Earticle

Positive communion with the traditional culture of the country was necessary for a film having developed uniquely soon in not only Japan but also many countries more than 100 years. An Italian movie got rich material with opera for overpowering to date from the early days, and the Japanese film is art civilized on a thing of the soil of the Japanese culture so that there is a Chinese movie on the extension line of Beijing opera to base it on faith of the Taoism. Thus the research about close relations with Kabuki which was one of the traditional culture judged it to understand Chushingura Film in this report deeply when it must be gone ahead. When the people concerned of Kabuki looked down on a movie first, I mentioned it before. The movie confirmed a fact affected from Kabuki which was a popular play a lot to miss it. In space relations, I came to remain in historic research this time, but want to already grope for possibility of the new interpretation of the one through the narrative analysis by the movie which seems to be <Shijushichinin no shikaku: 47 assassinators> as the revenge drama that is merely only cruel by Chushingura Film if an opportunity is given next.

映画が100年以上近く日本だけではなく多くの国で独自的に発展したことにはその国の伝統文化との積極的な交感が必要だった。イタリア映画が初期から現在まで圧倒的にオペラで豊かな素材を得たし、中国映画が道教の信仰を土台にする京劇や粵劇の延長線上にあるように日本映画も日本文化の土壌の上で開化した芸術である。それで本稿においては忠臣蔵映画を深く理解するために伝統文化のひとつである歌舞伎との密接な関係についての考察が先行されなければならないと判断した。歌舞伎の関係者たちが最初映画を見下したと前に言及した。それにも映画は大衆演劇である歌舞伎からたくさん影響を受けたという事実を確認した。紙面関係上、今度は 史的考察にとどまるようになったが、次に機会が与えられたら忠臣蔵映画をただ単に残酷な復讐劇としてではなく＜47人の刺客＞のような映画をそのナラティブ(narrative)分析を通じてもう一つの新しい解釈の可能性を模索してみたい。

Lee Sang and Pak Taiyuan from modern culture were estranged in Tokyo and Gyengsong. Tokyo and Gyengsong are space of same time zone. The modern in Gyeongsong was space of the 3rd. The modern time in Lee Sang and Pak Taiyuan was not one life order. This is only pose and fashion. Lee Sang wants see the real modern of the West in Tokyo. But he can't see the real modern. Pak Taiyuan did not escape from traditional ethics of Korea. Lee Sang and Pak Taiyuan lived in the modern culture. But they were colony intellectual. They were satisfactory in life of present time and only the possibility of living was not.

李箱と朴泰遠は近代化になった東京と京城で都市的な暮し自体が作って置いたものから同化されなくて逸脱されていた。また、この人たちは懐疑や不満、そして自分の存在意識の不在の中で葛藤して悩んだ。文化政治を表した1920年代当時日本の植民地支配イデオロギ―は政治とか社会的な談論を生産して置かないようにされて、そのような状況で入って来た日本のモダン文化はひょっとすると植民地支配の論理の中で作られた他者の文化であるはずだった。衣服や言語、生活や文化すべての面でモダン現象が現れていたが、それがその人たちの意識の中で出たモダニティーの発現とは言えない。東京と京城って言う同じ時間帶の空間であるが、結局、京城でのモダンは東京のものでもなく第三の空間になったのである。李箱と朴泰遠にモダンが一つの生活の世界ではなく一つのジェスチャーだし、ファッションに過ぎないかも知らない。そうしながらこの二人のモダンについての認識には違いがある。李箱が東京で絶望したのは東京ごしにある本のモダンの西欧のものが見たかったからである。李箱は＇アンドレジッドの（ドストエフスキー論）とか木本高太郎の（二重殺人）、バルザックの（ウジェ二ーグランデ）＇など文学について衒学的な討論と社会批判に深醉して、それを知識人の最後の権利であり、幸せだと思った。もちろん朴泰遠は李箱とは違って東京のモダン文化、特に映画に深醉されていたが、それを受けて認識するのは朝鮮の伝統的な倫理の意識で逸脱できなかった。朝鮮のモダン・ボーイ李箱と朴泰遠は現在モダン文化の中で暮しているが、その人たちは他の国に支配される植民地の知識人であり、ルムペンであり、インテリゲンチャであり、貧乏の中で自足して自衛すて暮しながらそれを一つの浪漫として受けて暮したのである。

The racial theory by Torii Ryuzo and Nam-sun Choi, who are Japanese anthropologists, was reviewed. Bipartite division of Japanese=Torii, Ryuzo=ruler, Choson people=Choi Nam-sun=ruled was not done. The analysis was attempted from the meaning of internal creation of self formation of a nation-state. In other words, as Japan colonialized Choson, it can be supposed that the generational situation is that Choson already became a part of Japan. Along the same vein, the theory of Torii, a Japanese, gave academic influence to Nam-sun Choi who is Japanese (a Choson person), and he shared the view. Looking at the case of Torii based on this, Torii concentrated his efforts on analyzing the concept of megalithic culture which came from the West. Of course, as he was analyzing it, he was linking it with racial analysis. It’s that as a methodology of analyzing Japan’s ancient times, the megalithic culture was utilized. After confirming that the wall painting found in Liaoning province is the same as that in Assyria, they proposed migration of races. On one hand, stone statues, a kind of megalithic culture, are interpreted. The stone statues on Easter Island and those in Taiwan were seen the same as “megaliths”, but they argued their qualities were different. That is, they verified that the stone statues on Easter Island are remnants from inferior races, while those in Taiwan are remnants from evolved races closely related to Japan. Related to this, they confirmed Dolmens of Choson and insisted that the people who made Dolmens migrated to Japan. They advocated that the Japanese race was formed by migration of superior races from the south, and migration of superior races from the north. They insisted that ancient tombs are that, ancient tombs are a symbol of greatness, and the tomb of the Emperor of Japan means that symbolically. Besides, in the situation of colonial rule, in Choson, the choson government general led investigation of historical landmarks which made good progress. Surrounding excavated items from the old tomb in Pyoung-yang at that time, a conflict arose because there were two interpretations. The first was the dispute of whether they were relics from Goguryeo, or relics from Han dynasty’s Nakrang. Torii insisted that the relics were from Nakrang. Nam-sun Choi also deemed that they were relics from Nakrang, agreeing with Torii’s argument. But it was for trying to prove the argument that superior races migrated, taking “exquisiteness” of Nakrang relics as an example. At the same time, the interpretation of megalithic culture proposed by Torii was taken as an example, and the superiority of Choson’s megalithic culture was discussed. As the megalithic culture with the meaning of Choson in East Asia was interpreted, Choson’s Tangun megalith’s significance was insisted. By claiming the logic that megalithic culture symbolizes greatness and is divine, the significance of Tangun was insisted. In conclusion, the ‘outside’ that proposes differences compared to the Japanese community was recognized, from how Choson’s Tangun was advocated despite living in Japan. It on one hand advanced as creation of a new self concept.

日本の人類学者とされる鳥居龍蔵と崔南善の人種理論を検討してみた。それは、日本人=鳥居龍蔵=支配者、朝鮮人＝崔南善=被支配者という二文法的な分け方をしなくて、国民国家の内部における自己形成の意味として捉えた。つまり、日本が朝鮮を植民地支配にすることによって、時代的な状況が日本になったことと、鳥居の学説が朝鮮にも流入していたことを想定した。鳥居は西欧から入ってくる巨石文化という概念を一早く取り入れて、それを人種概念と結び付けながら、日本の「有史以前」を解釈するころを試みていた。それは遼東半島を調査しながら、そこで発見して壁画から、アッシリアから移動した証拠であることを証明した。その傍ら、巨石文化の一種である石像を改めて解釈した。すなわち、イスター島の石像とタイワンの石像は同じく見えても、その性質が違うことを主張した。言い換えれば、イアスター島の石像は劣等な人種の残存であり、タイワンは日本と関連した進化したものだと判断した。その一方、朝鮮のドルメンを確認することで、ドルメン民衆と呼ばれる人々が、移動したことを明らかにし、日本人種の源を形成したことを明らかにした。それが進化し、古墳を造るようになり、その時代に日本民族が形成されたことを主張した。　その一方、植民地支配下にはいった朝鮮には、総督府が主催し、古蹟調査事業がはじまった。それによって、発見された平壤の貝塚の発掘品から、それが高句麗の遺跡なのか漢の遺跡なのか、解釈をめぐって論争が引きおこった。関野貞の古蹟調査結果として出された高句麗の遺跡だとする結論は鳥居によって批判された。それを受け継いだ崔南善は、樂浪の遺跡であることを認め、それを逆でにとって、だからこそ優秀な人種が朝鮮半島に移動してきたことを主張した。そして、鳥居が提示した巨石遺物を解釈しながら、東アジア文化圏を改めて構想した。もはや、朝鮮だけの特殊性を出すことが出来なくなった状況から、東アジアで朝鮮が持っている普遍性を称えなければならなかったのであった。それが、巨石文化が持っている偉大性の意味を生かし、それが檀君台などで見られることから、朝鮮の檀君が持っている意味合いを主張したのである。つまるところ、植民地という状況のなかで、鳥居の日本人種の優等論を引き付けながら、朝鮮人種の優秀論を真っ向から主張し、国民国家という枠のなかに収斂されない<自己>を形成しようとしていたことを浮かび上がらせた。

This study is in order to analyze why NPL (non-performing loan) disposition was delayed 1990s in Japan. The biggest reason of the deep depression in Japan was the delay of NPL disposition. On the other hand our rapid NPL disposition made we could achieve economic recovery quickly when we got IMF in Korea. we will analyze it with not only economical point of view but also social, institutional point of view. This study is analyzing by comparative point between Korea and Japan.

日本の1990年代の戰後最惡の長期不況の原因として、不良債權の處理遲延が指適される反面, 韓國はIMF金融危機からの成功的な脫出背景としては、金融機關の不良債權を迅速に處理したことが擧げられる。どうして韓國は迅速で果敢に公的資金を投入して、國際入察、ABS賣却等の大規模の不良債權の整理方法が可能であったのか反面、日本は遲けれども造成された不良債權整理基金も積極的に投入できず、不良債權の整理するにも消極的な個別整理方式にごたわたのか。 本硏究では、まず不良債權の遲延が景氣沈滯ををもっと深化させる經濟的なメカニズムと、不良債權を整理する實質的な方式に關して考察する。つぎは日本の不良債權の整理が遲延された背景を、韓國のケイスと比較する觀点で分析する。 兩國の比較項目は、不良債權の發生原因、政府の對應方式、不良債權の處理方式、 不良債權整理全擔機關、金融システム、整理の成果、制度及び文化的な背景等である。

This paper examines the changes in Original Equipment Manufacturer(OEM)- supplier relationships in the Japanese automotive industry after the restructuring since 2000's, mainly focusing on the movement of Nissan and Toyota. Some car industry analysts report the break-up of keiretsu system, nevertheless, discussions in this paper suggest that such point of view is superficial. In this respect, we analyze data concerning automakers' joint patent and auto parts transactions in order to specify cooperation between auto maker and supplier. 　In conclusion, this paper suggests that the importance of keiretsu in the functional aspects of Japanese OEM-supplier relationships has continued or even increased after the restructuring.

本稿では、日産とトヨタの事例に焦点を当て、2000年代以降日本の自動車産業における構造改革によって完成車メーカーと部品メーカーの関係にどのような変化がを生じたかを検証する。 最近、自動車評論家の中では系列崩壊論を主張する人もいるが、それは皮相的な側面を持つ。このような視点から、本稿では自動車メーカーとサプライヤーの協業度をみるために共同特許と部品取引のデータを用いた。分析の結果、機能的な側面においてメーカーとサプライヤー間の系列システムは、構造改革以降にも依然として重要であり、さらに増加する傾向も見られた。

This research aims to deviate from Toyota automobile system's traditional method of study, which approaches the situation from an aspect of Japanese business style or management innovation strategy. In other words, the study examines a period background and an ideology of the formation of Toyota production system and its process of development as a central figure. Especially, this article states the contents and limitation of traditional production system of the Taylor system and the Ford system as well as deriving a concept and a general character of Toyota production system. Moreover, based upon a product of the study like this, we investigated Toyota production system's distinctiveness and superiority element in international competition.

本硏究では、トヨタ生産方式を日本式經營または經營革新戰略という側面でアプローチしている従来の片寄った硏究姿勢から離れたものである。すなわち、本研究では、トヨタ生産方式が形成された背景と理念、そしてその發展過程を中心に考察を行った。 特に、本研究ではトヨタ生産システムの槪念と一般的な性格を導くと共に、テイラーシステムとフォードシステムの傳統的な生産方式の內容と問題点について論述した。つまり本研究では、上記の一連の研究成果を生かし、トヨタ生産方式が持つ独自性と国際競爭上の優位性について考察を行った。

본 논문은 9.11테러이후, 일본의 안전보장 개념이 지역안보 중심에서 국제평화협력활동 확대로 변용되는 과정을 자위대 활동의 변화를 통해 고찰 했다. 구체적으로 말하면, 본고에서는 일본의 안전보장정책 변화에 영향을 미친 9.11테러와 이라크 전쟁을 통해 자위대 파견의 의의가 어떻게 변용되었으며, 일본의 안전보장 정책에 어떠한 결과를 가져왔는가에 대해 실증적으로 살펴보았다. 냉전종결과 9.11테러, 이라크 전쟁은 일본에 있어 안전보장의 목적과 대상, 그리고 수단이 점진적으로 확대되는 과정이었다. 특히 이라크 전쟁발발 이후 자위대파견에 이르기까지 과정은 지금까지 미일협력과 국제공헌이라는 측면에서 설명되어온 자위대의 국제평화협력활동의 정책적 의의가 다원화 되고, 결과적으로는 국제안전보장의 불안정화에 대한 대처가 일본의 평화와 안전에 직접적으로 연결된다는 정책적 의의가 부여되는 과정이었다. 일본의 안전보장개념의 재구축에 있어서 주목되는 것은 일본의 국제평화협력활동이 9.11테러 이전까지 ‘국제공헌’이라는 제3자적 의미로 정의되어 온 것에 반해, 9.11테러 이후 자위대의 평화유지 활동은 단지 국제공헌 측면이 아니라 일본의 평화와 안전을 위해 주체적이고 적극적으로 대처해 나간다는 것을 명확히 했다는 점이다.

The purpose of this Thesis is to examine the transformation of japanese security concept after the september 11 terrorist attack. The September 11 terrorist attack and Iraq war had a tremendous impact on strategic thinking, both at the global and individual national level. For Japan, security still depends primarily on the US-Japan Defence Treaty, but in the september 11 terrorist attack and Iraq war, Japanese leaders realize that international contribution and Peace-keeping Operation to stabilize the regional situation is connected with japanese security. Consequently, transformation of Japanese security concept paves the way for Japan's armed forces to play a greater role in international security, marking a shift from severe limitations on the use of its military.

A song of 4500 is collected to Manyoshu A short song a collection. It is Manyoshu A short song collection that a song made from a song of the Emperor widely through long time by the song of the common people was done for rearranging, editing in the latter half in the eighth century. In the eighth century, it must be to be very almost envious of a document of the ancient history of literature in us who do not stay that a collection of enormous poetry of 4500 餘首 is edited, and it came in now. Such Manyoshu A short song collection understands song of us and the relevant visit person and that the songs which received influence of the culture from Korea in the ancient times have close to Korean culture and the literature relation. A lot of songs which I did backed by a historic case are seen in Manyoshu A short song collection together. Manyoshu A short song short song collection was sung in ancient Japan, and the time from the latter half to the eighth century was the time when the situation of the politics that was strain was developed in the East Asia whole in edited the seventh century. It is not possible for interpretation and the understanding that Manyoshu A short song collection painted with unless it is good and understands the political situation that I did backed by Chinese foreign country and Silla and Kudara and Japan, a backdrop of the hist Manyoshu short song collection was sung in such a background, and it was made. It is all ages and it is filled with the joys and sorrows, and love comes and goes and hears a legend and that I sang to see beautiful scenery. Generated a series of dramas are connected by the historic case for development to the literature. I stay as a treasure house understanding the Japanese ancient times and come. This is the genuine value of all ages. Was not taken all songs of a writer related to of zinshin kuteta good do the precious thing for the next problem history of the East Asia at the same period.

万葉集には4500餘首の歌が収録されている。天皇の歌から庶民の歌にまで幅広く長い時間を通じて作られた歌が8世紀後半に整理、編纂にされたのが万葉集である。8世紀に、それも4500餘首の尨大な詩歌集が編纂されて今にまで伝わったということは古代の文学史的な資料がほとんど残っていない私たちにおいては非常に羨ましい事に違いない。　このような万葉集には私たちと関係ある渡来人の歌 そして、古代韓国からの文化的影響を受けた歌など韓国の文化と文学とも密接な関係があることが分かる。ともに万葉集には歴史的事件を背景にした歌もたくさん見られる。古代日本で万葉集が歌われ、編纂された7世紀後半から8世紀までの時期は東アジア全体に緊迫した政治的状況が展開になる時期であった。中国の唐国と新羅、そして百済と日本を背景にした政治的な状況、同時代の東アジアの歴史的事件の背景をよく理解しなくては万葉集の塗った解釈と理解はできない。万葉集はこのような背景で歌われ、作られた。哀歓が立ちこめて、愛が行き交って、伝説を聞いて、そして美しい景色を見て歌ったのが万葉であるのである。歴史的事件で起こった一連のドラマは文学への発展につながっている。日本の古代を理解する宝庫として残って伝わって来るのが万葉の真正な 価値である。 壬申乱の関連になった作家のすべての歌をよく分析できなかったこどが残念ですが、これは次の課題にする.

일본 가마쿠라(鎌倉)전기 기행문예인『가이토기(海道記)』『도칸키코(東関紀行)』『이자요이닛키(十六夜日記)』에서의 여행의 괴로움은 어떤 것이었으며, 그것은 또한 각각 어떻게 표현되어 있는가. 먼저,『가이토기』에서는 산길의 험난함을 반복하여 강조하면서도 정작 그 산을 넘는 작자 자신의 괴로움은 표현하지 않고 있다는 점이 이 작품의 중요한 특질이라 할 수 있겠다. 『도칸키코』에서는, 험준한 산을 넘으면서 산의 험난한 모습보다 사슴소리라든지 벌레소리와 같은 여정을 자아내는 표현을 많이 찾아볼 수 있다. 또한, 교토와는 상당히 괴리감이 있는 어촌이나 산골마을의 잠자리에 관한 괴로운 표현이 많다.『이자요이닛키』의 아부츠니(阿佛尼)의 도카이도(東海道)여행의 괴로움 역시, 무엇보다 여정과 잠자리에 있다. 그 외, 건너온 강을 세고 있을 만큼 강 건너기에 대한 두려운 심정을 피력하고 있다. 이와 같은 세 작품의 표현의 특색을 바탕으로 중세문예로서의 자리매김과, 특히 작자미상의 두 작품의 리터래시와 이데올로기의 고찰을 남은 과제로 남긴다.

The study focuses on the travelling distresses in 3 travelogues: <Kaidoki><Tokan kiko><Izayoi nikki>, from the early Kamakura age. First, in the <Kaidoki>, steep and rough mountain path is described, but it does not tell it as travelling distress. Moreover, the author gives to account of magnificent scenes and the pleasures of traveling. Second, in the <Tokan kiko>, the author shows fascination in the deer and insects sounds while he goes over rough mountain path. The expression on the difficulties regarding sleeping places at the unfamiliar sea village or rural area is described as the important characteristics of the work. Third, in the <Izayoi nikki>, traveler's distress is involved in crossing many rivers who has the most fears on waters. Further study is needed on the value of the three works' expression in terms of the stage of Japan's middle age literature, and also on the kind of literacy and ideologue that are used in the literature.

赤穂浪士四十七人의 복수담의 顛末을 虚実 섞어서 그린 悲劇이야기가 『仮名手本忠臣蔵』이다. 그렇다면 이 작품의 영향 하에 창작된 一群의 江戸戯作은, 어떻게 原作을 비틀며 희롱하려고 한 것일까. 죽음에 이르는 過程을 새롭게 創作하거나, 또는 오히려 그 누구도 죽지 않는 스토리를 創作함으로써 原作과의 거리를 즐겼으리라고 추측된다. 本稿에서는 특히 後者의 創作法에 焦点을 두고자 하는데, 이 경우에는 悲劇의 이야기를 喜劇의 이야기로 転換하려고 하는 発想이 더욱더 강하게 작용하게 된다. 이 계보를 이어받는 作品으로서, 文政十一(1828)年에 刊行된 十返舎一九作合巻『忠臣狸七役』(歌川安秀画, 全十장)을 들 수 있다. 원래 忠臣蔵물黄表紙는 悲劇의 『仮名手本忠臣蔵』를 해피 엔딩으로 끝맺고 싶은 大衆의 熱望을 담아서 출발하므로, 대체적으로 塩冶判官도 義士들도 죽지 않는다. 本合巻『忠臣狸七役』에 있어서도 마찬가지로 아무도 죽지 않는다. 塩冶判官・定九郎・与市兵衛・勘平・九太夫・本蔵・師直・四十七士의 죽음은 無化되어, 戯画化된다. 이는 너구리가 原作의 장면을 살리기 위하여 재치를 발휘, 瞬発力있는 행동을 하기 때문이었다. 죽은 체 함으로써 주변사람들을 속이는 것이 너구리의 재능・任務인 것이다. 그들을 죽지 않게 하기 위해서 駆使되어진 취향이 本書의 眼目이며, 作者의 솜씨인 셈이다. 이상과 같이 江戸戯作最大의 精神 「웃음」의 정신이 「죽음」까지 無化하기 위하여 스토리 안에 엮어 넣은 갖가지 作者의 장치를, 本作의 대사 또는 삽화와 밀착하여 상세하게 해독하는 작업을 통하여 해명한 바이다.

In Kana Tehon Tyusingura, there exists a tragedy where 47 warriors of Ako take revenge. There is Edogesaku orginated from this Zyoruri. How does Edogesaku satirizethe original? Edogesaku has newly created either the development toward the death or the story where nobody dies. As such, we may presume that Edogesaku has made its enjoyable difference from the original. By this study, I'm mainly focusing on the latter, and I've further explained how the tragedy has turned into the comedy thereunder.

Dengu is a mysterious and imaginary creature. Originally, it was a monster which looked like a bird flying with its wings. This image was recorded in Gonjakumonokatarisyu which was published in the Heian period and gave the detailed description. Its appearance and characteristic have changed period after period, but it was a heretic toBuddhismaccordingtotheGonjakumonokatarisyu. In Gonjakumonokatarisyu, Dengu is described as a wicked creature which tried to block spread of Buddhism. Most of Buddhist stories came from many documents and Buddhist scriptures written in India. Since the Buddhism was brought into China, Korea, and Japan, many Buddhist stories have been created. Because those stories were made as Buddhism was transferred, yaksha and rakshasha, which are monsters in Buddhist scriptures, are thought to be linked to Dengu. So we can make an analogy between these monsters in the Buddhist scriptures and Dengu. In the Buddhist scriptures, yaksha and rakshasha appear as monsters which bully people and harass Buddha in his practice. One thing in common between those monsters in the Buddhist scriptures and Dengu is that they are depicted as obstructers who try to disturb Buddhist ascetics in practices. So Dengu, as a heretic to Buddhism, is considered to have been created under the influence of monsters in Buddhist scriptures.

天狗は神秘化された想像の存在として、初めは羽で飛行する鳥の形の妖怪であった。このような天狗のイメージが具体的形で表現されたのは平安時代の『今昔物語集』である。天狗の形態と性格は時代別に変化するが、天狗が仏教の異端者の姿で登場したのは『今昔物語集』で本格化されたと思われる。『今昔物語集』の中の天狗は仏教的土壌の中で造形化された妖怪で、仏法を弘報することを妨げるための存在として描かれている。　たいていの仏教説話の原形はインドで撰述されたいろいろな文献と仏典で探すことができる。中国․韓国․日本に仏教が伝来された以後にこれらの国で多くの仏教説話が作られるようになった。仏典が伝来されたことによって、仏教説話が生じたから仏典の中の夜叉․羅刹は天狗と関連があると思われる。それで、天狗は仏典には登場されない反不法的存在であるが、その性格を類推するために仏典の妖怪である夜叉․羅刹等を考察してみた。夜叉と羅刹は仏典に人を苦しめる悪鬼、仏の修行を邪魔する仏教の妨害者とし表現されている。仏典妖怪と天狗の共通点は修行者の心を苦しめて仏法を妨害する役割に描写されていることであるといえる。それで、仏教の異端者である天狗は仏典妖怪の影響を受けて生じたものであると思われる。

In this paper, I consider the role of Zunichi's diary and an actress Oyuki, and a characteristic of Zunichi's image, in the process of decision that Koizumi Zunichi who is hero in Ougai's SEINEN(SUBARU 1910.3～1911.8) intend to write a novel based on Japan's traditional world, give up to write that based on present ages. Zunichi has images of youth that new from the country. And he also has images of middle age. That is a similar to the Meizi's image but a appropriate image to draw the image of youth that desire to go back a traditional world for getting disillusioned at present ages. And that is the sense in which Ougai doesn't give up to write a novel based on present society. And an actress Oyuki who has a modern image play a role in sparking Zunichi's sexual desire. A woman who light his sexual desire is a actress Sakai. She is a character with a symbol that he intend to draw the present ages. This relation with an actress sakai present as a form of confession diary. Finally he decide that he leave an actress sakai for disillusionment about the relation of an actress sakai without a love. At a time he decide that he write a novel based on not Japan's present ages but traditional world.

本稿では、鴎外の『青年』(『スバル』1910.3～1911.8)の主人公である小泉純一が現代社会を書くことを諦めて伝統に基づいた小説を書く決心をする過程について、純一の造型の特徴と日記、お雪の役割とを含めて考察してみた。　まず、純一は田舎から上京したばかりのうぶな青年の姿と成熟した中年の面貌とを持っている。これは明治文明社会の姿とも似ているが、現代社会への幻滅を感じ伝統社会を希求する青年像を描くためには適切な造形であり、現代社会への鴎外の「諦め」が覗かれる。 　そしてダリアで形象化される現代的、都会的なイメージを持っているお雪は純一の潜んでいる欲求を爆発させる起爆剤としての役割を果たしていると言える。これに火をつけたのは坂井夫人である。ビラ風の西洋造りに住んでいて人工的な香水の香を発散している美しくて誘惑の謎のような目を持っている坂井夫人は、純一が憧れまた描こうとした現代社会を象徴する人物であろう。 こうした坂井夫人との関係は「まずい小説」と描写されている日記という形を借りて告白的に書かれる。結局純一は箱根で坂井夫人との愛のない関係に幻滅を感じ、坂井夫人との別れを決意する。同時に、現代社会ではなく伝説をもとにした小説を書くことを決心するに至るのである。

The purpose of this article is to study modernistic elements of Miyosi Tatsuzi' poetry chiefly on his 『SOKURYOUSEN(測量船)』『NANSOUSYU(南窗集)』『KANKASYU(閒花集)』『SANKASYU(山果集)』. Through this study, I could reach to the conclusions as follows: Most of all, the distinctive modernistic elements shown in his intellectualistic poetry are very avant-garde and modern-oriented only in the perspective poetic forms. That is, they are various experiments and explorations toward poetic forms and a challenge to new poetic style, casting off existing poetic forms as well. Of course, he didn't try to destroy the framework of Japanese traditional poetry and didn't allow for any destruction in poetic context. However, it is clear that the emotion shown in his more lyric poems is controlled and that abstractive and intangible images are clearly conveyed to the readers in visual and audible ways. It is the very attraction of Tatsuzi's intellectualistic poetry. Actually, he developed French poetry into his own unique intellectualistic poetry based on excellent wit, a sense of humor and talent acquiring from Japanese traditional poetry.

本稿は、三好逹治の『測量船』に収録された主知詩、四行詩集の作品をテキストにして逹治の詩だけの特徴を捜し、いかなるモダニズム的要素に通じているかを明らかにしたものである。考察の結果、次のような結論に到逹することができた。　何より彼の主知詩に現われたモダニズム要素は、詩形だけでみればかなり前衛的で、近代志向的である。散文詩と韻文詩、散文詩の中の韻文詩、短詩、四行詩など、詩形に対する多様な実験と模索を試みた結果、これらの形として現われたのである。多様性の実験・模索という側面と、モダニズム的性格との接点は、「古いものを捨てて新しいものに対する挑戦」という詩人の志向性という点にある。また、詩の内容において、日本の伝統詩のフレームを崩す過激な破壊と許容は試みられていない。だが、逹治の一般的な多くの敍情詩で見られていた「感情」が節制されて、抽象的で無形のイメージを、視覚的かつ聴覚的に明瞭な形で読者に伝えようとして、その詩の創作に成功したという点は注目に値するものである。逹治の主知詩の魅力は、そこにあったのだ。　もちろん、このような点は、逹治がフランス文学に近代的な要素を模索していたという点と無関係ではなく、はたして彼だけの独創的な主知詩の世界を作り上げているのであろうかという疑問は残る。しかしながら、詩人の根本的な詩的能力と言えるすぐれた機智と、日本の伝統詩歌から習得した学習能力は、フランス詩の影響を自分だけのものとして消化するのに至ったという評価に、十分到逹することができると言えるであろう。　このような考察から、三好逹治がリリシズムとモダニズムの両面性を持った詩人であり、日本の文学史において彼が詩人として特に評価されていることは、上記のような逹治の詩的能力を前提にして、同時代の他の詩人との特異性を暗示していると見ることも、十分可能であると考える。

During the post war period, Shiba Ryotaro was so called a "national author" in literary circle. He was recognized as an author who had produced new historical characters by using the current historical background and themes. He aligned the theme and the characters based on the fast development of the economy and the stream of consciousness in the post war period. There are a lot of Shiba’s well-known writing pieces that are also published in Korea. In his historical and epochal work, there are number of novels that represent the relationship between modern history of Korean and Japan. Even though he himself has expressed his interests and affection toward <Chosun>, his major work such as "Cloud on the Hill", "The State of this Nation", and "Walking on the Kaido" imply contradiction, negativity, and distortion of <Chosun>. In the reoccurring remarks and organization of his work, he says that <Chosun> ended up having bare mountains due to metal casting until 6th century; therefore, the country had stopped growing economically and become stagnant. Especially, he says that, in the end of the 19th century, <Chosun>had grown to be a typical "Stagnant Nation in Asia" due to the extreme Confucianism and working for the cause. Therefore, Shiba’s thus remarks and organization of the research were used as an indulgence to justify Japan’s colonization to <Chosun> in Japan’s Imperial Era that had started in the end of the 19th century.

戦後日本の文学者の中で、いわゆる国民的作家といわれた司馬遼太郎。彼は、戦後日本社会の国民国家の意識形成と高度経済成長という時代の流れに沿って、様々なテーマと歴史的な人物を登場させた小説を書きつづけ、高い人気と関心を集めた。韓国でも司馬の小説は、彼の生前から代表作といわれる作品が多く翻訳され出版された。　歴史小説あるいは時代小説として分類される司馬の著作は、日本と韓国の両国がかかわった近現代の歴史をテーマと背景にしているものが多い。特に、彼の代表作と言われている󰡔坂の上の雲󰡕と󰡔この国のかたち󰡕そして󰡔街道をゆく󰡕シリーズの中で、＜朝鮮＞に対する言説には、司馬自身が＜朝鮮＞に対して深い関心と愛情を持っていると述べてきたこととは矛盾的に、歪められ否定されている。　すなわち、司馬の作品の中で繰り返された言説と論理構造によれば、朝鮮半島は6世紀までの鉄の冶金のため禿山になってしまい、その以後も朝鮮社会は停滞したと語る。特に、19世紀末の朝鮮は儒教によって極端的な観念論と大義名分のため社会が停滞した典型的な＜アジア的停滞国＞であるし、日青戦争と日魯戦争は侵略戦争ではなく、日本の生存の為の祖国防衛戦争であるという。　また、明治憲法の健全性の主張と昭和時代になって初めて天皇の統帥権の独立による異質的な時代が始まったが、天皇には一切の責任はなく、一部の軍部だけにその責任を負わせようとする言説によって、結局、＜朝鮮＞は、日本人の記憶の中から歪曲され忘却を余儀なくされてしまった。　そして、司馬のこのような言説構造は、19世紀末から始まった日本帝国主義による朝鮮の植民地化に対する責任の問題については、天皇に免罪符を与える根拠として使われた。

The periodic summarization of Tokyo's characteristic after the modern era is as follows. In the Ages of Meiji, Tokyo became the official capital city and executed various functions as a modern city. During Taisho Age, with the vast increase of city population, it was developing into a mass production/ mass consuming city, until the Great Kanto earthquake destroys everything. Showa Age is when it becomes a full scale modern city after adopting the reconstruction system. This article intends to examine the Imaginative Geography of Japanese during Early Showa and Representation of Tokyo as it was understood in general perspective of the ages mentioned above. Specifically, it will study the intimate relationship between modern Tokyo and the literary men who have lived in it, and their literary expressions, by looking into literary men like Nagai Gahu or high class city residents in intelligent level, residents like office workers illustrated by a modern author such as Ryutanji Ryu, lower middle class residents appearing in Hayashi Humiko's autobiographical novel, and laborers and lower classes as illustrated in various reportages.

近代以降の東京の特徴を時代的流れによって要約すると、次のようになるだろう。明治時代の東京は、実質的な首都として定着し、近代都市としての多様な機能をもつようになる。大正時代には、都市人口の膨張とともに大量生産大量消費の都市として発展し続けて行くが、それらのすべてを関東大震災によって焼失してしまう。しかし、震災以降は「帝都復興」を掲げて本格的な近代都市として生まれ変わってゆく。　本研究の目的はこうした時代的な流れを総体的な視野で把握した上、昭和初期の東京表象を通じて、日本人の心象地理を究明することにある。具体的には、永井荷風をはじめとするインテリ階層の高級都市生活者、龍膽寺雄らモダニズム作家が描くサラリーマンなどの都市生活者、林芙美子の自伝的小説に登場する小市民的都市生活者、多様なルポルタージュ、エッセイ、回顧形式の文章に表現されている都市周縁の労働者や下層民に至るまで、近代都市東京とそれを表現した主体(文人)、そして彼らの文学的表現の間に存在する緊密な関連性を分析した。

현대 일본어에 있어서의 주격의「が」와「の」의 기능 및 교체현상에 관한 고찰의 결과는 다음과 같다. 조사「が」는 자체의 고유의 의미가 없고 격기능(주격기능, 대상격기능)을 강화하여 주체 및 대상을 명확히 하는 것이고, 조사「の」도 자체의 고유의 의미가 없고「が」처럼 주체 및 대상을 나타내면서도 연체기능을 강화하여 피연체어에의 의미적 종속화를 이루는 것이다. 그리고「が」와「の」에는 자체의 고유의 의미가 없고 격기능을 강화하거나 연체기능을 강화하는 차이, 즉 단순기능의 차이밖에 없기 때문에「が」와「の」는 교체가 가능하다고 할 수 있다. 그러나 부사어 및 격성분에 화자의 의도성 내지 강조성이 개입될 때는「の」에 의한 연체 종속화가 가능치 않고, 이 때문에「が」와「の」의 교체도 가능치 않는 것이라고 할 수 있겠다.

In this paper, we have investigated the function and alternation of 「ga」 and 「no」in modern Japanese. Case marker「ga」has no its own inherent meaning and clarifies topic and theme by strengthening functional case. Case marker 「no」also has no its own inherent meaning and stands for topic and theme(object) like 「ga」. But「no」makes its modifiee to be subordinated meaningfully by strengthening modifier function. 「ga」 and 「no」have no their own inherent meaning. The only difference between them is that 「ga」strengthens case function and 「no」strengthens modifier function. Therefore we can say that 「ga」 and 「no」can be alternated because there is only simple difference between them. However, when speaker's intention or emphasis on adverbials and case constituents is involved, modifier subordination by 「no」is impossible. In this sense we claim that ga」 and 「no」cannot be alternated because of this difference.

현대 일본어에 있어서 소멸 되고 있는 심신에 관한 차별적인 어휘가 문학 작품이나 말의 예능인 라구고의 세계에도 보이지만 연예속에서안 아니라 사람들의 언어 행동속에서도 잔존하고 있다. 일본어를 모국어로 하는 사람들에게의 앙케이트 조사를 통해서 그 배경에는 사회적 언어 습관이나 표현자의 의식이 작용하고 있는 것이 판명되었다. 실제의 일상 회화로는 많은 사람이 마이너스적인 의미에 대해 비판적으로 파악하고 있다. 한편 사용 장면에 관해서는 연대적으로 중노령자에게 고빈도의 사용이 인정되어 상대를 야유하거나 멸시 하거나 하는 강한 감정적인 장면으로의 차별어 사용이 두드러지고 있다. 그러나 이와 같은 사례는 현실 사회의 젊은 세대로는 감소화 경향에 있다. 매스컴이나 교육의 영향이라고도 말할 수 있다. 이런 종류의 차별어의 추세는 표현자의 차별어에 대한 의식이나 사회의 언어 습관을 반영시키면서 말을 통해 사회 그 자체도 변화시켜 가는 것이라고 생각된다.

Discriminatory vocabulary about the mind and body in the tendency to extinction is seen in the world of the rakugo which is the entertainment of a literary work and words in modern Japanese, but, only in an entertainment, remains in the language action of people. By questionary survey to the people who assumed Japanese mother tongue, it was recognized that a social language custom and the consciousness of the depicter acted in the background. Many people do critical how to catch for a meaning of the minus by the real everyday conversation. On the other hand, about the use scene, high-frequency use is accepted for the generation by a person of medium- and high-levels age, and language of discrimination use in the strong emotional scene which I make fun of a partner and despise stands out. However, as for such example, decrease shows a tendency with the young generation of the reality society.

본고에서는 일본의 한국어연구 중에서 사회언어학 분야의 최근의 연구동향에 대해서 현재까지 어떤 분야에 대해서 어떻게 연구가 이루어졌는가를 회고·전망하였다. 연구동향은 1995년부터 2006년까지 약 10년 간에 걸쳐서 일본에서 발표된 저서와 논문을 대상으로 분석하였다. 그리고 앞으로 이 분야의 연구가 어떤 방향으로 나아가야할 것인가에 대해서 몇 가지 제언을 하고 있다. 먼저 지금까지 많은 연구자에 의해서 이루어진 연구성과를 어떻게 자리매김할 것인가에 대한 문제가 있다. 그리고 연구대상과 연구분야가 다양화되었으며, 연구자층도 두터워졌다. 그러나 일본인 연구자들에 의해서 이루어진 연구가 드물었다.따라서 일본인 연구자들의 육성이 시급한 과제이다.

This paper reviews sociolinguistic studies of Korean in Japan, discussing major topics that have been carried out since 1995. It provides an analytic review of the papers and books published in the last decade. It also discusses a number of issues that should be investigated in the future. The review shows major achievements of the past research in the sociolinguistic approach to Korean. It shows that the areas of the research done in the last decade are diverse and the research has expanded the scope of the sociolingustic approach to Korean, and that number of the researchers has increased, though little research has been carried out by Japanese researchers themselves. It is expected that more Japanese researchers will show interest in a sociolinguistic approach to Korean.

It’s the study about the transition from ‘Common Word’ to ‘Form Word’ through ‘Sidai’. ‘Sidai’ can be classified into a noun usage, a adverbial usage, a formal noun usage and a suffix usage. The reason why it could be used with various usages is that the original meaning of the ‘order’ had formalized with abstraction. We can categorize the transition of ’Sidai’ considering the era as below. ‘Sidai’ which appeared in the references prior to the spoken materials in the late medieval times had used as a noun usage and a adverbial usage, especially it meant ‘order’‘progress’ in the noun usage. Comparing this, it had a documentary characteristic at the spoken references in the last medieval times. Its usage had been expanded to a noun usage and a adverbial usage, a irregular verb, a suffix usage and a formal noun and finally it has been established in modern Japanese.

本論文は実質語が形式語に変遷する過程を「次第」を通して考察したものである。現代日本語の「次第」は名詞的用法、副詞的用法、接尾辞的用法、形式名詞的用法に分類される。このように様々な用法で使用できるのは「次第」の本義である「順序」が抽象化され形式化されたからであると考えられる。 「次第」の変遷を中世末期の口語資料を中心として考察した結果、次のように整理することができた。 中世末期の口語資料以前の文献に表れる「次第」は名詞的用法と副詞的用法で用いられている。名詞的用法は「順序」「経緯･なりゆき」の意味で用いられていた。これに比べて、中世末期の口語資料では文献的な特徴はあるものの「次第」の用法は大きく名詞的用法、副詞的用法、サ変動詞的用法、接尾辞的用法、形式名詞的用法に分類される。 結局、中世末期の口語資料以前の文献より「次第」の用法と意味が拡大され、現代日本語に定着したと考えられる。

Lately, Web-based Japanese language learning has been investigating with the spread of the computer. According to my experience, Korean Japanese language learners are available from such as the informations which are connected with Japanese learning materials, the animations, TV dramas, music, culture, politics, economics, society, the person talented through the Internet. Japanese language learners can access very easily the Internet which has Japanese language and the materials relative to Japan. I think it that Japanese language learning which used for the Internet is enough to plan the progress of Japanese for learners who are accessing the Internet everyday. I have asserted that we can expect the effects on the sides of spaces, skills, hearts, if we carry out web-based the class of Japanese language. Thus, I made Japanese language learners use the Internet to evaluate Japanese learning. However, although these ways bring for us over our expectations, they have problems which are compulsory. Thus, In this paper, I made questionnaire, examined the questionnaire against the Japanese language learners, analysed the results of investigation. As the result, we found that the learners were interested in the animations, link of the on-line Japanese dictionary, Japanese cultures, advices of seniors. Vice versa, Japanese learners were not interested in the questions against the learners from Japanese teachers, pop up windows which have to click the picture of learning, the manuals of users. Finally, In this paper, I investigated the differences and common characteristics between my assertions and 조수근・김주혜・이성혜(2007)'s.

近年コンピューターの活発な普及によりウェブ基盤の外国語授業が活性化されつつある。筆者の経験によると韓国の日本語学習者たちはインターネットを通して日本語の学習資料やアニメ、テレビドラマ、音楽、ニュース、 文化、 政治、 経済、 社会、 芸能人などに関連する情報を入手している。学習者たちはいとも簡単に日本語や日本関連資料の入っているウェブサイトに容易く接続できる。ウェブを利用した日本語学習は普段インターネットを使用している学習者たちに日本語能力の向上を図るのに十分であると考えられる。 ウェブ基盤の日本語授業を行うと空間的側面、技能発達的な側面、情意的側面で学習効果が期待できると筆者は主張したことがある。このような学習効果をもつウェブ基盤日本語学習の活性化のための一つの方案として、筆者は学習評価に学習者たちのインターネット使用を義務化した。しかし、この学習法がたとえ期待した以上の学習効果をもたらすと言えども、それは強制的、他意的であるという点に問題がある。そこで本論文ではウェブ基盤の日本語授業を活性化できると思われる設問を作成し学習者たちを対象として設問調査を行い、調査結果を分析した。その結果アニメの導入、オンライン日本語辞典のリンク、日本文化の紹介、学習に対する先輩たちのアドバイスなどに対しては高い関心を示した。これに対して、質疑応答掲示板に学習を誘導する先生の学習者に対する質問、学習画面にクリックすべきさまざまなポップアップ窓、使用者マニュアルなどに対しては低い関心を示した。最後にはこれらの結果と조수근・김주혜・이정화(2007)との共通点と相違点をも考察している。

「P。Qのだ。」에 있어서의 P이란 무엇인가. 그런 관점에서 「のだ」의 용법 전체를 바라보면서 분석했다. 대사적용법(対事的用法)・대인적용법(対人的用法), 의문문・평서문의 분류축(分類軸)과 또 소위 「関係づけ」「非関係づけ」「スコープ」라는 용법의 분류축을 합쳐서 모두 12개의 용법을 특정해서, 그 용법들의 연속성과 불연속성에 관해서 서술했다. 그 중에서도 다른 어떤 선행연구에서도 애매하게 취급되는 「非関係づけ」를 중심으로 서술하면서 「のだ(のか)」의 본질을 고찰한 것이다. 본 논문에서는 그 「非関係づけ」에도 「関係づけ」가 있다고 생각해서 「問題意識」라는 개념을 나타냈다. 그 것은 P를 하나의 현상이나 발언라고 생각하지 않고, P라는 것은 명제(命題)를 키 워드로 하게 하는 여러 가지 요소군(要素群)로서 보는 것이다. 또한 어떤 용법의 대인적평서문(対人的平叙文)에 있어서 듣는 이가 여러 가지 요소군인 전제(前提)를 명제를 든 뒤에 알게 된다라는 순서를 명시했다. 이 두 점을 의해 「のだ」문의 각 용법이 하나의 「のだ」에서 생긴다고 말할 수 있다고 생각한다.

In this paper at first I set up some usages about '-NODA(-NOKA) by clearly standards. These are, at first 'for another people' and 'for myself'. Second, 'declarative sentence' and 'interrogative sentence'. Third, what is called 'connected with premise', 'non-connected with premise' and 'scope'. So we can set up twelve usages and I studied these's continuities and discontinuities. And I studied a essence about '-NODA(-NOKA)' through the each usages., especially 'non-connected with premise'. In this paper I think that there are premises that is 'consciousness of lack'. I don't think that premises are phenomena otherwise a sentence. The premise is factors that make a proposition sentence of '-NODA(-NOKA) a keyword. And a '-NODA(-NOKA)' sentence that is 'for another people', 'declarative sentence, and 'non-connected with premise' has 'consciousness of lack' that is sometimes called 'premise'. Its factors that make 'consciousness of lack' is known by listener after he knew the '-NODA' sentence.

한국어에는 의성어·의태어가 풍부하게 있다. 일본어 의성어·의태어도 이와 같이 부사와 동사, 형용사 그리고 명사로서 사용되어진다. 한국어의 의성어·의태어를 활용할 때는 「하다」「hada」「거리다」[georida]「대다」[daeda]「이다」[ida] 와 같은 접속사와 결합되고, 럽다[reobdda]「하다」[hada]와 결합되어 형용사를 형성한다. 한국어의 의성어·의태어를 활용한다는 것은 의성어·의태어가 이런 종류의 접속사와 결합해서 하나의 단어 간주되어지는 것을 의미한다. 어떤 특징을 가지고 있는 의성어·의태어가 어떤 접속사와 결합되는가를 명확하게 하는 것. 그리고 각각의 접속사의 성질을 명확하게 하는 것이 본 논문의 목적이다. 연구방법으로서 먼저 青山秀雄(1991)の「朝鮮語象徴語辞典」에 실려 있는 대략 8천 8백 개의 의성어·의태어를 바탕으로 한국어의 의성어·의태어를 의미적으로 범주화 했다. 각 범주에 속하는 한국어 의성어·의태어를 어느 정도 골라 그것들이 「하다」「hada」,「거리다」[georida],「대다」[daeda],「이다」[ida]와 결합하는 예문을 만들었다. 예문에 사용한 의성어·의태어의 수는 30로 각 의성어·의태어에 예문을 4개 만들었다. 질문의 수는 합계 120개 이다. 한국어를 모국어로 하는 56명에게 예문을 읽게 한 후 예문에 전혀 위화감을 느끼지 못한 경우에는○, 별로 사용하진 않지만 틀리지 않은 것에는△, 전혀 사용하지 않는 것은×를 표시하도록 했다. 앙케트 조사대상자의 연령 성별 출신지 및 사투리에 치우치지 않도록 했다. 앙케트 조사 결과를 바탕으로 한국어의 의성어·의태어의 의미적 범주별로 사용상황의 경향을 분석해서 의성어·의태어와 접속사의 결합을 명확하게 한다.

Korean language has an abundant onomatopoeia, and it is used as an adverb, a verb, an adjective and a noun like Japanese onomatopoeia. When Korean onomatopoeia inflects, it is tied to suffix like "하다" [hada], "거리다" [georida], "대다" [daeda] and "이다" [ida]. Furthermore, it is tied to "럽다" [reobdda] and "하다" [hada], which form an adjective. When Korean onomatopoeia is tied to these suffixes, it is considered to be one word, which means that onomatopoeia inflects. The purpose of this thesis is to clarify a morphological characteristic of the Korean onomatopoeia which is tied to suffix. At first, as a study method, about 8,800 Korean onomatopoeia are classified semantically that appears in "a Korean symbol word dictionary" of Hideo Aoyama (1991). Some Korean onomatopoeia which belong to each semantic categories are selected and using these selected words, example sentences are made, tied to "하다" [hada], "거리다" [georida], "대다" [daeda] and "이다" [ida]. Each onomatopoeia of 30 which is used for an example sentence has four example sentences. The number of questions is 120 in total. 56 Korean mother tongue speakers read an example sentence and when they feel no sense of incongruity at all, they write ○, when they think they don’t use, they write ×, when they do not use so often, they write △. The uniformity of the age, the sex, the hometown and the dialect is considered. According to the result of the questionary survey, a tendency of the use situation according to the semantic category of the onomatopoeia is analyzed and relations between Korean onomatopoeia and suffix is clarified.

지금까지 여성이 남성보다 언어 행동에 대해 정중하다고 지적하고 있는 연구가 많이 되어 왔는데, 본 연구는 일본어와 한국어에서, 대화 상대에 대한 배려를 표현하고 심적 거리를 조절하는 수단으로서 중요한 위치를 차지하고 있는 스피치 레벨을 분석 대상으로 하여 성별에 따라 어떻게 사용되고 있는지를 고찰한 것이다. 구체적으로는, 스피치 레벨의 사용 실태를 화자와 대화 상대의 성별이라고 하는 요인과 관련지어 사회인 첫 대면간의 자연 회화 분석을 통하여 실증적으로 밝히고자 하였다. 본 연구의 결과를 간단히 정리하면 다음과 같다. 전체적인 경향으로서 일본어에서는 여성이, 한국어에서는 남성이, 스피치 레벨의 사용에 있어서, 언어 형식의 정중도가 높은 표현을 보다 많이 사용하고 있는 것을 알 수 있었다. 이것은, 일본 사회에서는, 여성의 말씨가「여성어」라고 하는 명칭이 부여되어 많이 연구되고 있는 사실에서도 시사되듯이, 여성은 여성다움의 하나로서 정중한 말씨를 하도록 사회적으로 요구되어 온 것에 하나의 원인이 있다고 해석할 수 있을 것 같다. 한편, 한국어에 대해서는, 오기노(荻野,1990)에서도 지적하고 있듯이, 남성이 여성보다 보다 정중한 언어형식을 사용하는 것은 엄격한 상하 관계가 존재하는 군대나 회사 등의 현실 사회에 대한 관여도의 차이에 의거하는 것이라고 말할 수 있을 것 같다. 한편, 일본어와 한국어 모두, 베이스의 성별을 불문하고, 스피치 레벨의 사용에 있어서, 남성의 대화 상대에 대해서 보다 정중한 언어 형식을 사용하는 것을 알 수 있었다. 이것은, 현대 사회는 평등 사회라고 하는 풍조는 있지만 「남존여비」라고 하는 4자 숙어로 대변되는, 남성 중심적인 사회·문화의 가치관이 아직 남아 있어 스피치 레벨이라고 하는 언어 행동에 반영되고 있다고 해석할 수 있겠다. 이와 같이, 화자와 대화 상대의 성별이라고 하는 요인은, 일본어와 한국어에 있어서의 스피치 레벨이라고 하는 언어 행동에 영향을 주고 있으며, 이것에는 일본과 한국의 사회·문화적인 가치관이나 기대치가 반영되고 있다고 생각할 수 있다.

While women are generally believed to used more polite expression than men, this study aimed to investigate the usage differences between men and women in terms of speech levels, playing an important role of one's consideration to talking partner in both Japanese and Korean. On a concrete, the effect of gender of speaker and talking partner on the usages of speech levels were revealed by analyzing the natural conversation between the two in first meeting in Japanese and Korean. The results of this study are as follows: (1) In general, women in Japan and men in Korea used more polite expression than opposite gender in terms of speech level. This phenomena may be due to the fact that women in Japan are educated to use more polite expression as the expression of womanhood. On the contrary, the tendency in Korean is thought to be the reflection of the prevalent strict hierarchical cultures, easily seen in military and company. (2)Irrespective of the base's gender, speakers tend to use more polite expression toward male talking partner in both Japanese and Korean. In spite of the current of sexual equality in modern society, androcentrism is still lingering in both countries, which was thought to be reflected in the linguistic behavior of speech level in both languages.

예부터 전해져오는 관용표현 속에는, 그 언어를 母語로 하는 자들의 특유한 특징이 잘 나타난다. 그 때문에, 서로 다른 언어문화를 지닌 양국어의 감정표현을 대조해보는 것은, 각각의 고유한 특징은 물론, 서로의 유사점까지도 살펴볼 수 있는 작업이라 생각된다. 하여, 본고는, 인간의 기본감정(「기쁨」감정을 중심으로) 을 나타내는 관용표현을 수단으로 하여, 양국의 언어 문화간에 공통・상이한 특징을 살펴보는 것을 목적으로 한다. 「기쁨」의 하위범주는, 中村明(나카무라 아끼라) 와 金香淑(김향숙)을 토대로 <즐거움, 상쾌, 만족, 유쾌> 로 둔다. 분석방법으로는, 「기쁨」의 감정표현에 한하여 수집한 66개의 용례에 대하여, 일한 양국어에서 공통적으로 나타나는 공통표현과, 어느 한쪽에서만 존재하는 고유표현으로 나누어 살펴보는 대조분석이다. 이 결과를 토대로 하여, 일본어모어화자와 한국인 일본어학습자를 대상으로 앙케이트조사를 실시, 그 결과에서 양국어의 「기쁨」에 대한 감정표현의 상이점과 특징을 고찰한다. 다만 본고에서 밝힌 일한양국의 인지실태와 특징 등은, 「기쁨」의 감정표현에만 국한된 것으로, 제한된 인원의 조사인 관계로, 그 결과가 결정적인 자료가 된다고 잘라 말할 수는 없지만, 주로 신체어휘에 초점을 두어온 종래의 관용표현 연구를, 인간의 감정표현으로 초점을 옮겨 새로운 대조분석을 행했다는 점에 큰 의의가 있다고 생각한다.

If we examine some idioms of the language, we can find out a distinctive feature of people who speak it as their mother’s tongue. Studying different language’s expression of feeling by the comparative method let us know the similarity and peculiarity of the languages better. Thus main object of this paper is understanding the common and different characteristic of both languages by examining idioms used for expressing feeling. According to Nakamura Akira and Kim, Hyang-sook’s works, subordinate concepts of pleasure are delight, refreshing, satisfaction, joy. A comparative study will be performed that analyze common and specific expression, 66 examples about expressing pleasure, of both languages. Based on this study, the survey will be conducted on native Japanese and Korean learning Japanese. The result of the study make us know the similarity and peculiarity of expressing pleasure. Because the survey limited to expression of pleasure, the result of the study about the similarity and peculiarity of both Japanese and Korean in this paper will not be insisted critical. But the study is significant for examining idioms focused on emotion, otherwise existing study of idiom focuses on body.