Earticle

1920년대 후반부터 일본은 국제적인 지위변화를 반영하여 일본의 문화와 사상을 ‘동방문화’를 대표하는 것으로 간주하여 이의 국제적 발신을 국가의 주요목표로 설정하기 시작했다. 이를 ‘대외문화사업’=‘문화외교’로 간주한 지배층은 종래의 대‘지나’문화사업을 주로 담당했던 외무성의 대외문화사업을 확대 개편하여 관민일체와에 의한 민간단체를 설립하여 본격적으로 아시아와 세계를 상대로 ‘대외문화공작’을 전개했다. 당시 일본의 지배층은 ‘국제문화사업’은 “때로는 분명히 국방의 한 요소로서 작용할 경우가 있다”고 하면서 ‘문화외교’도 정치 경제외교와 함께 외교의 3대축의 하나로 간주해야 한다는 인식을 강하게 갖고 있었다. 본고에서는 전후일본의 문화외교의 역사적 배경으로서 제국일본의 ‘대외문화사업’의 실체를 종합적으로 파악했다. 구체적으로는 지배층의 문화사업의 중요성 인식과 구상의 사적경위, 그 구상을 실천할 수 있는 체제형성과정, 그리고 탄생한 ‘재단법인국제문화진흥회’의 목적과 이념 등을 중점적으로 분석했다. 이를 통해 국제사회에 있어 새로운 지위를 획득한 제국일본이 ‘문화외교’를 활용하여 어떻게 민족문화와 정신을 고취하고 동시에 국제적 지위향상을 꾀했는가를 분석했다.

From the late 1920's, japan reflected the international status change and positively began to send a culture and idea of Japan in the international society. And the ruler class regarded 'foreign culture business' = 'cultural diplomacy' as this and concentrated the diplomatic might. In this process, japan expanded and reorganize the existing foreign culture business part and established the group by government and the people unification. In this paper, a substance the foreign culture business of the empire Japan was comprehensively analyzed in the historical background of the cultural diplomacy of the post war Japan. Concretely, the recognition toward the culture business of the ruler class, the purpose of the system formation process of practicing that and 'KBS' and ideology. Through this, analyzed whether the empire Japan obtaining the new status as to the international society utilized 'cultural diplomacy' and how the national culture and spirit were inspired and the international status progress was sought or not.

Recently, the animated debate regarding Public Diplomacy has been the focus of attention among both government officials and academic scholars. Non-militaristic diplomacy has a long and ever-evolving history. In the case of Japan, it began a campaign of public diplomacy toward the United States, Europe and Asia at the end of the 19th century. In 1929, the Carnegie Endowment planned and executed an “oriental tour” for American journalists. The purpose of my study is to explore the public diplomacy of Japanese Empire vis a vis the tour and through analysis of the declassified documents at the Diplomatic Archives of Japan. The paper clarifies that the tour was part of the public diplomacy strategy of the Japanese empire in two key ways. Firstly, the tour aimed to generate Western knowledge and positive attitude regarding the “orient.” The Japanese government intended to propagate and control its image in the eyes of the American people through the reports by the journalists in the tour. It hoped to raise American awareness of Japan within the Asian situation. A second goal was to promote a shared sense of imperialistic recognition between Japan and the U.S. The American journalists grasped the “oriental” situation by accepting Japanese propaganda during the tour. They regarded Japan as Asia’s only westernized, civilized country. The goal was to distinguish Japanese from other Asian people by the standard of “civilized” versus “barbarian.” This cynical ploy helped to maintain discrimination among the Asian countries. It was a resource for Japan to maintain its imperialistic power in the world. The use of an “oriental” tour for American journalists as a public diplomacy method for Japan thus played a key role in establishing the hegemony of the Japanese empire. This study identifies the structure and meaning of Japan’s public diplomacy in depth as a valuable lesson that still resonates today.

昨今、「文化外交｣(CulturalDiplomacy)や「広報外交｣(PublicDiplomacy)、「ソフト․パワー｣(Soft Power)は、その重要性から大きな関心をよんでいる。こうした非軍事的な手段に依る外交は、決して新しいものではなく、きわめて長い歴史を持っている。日本は19世紀末以降、欧米やアジアで対外宣伝活動を積極的に実施していた。現在、注目を浴びる「文化外交｣や「広報外交｣などは、国家による宣伝活動が持つ長い歴史的スパンのなかで問われるべきである。 本稿は1929年にカーネギー財団が主催した米国記者による東洋視察を分析することで、帝国日本による対外宣伝の実態に光をあてようとするものである。本稿では、日本外務省外交史料館で公開された外交文書「カーネギー財団主催東洋視察米国記者団｣(第1巻~第3巻)を分析史料として活用した。 本稿では、まず米国記者による東洋視察が、名目上はカーネギー財団の主催であったが、実際には日本側の主導によって行われた対外宣伝活動の一環であったことを明らかにした。そこには、次の二つの側面が見られた。第一に「東洋｣に関する知識の生産と普及である。日本は東洋視察に参加する米国記者を通じて、米国の人びとに対して、帝国の実情を伝えようとした。日本自身がつくりだした「東洋｣に関する知識を米国記者に獲得させ、米国の人びとに広めようとするものであった。ここに東洋視察の最も大きな日本側の狙いがあった。対外宣伝活動とは、宣伝者が有する物の見方-認識枠組み-を被宣伝者に対して、同意あるいは共有を求めるものであった。 第二に、日米で合意․共有された帝国主義的認識である。米国記者は日本側の働きかけを受諾し、日本側の認識枠組みを踏襲するかたちで「東洋｣を把握した。それは、米国側が日本は他のオリエンタルな国家と異なり、西洋近代的であることを承認し、日本人と他のアジア人との間に優劣をつけることを意味していた。日米で同意․共有された「東洋｣認識は、国家と民族の優劣を維持․固定化させることで、支配を確立しようとする帝国主義的な力の源泉となっていた。米国記者団による東洋視察は、帝国日本の対外宣伝活動に組み込まれた覇権の確立․拡張という狙いの一端を浮き彫りにしている。本稿は、こうした点を解明し、帝国日本による対外宣伝活動が生成した意味と構造を問うている。

陳火泉의 대표작 중 하나인「道｣은 1943년 7월에, 당시 2대 일본어잡지의 하나로 꼽혔던『文芸台湾󰡕제 6권 3호에 발표된 소설이다. 55페이지나 되는「道｣은 그 페이지수도 그렇지만, 전문을 단번에 게재했었다는 것도, 또한 그때까지의『文芸台湾󰡕에는 없었던 규모와 취급이었다. 그런 특별 대우라고 할 수있는 형태로 공개된 이 작품에 대해, 본고에서 우선 주목하고 싶은 것은 간행 당시의『文芸台湾󰡕편집자 후기에 기록되어있는 말이다. 거기에는 『文芸台湾󰡕의 편집자가「道｣를 게재함에 있어서, 얼마나 큰 희생을 지불하면서 그것을 단번에 게재했는지라고 하는 것에 대한 고심과 그 결의를 보여주고 있다. 그리고, “아무쪼록 그 이유를 독자들도 잘 생각해주길 바란다.「道｣야말로 실로 말그대로 문제작이다”라고 독자에게 그들의 고심과 결단 뒤에 있는 ‘생각’과 그 이해를 요청했던 것이다. 종래, 皇民문학인지, 항의 문학인지하는 쟁점에서 논의되는 일이 많은「道｣이지만, 본고에서는 앞서 언급한『文芸台湾󰡕 편집자들의 말에 착안하여 우선 거기에 의도된 ‘생각’"은 도대체 어떤 것이었는지에 대해 고찰하려고 한다. 그리고 전시하라고 하는 시대 상황에 있는 잡지 미디어가 맡은 국책인 선전(프로퍼갠더)이라고 하는 역할을 생각하면서「道｣를 읽는 새로운 관점을 제시하고자 한다.

Of all the works of Hou‐chuan Chen, the 55 page‐long of ‘Michi’ was published in Bunge Taiwan in July of 1943, setting the record of the journal. This paper attempts to examine rather ‘Michi’ itself than the intention of the editorial as the later called upon readers to be aware of such purpose which features the wartime journal as a media for promoting national policy.

중고부터 중세 전기에 걸쳐서 아소비는, 이마요우(今様)라 불리는 유행가요를 담당하는 중요한 자였다. 그러나 이 아소비의 실태와 그녀들의 가요와의 관련성에 관해서는 밝혀지지 않는 부분이 많다. 따라서 본 논문에서는 10세기부터 14세기까지의 모노가타리(物語)나 설화 등의 산문을 비롯하여, 와카(和歌)․한시․가요 등의 운문, 그리고 일기 등의 기록이나 회화작품 등, 다방면에 걸친 문헌에서 아소비를 살펴보았다. 우선 자료를 기초로 아소비를 가리키는 명칭이나 그 실태에 대하여 고찰하였고, 다음으로 아소비의 직능(職能) 내용, 그리고 그녀들이 어떤 자를 상대로 하였는가에 대해 언급하였다. 그 다음에 이를 근거로 불교색이 강한 설화에 있어서, 당시 아소비가 사회에서 어떻게 인식되었는지, 그리고 아소비가 스스로의 경우를 어떻게 생각했었는지를 발심․결연․출가의 관점에서 고찰하여, 나아가 그것이 전승과정에서 어떻게 변화해갔는지를 살펴보았다. 마지막으로 아소비를 둘러싼 왕생관이 그녀들의 직능인 가요와 깊은 관련이 있었다는 것을 지적하였다.

Female entertainers called asobi performed imayou (popular songs) from ancient times to the early middle ages. Despite their importance to the cultural sphere, we know little about who they were and how they performed imayou. This study is an examination of asobi figure as she is portrayed in documents from the 10th century to the 14th century. I draw on various genres of representation, spanning legends, Waka poetry, Chinese poetry, popular songs, aristocratic diaries and paintings. From these materials, I consider the origin of the term asobi, and the concrete realities of their daily lives and work. I then analyze historical shifts within the Buddhist tales that represent asobi, charting how these narratives represent the religious awakening, salvation and renunciation of these female entertainers. Lastly, I analyze the religious power of their songs, which was believed to allow them direct access to rebirth in the Pure Land.

War Painting of Japan during the Russo-Japanese War are divided into two groups which are depicted the scene of front, and the scene of the rear. The first group is consisted of paintings by painters followed the army and paintings by only imagination. In the first time of the war there were almost war paintings of imagination, the works became printed in the magazine,『Records of Russo-Japanese War日露戦争実記(Nichiro-senso-jikki)󰡕or 『New Report of Fine Art美術新報(Bijutsu-sinpo)󰡕 as the activity by the painters followed the army were increased. Almost of the war paintings which were painted during the Russo-Japanese War were based on the nationalism of Japan and ideology of the Emperor system. In their paintings patriotism were impressed and the war dead were painted as heros and they never expressed the character of the war as invasion war. There were really rare cases reflected the humanism by painting the surviving family such as Isii Hakutei石井柏亭 and Kobayashi Senko小林千古 and painting the war with sceptic view like Kosugi Misei小杉未醒.

日露戦争期における日本の戦争画は主に戦場を描いたものと銃後の光景を描いたものに大別されるが、前者の場合、また従軍した画家が描いたものとそうではない想像画の二種類がある。開戦初期から想像画が絶対的な優勢を見せたが、従軍画の活動によって実際の戦闘場面を始めとする戦場の光景が『日露戦争実記󰡕や『美術新報󰡕などの雑誌によって一般人にも見られるようになった。しかし、従軍した画家の中にも架空の場面を描いたり、天皇制のイデオロギーが徹底的に内面化した例を残した。要するに、日露戦争期における日本の戦争画のほとんどは国家主義によるもので、日露戦争の侵略戦争としての性格は表すことなく、愛国心を称え、戦死者を英雄化した。一部の例外として小杉未醒が戦争を懐疑的な見方で捉えた例や戦死者の遺族の悲しみを直接露にした小林千古、石井柏亭などの絵があり、当時のヒューマニズムを反映している。

The traditional beauty of Korea Yanagi was found to be positioned as a universal value over the East and West. And Yanagi argues that they should have saved it from the universal values he believed there was only ever the beauty of Korea to the West. This issue is related with the background of the times agreed to compress the modernization of Western modernization of Japan. Japan was therefore not in the same period in modern thinking and modern anti-Western, this is the modern Japanese people had to accept the modern recognition of a double value. In particular, William Morris tried to follow the principles of reform of the crafts of the medieval guilds had to recapture the beauty of handicrafts. Arts and social reform context advocate a return to the Middle Ages and the Industrial Revolution took place as a reaction like this Western concept of modernization in Japan was regarded as the compression remains ignored. In other words, behavior and non modern Western behavior in modern Japan it is one accepted. This point when discussing the identity of modern Japan is also therefore an important issue.

柳が発見した朝鮮の伝統的な美は東西を越える普遍的な価値として位置づけられる。そして柳は朝鮮の美が今まで西洋にだけ存在していたと信じていた普遍的な価値を持っているからそれを保存すべきだと主張する。(ブレイクからの影響)この問題は日本の近代化が西欧の近代化を圧縮して受け入れた時代的な背景とも関係がある。したがって日本では西欧の近代的なものと反近代的な思考が同時代にあったわけで、これによって近代日本人たちは二重的な価値としての近代を受け入れて認識しなければならなかった。 特に、ウィリアム・モリスは手工芸が持っていた美をとりもどすために中世的なギルドの原理に従う工芸制度の改革を試みた。このような西洋の産業革命とその反動として起きた中世への回帰を主張する工芸改革などの社会的なコンテキストは無視されたまま圧縮され日本に近代という概念として位置づけられた。つまり、西洋での近代的な振舞いと非近代的な振舞いは一つになって日本に受け入れられたのだ。したがって近代日本人のアイデンティティーを論じるときにこの点は大事な問題でもある。このような理由から二重的な振舞いが最も鮮やかに現れる柳宗悦の朝鮮民芸論を論じることによって近代日本人のアイデンティティーの問題をより具体化しようとするのである。

In this article「学校編纂教科書塩谷世弘氏所撰中江藤樹一段録｣written by Yo Kyuhyung (呂圭亨) is discussed. Yo Kyuhyung presented this article to 『Kyonghakwonn(經學院) magazine󰡕Vol. 3 in 1914 after he finished Nippon Travel for three weeks. His article was inspired from Nakae Toziu's(中江藤樹) Biography which he read at department of humanities University in Tokyo Imperial University on April 18, 1914 . It was consisted of Introduction and Biography written by Sionoya Seiko(塩谷世弘). Yo Kyuhyung expressed a praise for a unification of the mind and the deed(practice-oriented study method of Toju Nakae) and criticized Korean scholars at those days. Yo Kyuhyung thought the colonist Korea as modernization, but evaluated the intellectual system as uncompleted system. Yo Kyuhyung thought Toju Nakae's thought as a figure at those time of Korea. Such a distorted thought agreed with modernized doctrines of Wang Yang-ming and Mishima(三島中洲). Yo Kyuhyung and Mishima pursuited of the enhanced demand at those times in the thinking that unification of the mind and the deed was an item of virtues that modern times required.

この論文は呂圭亨の「録学校編纂教科書塩谷世弘氏所撰中江藤樹一段｣に関するものである。呂圭亨は経学院の講師で約3週間の日本旅行から帰って、1914年に『経学院雑誌󰡕 3号に 「録学校編纂教科書塩谷世弘氏所撰中江藤樹一段｣を投稿した。この投稿文は呂圭亨が1914年4月18日東京帝国大学文科大学を訪問した際、塩谷世弘が書いた<中江藤樹伝>を読んだ後、それを紹介するために書いたものだ. 「録学校編纂教科書塩谷世弘氏所撰中江藤樹一段｣は序文と塩谷世弘が書いた<中江藤樹伝>の二元的構造である。呂圭亨は中江藤樹の知行合一、即ち実践志向的学問方法について賛辞を送くる一方、同時にこの観点から当時朝鮮の学者の衒學的學文(空理空談)態度を批判した。当時、呂圭亨は殖民地下の朝鮮を近代化として認識したが、彼は朝鮮では未だそんな事情に似合う知的システムは完成してなかったと批判した。それから彼は朝鮮の知識人たちに向けて有用な学問をするべきことを要求した。彼は朝鮮の学者の弊端を有用な学問に改めるために日本陽明学の始祖、孝行の典範に認めされた中江藤樹のことを学ぶべきだと主張した。彼は中江藤樹を知行合一の実践人で想定しますが、そんな解釈は当時の朝鮮の要求に応じて中江藤樹の姿を変形した点がある。このような変形は日本の近代の陽明学者、三島中洲にも同じに起きた。そのような呂圭亨と三島中洲は近代が要求する徳目の一つで知行合一という言説を主張しながら自分にそれを実践することに専念した。

Japan has begun to conduct Japanese General Social Surveys(:JGSS) from 2000 and made the raw data open to researchers. The JGSS data have the high possibility to be useful material in the area of empirical approach on Japan study. The paper tried to examine that how JGSS is composed in and what kinds of characteristics and limits it contains. It is significant features that JGSS has openness, comprehensiveness and advantageous to interdisciplinary approach, We, however, can not ignore limits such that research using JGSS raw data incurs the passiveness of study, non-time continuity and a nuance differences between languages. If Japan study by researchers puts minds on those features, we could expect that the empirical study by theory verification in social science approach make the progress in the near future.

アメリカや欧州はもちろん、韓国と中国も総合社会調査を実施している。日本においても、社会現状に対する国民の意識と行動を明らかにするために、1999年から日本版総合社会調査(JGSS)を実施しており、そのローデータを研究者に公開している。日本で実施されている他の社会調査に比べ、比較的に簡単な利用手続きによって調査のローデータがを利用できることの意味合いは重要である。すなわち、経験科学にもとづいて仮説の検証による実証分析によって日本研究を行う際、有益なデータとして用いられる可能性が高いのがJGSSである。 そこで、本稿は、日本版総合社会調査を紹介するとともにその特徴について探索的な考察を試みた。調査の特徴としては、開放性、包括性、学際研究で有益なものであることを明らかにした。一方で、その限界としては受動的な分析の恐れ、非時系列性、国際比較の際における異る言語間のニュアンスの誤謬をあげることができる。 それらを踏まえた上で実証的な日本研究を進めることは、仮説の検証による理論の一般化に貢献できることを期待する。

A national flag is a mark symbolizing a country, and the feelings about the flag are influenced by the historical interchange between the specific nations. Korean feelings for that flag are mainly caused by the complicated history between the two countries, the Japanese flag has been used as a symbol to express anti-Japanese sentiment in Korea since the Japanese colonial period in the early 20th century. By the way, in late years the Naval Ensign of Japan which is the symbol of the Japanese Self-Defense Force spreads in the name of "the Rising Sun Flag" in Korea. Some Korean entertainers wore the clothes which the flag was painted, and appeared on television. It has caused many arguments for or against mainly on a web-net, which said "the debate of the Rising Sun Flag". This debate shows the complicated aspect that previous image or symbolizing the Japanese flag is entangled in everyday life and sociality by assuming a fashion, not a national flag. what is the Japanese flag for today's youths supposed that participated in "the debate of the Rising Sun Flag"? Did the Japanese flag having been the symbol of militarism wipe out previous image? How effective will the agreeable opinion be? This report pays its attention to the Japanese flag having been spread in a fashion and the form of the game not as national flag itself with such a critical perspective. This unique phenomenon showing the sociality and the historicity of a national flag as well as the entertainment is the interesting aspect from the point of view of Japanese flag spreading. In this report, focusing on Rei Kawakubo's 2007 S/S collection, which consisted of the rising sun of the Japanese flag, I researched on the feeling of Korean university students about the Japanese flag. According to the analysis of the questionnaire, in proportion to giving historic and social information about Japanese flag, the ratios to having a feeling of refusal to Japanese clearly increased.

国旗というのはその国を象徴する標識であり、国家間の交流の歴史によってそれを見つめる感情や情調が異なったりする。日の丸に対する韓国人の感情は複雑だった両国間の歴史によるもので、日の丸は日帝強占期以降、反日感情をあらわす象徴として使われてきた。 さて、近年韓国では日本の自衛隊の象徴である旭日旗が「旭日昇天旗｣という名で普及して、一部の芸能人がこれがはいった服を着てテレビに出演したことが火種になり、ネットを中心に一種の賛否論争を巻き起こしたことがある。「旭日昇天旗論争｣といわれたこのネット上の議論には、日の丸が国旗の形ではなくファッションという媒体の形を帯びていることによって、従来の日の丸に対するイメージやその象徴性が芸術性および日常性、社会性などがからまった複雑な様相がうかがわれる。 ところで、「旭日昇天旗論争｣に参加したと推測される今日の若者たちにとって日の丸とはどういったものであろう。軍国主義の象徴として受け止められていた日の丸は、文化開放や活発な交流のなかで果たしてこれまでのイメージを抜き捨てているのだろうか。「旭日昇天旗論争｣の賛成の意見はどれぐらい有効なものであろうか。 本稿はこうした問題意識のもとに、日の丸が国旗そのものとしてではなく、ファッションやゲームの形で普及されていることに着目した。国旗のもつ社会性や歴史性と、ファッションやゲームのもつ芸術性や娯楽性のあいだにあらわれるこれらの異色の形は、日の丸の普及という面から興味深い事象であろう。 本稿では同じく日の丸のことで日本で細やかな話題になった川久保玲の2007年パリコレクションを手がかりにして、いわゆる日の丸ファッションにたいする世論の性格に迫るとともに、韓国の大学生を対象にしてこれに対する感情についてアンケートをおこなった。 アンケートの分析によると、川久保の日の丸ファッションに対する感情は日の丸にかかわる歴史的․社会的情報を与えるに連れて、拒否感をおぼえる割合が明らかに増えた。

The selection test items for secondary Japanese teachers from school year 2004- school year 2008(first), and selection test items for Japanese language school year of 2009(second) as well as school year 2009- school year 2010 tries to arrange an analysis investigation about making question tendency. To sum it up for review the analysis are as follows: First, if you try to investigate the analysis according to the standard tendency of questions in the school year 2004- school year 2008 (first) Selection test items for secondary Japanese teachers does not match with the agreement ratio average of 56.5%. Second, At the school year 2009 as well as school year of 2010 about the selection test items for secondary Japanese teachers about the tendency of questions. The selection test items for secondary Japanese teachers tentative standard does not match with the ratio average of 80.5% if you try to investigate the agreement of making questions by the evaluation area. Third, from the standard of school year 2009(second) the selection test items for secondary Japanese teachers, the contents of the curriculum learning belongs to the Japanese language surveying study and the assessment presented is independent. So the question being made was change to「An introduction to Japanese literature and Culture｣. Instead of Japanese language surveying study. And this can be able to confirm. From above problem point about the「Selection test items for secondary Japanese teachers｣reconsideration and discussion will be necessary.

「2004-2008學年度日本語科任用試驗(1次)｣と「2009-2010學年度日本語科任用試驗(1次)｣及び「2009學年度日本語科任用試驗(2次)｣の出題傾向に対する分析․檢討を整理してみると次の通りである。 第一に、「2004-2008學年度日本語科任用試驗(1次)｣の出題傾向を「任用試驗基準(1次)｣に従って分析․檢討してみると、評價領域別出題比率の平均的な一致度が56.6%に過ぎないことがわかる。 第二に、「2009-2010學年度日本語科任用試驗(1次)｣に対する出題傾向を「任用試驗基準(1次)｣に従って分析․檢討してみると、評價領域別出題比率の平均的な一致度が80.5%に過ぎないことがわかる。第三に、「2009學年度日本語科任用試驗(2次)｣の基準では「敎科內容學｣に屬する「日本語學槪論｣を獨立的な評價領域として出題するように提示しているが、「日本語學槪論｣の代わりに「日本文學槪論+日本文化｣を出題していることが確認できる。以上、考察してきたように「日本語科任用試驗｣の問題點に対する論議と再考が必要であるように思われる。

노쿄겐은 에도시대에 토쿠가와막부에 의해 공식의식용 연극으로 제정되었다. 이러한 상황 하에서 필연적으로 요구된 것은, 격식이나 祝言性(슈겐세이)었다. 쿄겐 세계에서는, 그러한 상황이 연극성이 풍부한 다이묘-쿄겐에 祝言性(슈겐세이)를 부가하고, 축의성이 풍부하며 재미있는 한 종류인「카호모노｣를 탄생하게 했다. 카호모노란 기본적으로는 다이묘-쿄겐에서 유동한 것이다. 다이묘-쿄겐을 祝言(슈겐)적인 색채를 가지고 연출한 것이며, 또, 시테(シテ,주인공)는 다이묘가 아닌 스스로를 카호모노라고 소개하는 행복한 사람이다. 그 변화의 상황은 작품의 줄거리에 따라 약간의 차이점이 있어, 본고는 다이묘-쿄겐에서 카호모노로 유동되는 변화의 흐름을「덴쇼쿄겐본｣「토라아키라본｣「토라히로본｣을 통하고 고찰하였다.

The Noh comedy was established for drama for ceremonies in the Edo era by Tokugawa shogunate government. It was formality and celebration to have been necessary under such situation. The situation had "kahomono" in the world of the Noh comedy. "kahomono" changed from a daimyo Noh comedy basically. With the thing which directed the work with a happy color, I considered a flow of the growth of those works through "Tensho kyougen book" " Tora akira book" "Tora hiro book" in this article. A work called "Aso" is a fortune's favorite thing popular with very much through the Edo era. This report considered the growth process of this work through "Tensho kyougen book" "Tora akira book" "Tora hiro book" by the latter half.

This thesis delved into the narrative effect of the Greetings and the meaning of the narrative method about Akutagawa's literature view and contemporary context instead of the established contemplation on excessively close adhesion to the Greetings on Akutagawa's personal experience. Through these works I confirmed that the meantime Akutagawa's I-novel-writing or the Greetings narrative method regarded as personal writing was adopted to discourse the creation of novel and reading process. Double-narration of the Greetings of the self-conscious narrator makes the readers to doubt the text's fiction which only remade the reality and play the active role. This metafictional factor presented the appearance of the post-modern novel although this text belonged to modernism novel. The reason why these factors in 1920's text Greetings included makes me possible to consider the Akutagawa's literature view and the Anti-Akutagawa's natural-related literature's view, and that popular readers who was fast growing in 1920's Japan literature.

本稿はあまりにも芥川龍之介の私的な経験を「お時儀｣に密着させている既存の思考から脱し、芥川龍之介の文学観と同時代を文脈に入れ、「お時儀｣の叙述効果とその叙述方式が持っている意義を考察した。このような作業を通じて今まで私小説的なライティング或いは私的なライティングと見做されて来た「お時儀｣の叙述方式が小説の創作及び読書過程を談論する為に採択されていることが分かった。「お時儀｣の自意識的な語り手の二重叙述は読者にして本テキストが現実を再現した虚構であることを疑わせる同時に読者の能動的な役割を促すことに働く。このようなメタフィクション的な要素は本テキストがモダニズム系列に属する小説であることにも関わらず、ポストモダニズム小説の様相を呈していると云えよう。1920年代のテキストである「お時儀｣にこのような要素が含まれている所以は芥川龍之介の文学観とそれに反する自然主義系列の文学担当者たちの文学観、そして当時日本文学の場で急浮上した〈大衆読者〉と関連づけて考えることが出来る。

A study has been considered the direction of 'new literature' and the view point of that literature which Kawabata had pursued. A novelty of the 'new literature' suggests diversity of recognition and aims at <renovation of recognition> and <Progressivism of mind> which are due to a high level of idealism. Kawabata had to recognize the subject of death which is caused by the orphan being. That recognition made Kawabata to be absorbed in his literature works about human relief based on transcendence of death and immortality of soul. In short, the destination of the new literature for Kawabata is a trial of making new literature form about human relief. In conclusion, the intention of creating new literature lead Kawabata who is surrounded by awareness of today's crisis to be in the condition of self-restoration and mentality deliverance.

川端は暗い文壇の局面を打ち破れるに際して、時代の要求を積極的に受け入れ、彼だけの文体的な変革を試みた作家の一人である。このような彼において、追い求めようとした新しい方向としての新文芸は何であり、その到達点はどこにあるのかを考察してみた。まず、新文芸の新しさとは認識の対象を二分しなく、對象と人間との本質を同一化して考えること。すなわち、自由な精神をもって認識の多樣性を提案した事として理解できる。言い換えれば、新感覺波を隱喩、比喩、擬人法などのような表現技法の改革にその根底を置けるとしたら、川端の場合、新文藝における新しさの方法は高い精神主義に基づいた<認識の改革>と<精神の革新主義>とを志向した事に置けるだろう。次は、彼が追い求めた方法としての新しさの到達点についてである。それは自分の現実を救うことにある。川端は孤児に始まった死の問題を認識しなければならなった。加えて、大震災の死の体験から死の超越、霊魂不滅の人間救済のための文学という‘宗教時代から文芸時代へ’のように、窮極的な課題を抱いて文藝に没入しただろう。簡単にいえば、川端における新文芸の到達点は人間救済の文学への試みにあったといえるだろう。つまり、この新しさの志向は、絶えずに現實の危機意識に囲まれていた彼にとっては、自身に取り戻すという自己回復につながるものであり、精神的な救濟の試みとして形作られたものであると理解できる。

The year 2009 is four hundred sixtieth anniversary since Japan accepted Catholic, and one hundred fiftieth anniversary since it accepted Protestant. Since then, there have been many martyrs and people who have had a great influence on Japanese society. However, the present Japanese Christians account for less than 1%, about one million, of the total population. Judging form this number, the settlement of Japanese Christianity could be viewed as failure. The reason lies in the unique religious viewpoint of Japanese, and this is confirmed in the work of AYAKO MIURA and SYUSAKU ENDO, Japanese typical Christian writers. Japanese Christianity, which had about 800,000 Roman Catholics in the early 16th century, started to have a very difficult time through a deportation order for missionaries by HIDEYOSI TOYOTOMI in 1587. About 300 years from the year 1587 to 1873, the early MEIJI, is classified as a "Christian era." Paradoxically, it was also the period of persecution with tens of thousands of Christian martyrs. The harsh persecution created so called "KAKUREKIRISITAN"(Christians in Hiding) which drew the world's attention. Meanwhile, with freedom of religion allowed by MEIJI government in 1859, many missionaries entered Japan and many influential Christians such as KANZO UCHIMURA and INAZO NITOBE appeared. However, also at this time, Japanese Christianity couldn't help being diminished because of the establishment of the Emperor system and the effect of imperialism, but these things are the only external cause, not the fundamental cause, because there is resistance everywhere when new religion is accepted. The fundamental cause is the Japanese religious viewpoint, which is pantheism, and the work of ENDO proves this. Christianity is not religion in which men go and see God, but religion in which God come and see men. AYAKO MIURA well illustrates this, whose work deals with the problem of sin as the limitation of human existence and describes God coming and providing relief for men. However, the Japanese don't seem to show a great interest in God of MIURA. Instead, they show an interest in "Mother God" of ENDO. "Mother God" of ENDO is the appropriate God for the Japanese, which ENDO, Japanese, went and found in person. God suitable for the Japanese is not authoritarian God, but loving God one-sidedly taking care of the weak, not the one and only God, but various-faced God. Because of this religious viewpoint, Western Christianity which means "Father God" and the one and only God at the same time hasn't settled down in Japan.

2009年は、日本にカトリックが入って460周年、プロテスタントは150周年となる年である。その間、日本キリスト教は数多くの殉教者もおり、日本社会に多大な影響を及ぼした人物も多数出している。しかし、現在日本のキリスト教徒の数は100万人程度で、全体の人口の1%にも満たないのが現状である。数値から見られる結果のみで判断すると、日本におけるキリスト教は定着に失敗したとも言える。筆者はその原因が日本人の独得な宗教性にあると思って、このことを日本の代表的なクリスチャン作家である三浦綾子と遠藤周作の作品を通じ確認する。 16世紀の初め、一時は80万人とも数えられたカトリックを中心とした日本のキリスト教は、1587年豊臣秀吉の宣教師追放令によって受難の期を迎えるようになる。日本では1587年から明治初期の1873年までの約300年を「キリスト教の時代｣とも分類するが、逆説的なことにこの時期は数万人ものキリスト教徒の殉教者が出る等、迫害の時期そのものであった。そしてその厳しい迫害のため、後に世間の関心を呼び起こしたいわゆる「隠れ切支丹｣さえ出てきた。一方、1859年明治政府から宗教の自由が許可されることによって、数多くの宣教師が日本に入り、内村鑑三や新渡戸稲造のような影響力あるクリスチャンも出ていた。しかしながら、この時期の日本のキリスト教も天皇制の確立や帝国主義の拡張のため、活性化には失敗してしまった。しかしこのようなことはあくまでも外的な原因に過ぎないものであり、根本的な原因にはなれない。というのは、新しい宗教が入って行く時の抵抗は、どの国においても付き物であるからである。日本キリスト教の停滞においてより根本的原因は汎神論という日本人の宗教観にあると考えなければならないし、それが遠藤の作品などから明確に確認できるのである。元々キリスト教というのは、人が神を尋ねていく宗教ではなく、神の方から人を尋ねてくる宗教である。そのような特徴をよく見せるのが三浦綾子の作品で、彼女の作品殆んどは人間実存の限界として罪のことを取り上げ、神が人の方へ尋ねてきてその人々を救ってくれることを描いている。しかし日本人は三浦の神にはあまり関心を傾けないようである。それとは対比的に、遠藤の「母なる神｣には相当の関心を寄せて、「遠藤の神なら信じたい｣という人が案外多いと言われる。遠藤の「母なる神｣というのは、西洋キリスト教の権威ある「父なる神｣とは違って、弱い人間すべてを一方的に抱き込む愛の神でなければならないし、唯一の神ではなく色々な顔を持っている神なのである。このような宗教観のため、「父なる神｣であり唯一の神を語る西洋のキリスト教が、日本ではなかなか定着できないのであると思われる。

This study aims to look at Murakami Haruki’s recognition of Mongolia located in the Asia’s periphery by means of examining both the description of Mongolia represented in his novel named ‘Nezimaki Tori Chronicle’(hereinafter Nezimaki Tori) and the note taken by him after the trip to it. ‘Nezimaki Tori’ has been regarded as the first work in which contains Haruki’s historical consciousness. In Nezimaki Tori, however, Mongolia and the Mongolian soldiers are merely provided as the setting for the Japanese force to carry out the war. On the other hand, 『Henkyo, Kinkyo󰡕, which is the note taken during this actual trip to Mongolia after his completion of Nezimaki Tori, gives us the different feeling of Mongolia from it. However, the perspective that a traveler Haruki sees the Asia’s periphery Mongolia raises the question of whether he is the writer who discovered a new aspect of the individual and the history. Nevertheless, he has been criticized by the fact that he maintained that the Nomonhan war was a typical Japanese style of war which was not prepared well regarding Mongolia and Mongolian soldiers that are used as a battlefield.

村上春樹は旅行が大好きな作家である。ベストセーラの作品もほとんど海外で書かれたものがほとんどであり、とくに旅先としてのアメリカは、春樹文学の母体でもある。春樹はアメリカからいろんな変化が起きたといい、その一つが 日本における個人を追求していくと歴史にいくしかいという春樹の歴史認識であった。しかし、いままで検討した通り、春樹の歴史認識というのはまだ、日本における個人にとどまっている。アメリカで意識の変化が、モンゴルのノモンハンには現れてない。ただ、ノモンハンというモンゴルの辺境を借りるだけであり、そしてモンゴル人としてのモンゴル兵士を他者として見ることから、春樹はどこでも関係なく、日本における個人を描くの背景が必要であった。アメリカから身につけた敗北者的帝国主義者の意識は、今度はモンゴルにむけてその役割をはたしている。

본론은 무라카미 하루키의 [노르웨이의 숲]안에서의 실제 커뮤니케이션의 장면을 재검토함에 있어서, 등장인물들의 커뮤니케이션에 부적절한 상태로서 <상처>에 주목하고 있다. 작품전체에서 보이는 <상처>에의 집착은 원만한 인간관계의 장애로 작용함과 동시에, 자기 자신 내면의 세계에만 갇히는 결과를 낳고 있다. 인물의 <상처>의 묘사는 다양한데, [나오코]와 [미도리]는, [나오코]가 죽음과 정의 이미지, [미도리]는 생과 동을 상징하고 있다. 또 <상처>와 관련된 모습도, 극도의 불안감의 표현이나 드러내놓는 대조가 관찰된다. [나오코], [나], [미도리]의 <애도반응>, <애도과정>이라는 측면과 <상처>의 형성의 관계를 규명하는 것은 <상처>의 원인을 추측할 수 있게 한다. [나오코]는 외부와 차단된 자기 방어의 세계에 머물러, 결국 죽음의 세계까지 이어진다. [나오코]와 [미도리]의 언어 환경을 <상처>의 측면에서 관찰하면, [나오코]와 [미도리]는 대조적인 존재가 아니고, 말과 사고와의 의미작용의 어긋남 이라는 부분에 있어서는 [분신], [동시적 존재]이다. 즉, 말에 대한 불안과 불신감의 표명이라는 공통점은 있으나, 내면의 상황이나 <상처>를 [나]라는 친근한 타자에게 전달하려는 노력을 보인다는 점에서 [미도리]는 회복의 가능성을 내포하고 있다. 신체를 매개로 하는 커뮤니케이션의 문제에서, [노르웨이의 숲]에서의 섹스는 말의 불완전성을 보완하려는 시도의 하나로 보여 진다. 작품 후반부의 일종의 통과의례의 의식으로 불통의 불안을 해소하려는 행위로서의 섹스는, 타자와의 접점으로서의 언어나 신체에 의한 커뮤니케이션이 좌절 되었다 해도, 새로운 신체의 커뮤니케이션이 설정되어있음을 알 수 있다. 이러한 커뮤니케이션의 범위는 확대되어, 새로운 도구로서의 편지와 전화와 연결된다. 특히 [미도리]와의 편지나 전화의 교류 중, <먹는 행위>와 관련된 부분은 생의 긍정으로 이어지며, [나]에게 있어서의 [미도리]의 존재감의 확대를 의미하기도 한다. [노르웨이의 숲]에서는 인물들의 다양한 커뮤니케이션의 시행착오가 시도되고 있으며, 폐쇄된 자신만의 세계를 떠나 최종적으로는 타자와의 연결을 발견 할 수 있다.

The subject pay attention to <wound> as unsuitable status for the communications of characters, upon reviewing the actual scenes of communication in [Norwegian Wood] of Murakami Haruki. Deep attachment to <wound> as seen in all over the work has resulted in being confined only in his inner world as well as being worked as an obstacle on harmonious human relation. Depiction on <wound> for characters being various, [Naoko] symbolizes the image of death and sentiment and [Midori] living and moving, for [Naoko] and [Midori]. And, the figure related to <wound> also is observed a contrast displaying an expression of extreme feeling of unrest. It enables to guess the cause of <wound> to examine closely the relation of the side of <mourning reaction> or <mourning process> of [Naoko], [I], and [Midori] and the formation of <wound>. [Naoko] is staying in the world of self defense isolated from the outside, and is continued to the world of death. Observing the linguistic circumstances of [Naoko] and [Midori] on the side of <wound>, [Naoko] and [Midori] are not the beings contrast to each other, but [other self], [concurrent being] on the part of crossing each other of language and thought in the action of meaning. That is, there is a common place of expression of unrest and distrust for language, but [Midori] contains a possibility to recover from a displaying point of efforts to deliver internal situation or <wound> to other intimate person of [I]. In a matter of communication making of body as mediation, the sexual intercourse in [Norwegian Wood] is seen a trial to complement the incompleteness of language. The sexual intercourse as a deed to dissolve the uneasiness of impassability through a rite of passage in a kind at the latter half of the work shows a new setting of bodily communication, though the communication by language or body as a connecting point to other person was failed. This scope of communication is expanded, and connected to letters and phones as new devices. Especially, out of exchanges of letters or phones with [Midori], the part related to <eating activity> is continued to the affirmation of lives, and also means the extension of a feeling of existence of [Midori]. In [Norwegian Wood] various trials and errors are attempted for communication, and it is finally possible to find out a connection to other person beyond the closed world only for oneself.

일본 메이지기의 조선어 회화서는 지금까지 일본어 자료로 그다지 활용되지 않았기 때문에 학계에 알려 지지 않은 자료들이 많다. 따라서 본 논문에서는 메이지 전기의 조선어 회화서에 대한 조사 보고에 이어 메이지 후기의 조선어 회화서의 목록을 제시하고, 이들 자료군을 일본어사의 연구 자료로 이용하기 위한 예비적 조사와 고찰을 통해 조선어 회화서의 특징과 그 일본어의 양상에 대해 고찰하였다. 메이지 시대의 조선어 회화서는 정치적 상황에 따라 그 출판 목적과 내용이 달라진다. 즉, 메이지 10년대에는 양국간의 교역을 위한 회화서들이, 메이지 20년대에는 청일전쟁에 활용을 위한 회화서가 주류를 이루었으나, 메이지 30년대와 40년대 후기의 조선어 회화서는 러일전쟁에 활용을 하기 위한 것, 조선의 근대화, 산업화를 위한 것, 교역 및 상업을 위한 것, 일상 생활에서 원활한 커뮤니케이션을 위한 것, 철도, 토지조사, 경찰업무와 같이 공공사업이나 공무를 위한 것 등, 그 출판 목적과 내용이 다양해진다. 또한 메이지 전기의 회화서에 비해 높은 어학 능력을 지닌 편저자들과 네이티브인 조선인의 적극적인 참여로 회화문의 레벨도 높아지고, 구성이나 표기면에서도 체제를 갖추게 되며, 오역이나 잘못된 표현들도 크게 줄어든다. 사용 대상도 메이지 전기에는 일본인들을 위한 조선어 회화서가 대부분이었으나, 후기에는 일본인을 위한 조선어 회화서이면서 동시에 조선인을 위한 일본어 회화서로도 이용될 수 있는 회화서들이 증가한다. 이들 메이지 후기 조선어 회화서의 일본어에는 당시의 일상 생활어가 반영되어 있으며, 구어적이고 근대적인 새로운 어법들을 볼 수 있다. 또한, 방언을 배제하고 표준어를 사용하려는 의식이 엿보이는 점, 그 대역에는 조선어와 일본어의 한자음의 차이를 알 수 있는 어휘들이 나타나기 때문에, 향후 근대 일본어 연구 자료로 활용가치가 높다 할 수 있다.

There are too many material on Modern Japanese to explore various field of study. First of all, there has been quite a lot of research done on English phrase books during the Meiji Era, but very little research has been done on Korean phrase books as Modern Japanese materials. Korean phrase books during the Meiji Period may be one of materials in the study of both Japanese and Korean language from the 19thcentury throughout the20thcentury at the time the Modern Japanese was established. For the purpose, a lot of materials are searched and collected from many universities and libraries throughout Japan and libraries located in Korea. The thesis describes review and survey of each material according to summary, construction, script, purpose of publication, its relationship to historical background, change of tendency or contents, and provides diverse and in-depth study on the development of the Japanese. The first, This Paper provides a ｢list of Korean phrase books｣based on the original materials kept or possessed by libraries throughout Japan and Korea. The publication particulars such as title, publication date, compiler, publication place, publisher or place where the material is located, are also indicated in the chapter. Additionally, a review on contents and characteristics of construction of Korean phrase books together with their historical background and tendency has been done to figure out overall aspect thereof. This Paper provides another new method for using the materials in the study of Modern Japanese language by reviewing summary, detailed information on authors, historical tendency on some representative Korean phrase books used widely in the Meiji Era and the characteristics and consciousness of Japanese language. Also, a review has been done on materials for study on Chinese characters by using the specific Chinese characters of Korean language and the Japanese translated Hangul.

본고는 ｢形｣을 나타내는 형용사술어문에 대하여 문형론의 관점에서 문의 구조와 단어의 의미와의 관계를 분석 고찰한 것이다. 연구의 목적으로서는 ｢形｣을 나타내는 형용사술어와 문형의 파악, 각 문형과 명사구 및 형용사술어의 의미 특징․조사의 역할 등과의 관계의 분석, ｢形｣의 형용사술어문의 주요 문형과 용법 및 문 구조의 특징의 파악 등을 들 수 있다. 분석의 결과, ｢形｣을 나타내는 형용사술어문의 주요 문형과 용법으로서 ｢N1は․が+形｣문형은 본의적 의미의 ｢形｣ 판단의 주요 용법과 실용적인 면에 있어서의 ｢形｣ 판단의 총괄적 용법, ｢N2は(が)+N1が+形｣문형은 전의적 의미의 ｢形｣ 판단의 주요 용법과 논리적인 면에 있어서의 ｢形｣ 판단의 총괄적 용법 등의 특징이 있다는 것을 알 수 있었다.

This article investigates the adjective predicate sentence exposing [katachi] from the point of the sentence pattern occurring between sentence construction and meaning of words. Particularly, this article works on the arrangement of adjective predicates and sentence pattern exposing [katachi], the meannig of each sentence pattern, words and phrases, the connection between the role of the auxiliary word and that adjective predicates, and also the use and characteristics of the principle adjective predicate sentence exposing [katachi]. As a result, there are two primary sentence patterns and uses of the adjective predicate sentence exposing [katachi]. First, the ｢N1ha․ga+A｣ sentence pattern is the generalizing use that put together the judging of [katachi] in original meaning and the practical use of that. Second, the ｢N2ha(ga)+N1ga+A｣sentence pattern is the generalizing use that put together the transitive judging of [katachi] and the logical judging of that.

본고는 일본어의 악센트 듣기를 습득하기 위한 독학용 프로그램을 제안하는 것이다. 그 프로그램이란 다음과 같은 것이다. 1. 우선 표계산 소프트에 일부 품사를 제외한 일본어능력시험4급에 해당되는 기초적인 단어들을 박수, 악센트 유형과 함께 입력하여 그것을 정렬한 것을 일본어화자가 음독해서 음성파일을 만든다. 2. 학습자는 표계산 소프트에 입력된 단어들을 악센트 유형별로, 박수별로 정렬하여 음성파일을 듣는 것으로 인하여 같은 박수, 같은 악센트 유형을 가진 단어들을 계속 듣고 머릿속에 특정 박수, 특정 악센트 유형의 모델 단어의 음성메모리를 만든다. 교사는 적당하게 학습자 어려워하는 악센트 유형에 대해서 피드백을 하는 등 학습자를 도와주면 더욱 효과적으로 이 프로그램을 사용할 수 있다. 　필자는 이 프로그램을 필자가 담당하는 수업의 수강생들에게 공개하여 학기 후반에 악센트 듣기 시험을 실시하는 것을 공지한 뒤 학습자에게 독자적으로 훈련하도록 지시하였다. 프로그램을 공개하고 나서 12일 후에 악센트 듣기 시험을 실시한 결과, 프로그램 공개 전에 실시한 제1회 시험과 공개 후에 실시한 제2회 시험까지 약 1개월 동안 별도로 악센트 듣기나 발음연습을 하지 않았는데도 전체 정답률이 10.61포인트 상승했다. 그뿐만이 아니라 한국어화자 어려워하는 악센트 핵이 있는 박자 직후에 특수박이 나타나는 경우에서의 정답률도 21.92포인트 상승했다. 　원래 음성교육은 학습초기단계에서 실시해야 되는 것이다. 그러나 여태까지 한국의 고등학교 등에서는 악센트 교육을 실시하지 않는 경우가 많았다. 중요하다는 인식하고 있어도 대다수의 비원어민 교사들에게는 일본어 악센트 교육은 버거운 것도 큰 원인 중 하나였다. 그 어려움을 해소하는 수단으로서 본고에서 제안한 프로그램이 기여하는 바가 있으리라 생각한다.

This paper suggests about a program to educate oneself on mastering acquisition of Japanese accent. The program is as follows. 1. At first, the program was made by typing the words that are set as word of JLPT level4 on a spreadsheet(the words were typed with the numbers of mora, and position of accent peaks). And the audio file formats was made on the words that was read by Japanese speaker. 2. Students range the words on the number of mora and position of accent peaks. And then students listen to the audio file formats and get accustomed to the Japanese accent. Teachers should sometimes test their students and give suggestions to them about which accent type is difficult for them. And then this program will be much more useful. 　A test to check efficacy of this program was done in the class the author was in charge of. The test was done 12 days later than the program was exhibited. Although students had done nothing about Japanese accent in our class but this program, the percentage of acquisition rose 10.61%. Especially acquisition of the accent types that is difficult for Korean people(the words that have special mora right after accent peaks) rose 21.92%.

This study is in computer-mediated communication in a blog following text composing type for the writer and reader this statement and have any intention, and examine what may be reflected in embodiment. The second linguistic form which, in addition, was reflected in this way investigated how the writer in the blog, the embodiment of the reader were reflected by second linguistic symbol such as layout constitution of the blog, the constitution of the text to be concrete whether it was accepted communication participant. When it compiles the result, it seems to be next. Primarily, through 50 investigation for the popular blog, I understood that a characteristic and the consciousness of the side that administered blog and blog gave big influence to composing type of the blog such as the size of the letter including the constitution of the template, the degree of begin on a new line. As for this, it seems with the consideration to make it the sentence that it is easy to read to a communication participant simply, but it seems that a text composing type as an element showing one's preference or character and the identity that said in the imagination space that is homogeneous in a no personality mark acts. Second, the second linguistic form of blog made by a positive intentional strategy to win of the writer of blog connected it to the network and investigated it how you were concerned with a change of the body of the side that read a text. As a result, I understood that the convenience characteristics of the reader did not always accord with the intention of the writer. For example, I needed many efforts for the side to read visually, and the template of three columns understood the thing that I had a long in time to really suffer from the acquisition of the information of the same contents. Third, through two investigation mentioned above, I understood that the new embodiment which was beyond the embodiment that I put much importance to appeared in the sense of sight. and put the communication that made a computer performed depending on sight mediation, and the information disadvantageous visually is against a point called the transmission of the correct information that is a function of basics of the communication mainly. However, the communication participant is going to overcome such a disadvantageous sight by using the mouse, and it is thought that this functions with a role to make up for sight secondarily.

本研究はブログというコンピュータを媒介にしたコミュニケーションにおける2次言語形式が、文を書く側とこれを読む側にとって、どのような意図と持ち、どのような身体性で反映されるかについて考察したものである。具体的にはブログにおける書き手、読み手の身体性がブログのレイアウト構成、テキストの構成などの2次言語形式にどのように反映されるのか、また、このように反映された2次言語形式がコミュニケーション参加者にどうように受け入れられるのかについて調査した。 その結果をまとめると次のようである。 第一に、50の人気ブログを対象にした調査を通じ、ブログとブログを運営する側の特性と意識がテンプレートの構成を始めとする文字の大きさ、改行の程度など、ブログの組版に大きな影響を及ぼしていることを分かった。これは単純にコミュニケーション参加者に読みやすい文にするための配慮とも思われるが、無個性的で、均質的な仮想空間の中で、自分の好みや性格などといったアイデンティティを現わす要素として2次言語形式が作用していると思われる。 第二に、このようなブログの運営者(または書き手)の積極的かつ意図的なストラテジーによって作られたブログの2次言語形式が、ネットワークに接続し、テキストを読み取る側の身体的変化とどのように係わっているのかについて調査した。その結果、書き手の意図と読み手の便宜性が必ずしも一致しているわけではないことが分かった。たとえば、3コラムのテンプレートは読む側には視覚的に多くの努力を要し、実際に同じ内容の情報の取得にかかる時間も長いことが分かった。 第三に、上記の二つの調査を通じ、視覚に偏重した身体性を超えた新しい身体性が現われていることを分かった。主に視覚に依存して行われるコンピュータを媒介にしたコミュニケーションいおいて、視覚的に不利な情報はコミュニケーションの基本的機能である正確な情報の伝達という点に反する。しかし、コミュニケーション参加者は、マウスという媒体を用いることによって、このような不利な視覚を克服しようとし、これが視覚を補助的に補う役割と機能を果たしていると考えられる。

This paper analyzes words used in Middle School Japanese textbooks (8 types) that reflects the 2007 revised National Curriculum. The main findings are as follows: (1) Average number of words used in 8 types of textbooks are 355 words(304-412) and 73 number of type words are commonly used. Commonly used number of tokens make up 66.2% in more than 4 types of textbooks. (2) For verbs, 89 total number of different word types and 241 total number of tokens are used. Verbs such as iku, suru, miru(common words in 8 textbooks) negau, musubu, moeru, niau(JLPT vocabulary, level 2) are observed. (3) For true adjectives, 38 total number of different word types and 97 total number of tokens are used. True adjectives such as ii/yoi, oishii(common words in 8 textbooks), sugoi, ureshii, yoroshii, umai, subarashii(JLPT vocabulary, level 3) are observed. (4) For adjectives-verbs, 15 total number of different word types and 42 total number of tokens are used. Adjective-verbs such as suteki(da)(JLPT vocabulary, level 3), zannenda(JLPT vocabulary, level 3) are observed. (5) For foreign loan-words, 130 total number of different word types including 74 proper nouns are used. Foreign loan-words such as sakkā, jūsu, purezento, rāmen(common words in 8 textbooks), raisu(JLPT vocabulary, level 1), aisukuriimu, kādo, kurisumasu, gēmu, jūsu, sukii, baibai, mēru, menyū(JLPT vocabulary, level 2) are observed. (6)For basic communication expressions, 42 total number of different expression types and 205 total number of tokens are used. Expressions such as arigatō(gozaimasu), itadakimasu, ittekimasu, itte(i)rasshai, okaeri(nasai), ohayō(gozaimasu), omedetō (gozaimasu), konnichiwa, konbanwa, sayo[ō]nara, ja[ā]ne, sumimasen, tadaima, hajimemashite(common words in 8 textbooks) arigatō, ittekimasu, okaeri, ohayō, omedetō, oyasumi, ogenkidesuka(JLPT expressions, level 2) are observed.

本稿では、2007年改定教育課程による中学校日本語教科書(8種)の語彙について調べた。その主な結果は次の通りだ。 (1)8種の教科書で使われた語彙数は平均355語(304〜412語)で、共通に使われた異なり語数は73語である。4種以上の教科書で共通に使われた延べ語数は66.2%である。 (2)教科書で使われた動詞において、異なり語数は89語で、延べ語数は241語である。｢行く、する、見る｣(8種での共通の語彙)、｢ねがう、むすぶ、もえる、にあう｣(日本語能力試験の2級の語彙)等が見られる。 (3)教科書で使われた形容詞において、異なり語数は38語で、延べ語数は97語である。｢いい/よい、おいしい｣(8種での共通の語彙)、｢すごい、うれしい、よろしい、うまい、すばらしい｣(3級の語彙)等が見られる。 (4)教科書で使われた形容動詞において、異なり語数は15語で、延べ語数は42語である。｢すてき(だ)｣(2級の語彙)、｢ざんねんだ｣(3級の語彙)等が見られる。 (5)教科書で使われた外来語において、異なり語数は130語(固有名詞の74語が含まれている)である。｢サッカー、ジュース、プレゼント、ラーメン｣(8種での共通の語彙)、ライス(1級の語彙)、｢アイスクリーム、カード、クリスマス、ゲーム、ジュース、スキー、バイバイ、メール、メニュー｣(2級の語彙)等が見られる。 (6)教科書で使われた意思疎通の基本表現において、表現の異なり数は42個で、延べ数は205個である。｢ありがとう(ございます)、いただきます、いってきます、いって(い)らっしゃい、おかえり(なさい)、おはよう(ございます)、おめでとう(ございます)、こんにちは、こんばんは、さよ(う)なら、じゃ(あ)ね、すみません、ただいま、はじめまして｣(8種での共通の語彙)、｢ありがとう、 いってきます、おかえり、おはよう、おめでとう、おやすみ、おげんきですか｣(2級の表現)等が見られる。