠領權이 주장되어 왔지만 본고에서는 摠領의 公事配分에 의한 庶子에 대한 지배권은 친권에 보증되는 것이며 庶子와의 협력관계에 의해 유지되는 것임을 확인하였다. 또한 당시의 친권은 부권만이 아니고 모권을 포함하는 것으로 後家의 존재가 주목된다. 所領이 父ㆍ子, 남편-처-子의 형태로 상속되고 있던 것이 鎌倉중기까지의 특징이다. 따라서 後家는 남편의 사후 남편을 대행하는 존재로서 그 발언권은 절대적이었다고 보여진다. 後家는 다음 세대의 가장에게 이에를 연결시키는 중계상속자로서 중세 이에의 중요한 위치에 놓여있었다고 평가할 수 있다. 그러나 後家를 포함하는 女子相續分의 소규모화ㆍ一期化의 출현과 적자 단독상속의 진행은 남편 사후에 그 所領을 知行ㆍ經營하는 지위를 갖던 後家의 권한에 크게 변화를 가져오는 계기가 된다. 그 결과 父ㆍ남자(적자)로 이어지는 세대 서열에 의한 이에 계승의 확립화가 진행되게 된다. 한편 本宗家로부터 庶子家가 분출되어 庶子家는 독자의 摠領權을 형성하게 되는데 그 전제적 기반이 되는 所領을「先祖相傳」의 논리를 통해 자손에게 相傳된 가산으로 성립시키는 것을 알 수 있었다.

本論文は、德川時代において日本朱子學の發展の大きな役割を果たした山崎闇齋學派の中心人物の一人であった佐藤直方を硏究對象に、朱子後繼者としての彼の思想の營爲を檢討し、日本朱子學の特徵を今一度再吟味しようとしたものである。仁齋學ㆍ徠學などの反朱子學の思想が盛んであった時代にあって、純然たる朱子學徒をもって自任しつづけた直方が、朱子思想をどのように理解し、またそこにどういう新しい生命を吹きんで時代の趨勢に對應していったのか、そういう觀點から直方の思想的營爲に接近しようとした。 第一節では、直方の理氣論を問題として、彼には‘理’をめぐって超越―內在、能動―未能性の相反する言說も見えるが、彼の視角はそれを越えて、理と氣の合一體としての現實的存在に注がれていたこと、そしてそのことは結局直方において、理と氣は「妙合」という一つの事態として溶け合っているという「理氣妙合」論に收斂されていくことを明らかにした。次の第二ㆍ三節では、前節の「理氣妙合」論を一つの子として、直方の人間理解を性ㆍ心の問題に焦點を合わせて解明した。直方は儒學 の性論の中で一つの破格ともいえる程明道の性奪氣ㆍ惡の主張を積極的 に擁護しようとし、また心を靜的なものではなく活物的性格のものとして描き出そうとしていたことを論究した。