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This study is to investigate what kinds of prisoners were there during the Imjin War in the city of Kumamoto, Japan. There were many Koreans who went to Japan due to two major wars, the Imjin-year war (壬辰倭亂) and the Jeongyu-year war (丁酉再亂). For example, there were Kim Hwan from a distinguished families, Lee Kyung-taek who was an Oriental medical doctor, brothers Doh Kyung-hwan and Kyung-chun who were technical experts, and Hukuda (福田) who was a tile layer. In addition, there were many pottery workers, and military personnels who became common soldiers for Japan. These war prisoners tended to live as a group. There were evidences of such groups in various areas, including Urusanmachi (蔚山町) in Kumamoto, Chosenyasiki (朝鮮屋敷) in Tamanagun (玉名郡), and the place name of Tojinmachi (唐人町) and a lullaby of Ichiki (五木の子守唄) in Hitoyosisi (人吉市). Furthermore, there were lots of vestiges of Korean style engineering works and relics acquired during the invasion of Korea. For example, Kiyomasa built the Kumamoto Castle, and conducted land reclamation and water control projects by making use of his experience in Korea. A lot of Korean engineers and the common people were forcibly mobilized to these projects. The relics of these days included cookies named Yokuininto (ヨクイニントウ) and Chosenbo (朝鮮棒), liquor named Akasake (赤酒), as well as Chosensiki (朝鮮鋤). Things that were brought from Korea included castle gates, foundation stones, stone bridges to decorate the garden, handwritings by Imhaegun (臨海君) and Sunhwagun (順和君), personal notes by Shim Jeong-seo (心情書) and Samyeong Daesa who was a famous Buddhist master in the Joseon Dynasty, and hahwetal which is a mask from Andong area. In a word, Kumamoto has lots of vestiges of Korean prisoners who were forcibly taken to Japan during the Imjin-year war (壬辰倭亂) and the Jeongyu-year war (丁酉再亂). Therefore, there's no doubt that Kumamoto is the important treasure house not to be missed for the study of Imjin War.

本稿は熊本に如何なる壬亂捕虜が居たのか調査したものである。熊本は壬辰と丁酉倭亂によって海を渡って来日した朝鮮人たちが多かった。その代表的な人物としては知識階層の士族である金宦と漢醫師の李慶宅がおり、技術者には製紙工の道慶と慶春の兄弟がおり, また瓦工には福田という朝鮮人がいた。そして象嵌技術者もあり、その外日本の雜兵になる人もあった。朝鮮捕虜たちは大体は集團を作って生活していたようだ。その痕迹が熊本市には蔚山町, 玉名郡には朝鮮屋敷, そして人吉市には唐人町という地名と五木の子守唄として残っている。 またさらに朝鮮侵略を通じて獲得した土木技術と物も至るところに残っている。例えば清正は朝鮮で得た經驗を生かして熊本城を作り, 干拓と治水事業を行なった。その時多くの朝鮮技術者と朝鮮人たちが動員された。そして物としては朝鮮捕虜が作った朝鮮鋤を始めヨクイニントウ, 朝鮮棒という菓子と赤酒という酒がある。朝鮮から直接持ち去った物として城門と礎石, 庭園の飾りとして利用する石橋があり、臨海君と純和君の字と心情書, 四溟大師の親筆などがあり、 安東河回の假面がある。このように熊本は壬辰と丁酉倭亂の時に連行された捕虜の痕迹が多く残っている。こうした意味で熊本は壬亂硏究においては見逃せない重要な寶庫であることに異論の余地はない。

This paper is an analysis on the komunsahag of Ogyu Sorai, founded by Sorai and succeeded to his disciple Dazai Shundai, based on 『The Essentials of Reading Japanese』. Sorai argued that the Six Classics written in Chinese should be read in Chinese. He concluded that reading Chinese classics in Japanese was no more than a translation study. However, Sorai's disciple Dazai Shundai who succeeded his interpretation of the classics and political application studies wrote『The Essentials of Reading Japanese』. Shundai accepted the reality Japanese were met with and decided that the Chinese classics could be understood through Japanese reading. He attempted to correct the problems of reading the classics in Japanese to the extent of creating a Shundai dot, Therefore, Sorai and Shundai had different views on reading Chinese characters in Japanese. This could be said as the difference in point of views on Japanese. Such ideological management of Shundai should be thought as from the view of the successor of Sorai School in an attempt to complement the faults of the Sorai School.

本稿は荻生徂徠とその弟子、太宰春台へ継承されていく徂徠の「古文辞学」を明らかにしたものである。徂徠は、中国語で書かれている「六経」を中国語で読むことを主張した。そして日本語で経書を読むことは、「訳学」にすぎないと考えた。 ところが、徂徠の経学と経世学を継承した弟子、太宰春台には1728年刊行の『倭読要領』がある。『倭読要領』において春台は日本人が置かれている現実をそのまま受け入れ、訓読による読書を通じても経書に貫通できるという点を強調している。「春台点」まで作るほど、春台は和訓の問題点を補完しようとした。従って、徂徠と春台は、和訓を「訳学」と理解するか、或は和訓をそのまま認め、受け入れるかの、日本語に対する異なる立場に立っていたと言えるだろう。春台の古文辞学は「中華」から「和」への、視点の移動から始まっていったと考えられる。このような春台の思想的な営為は、徂徠学の問題点を補完しようとする、徂徠学の継承者という視線から考えなければならない。

Against the backdrop of the movement to reform the written language in Meiji Japan, literary critics took on the task of establishing the proper form of the novel. One notable effort in that realm was Tsubouchi Shōyō's famed Shōsetsu shinzui ("the essence of the novel") which, inspired by the West and premised on an evolutionary notion of the novel, set forth an eclectic mold of the "true" novel. In doing so, Shōyō's progressive schema appropriated and placed the low-brow ninjōbon of the early nineteenth century such as Shunshoku umegoyomi in a transitory phase en route to modernity. Subsequent literary criticism in Japan often unfolded along the line of assessing it in basically the same paradigm of modernism. Even for those who frown upon its "feudal" traits, all the same, ninjōbon looms unmistakably as the routine subject of inquiry in constructing a native lineage of modernity. Such literary discourse in Japan, in the end, partakes of the enduring preoccupation with modernity and conceptions thereof.

言文一致運動に絡んで小説の“改良進歩”を構想した坪内逍遥の『小説神髄』は“小説の主腦”として“人情”をあげ、それを忠実に穿つ“現世物語”の先例として人情本に注目した。“文運の進歩”に伴う文学の変遷に没頭していた逍遥にとって、為永春水の『春色梅児誉美』のような人情本の代表作は低級な“戯作”以上の文学史的意味を呈した。同様に、「近代性」が物差しになる限り、人情本の“卑猥”な心理描写は改良すべきだという、要するに、日本の小説はその迫真性において“近代的”要素が芽生えたているものの、まだ“真の小説”には達していないという視座にもつながった。逍遥以来の評価は人情本の“封建性”に違和感を抱く傾向がめだつ。そういう否定的な評価にも関わらず、文學史上において人情本が批評の対象になりつつあったことは注目に値する。換言すれば、多くの評論家が逍遥のように、小説は進化する乃至進化すべきであるという視座を共有しながら、近世日本を「近代」に移行する段階として区切っていることが伺える。「近代性」が欠けていても内在的な進歩の段階的存在として人情本は位置づけられていたのである。それは、日本の歴史を近代化の過程として取り組む視座の妥当性はさておいて、「近代性」そのものに没頭した側面を歴史として接近することはまだ有効であるという傍証を固めるといえよう。

This thesis is to examine the conflicts between the brothers in everyday life mentioned in the legendry by Japanese scholars during Japanese colonial period. The brothers appearing too often worldwide as a motif in both oral literature and documentary literature are pitted against each other over the various things. However, the brothers described by Japanese scholars during its colonial period show only conflicts and confrontations. In general, the relations between the brothers in the stories are divided into two parts such as an evil brother and a good brother, a rich and a poor, a stupid and a wise or a lazy and a diligent. Wealth or money is only rationale why the conflicts and the confrontations are brought between them. The plot is organized in a way that the greedy brother follows his brother's success but fails to obtain it. At the end of the story, the conflicts between the brothers resolve to restore the peace and friendship, which is not the product of the hero's commitment and effort but an unexpected good fortune given by the obedience to the fate. The brothers in these folk tales also are not ones who overcome the difficulties they face. In this regard, the Japanese scholars' viewpoint shows that they discovered so Korean brotherhood that could not seen in the tales of other countries.

本考は日常における様々な葛藤の中でも特に兄弟間における葛藤に注目し、それが日帝強占期に日本人によって日本語で書かれた朝鮮の説話集にはどのような現れ方をしているかを突き詰めたものである。 兄弟は世界の口承文学や記録文学にもよく登場するモチーフで、実に様々な理由で対立している。ところで、日帝強占期に日本人によって記述された朝鮮の説話集の兄弟譚は、すべて兄弟間の対立や葛藤を題材にしている説話のみである。説話集の中の兄弟像も‘悪兄善弟’, ‘富兄貧弟’, ‘愚兄賢弟’,‘怠兄勤弟’で形象化されるのが一般である。さらにその対立と葛藤の原因がすべて富(お金)にあるとの共通点を持つ。話の構造においても欲張りな兄が弟の成功譚をそのまままねて失敗し、懲罰を受ける形となっている。また、話の結末では兄弟間の葛藤が解消し、和解と友愛を回復してはいるものの、それも過酷な運命を克服しようとする主人公の意志や努力によるものではなく、与えられた運命に従順に耐え忍んだ報いとしての‘意外な幸運’によるものである。これらの説話集には現実に立ち向かって超克しようとする兄弟の姿は描かれていない。これこそ肯定的な日本の自画像を前に日本人学者が発見した、他国の説話には見られない‘あまりにも朝鮮的な’朝鮮の兄弟像であったのである。

The purpose of this research is to investigate the ways in which early modern Japanese society received the concept of human rights, especially through the translation of a term ‘human rights’ and its application into its own society during the early Meiji period (1868-1880). Unlike a traditional approach to this subject which examines the extent to which individual translators were influenced by particular works of Western Europe, this investigation has been inspired by analysis of early modern Japanese dictionaries(written by Japanese students in the Netherlands) and of contemporary theoretical debates on the meanings of ‘inherent human rights.’ During the course of my research I have come across that the first translation of the term that appeared in Japanese language, Thuda mamichi(1868), which employed the term ‘human rights’ to mean the natural rights and civil rights endowed by the Creator. Else where the term was translated into ‘human rights,’ ‘right,’ ‘thugi(通義)’ or ‘civil rights.’ However, the term ‘thugi’ was preferred by the Japanese because it was closer to their religious and moral culture. I hope that the present study will both encourage and facilitate continued enquiry into the various aspects of, and issues relating to, the development of the concept of human rights in early modern Japanese society.

日本は西洋のアジア侵略に対抗するため、明治威信を断行し積極的に西洋の文物を受け入れた。その過程で行われた翻訳の作業は、伝統的な学問と文化の変容にとどまらず、新たな文化の創造を意味した。本稿は、明治初期の翻訳活動の中で、主に翻訳語「人権」の輸入過程とそれに対する認識を探ることを通して、近代日本において人権概念がどのようにして意味を獲得していたのかを検討する。 翻訳語「人権」は幕府末期オランダ留学から帰ってきて開城所の教授となった津田真道の翻訳した『泰西国法論』で初めて使われた。津田が翻訳する際の意味は、「人間としての自立自主の権」であり、また民衆、庶民が生まれてから平等に持つ権利という義であった。しかし、一方で所有あるいは権限という意味を持つ「人権物権の執行」という意味もあった。 初めて人権という言葉を使ったのは津田であるが、人権より自然法的な権利の意味を持つ「権利」という言葉がもっと広く使われた。『泰西国法論』と共に、同時のベストセーラだった『西洋事情』を書いた福沢諭吉も「権」に関する凡例を提示する中、翻訳の誤謬に対する警戒を表わした。その数多くの凡例の中で「誠実」,「裁判所の判決」という意味が翻訳過程で脱落されたりしながら、権利の概念は形成した。 翻訳語「人権」は津田が初めて使ったにもかかわらず、福沢が人権概念の創始者として記憶さらるのは、彼が当時日本においては見慣れない概念だった「権限」とか「利益」という意味ではなく、「正しさ」や「正義」、「追究すべき理致」などの意味を持つ「通義」を使ったからである。 この研究は、近代国民国家の形成期に東洋社会で人権概念の受容過程を「翻訳」という媒介を通じて具体化し、この過程で新しい概念との葛藤と混乱しながら、日本社会で意味が獲得されていく現実を捉えた。

본 연구는 1940년 동경올릭픽의 역사적의미를 분석한 논문이다. 일본이 올림픽을 유치한 이유는 올림픽과 만국박람회 등의 이벤트개최를 통해 여러나라와의 긴장관계를 완화시키려는 목적이 있었다. 또한 동경올릭픽은 스포츠진흥보다는 관동대지진 부흥작업과 동경의 인지, 시설정비 등 제국일본 수도동경의 도시진흥에 커다란 목적이었다. 그 후 동경올림릭은 皇紀2천6백년 축제로서, 중국침략을 위한 군국주의적 내셔널리즘, 황국이데올로기 강화로 중점이 이행되었다.

This study is a thesis analyzing the meaning of the 12th Tokyo Olympics in 1940 from a historical and sociological perspective.The purpose of hosting the Tokyo Olympics is easing the tension with other countries through international events such as the Olympics and the EXPO. Moreover, the Tokyo Olympics had a big purpose of urban development as the imperial capital city like reconstruction after the Great Kanto Earthquake, growing recognition of Tokyo as an international city, and facilities maintenance rather than sports promotion.Afterwards, the emphasis of the Tokyo Olympics as an anniversary event for the year 2600 in the imperial era was shifted to the reinforcement of militaristic nationalism for the invasion of China and the strengthening of imperial ideology.

This article aims to examine the causal relation between policy ideas and policy change, especially compares the privatization of Japan postal service with those of British postal service. The basic questions raised by this article are as followings: What is the reason neo-liberalism reform succeeds in Britain. What is the reason the neo-liberalism reform was not able to succeed in Japan? In conclusion, it can explain the difference of the policy with the cohesive property of the executive branch and the political party in Britain and Japan.

本稿は日英の郵政改革を題材として、政策アイディアと政策変容との関係を分析したものである。中心的な疑問は、イギリスでは新自由主義的アイディアがかなりの程度貫徹した改革が実現したのに対し、日本ではそうしたアイディアの具体化が不徹底であったのはなぜか、というものである。 こうした日英の相違は、拒否権アクターとして政党と行政府の凝集性がエグゼクティブ・パワーに影響するという枠組みによって説明することができる。したがって、同じ政策アイディアでも国内の制度的条件によってその政策の内容と具体化の態様は異なってくるといえる。

The new atmosphere such as the development of scientific technology, communication, transportation, and the settlement of cold war through collapse of ideology, accompany local task, which requires nations and regions no choice but to be interdependent. However, since nation state is losing the ability to solve basic problems that mankind faces today, new global system is requested. In this manuscript, transfs that mankination state mt, s an era that exposes element that fs ts global system and variety nkielemented.ther thanination. Local hegemony is now under consideration the possibility nkinew global system by the case of Japanese local governments that fs ts new internd faces network though changing the function of nation states.

科学技術の発展、交通通信の発達、イデオロギーの崩壊による冷戦解消などの新しい環境は国家の間地域の間に相互依存するしかない地域共同の課題を伴っている。 しかし国民国家は今日人類が当面している基本的な問題を解決する能力を喪失しているから新しいグローバルシステムが要請されている。本稿での国民国家の変容はグローバルシステムを構成する要素に国家この以外の要素が多様に現われる時代を意味する。ロカル(Local)のイニシアチブが国民国家の機能を変容させながら地域という新しい国際ネットワークを形成している日本地方自治体の国際化過程を事例で新しいグローバルシステムの可能性を検討している。

The popularization and commercialization of nation-anthromorphication cartoon Hetalia and the transnational debate over the airing of its animation, provoked by Korean netizens and followed by Japanese and western fan communities on internet, constitute an important case symbolizing the border-crossing of Japanese otaku culture and unexpected problems it may cause. Instead of simply criticizing Hetalia as distorting history and reinforcing stereotypes on other countries, which cannot explain the popularity of Hetalia, I attempt to recontextualize Hetalia and the transnational debate over Hetalia animation, by explaining three important backgrounds- moe-characterization and sense of parody, the border-crossing of doujin culture as space for free expression, and otaku culture in the transnational flows. Finally, I expect that 'cute' history as entertainment like Hetalia, devoid of historical truthfulness, will become more popular in the changing Japanese society insofar readers, mainly postwar young generations, find it interesting.

この論文はアマチュアのウェブコミックとして始まり、商業化やアニメーション化された国家擬人化漫画『ヘタリア』やそれについてインターネットを中心に行われた論争を萌えキャラクター化やパロディ感覚、同人文化の越境、トランスナショナル時代のオタク文化という三つの観点から分析したものである。国家を擬人化し、世界大戦の歴史を彼らの人間関係として描写するという奇抜な発想が可能になったのはまず90年代以降日本のオタク文化における大きな流れとして萌えキャラクター化やパロディとして同人文化の影響を考慮する必要がある。また、アマチュアであるからこそ自由な表現が許される同人作品として人気を集めた『ヘタリア』が商業化・アニメーション化されることによって日本国内・そして海外という二重の境界を越え、また韓国ネチズンらによって国際問題に発展する過程はトランスナショナルな時代において日本オタク文化がいかに受容され、どんな問題を起こしているのかを端的に示している。オタク文化の影響力が強まる今、『ヘタリア』が試みる「かわいい歴史」はいろいろな問題点にも関わらずコンテンツとして魅力を維持する限り、人々によって支持されていくことが予想される。

『겐지모노가타리』 에아와세권에서는 物語繪의 경연이 벌어진다. 이 아름다운 경연에서는 『다케토리모노가타리』『이세모노가타리』『우쓰호모노가타리』등이 나오지만, 결국 히카루겐지가 스마에서 그린 그림이 보여지자 히카루겐지측의 압도적인 승리고 끝나고 만다. 지금까지의 연구에서는 히카루겐지와 『다케토리모노가타리』『이세모노가타리』의 관계, 혹은 유사점이 많이 논하여져 왔다. 본고에서는 『우쓰호모노가타리』의 주인공인 도시카게와 히카루겐지의 유사점, 특히 도시카게가 유랑한 장소와 히카루겐지의 유배지 스마가 모두 ‘시라누쿠니’라고 표현되어있는 점을 중심으로, 에아와세권에서 『우쓰호모노가타리』가 제출된 의미를 논하고자 한다.

The competition which is ‘The picture contest’ takes place in the chapter ‘The picture contest’ of Genji-monogatari. In this beautiful contest, Hikarugenji ultimately gains an overwhelming victory as submitting the picture that Hikarugenji drew at Suma after the presentation of Taketori-monogatari, Ise-monogatari and Utsuho-monogatari. Previous research has discussed the relationship or similarity between Hikarugenji and Taketori-monogatari and Ise-monogatari. This article intends to argue the meaning of presentation of Utsuho-monogatari in the chapter ‘The picture contest’ by examining the similarity between Hikarugenji and Toshikage as the main actor of Utsuho-monogatari, more specifically the fact that the place where Toshikage wandered about and Hikarugenji was sent into exile is being expressed in terms of ‘shiranu-kuni’.

In accordance with the national strategy, Choseon people had to be transformed and absorbed into Japanese people excluding their national identity to which they had already adapted. Many Choseon people who did not have enough sense of nationalism or a strong will against Japanese colonialism as protesters against it had were in the middle of the stream of harsh measures. In his book, A Pedigree, Dalsoo Kim describes common characteristics of the Choseon at that time in which they were intended or unconscious. He shows them by describing delicate shades of psychology of Kyungtae who is a main character with preference for straying. In the book, despite the character still loves new culture of that time or civilization, he cannot help being attracted by a traditional culture of Choseon when encountering with it. Kim’s awareness of the fact that he was a Korean who lived in Japan might/must drive him to become a writer of Chosen nationalism later.

｢族譜｣が発表された1940年頃日本は国民国家の形成論理として、日本は単一民族であり、天皇の統治する国家という神話が盲目的に受け止められた。彼らがいう‘帝国日本’の中には朝鮮人と他の植民地の民族も含まれていた。この民族達も‘完全な日本人’になるしかならなかった。植民地の民族は自分に親しまれた環境に順応しながら生成された民族性を徹底的に排除して新しい‘民族’として自分を受け止めなければならなかった。 独立闘士のような徹底的な思想も、教育も、意志ももたなかった、まさしく‘平凡’な人々は‘皇国臣民化’を盲信する帝国日本の政策のさなかにおかれていた。そのような個人の心理は意図的であったかなかったかに関係なしに浮游する精神の持ち主としての｢族譜｣の主人公である敬泰を通して現われる。敬泰兄弟と村の人々は、当時‘新文化’や‘新文明’を欲望しながらも、その文化の主体になれない朝鮮民族の心理を的確に表した。金達寿が戦後、民族作家になれたのはおそらく日本の民族性に自然に吸収されてしまう朝鮮国籍の<中間者>という自己認識から起ったものではなかろうか。自分の浮游する民族意識の定着地を求めようとする努力であったと思われる。

유사 이래 가장 활발하게 논의되어 온 <사랑>의 담론에 대해, 아리시마 타케오는 그의 에세이 『사랑은 아낌없이 빼앗는다』에서, 「사랑」의 표현은 아낌없이 주는 것처럼 보이지만, 본질은「약탈하는 격렬한 힘」이며, 「방사」하는 대신 「흡인」하는 에너지라는 안티테제를 내세웠다. 아리시마 타케오는 그의 다감하고 민감한 감수성이 자아내는 다양한 <사랑>의 표현자로 기억된다. 그리고 무엇보다도 최후의 장렬한 <사랑>의 행적에 의하여 자신의 예술을 체현한 작가라고 말할 수 있을 것이다. 텍스트에서 아리시마는 인간의 생활을「습관적 생활」「지적 생활」「본능적 생활」의 세 종류로 나누었다. 그 중 관습과 도덕, 사회적 평판 등의 모든 외적 권위를 초월하여 자신의 개성에 충실한「본능적 생활」이 인류 사회를 진보의 길로 이끌며, 그것에 따라 살아갈 때에「사랑」의 표현인 예술이 탄생한다고 주장하고 있다.「사랑은 전통을 깨고 독자성을 발휘하려는 경향을 지닌 것」이라고 논해, 현 시점에서 보아도 새로운 <사랑>의 사상을 전개하고 있다고 평가할 수 있을 것이다. 만년의 아리시마 타케오는, 열렬한 문예 창작 의욕에 사로잡히는 한편, 예술과 실생활의 불일치를 오뇌하며 양자의 통일에 전력을 기울였다. 텍스트에 나타난「본능적 생활」은, 아리시마 자신을 과거의 「위선자 의식」으로부터 회생시키기 위하여, 그리스도교 신앙과 첨예하게 맞서 이원대립의 모순을 극복하는 기제로서 주장된 것이다. 「나의 예술은 나의 언어에 의해 철저하게 심판 받아야 할 것이다」 라고 선언한 아리시마 타케오는,「인간의 마음 속에 공통된 사랑의 단적 표현」을 근원적으로 추구한 작가이다. 『사랑은 아낌없이 빼앗는다』는 사랑론, 개성론, 생명본능론 외에도 아리시마의 근대 자본제사회 비판과 관련하여 그의 교육관, 노동관, 여성관, 미학 등 다양한 문제 의식을 엿볼 수 있는 텍스트이다. 본고에서는 아리시마 타케오의「본능적 생활」의 관점에서 현대의 전일적 소비욕망사회 체재 속에 출구 없이 생산되는 <사랑>을 논하고, 그 문명사적 의의에 대해 피력했다. 아리시마 타케오는 『사랑은 아낌없이 빼앗는다』에서 수립한 독자적인 「사랑」의 사상을, 정사 사건의 동행자인 한 아름다운 유부녀와의 「사랑」에 수렴함으로써 타이쇼(大正)라는 일본 근대의 시대적 한계를 살아갈 수밖에 없었지만, 아리시마 문예의 급진적 수행성을, 인문적 진보로 향하는 초석으로 재해석한 논이다.

Love has been strongly debated for thousands of years. In his essay Arishima Takeo indicated that the expression of love is a type of giving of oneself. Conversely, the thesis of this paper views love as taking another person’s energy by force, not intercourse. Most people remember Arishima Takeo as sensitive to the expressions of love which reflected in his personality and writings. Most importantly, in his later years he became obsessed with the notion that art was not a true reflection of reality, which he attempted to rectify through literature. In his writing Arishima Takeo believed that humans have three different parts comprising their lives, ‘habitual life’ ‘Intellectual life’ ‘impulsive life’. He insists that art is a reflection of love. Further, he believes that society will become better when people begin living an ‘impulsive life’. According to his writings, he regarded the ‘impulsive life’ as being reborn from a paradox. He believed that his life was wrong because it went against the teachings of Christ. Thus, the ‘impulsive life’ would alleviate this discrepancy. Arishima Takeo’s notion of love was not taken seriously by Japanese critics due to his affair with a married woman; however, Japanese culture has changed a lot since that time and the society has become more tolerant towards love affair. This paper tries to reinterpret Arishima Takeo’s thesis from a new and modern perspective since literature has changed greatly these days and his notion of love needs to be reexamined carefully and thoroughly.

“Momonoshizuku” is an essay which can stipulate Shimazaki Toson's mental world in his later years. Toson, the genius who has altered the literary form by using compressed and concise format on his personal experience, was believed to have made an attempt to narrow the gap between the readers. As many genre merge together, Toson is an Essayist, Humanist, Moralist, and etc showing a variety of colors. I wonder if, according Toson's ideology and philosophy expressed by aphorism, in the readers' point of view it would resemble to be human textbook. I was able to understand that in his self-examination on life, he was focused on the ideology pursued by various essayists from East and West. In 1930, Toson sensed the crisis of human absence as they were buried by sudden changes in the international relations and infiltration of science. Toson presented Shakespeare's human admiration and positive ideology, what he considered to be the norm of Western literature, to be what modern men should be endowed with to those who were in confusion and nervousness. Also, under the belief that civilization's crisis should result from the unbalance between machinery civilization and civilization of mental ethics, it can be said that he had established his determination as a humanist by recollecting Goethe's life, who pursued freedom and the return to nature to love humane things. And Tolstoy's morality on change in unsettlement from a social aspect with accuracy, sincerity, and furthermore good conscience in self-examination had much mutuality to their correspondent parts with Toson, hence, making it unable to deny that Toson is a moralist. Lastly, Toson "simple", which acts as the core to not only life, but also literary form from both Lao-tuz's "leaving nature as it is"as well as its similar reasons of Pascal, which Tolstoy aimed to reach in his later years. Simplicity, which is created from the combination of idea of repair and beauty, was not only Toson guide, but also his life and had settled as his life creed, hence, life philosophy.

島崎藤村の『桃の雫』は、彼の晩年の人生哲学が規定できるエッセイである。とりわけ作品中の斷想すなわちアフォリズムは、彼の體驗から悟った眞理の凝縮であるといえる。これは、文學樣式における變容の鬼才である藤村が、自分の體驗的な眞理をさらに簡潔に壓縮させた形式を通して讀者との間隙を縮めようとする試みであったと思われる。藤村は文学のジャンルにおいて自由な作家であるだけに、エッセイスト․ヒューマニスト․モラリスト等とも評価されている。本稿は、藤村に対するそのような評価を中心に作品を考察したものである。 藤村の人間に関する研究は、東・西洋のエッセイストの思想に基づいている。彼は、1930年代の、科學の浸透と國際關係の激變との中で埋沒せざるをえない人間の不在に、危機感を抱かずにはいられなかった。生活上の不安とアイデンティティーの混亂とに陥っていた人々へ、藤村は自分が西洋文學の定石として認めていたシェークスピアの思想、すなわち人間への禮讚と人間を肯定する心とが、近代人の備えるべき人間像であることを提示した。また、文明の危機は機械文明と精神的な倫理の文明との不均衡によって惹き起こされると判断した藤村は、自然に帰って人間的なものを愛し正しい感情の解放を求めたゲーテの生涯を回顧しながら、人間世界の調和と信賴の回復とを主張するヒューマニストの立場を標榜したのである。そして、變遷の動搖が激しかった社會相を、正確、誠実、さらに良心的に省察しようとしたトルストイの道德的な精神が、藤村の作品の評價とも一致するところから、藤村がモラリストであったことがわかる。最後に、トルストイが探し求めた老子の無爲思想とパスカルの思想を通し、藤村は生活樣式と文學樣式とにおいて核心となる「簡素さ」を抽出した。數理の觀念と美の結合とから創出された「簡素」は、彼の精神的な案內者である芭蕉の生み出した生活様式であり、藤村自身の生活信條すなわち人生哲學として位置づけられたといえる。

시인이자 동화작가인 宮沢賢治는 독실한 불교신자로서 타인을 위한 실천적 삶을 살았다. 이러한 삶의 지향점이 투영된 그의 문학은 선의(善意)의 문학이라는 평을 얻기도 하였다. 본고에서는 이러한 그의 몇몇 동화 작품에 묘사된, 선의와는 별개로 생각되는 이지메(いじめ) 양상을 분석 고찰하여 보았다. 결말과 필수적으로 연결성이 없으면서도 자주 사용 된 이지메 소재는 결국 겐지 자신의 경험에서 비롯되었고, 이지메를 통해 권선징악(勧善懲悪)적 결말을 도출하지 않았다는 것은 비판성과 교훈성을 배제하였다는 것이 추론 가능했다. 더불어 이지메의 출발점이 되는 타인대 타인의 상이성을 작품 속에서 적극적으로 인정하려 한 흔적은 모든 상황을 고려하는 작가의 융통성과 중립적 시각이라고 생각한다. 그동안 성인화(聖人化)의 연구가 진행되기도 했던 작가 겐지였기 때문에 이지메라는 네가티브적 관점의 연구는 없었다. 따라서 본고의 의의라면 새로운 관점, 특히 시도가 없었던 네가티브적 관점에서 출발한, 즉 다른 각도에서 본 겐지 고찰의 한 일면을 제시하였다고 할 것이다.

Kenji Miyazawa who is a writer of fairy tale and poet practiced the life of sacrifice for other people as a buddhist. His lifestyle of sacrifice has had a strong influence on his literature work. For that reason, his literature was reviewed as being a favorable sense. In this paper, I studied aspects of <bullying> in his fairy tales. Generally <bullying> is thought non good will. There is no not only criticism, but also punishing in his description of <bullying>. Though there is no relationship so much with an ending and no promotion of virtue and reproval of vice, but the description of <bullying> which is often used from his experience after all. And, the starting point of <bullying> is difference about everything in the world. I think that means, Kenji recognized the difference, and then expressed it as a <bullying>. I think there were no studies of the negative angle about Kenji as like aspect of <bullying> so far. Therefore I'd say that this study is the new try to review Kenji from new angle and the negative angle which had no tries in particular.

The author has reviewed how to discover the female’s identity reflecting in masterpieces of the ‘Thirteen Nights’ by Higuchi Ichiyo and ‘The Broken ring’ by Shimizu Shiking in the meiji period. The two ladies, Oseki, in the thirteen nights, not educated novel heroine and ‘I’ in the ‘Broken Ring’, well educated and high school graduated modern lady’ are commonly described to obey the old social customs. The 2 happenings, one is the husband’s abuse and insult to Oseki in the "Thirteen Nights" and the husband’s double marriage in the ‘Broken Ring,’ were the obvious causes of divorce even in that times. Firstly, in the Thirteen Night, Oseki had recognized her identity by raising the question on herself in the middle of abuse and contempt by husband. She decided the divorce to recover her identity by considering more herself than love to children. However, Oseki's parents used to old social ideology, tried to persuade Oseki not to divorce to keep her love to children and her younger brother’s success, even Keeping marriage would require her sacrifice. Her parents succeed in keeping her in the old social system named ‘family’ by sacrificing her life with not divorcing. On the contrary, even I in the broken ring graduated the high school, she recognized the contradiction of living in the female in Japan by having seen her parents’ very formal conjugal relationship, which the highly educated mother treated husband her father just formal and she did not have any compassion on husband. Strangely hearing, when I was old enough to marry, ‘I’ got married to man chosen parents. After married, I got know the man had already wife. ‘I"decided the strategy to change her husband to keep family, even it may need her sacrifice and she allow the relationship between her husband and his first wife. The husband’s behavior, however, has been worse and worse and there was no change of her husband and its worse situation concluded their divorce by agreement. ‘I’’s divorce in the ‘Broken Ring’means that one woman escaped from the old aged social system given to woman and same time the spiritual freedom and economical independence from husband, equally from the man. Furthermore, by declaring the remaining life for the world, it shows her strong intention that she wants to recover the female’s social identity by breaking internally the existing communal society. By reviewing the 2 novels, the authors in the meiji period described the differentiation between 2 mixed conceptual situation in the female world, which there are the well educated, independent and self conscious women group as well and the following women group not breaking and just following the old social system and customs.

筆者は明治期における女性作家樋口一葉の󰡔十三夜󰡕と󰡔こわれ指環󰡕を通じて‘女性の主体性’探しの方法を明らかにしようとした。教育に恵まれなかった󰡔十三夜󰡕の主人公お関と教育を受け、女学校を卒業した󰡔こわれ指環󰡕の‘私’は‘恭順’という共通分母を持っていた。󰡔十三夜󰡕では、夫の虐待と侮辱、󰡔こわれ指環󰡕では夫の二重婚がそれぞれ離婚の理由になっていた。󰡔十三夜󰡕のお関は、夫の虐待と侮辱によって、自分の存在感に疑問を感じつつ、自我を目覚めるようになった。つまり、息子を考える‘母情’よりは、自分の自我を考えるために離婚を決心した。ところが、お関は、自分の親の反対、または弟の出世を考慮し、犠牲をしてまでも離婚することは出来ないことを要求され、離婚をあきらめるようになった。ところが、󰡔こわれ指環󰡕の私は、親の姿をみて、形式的な夫婦関係に矛盾を感じつつ、女性の運命を改めて考えるようになった。親の薦めによって、いやおうもなく親が決めた相手と結婚することになった。どころが、相手は、外泊から始まって疑問を与えるような行動を止まなかった。それで、私は、結局協議離婚へたどりついた。このように󰡔十三夜󰡕のお関は離婚を諦め、制度の中に戻るが、󰡔こわれ指環󰡕の主人公である私は、一つの制度である結婚に立ち向かい、離婚することを選択したのである。このように、󰡔こわれ指環󰡕の私が、離婚を選択したのは、制度の呪縛から脱皮したことを意味すると同時に、夫からの精神的独立、経済的独立を意味していた。ひいては、私の人生を歩んでいくという、自分の生き方を改めることをも意味していた。既存共同体の内部からの'内破'を実践する一つの意思表示であったと言えよう。しかし、ここで筆者が主眼をおいたのは、離婚という方法が必ずしも制度からの脱皮を意味することとは見ていない。筆者が見ておきたかったのは、女性が'制度'から違う制度へ移動することがどのうなプロセスを同伴するのかを、詳しく追ってみる作業であった。つまり、女性による女性の主体性の獲得は、一枚岩的に表現可能なものではなく、女性そのあいだでも、重層的に交差しながら、自我を発見することを試みることが重要な点として浮かび上がってきた。

Women's image in Murakami Haruki's works could be classified as a woman saint and a prostitute. While Haruki did not demand openly virginity or feminine virtue through the women represented in his works from the initial work consistently, he conceals his admiration for virginity with tactful tricks. In the base of his concept, there is a male-dominated way of thinking for him that women only exist as the others supporting for men. It cannot be denied that Haruki's novel lies lethally in the outer edge with the prospective of feminism in that women are not assessed to women themselves, but described as the others for men. Of course, although every author does not have to develop their works on the ground of equality, in case of Haruki's works, that is tactfully concealed and well packed with the subject of 'a hurt' and 'a cure'. If the theme of Haruki's future works will focus on 'a relief' and represent the direction, it is necessary that Haruki indicates more lucid and direct commitment to the theme.

村上春樹の作品に現れている女性のイメージは、聖女と娼婦に大別できる。初期作品から一貫して登場している聖女イメージの女性を通じて、作家は「バージン」や「節操」をむき出しにしているのではないが、巧みなレトリックで「バージン」崇拝を隠蔽していることがわかった。そのような発想の根底には、女性は男性を支える他者として存在するだけだという春樹の男性中心主義の意識が底流しているためであると思われる。 女性が女性そのものとして評価されず、男性の他者としてしか描かれていない春樹の作品は、フェミニズムの立場から見てみると致命的な四角地帯に置かれていることを否定することはできないだろう。勿論、すべての作家が両性平等主義に立脚して作品を展開する必要はないが、春樹の場合はそれが巧妙に隠蔽されており、ひいては「癒し」という主題で包装されている。春樹がこれから書こうとしている作品もまた「救済」が中心になって方向性を提示するのであれば、主題に対してより明瞭で直接的なコミットメントが必要だと思う。

This study has been started to analyze a film based on literature, as one way of translation. Cinematization means ‘translating’ a literal text into a audio-visual one. This case study is a research about the shifts from a original text(a verbal text) to a target text(a movie), by analyzing the movie <Tony Takitani>, the screen version of a novelette sharing the same title, written by Haruki Murakimi, one of the bestselling writers in Japan. The summary of this study is as follows; 1. The novel describes Tony Takitani’s personal life in a timely manner. On the other hand, the character’s situation that he was lost and, in a deep frustration was specified in the film by place- centered presentation. 2. In the novel, the author explains every single character’s emotional status in an omniscient point of view, but the film adopted a narrator to objectify the characters. 3. Because of the limited volume of novelette, the book contains few brief episodes only. In the film, however, there’s an extra incidents that wasn’t in the book itself, and the episodes were incorporated in detail.

本考は、日本のベストセラー作家村上春樹の小説『トニー滝谷』(1996)は、それを基に市川準監督が2004年映画化した<トニー滝谷>を分析して、小説テキストが映画テキストに「翻訳」される過程とその結果に関する考察を試してみたもので、結果は下のようにまとめられる。. 1. 小説テキストは時間中心の語りで個人史を形象化して、映画テキストは空間中心の語りで登場人物の孤獨、喪失などの狀況を具體化させている。. 2. 小説テキストは全知的な作家の時點からすべての登場人物の心理を語っているが、映画テキストの場合登場人物を客觀化させる效果をもたらすためナレータの活用をしている。. 3. 小説テキストは短篇なので簡單な事件中心で構成されている。それに対して映画テキストでは小說にないエピソードが追加されていて、小說で簡單に書かれた事件もより具體的にイメージ化している。

The auxiliary word of「tsutsu」is usually used as written language in modern Japanese. It however was used as a colloquial form as well as written language in ancient Japanese. The article has studied the meaning of the classical language of「tsutsu」, focusing on the examples from classical literatures and commentaries. The classical language of「tsutsu」functioned as an auxiliary verb rather than an auxiliary word, and expressed emotion and impression when it was used to close a sentence. As an auxiliary word, it represented continuation, repetition, and parallelism, and thus its usage was different from other general auxiliary words. In addition, the study has looked into the meaning of verbs that connects to「tsutsu」through『Manyousyu』,『GenjiMonogatari』,『HekeiMonogatari』,and『Tsuredzurekusa』. In『Manyousyu』and『GenjiMonogatari』, which are the literary works of the Nara and Heian Periods when「tsutsu」played a role as everyday language, there were a number of cases wherein「tsutsu」connected to verbs that express human thought and emotion. We can also find many cases in which it connected to verbs that do not directly affect objects. This tendency was not found in『HekeiMonogatari』and『Tsuredzurekusa』, which were the works of the Kamakura period when「tsutsu」began to be used as written language. Hence, we could recognize that there is a correlation between the meaning of verbs and the conjunction of 「tsutsu」.

現代日本語では文章語として使われている「つつ」は、奈良時代や平安時代には日常語として和歌と物語等で頻繁に用いられていた言葉である。本稿では古典日本語の「つつ」の意味を注釈書と古典作品の用例をもって考察してみた。古典語での「つつ」は接続助詞よりは助動詞に近い働きをしていたと考えられるが、和歌で多用された「つつ留め」も「つつ」のこのような側面が反映したものであるだろう。また、接続助詞の働きをしている場合も、<継続><反復><並列>等の意味を表わして、条件や並立等を表わす接続助詞の働きとは違いがあった。 なお、本稿では『万葉集』『源氏物語』『平家物語』『徒然草』を対象として「つつ」に上接する動詞を調べてみた結果、『万葉集』では異り語数100,述べ語数383である。[見る]系[恋ふ]系[思ふ]系の動詞に「つつ」がよく接続していて、人間の思考や感情、心理を表わす語に「つつ」がよく接続したことが確認された。『源氏物語』の中で「つつ」に接続した動詞の異り語数は352,述べ語数は713であり、『万葉集』で高い使用頻度であった[思ふ]系、[見る]系に「つつ」が接続した例が多かった。ただし、[言ふ]系の多用は『万葉集』とは異る点で、それ以外は韻文と散文といったジャンル的違いによる「つつ」の上接語の差異は見られなかった。すでに「つつ」の文語化が進んだ時期であったと思われる鎌倉時代の作品である『平家物語』と『徒然草』には「つつ」の使用も少なく、『万葉集』や『源氏物語』で見られるような語彙的意味特徴の傾向性も認められなかった。

The study analyzes the grammatical characteristics of four Japanese sentence patterns in terms of TORITATE, considering the Toritate adverbs in modern Japanese such as "musiro, dotirakatoieba, kaette, isso" as comparative and selective adverbs. These adverbs have a focused topic selected by comparing a focused topic with non-focused topics. All four sentence patterns can be under the category of comparative and selective adverbs, considering the following two common factors: there is no co-occurrence of the expression that excludes non-focused topics; the level of a focused topic is higher than comparative non-focused topics. However, each sentence pattern has different characteristics individually. For example, "musiro, dotirakatoieba" may be interpreted into two ways, affirmative and negative non-focused topics, but "kaette, isso" may be only interpreted as negative non-focused topics. Also, in terms of the predicate expression, four sentence patterns are distinguished by "isso" that has co-occurrence restrictions and "musiro, dotirakatoieba, kaette" that has no co-occurrence restriction according to the relation of modal forms.

本稿は、現代日本語の「とりたて」機能を有するとされる表現形式のうち、「むしろ・どちらかといえば・かえって・いっそ」の4形式を取り上げ、とりたての観点からそれぞれの形式の文法的特徴を明らかにしたものである。まず、これらの4形式は、すべて自者と他者との比較を通じて、自者を選択する副詞であり、そのため他者の存在を放棄する表現(「いずれにせよ」「何がなんでも」「何はともあれ」等)とは共起しない。また、比較される他者より自者の程度・量が多量であることという3点が一致し、すべて「比較選択副詞」という一つの範疇に属され得るが、個別形式の特性には相違が見られるということが明らかになった。具体的に、「むしろ・どちらかといえば」は他者否定・他者肯定という二つの解釈が許容されるが、「かえって・いっそ」は他者否定の解釈しか許されないという違いがみられる。また、文末表現との関係から見ると、こられの形式はモダリティ形式との関係によって「いっそ」と「むしろ・どちからといえば・かえって」に二分できる。前者は共起制限をもっているが、後者はそのような制限は目立たない。しかし、4形式のいずれも他者の存在を許容するモダリティ形式(「ほうがいい」「すべきだ」「てもいい」)との共起は可能だが、他者の存在を許容しないモダリティ形式(「ていい」)との共起は許されない点が一致する。

The study considered about one side of usage of vocabularies related to KAZOKU in a written Japanese language. The subject of analyzation was ‘Headline Database of Newspaper Articles by KOKKEN’’ which contained 137,000 cases of newspaper articles. They were collected from points of view on ‘Japanese language’ and ‘Japanese language life’ from 1949 to 2007. 402 cases of newspaper articles included a word KAZOKU. Numbers of newspaper articles related to KAZOKU were generally increasing. The main topics were <family name> in 1976 and 1986, <separate surnames for married couples> in 1996. There were various topics such as <communication methods among family> and <family care> in 2001․2004․2005․2006 and 2007. According to those topics, there was a rapid increase in newspaper articles related to KAZOKU in those years. Topics about <surname>, <family conversations and methods>, <language life and education> and <family life> were 345 cases out of 402 cases. Vocabularies related to KAZOKU were classified into three groups. As a result, the first group <KAZOKU> had main indications of ‘the formation of family’ and ‘family connectedness.’ The second group <KAZOKU at the front> had a main indication of ‘family unity’. The third group <KAZOKU at the back> had main indications of ‘the size of family units’, ‘designation of family’ and ‘maintenance of warm family atmosphere’.

1949年以降2007年まで「言語」「言語生活」という視點で収集した137,000件の新聞記事資料「ことばに関する新聞記事見出しデータベース」(国立国語研究所)を分析の対象に、文章言語における「家族」関連語彙の使用の一面を考察した。 「家族」が含まれている記事は402件で新聞記事資料の約0.3%を占めている。「家族」関連記事の件数は全体的に増加する傾向であり、1976・1986年は<家族呼称>、1996年は<夫婦別姓>という中心主題で、2001・2004・2005・2006・2007年は種々の<家族間の意思疏通手段>と<家族介護>などの多様な主題により、「家族」関連記事が急増する様相が見られる。<姓名><家族対話およびその手段><言語生活および教育><家族生活>という主題の記事が合計345件で、402件の86%に至る。 「家族」関連語彙は完全一致(「家族」), 前方一致(「家族+○」, 後方一(「○+家族」)に分類して分析した結果、完全一致は家族形成や家族紐帯感、前方一致は家族一体感,後方一致家族単位の大きさや家族指定,家族的雰囲気の維持に関わる提示形態が主をなしている。

본 논문은 동영상을 이용하여 일본어「ひらがな의 쓰는 순서」를 중심으로, 언어교육을 향상시키기 위한 구체적인 방법을 연구하는 것을 목적으로 한다. 이 동영상을 이용할 수 있는 정보기기의 종류로는 여러 가지가 있지만, 본 논문은 주로 유비쿼터스(Ubiquitous)환경에서 이용할 수 있는 Mobile(HandPhone)을 대상으로 하였다. 본 논문은 일본어 학습자 중에서 초급자를 대상으로 일본어의「基礎的文字」=「ひらがな」를 보다 빨리, 그리고 보다 확실하게 습득시키는 것을 목적으로 한다. 또 유비쿼터스 환경에서 이용할 수 있도록 종래의 음성언어와 문자언어를 <映像言語化>하는 것이 목적이기도하다. 제작 기법에 있어서는 와핑(Warping)기법과 몰핑(Morphing)기법을 적절하게 이용하여, 각각 <可視性> <可讀性>과 <可聽性>을 높였고, 동영상을 이용한 언어 학습방법 = 유비쿼터스(Ubiquitous)환경을 이용한 방법은 지금까지 수동적이고 정해진 장소에서만 학습하 는 상황에서 탈피하여, 본 연구가 목표로 하고 있는 <동영상을 이용한 언어 학습 연구>에 의해, 모바일뿐만 아니라 여러 가지 단말기 종류나 네트워크 환경을 이용하여 <언제든지> <어디에서나>, 학습자의 희망에 따라 학습을 전개할 수 있다고 생각된다. 본 연구는 필자가 특허를 취득한 (2005年 10月 07月)「동영상을 이용한 언어 학습 방법」(韓国登録特許 : 第 0521724 号)의 성과를 기반으로, 일본어의 기초문자를〈映像言語化〉하는 것을 목표로 하고 있다.

This thesis has aimed to research a concrete method to promote the language education by using Movint mainly on Japanese "Order of writing of the hiragana". Chiefly for mobility in an ubiquitous environment in this thesis though there was variously kind of the information device for which this kind of Movint was used from the beginning. In this thesis, it aims to provide for South Korean's Japanese first learner, and to acquire Japanese "Hiragana "Basic character" earlier, and more certainly. Moreover, it aims to do past oral and the character language in < image language making > to install it in an ubiquitous environment. In the production technique, 〈visibility〉has been improved respectively by appropriately using Warping technique and Morphing techniques. Ubiquitous of method using Movint of Language Learning It gets rid of the situation of studying as passively as the situation to date only in the decided place, and because not only Mobile but also various terminal units and networks are used by research>, study of Language Learning using the aimed <Movint seems that it came to be able to begin by <At any time><always hope of> and the learner anywhere the present study the method using the environment. In the present study, it aims doing a Japanese basic character in 〈image language making〉based on the result of "Method of Language Learning using Movint" (The South Korea registration patent: No.0521724) in which the author acquired the patent before (July October, 2005).

본 연구에서는 한일대학생을 대상으로 대화의 상대를 ①자신보다 사회적 지위가 높은 사람, ②자신과 사회적 지위는 같으나 나이가 많은 사람, ③자신보다 사회적 지위는 낮으나 나이가 많은 사람의 세 그룹으로 분류하여 각각의 그룹을 다시 친한 사람과 친하지 않은 사람의 그룹으로 나누었다. 한일대학생의 경어의식과 경어행동을 조사하여 공통점과 상이점을 밝히는 것이 본 연구의 목적이다. 그 결과는 다음과 같이 요약할 수 있다. 1. 한일대학생간의 경어의식비교에서는 자신보다 사회적 지위가 높은 사람에 대한 의식조사에서 가장 뚜렷한 차이를 보였다. 2. 한국인대학생이 일본인대학생에 비해 정중한 표현을 사용하는 경향이 있다. 3. 일본인대학생은 ①과②그룹을 대상으로, 한국인대학생은 ②와③그룹을 대상으로친밀도에 따라 표현을 구분하는 경향이 있다. 4. 한일대학생 모두 사회적 지위 보다는 나이를 의식하는 모습을 확인할 수 있었다. 특히, 한국인 대학생의 경향이 보다 뚜렷하다.

In this paper, three types of groups will be considered, each group consists of Korean and Japanese university students who are having a conversation with 1) a person who has a higher social standing in the community than them, 2) a person who has the almost same social standing in the community, but older than them, and 3) a person who has a lower social standing in the community, but older than them. And each three groups are divided into two groups again which are having a conversation with a familiar person and an unfamiliar person. This paper aims at finding out the difference and similarity between the Korean and Japanese students for their consciousness and behavior towards respect language and polite expressions. The results are the followings: 1. The remarkable difference between Korean and Japanese students is found when they are having a conversation with a person who has higher social standing in the community than them. 2. The Korean students tend to use more polite expressions than the Japanese students. 3. The Japanese students tend to use the selected polite expressions when they talk to the groups ① and ②, the Korean students to the groups ② and ③. 4. Both Korean and Japanese students, especially the Korean students, are more conscious of ages compared to the social standing in the community.