Earticle

在現代多樣化的文化時代，有必要重新考察烈女的女性文化价値。所以從中國劉向的《列女傳》的輸入過程和其內容中，可分出貞節型和孼嬖型,幷看到性文化的矛盾。通過韓國《烈女傳》的烈女之烈行的分析，可歸納出殉節的烈女和守節的烈女二个類型。由經濟貧困帶來的商品化現狀和自由奔放的性文化意識引起了現代女性性文化的矛盾。由此出現兩大价値觀卽人性和作爲人格敎養體的烈女傳統之間的混亂。

This paper aims to examine the character of NAHEE. The characters of DOJIN NAHEE are as below. First, 'DOJIN PYUNGANNA' is performed in 28 chapters from <GAEDAN> to <ANHYEONGHWA>, consecutively. <DOJIN PYUNGANNA> is divided into 3 stages as <GAEDAN>, celebrant invokes the god, <NAHEE>, which is the body of the religious ceremony and <PEDAN> which sends off the god their return. Second, <NAGUK>, which is religious ceremony, is a part of <PYUNG ANNA>, an independent unit itself and composed of a compound structure which reiterates "the exorcism of evil spirit". The reiteration of "the exorcism of evil spirit" is understood as the reaffirmation of the petition which prayed for in the <NAHEE>. Finally, unlike the Korean "GUT", <NAHEE> is performed as a contract reflecting the economical character of chinese tradition.

This research inquires into the literature and politics of the Omi Dynasty (A.D. 667～672), which is regarded as 'a great transitional period' in the history of Japanese culture. The Omi Dynasty, which was established after the fall of Baekje, was a period in which Baekje's exiled intellectuals had a great influence on the history of Japanese culture and the development of the Ancient Japan through profound participation and activities in politics and literature of that time. Therefore, this paper examines the contributions to and the roles in the Omi Dynasty's literature and politics performed by the exiled intellectuals from Baekje, and explicates their influence on Japanese history and the cultural history of Japan and its meaning. As a result, it is shown that in the political and social stability of the Omi Dynasty, the knowledge of the exiled intellectuals from Baekje, who were experts in administration, military tactics, law, education, medicine, Confucianism, the Yin-Yang, and Chinese literature, was greatly utilized in constructing the Ancient Japan. The exiled intellectuals especially played an active part in scholarship and literature. It was these exiled intellectuals with profound knowledge who took the responsibility of education necessary for training talented men in the first public school in Japan. Chinese literature became popular for the first time in Japan and the traditional Japanese poetry (the Manyoshu's Poem) was highly developed, and these were due to the Omi Dynasty's splendid court culture and literary atmosphere lead by the exiled intellectuals who had rich academic attainments. Therefore, it is possible to conclude that the Omi Dynasty's scholarship and literature were initiated and lead by Baekjae's exiled intellectuals, and the Omi Dynasty can be said to be a great transitional period in the history of Japanese literature as well as a decisive opportunity to bring about the development of Japanese literature and the Manyoshu's Poem. Baekje's elegant and graceful culture was transplanted on a large scale in the Omi Dynasty, and the Dynasty was newly born politically, socially and timely with no similar cases in the history of Japan being found. Furthermore, Baekje's exiled intellectuals were active politically being able to practice advanced politics, which after all brought a turning point in Japanese history to develop greatly. Therefore, the significance of the Omi Dynasty's literature and politics toward the history of Japan and of its culture can be concluded as immense.

Love is indeed a central topic in about 270 songs compiled in “Manyoshu"written by clearly identified female writers. However, it is hard to find songs talking about aging in life. The typical song-writers talking about the rare issue are Isigawanoiratzme (石川郞女), Automonosakanouenoratzme (大伴坂上郞女), and Kinoiratzme (紀郞女). Although Isigawanoiratzme (石川郞女) is an old woman, she describes the story of falling in love as if she was young. The old lady portrayed as an aged woman (古りにし嫗) in the story is likely tobe in love and also suffers from the troubles of love many times in her life. Automonosakanouenoratzme (大伴坂上郞女) depicts the ardent passion of love as much as someone loves "until the days of black hair becoming white hair" (黑髮に白髮交じり老るまで). Although there is a usual expression of "falling frost" for aging, she intentionally describes it with the term of "white hair". The expression of "until the days of frost falling on black hair" defines her sorrow with the passage of time and pain beyond endurance while living a life, whereas the expression of "white hair" implicates becoming old as time goes by. Kinoiratzme (紀女郞), corresponding many verses with Automono yakamochi (大伴家持), illustrates her own feelings as she behaves "actions in a graceful manner (神さぶ)" as an old partner in terms of "whether she is too old to love or not ((神さぶと否にはあらず)". By making a song with the subject of 'getting old' that should not be necessarily explicit, she seems to take a provocative attitude toward her love on purpose. It is believed that such humors in love songs are used to verbalize their feelings more deeply than ever. As mentioned above, the female writers who has introduced the conception of "getting old" into love songs occupies a position of a "female leader". The "female leader"means those are selected by their brilliant talent, aptitude, and dignity, representing their own family. That is why they are supposed to manage the term "getting old"in their works. Consequently, this fact would help presume the possible locations where they could enjoy making songs about "getting old". It allows more studies on the subject needed to be done in the near future.

本稿は 韓ㆍ日兩國の音韻現象の中の一つとして日本語の「ハ行轉呼音」と韓國語の「ㅂ(P)変格用言」と呼ばれるものとを取りあげ、比較ㆍ考察したものである。 日本語の「ハ行轉呼音」の「w化」は、ハ行子音の摩擦音化(ɸ化)と連動した変化であり、韓國語の「ㅂ(P)変格用言」は「ㅂ(P)」が母音間に挾まれる際、p(b)→β→w(φ)のような変化を起こした現象である。 日本語の語頭の「ハ行子音」は、奈良時代では中國語の[p]と同じであったか、あるいはそれに近い音であったと考えられる。九世紀後半ごろのハ行子音の音価については、「p音の分裂」が起こったので、一般語はp>Φ>hという変化を辿ったが、語中ㆍ語末においては前後の母音に影響を受けて 「w化」が起こった。日本語の「ハ行轉呼音」の「W化」現象は、日本語だけに限られる現象ではなく、母音や開音の間で[P]音の弱化ㆍ脫落する言語一般的な現象がAltai諸語、特に韓國語の「ㅂ(P)変格用言」と非常に類似した音韻現象として現れる。韓國語の場合は、無聲音であったものが母音間で有聲音化したものと、もともと有聲音であったものとが存在してきたと考えられる。 韓國語の「ㅸ(β)」音は、構造的に制限された分布上の片寄りを持っており,有聲的な環境の中でのみ現れるのを特徵としている。その理由から言語史の中で一早く、その姿を隱してしまったと解釋できる。 このような兩現象は、前後の母音に影響を受けて「有聲化とゆるみ」とを同時に生じたところのいわば「環境同化」なのである。 從來の兩國の音韻史の硏究では、この種の類似した音韻現象を論じることが少なかったので、本稿は、こうした一つの試みでもある。

It has some paradoxical aspects to answer to the question: "what is soul in Buddhism?" It is for the reasons that Buddhist fundamental doctrines teaches that there is no individual, transmigrating, and eternal entity at the level of "ultimate truth", nevertheless, it is never denied that there are more or less stable persons, namable and humanly recognizable at the level of "conventional truth". Buddhist literatures use many of the same terms to connote the individual persons as do the Upanisadic and Vedantic tradition in India, the most common being, atman, purusa, jiva. Abhidharma texts frequently employ the term pudgala to refer to that aspect of a living being that makes it distinct from other creatures, Such well-known works as Theravadin Milinda-panha employ such terms as vedagu to refer to a fully sentient being, and Mahayana Lankavatara Sutra speaks of tathagatagarba(the womb of suchness) and alayavijnana(the store of consciousness) when discussing the process of understanding, the nature of awareness, and the place where such awareness resides in the human being. Buddhist texts in general, then, acknowledge the existence of a self as an entity that distinguishes one individual from another, that serves as the center of intellect, will, and moral agency, and that is understood to be the source of human perfection. We must be careful, however, no to confuse the concepts between what exactly is being denied here and being acknowledged. Buddhist traditions as a whole tend to acknowledge the soul as what might be termed a functional self on the one hand. It is true that this tendency make permit Buddhist laymen to acknowledge the soul as an ontological, permanent substance. But such an acknowledgement is valuable at the level of conventional truth in all respects, rather than at the level of ultimate truth. Buddhist concepts of the soul are based on this twofold system of truth.