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As Bakhtin points out, all language, whether written or spoken, is “dialogic”. The major difference between written and spoken language is whether it utilizes paralanguage or not. Although written language has no means to utilize paralanguage, it has variety of ways to supply the information that paralanguage conveys. In this paper, I analyze newspaper articles to find out the means the writers use to communicate with readers. Then I point out what we need to note when we write academic papers.

This paper attempts to consider syntactic sentence types in passive sentence shirareru, focus on correlation between structure types and morphological properties of passive verb. We classify types of passive sentence shirareru as A to C, and analyze properties of complement which has relevance to subject and features of agent. 　A① [hito-ga hito-ni N-wo shir-areru]　 　B [hito-ga hito-ni ∼to shir-areru] 　A② [hito-ga hito-ni N-wo shir-areru]:[kao-wo shir-areru][sonjai-wo shir-areru] 　C [hito-ga hito-ni ∼toshite/to shir-areru] A② and C are events by many unspecified people, it represents characterization of subject, meanwhile A① and B represents affectivity of subject from event. A① and C have different characteristics on morphological properties of V-rareru, specifically in type of modality and aspect that frequently appears. There are differences between these two types in grammatical functions. When shirareru appears in renyoke, they have differences in the contents of the main clause. Main clause of A① indicates undesirable condition for subject, whereas C indicates neutral description of subject. In rentaike, they have dissimilar features in semantic relation between modified noun and modifier clause. In shusike, A① collocates with modality frequently, while C appears frequently in the form of shir-are-teiru, or shir-rareru.

The Sino-Japanese Verbs of [V+N]type can be used some section that relative the noun element or cannot it. In the case, but, the Chinese of [V+N]type can’t be usually used it. In the result, the equivalent words of [V+N]type are varied between the Sino-Japanese Verbs and the chinese. In the sentence with not an indirect object(the ni case) or a direct object(the wo case), Sino-Japanese Verb and the Chinese can be used same letters(alphabets). In the sentence with an indirect object(the に case) or a direct object(the wo case), however, Sino-Japanese verb and the Chinese cannot be used same letters. At a time like this, the Chinese system is had an independent structure is ｢ba＋something＋VN｣ type, which is the object before the verb. There are the verbs of [V+N] type in Chinese. one case can be used like a vocabulary, another case needs a kind of new noun ,which is an indirect object(the ni case) or a direct object(the wo case). The other case, it equals the Sino-Japanese Verb. The equivalent for the word is varied since the diverseness makes a start to the difference of the meaning and the grammar between two languages. That is, the Chinese language rarely gets the section in sentence , the Japanese language has a unique sentence structure and the letters of Sino-Japanese are not always same the china alphabets. I think to needs the study is some inconsistency between the Sino-Japanese Verb systems of [V+N] type and its grammar. Accordingly I should study the point later.

Multimedia corpus enables researchers to observe both spoken sentence materials and the nonverbal expressions of speakers. To undertake a contrastive study of the language behaviors of Japanese and Korean speakers, I have established the multimedia corpora of Japanese and Korean talk shows. Improving upon the previous settings of the corpora (e.g.,these featured inconsistency in the number of transcribed spoken sentences materials in one unit cell, or the length of time of the video record capturing each speaker varied), I analyzed the ways the demonstrative pronouns of deixis, kore and yi-geot, were used in real dialogues. The comparative analysis of the two corpora revealed that kore is used to demonstrate the very things that are indicated, whereas yi-geot is used to demonstrate the gestures and the action movements of the speakers who use it. As pointed out, the scenes that included the speech acts of kore and yi-geot are not identical in the corpus of Japan or of Korea. In other words, the scenes that feature the two words in each corpus draw upon different situations and themes in the talk shows. Therefore, one should consider such differences in the corpora that were studied for this paper when researching the language behaviors of Japanese and Korean speakers. In order to reach a fuller understanding of the differences in the scenes of these languages as they were spoken, I further investigated the usages of words other than those studied in this paper.

This paper is an empirical research, attempts to clarify the patterns of dialogue for improving Japanese language education through IF analysis(initiative‐function analysis). This study clarified the patterns of dialogue for improving education practice have a three types. One is ‘verbalizing type’, another is ‘analyzing type’ and the other is ‘restructuring type’. Thus it is be clear for improving Japanese language practice, one is to make a chance for collaboration with teachers have different fields or believes, another is to develop the capability of a facilitator and the other is prompt to ‘emergence’ through dialogue with teachers.

‘Readability; 可読性 kadokusei’ is be briefly summarized in the “degree can read and understand the text” or “degree of readability of the text”. It can also be used as a measure to assess the level and degree of difficulty of the text by such readability is to be quantified. For effective Japanese education, this study aimed to fine the way how to apply Japanese text readability formula and the program that made with this formula in the actual education. To be more specific, this study examined the correlation between the qualitative evaluation results and quantitative evaluation result(text readability numerical value, JR value) for writing homework(35 students majoring in Japanese of D university submitted 199 pieces of writing challenge) calculated using the ‘AJ-JpnRa-Tool’. As a result, We were able to verify the significance of quantitative evaluation method with “AJ-JpnRa-Tool”. In addition, “AJ-JpnRa-Tool” analysis results on the Chinese characters that were analyzed and the use of readability for the Japanese text with is, not evaluation of writing text only, of Japanese grammar and reading comprehension for the guidance of the Japanese, etc. It has been found that can also be applied when selecting the text of as a teaching tool.

｢可読性；readability｣は｢テキストを読んで理解できる程度｣或いは｢テキストの読 みやすさの程度｣に簡単にまとめられるが，このような可読性は数値化することに よってテキストのレベル及び難易度を評価する尺度としても使用できる。本稿では効 果的な日本語教育のために，このようなテキストの可読性公式とそれを基盤として作 られたプログラムを実際の教育現場で応用する方法に関して考察を行った。具体的に はD大学の日本語を専攻する学生35名が提出した199件の作文課題を可読性分析プロ グラムである｢AJ-JpnRa-Tool｣を使用して算出した定量的評価結果(テキストの可読 性数値，テキストのレベル，JR値)を，同じテキストにおける定性的評価結果と統計 的な技法を以ってその相関関係を検証した。その結果｢AJ-JpnRa-Tool｣による定量 的評価方法の有意性を検証することが出来た。また，｢AJ-JpnRa-Tool｣による日本 語のテキストに対する可読性の分析及び使用された漢字に関する分析結果は，作文テ キストの評価のみならず，日本語の文法や読解など日本語の指導のための教材として のテキストの選定するに際しても応用できるということが分かった。

This paper examines the meanings and function of –tudukeru and –tuduku all of which are posterior verbs used to express the durative phase. In general, out of the category of compound verbs, posterior verbs, which isolate certain components of the internal process of an activity expressed by the attached anterior verbs, are called phasal verbs. With such an interpretation, this paper examines the function of –tudukeru and –tuduku which the durative phase. While the durative phase. characterized by –tudukeru and –tuduku denotes only one phase of the internal structure of an actvity, this is closely related to the temporal position of other events adjacent on the time line. In conclusion, the textual function of the inceptive –tudukeru and –tuduku is to emphasize close linkage with other events. By focusing upon the emergence of a particular activity in temporal relationship with others, the close linkage with other events, both in the present and future development of that event, is emphasized.

本稿では複合動詞｢∼つづける｣の語構成と意味について考察した。特に｢∼づづける｣によってとりたてられる＜継続＞の局面は、内的過程(process)の一部分であることに注目し、ほかの局面動詞やアスペクト形式との有機的な関係の中でその意味用法を明らかにしようとした。考察結果をまとめると、次のようである。 まず、語構成において他動詞｢∼つづける｣は量的にも質的にも接続できる動詞の範囲がきわめて広く、生産性が高い。同じ複合動詞の後項として、接続範囲に制限が見られる自動詞｢∼つづく｣とは対照的である。 次に、意味考察においては、さまざまな用例を通して、｢∼つづける｣がさしだす＜継続＞の局面は、＜開始＞と＜終了＞の中間段階として、＜開始＞の局面を前提に使われ、＜終了＞の局面まで継続する事実を再確認し、ほかの局面との関わりを明らかにした。 また、＜継続＞の局面に見られるこのような時間的展開のつながりは、文脈によっては、ほかの運動との関わりとして含意される。つまり｢∼つづける｣によって表される＜継続＞の局面は、単なる局面のとりたてではなく、前後の運動の出現及び時間的展開と密接に関わっているのである。

The importance of localization for website translations is increasing. Translation localization is defined as: not only producing a faithful translation, but also putting consideration into the way formats and vocabulary are used in the countries and regions that use the target language. It is important to research into the methods that users of the target language are familiar with when translating because web site localization has an influence on marketing. In particular, most companies include a space for their CEO’s message in their corporate introductions, and these messages written by their company presidents are often about their management policies and how they are involved with their customers. Therefore, this plays a role in forming the image of the company, and it could be said that this portion of their homepage is important for the public relations of the company. People have a tendency to believe that Japan and South Korea have similar styles in comparison to those in the West because they are in the same region in the East. This paper will analyze things like how photo layouts and vocabulary are used as well as the differences between the CEO’s message on Japanese and Korean web sites with the goal of aiding translation localization.

ウェブサイトの翻訳においてローカリゼーションの重要さが増している。翻訳のローカリゼーションとは、正しい翻訳だけでなく目的言語が使われている国や地域で作られている形式や語彙の使い方に配慮することをいう。ウェブサイトのローカリゼーションはマーケティングの上でも影響があるため、目的言語を使うユーザーに馴染みのある使い方を研究して翻訳することが重要である。特に、CEOメッセージは企業を紹介するカテゴリーでほとんどの企業が項目として設けており、社長のメッセージには経営方針、顧客とのかかわり方などが書かれていることが多い。そのため、企業のイメージを形成する役割を担っており、ホームページ内で会社をPRする重要な部分と言える。韓国と日本は同じ東洋圏内に属しているため、西洋と比べて似たようなスタイルであろうと認識されがちである。本論文で日韓のウェブサイトのCEOメッセージを分析した結果、写真のレイアウト、挨拶の冒頭、締めくくり方、呼称、役職名などで日韓との違いがあることが分かり、今後、日本と韓国のウェブサイトを翻訳するうえで考慮すべき点を具体的に示した。

In terms of 『KATAKOTO(かたこと)』, there are total 22 vocabulary combination types among. As for the contract between Soku-on type and Hatsu-on type, ｢AツB｣･｢AツBリ｣ Soku-on type was far more frequently used than ｢AンB｣･｢AンBリ｣ Hatsu-on type. It seems because he recorded actual examples of onomatopoeia having more oral characteristics of ordinary people. And, like ｢onomatopoeia+リ｣ when ｢り｣ is attached to form various types, if ｢onomatopoeia｣ is added with ｢リ｣ ending, it forms grammatical particle with most onomatopoeia. Just like｢AンBリ｣･｢AツBリ｣, ｢Soku-on(促音)+リ｣･｢Hatsu-on(撥音)+リ｣ type shows frequency of use in a 4 beat stable style like the contemporary onomatopoeia. Sadamuro discussed sense of clear voice and sonant by means of 15 examples based on his intuition. In terms of onomatopoeia, the contrast between clear voice and sonant take important factor in expressing sense of voice. Thus, Sadamuro negated the abuse of Soku-on type and Hatsu-on type and the use of sonant with a sense of alert. His book is very valuable in that various vocabularies in 『KATAKOTO』 provided useful information on language operation of ordinary people as well as reality of language of the time, and it also objectively verifies the idea of Japanese that language change began in the later middle ages to the early modern period.

『かたこと』に表われている語音結合型は総22型で、その中で促音と撥音の対立関係においては｢AツB｣・｢AツBリ｣型の促音形態が｢AンB｣・｢AンBリ｣型より著しく多く記述されている。｢ABリ｣型のように｢り｣が付いた型が多く表われているのは｢AB｣に語末｢リ｣を添加すると大体オノマトペとして成立される造語成分を持つ語彙になり、｢AンBリ｣・｢AツBリ｣のように｢促音+リ｣・｢撥音+リ｣型は四拍子の安定された形態で現代のオノマトペと同様な使用頻度數を表しているのが分かる。 貞室は自分の直觀によって、総一五例文を挙げて淸音と濁音の語感について論じているが、オノマトペにおいては清音・濁音の対立は語感の表現伝達にも重要な要素を占めているので貞室は促音と撥音の必要性を認めながら促音と撥音の濫用と濁音の使用についても警戒心を持って否定していることが分かる。 また、笑いと泣きを表しているオノマトペの用例は二例しか見られなかったので、これを『日葡辞書』(1603)と意味を比較してみた。時代の隔たりはわずか五十年にも至らないが、このように意味と形態が異なっているのはそれほどオノマトペは口語世界では多様な異形態を持ち、生成と消滅を繰り返している柔軟性のある語彙群であるからである。 このように『かたこと』に表われている多様な語彙はその時代の日常生活の言語の実体とその底に敷かれている一般庶民たちの言語運用に関する有益な情報を提供してくれる。また、『かたこと』は中世末から近世初に掛けて言語変化が起り始めたという日本語史上の客観的な事実を物語っている点でも貴重な資料であると言えよう。

This paper discusses Kim Kilim’s thoughts on “New Words” in the Korean language as part of an, attempt to re‐examine linguistic reform in South Korea after the 1945 liberation of Korea from Japanese rule. It proceeds from the position that the existing studies on Kim and the linguistic reform in post‐liberation South Korea have not paid enough attention to the fact that Kim was emphasizing critical thinking regarding a series of linguistic reforms which were instituted under U.S. occupation. In this paper, the author summarizes Kim’s the content of “Making New Words,” an article published in 1949, and points out the following: 1) Kim considered the people (minjung in Korean) to be the appropriate core agents in South Korean society for creating “new words” for the Korean language after the Liberation, and therefore their conduct then was worthy of attention. 2) Kim criticized linguistic purism: although he basically agreed with the “Recovery of the Mother Tongue” policy, he pointed out that excessive reform would not be taking into account the social realities of the time. 3) Kim was critical of the fact that linguistic reform at that time was carried out by one individual or an organization with a small number of people, an important point when considering the linguistic reform in South Korea under the U.S. occupation. 4) Despite the above, Kim developed arguments that embraced a then‐common concept of “nation” (i.e., one with a singular “pure culture” and deserving a “pure” national language), similar to other leading linguists of that time. The paper concludes with a consideration of how Kim’s trust in minjung and his critique of linguistic purism can be characterized as a criticism of the top‐down style linguistic reform that occurred after the Liberation, and also as a demand for “pragmatism” and “liberalism” and a display of an attitude strongly favoring respect for linguistic diversity.

This study particularly focused on relevance with fan while analyzing art works world of ‘Hanjo’ that is a typical work of Zeami’s Noh. In this study, it was considered that ancient idiom of Ban jie yu greatly contributed to create general ambience of main character’s human figure and art work beyond a level of simply affecting art work title and the name of main character by ancient idiom of Ban jie yu. In addition, in ‘Hanjo’, ‘Wongahaeng’, a poem of Ban jie yu and classical poetry being borrowed from ancient idiom of Ban jie yu are quoted exquisitely and it depicts loneliness of a broken-hearted lady earnestly and elegantly. Human figure of Hanago, a main character appeared in ‘Hanjo’ and painful and solitary emotion that dominate overall mood of the art work get more thickened and plentiful as it is based on ancient idiom of Ban jie yu and ‘Wongahaeng’. From chapter 2, how main material called fan is interfaced with conclusion structure of happy ending called achievement of love was observed. First, by analyzing various texts of ‘Hanjo’, it was indicated that a byname called ‘Hanjo’ was not obtained after lover Shosho left but existed before. This shows that main female character has a deep relevance with fan natively and the writer grasped inherent temperament of Hanago as a female exorcist. in this relationship between Hanago and fan. When Hanago who became Monogurui danced with holding a fan at Tadasunomori being worshipped as a holy place of love, it is overlapped with an image of female exorcist who danced with holding a fan in a state of being possessed by a spirit. Happy ending achieved by Hanago is the very result of this incantation of fan in a space of religious belief.

本考は、世阿弥の恋の能である《班女》の作品世界を分析することにおいて、特に‘扇’との関連性に着目し、考察したものである。 日本文芸史において‘扇’は、恋のときめきと情熱、不安と別れなど、ラブストーリの様々な局面を描くのに重要な素材として用いられた。恋の能《班女》も、その文芸史の伝統線上に置かれていると言えよう。 一方、《班女》の曲名とシテのあだ名が、中国の班婕妤の故事からきたことは周知のことであるが、本考では班婕妤の故事とその｢怨歌行｣がシテの人物像と作品全体のムードを形成するのに深くかかわっていることを確認した。 なお、‘班女’というあだ名が、吉田少将と出会った以前から存在したことを考察し、シテの花子が原初的に扇と深い関連をもっている人物であることを指摘した。それから、長い間民間信仰の祭具として機能してきた扇が、《班女》においては糺の森という愛の空間と、物狂いとなった花子を通して、恋の成就というハッピーアンドを導いていることを論じた。

This thesis focused on Shinkuroudo(新蔵人) Emaki(絵巻, the illuminated scroll) formed in the Muromachi Period(室町時代) and attempted to study how the idea the political circle, religious circle of the Middle Age gave birth was reflected in this work, and what this work intended to describe. On the threshold of Wonjeong Period(院政期, the era when Ex-king ruled), homo sexual(男色) activated in aristocracy spreads into Buddhism, warriors society in the middle ages. What is praised in the center of this male color is Chigo(稚児) in the woman dress in the latter part of teenage. At the same time, though she was a favorite with Ex-emperor as a woman in male attire, the voice was recognized as a symbol of the ruination of a country, and she is Shirabyoshi(白拍子). Such trans-gender phenomenon means the change of sexuality. And Shirabyoshi has the image of a wicked woman turning a man into temptation in the middle age. Shinkuroudo who was not caught that a heroine in male attire is a woman to neighbors and has the relation with the emperor of Japan and gives birth to a baby, and at last entering the priesthood. In this character molding, Chigo and Shirabyoshi, the products of middle ages, that is, two personal character of andrpgyny are reflected. Moreover, we can see that even after entering the priesthood, in the figure of Shinkuroudo in the agony in the border of sex, this work did not get over the physical sex as a woman but attempted to portray a sin of female who cannot become a Buddha.

本稿は室町時代に成立した󰡔新蔵人󰡕絵巻を中心に、中世の政治界や宗教界が生み出した観念がこの作品に如何に投影され、また、これらをもとにこの作品が何を描き出そうとしたかについて考察してみたものである。 院政期に至って貴族社会で頻繁に行われるようになった男色は、中世になると仏教界や武家社会にまで広まるようになる。この男色の相手として好まれたのが女装をした１０代の稚児であった。また、男装をした目新しさから上皇の寵愛を受けるとともに、その美声が亡国の象徴として不吉に認識されたのが白拍子である。この白拍子は中世に入ってからは男性を誘惑し、彼らを惑わせる悪女のイメージを担うことになる。このような院政期に行われ始めたトランスジエンダー現象はセクシュアリティーの革命を表しているのである。 『新蔵人』では男装をした主人公が女性であることを周りに気づかせずに天皇と結ばれ、挙げ句のはてに子供まで出産するが、結局出家するという物語が展開される。このような主人公の人物造型には中世の負の産物である両性具有の稚児と白拍子という人物象が投影されているといえよう。のみならず、出家後にも性の境界で悩んでいる新蔵人の姿から、この作品が女性という生まれ持った性(Sex)を克服できず、さらに、成仏も果たせない中流階級の女性の罪業を描こうとしたことがわかるのである。

It is of course a very difficult task to conclude literary life of Masuji Ibuse conclusively in a word. But I think that I could roughly arrange his literatry life in order as follows; A youngster, aspiring painter who said that “I think it is artistic to paint ordinary things in ordinary places to a picture”, repeats the processes identifying his art in silence, replacing his pen with brush. Beauty, correctness, warmth and longing, the elements consisting core of his literature that can be seen in <Salamander>, his debut work, were absorbed into the lots of works of in the medium term steadily coming to fruition, and the rapid change caused from closed situation of the times added keenness to those outcomes. So his heart, sadly wounded in the world as devil in burning hell, bitterly felt that he could never write <Black rain> in the way to make sentences with ordinary things in ordinary places, that he could complete <Black rain> only in ernest prayer for peace. Yet it is wellknown as the highlight of Atomic bomb literature(Genbaku Literature), <Black rain> can be also called as the best masterpiece personally to Masuji Ibuse that concludes his literary life in the point that his literary outcome and instrumental efforts the author has accumulated since <Salamander> are loaded wholly in this novel.

井伏鱒二の70年に至る文学人生を一言で規定するのは、同然非常に難しくて容易なことではないが、おおむね次のようなまとめは可能ではないかと思われる。｢平凡な場所の平凡な対象を描くのが芸術的だと思っている｣と言ったある画家志望の青年は絵筆をペンに変えて黙々と己れの芸術を確かめて行く過程を繰り返す。処女作｢山椒魚｣に浮き彫りにされている美しさ、正確さ、暖かさ、懐しさなど、井伏文学の中核を成している諸要素は、以降中期の数多くの作品の重要な要素となって着実にその実を結んで行った。やがて時代の閉塞状況が齎す破滅への急激な変化はその成果の上に鋭さを補った。焦熱地獄の悪魔の現実の前で深く傷つけられた彼の心は平凡な場所の平凡な対象を文章にする方法では到底｢黒い雨｣を書き上げられないことを思い知らされ、平和への祈りと切実さをもって｢黒い雨｣はできあがる。｢黒い雨｣は原爆文学の白眉とよくいわれてきたが、井伏個人にとっても｢黒い雨｣には｢山椒魚｣以降井伏が歩んできた文学人生と方法的努力が余すところなく溶け入れられている点から彼の文学人生を総括するのに最適の作品ではないかと思われるのである。

A poem’s strength lies in its compressibility. As Paul Valery said, poetry can embody an epic in just a few notes. This kind of compressibility makes poetry easy to spread and by spreading practices intuitive power. Barthes concluded the base and the beginning of literature was within the potentials within the compressibility of words and emphasized it in his ‘Last Lectures’. Haiku also carries the same potential and is the starting point for short memo-like writing. However the short poetic writing of Haiku, as pointed by Barthes, is not exclusive to Japanese culture and is evident across many different cultures in a form of short poems or writings. The analysis of the literary image of Haiku and its philosophical evaluation discussed in Barthes’s ‘Last Lectures’ is required in the level of Barthes’s thought and literary theory research, but also in the level of research on consumption of haiku and its images. But in previous studies, philosophical implications of haiku and what is covered in the ‘Last Lectures’ has not been sufficiently discussed in earnest. This paper examines the major themes of ‘Haiku characteristics’ of literary theory in the ‘Last Lectures’ by Roland Barthes. And this is not the direct analysis of the haiku text, tried to analyze the philosophical Haiku characteristics and it reveals its features.

詩の特性は凝縮にある。ヴァレリーの言う通り、詩は巨大な叙事を極僅かな音の中に入れる。このような圧縮は拡散の可能性を持ち、拡散により直観の力を発揮する。圧縮の言語が持つ可能性を文学の核心であり、基礎であると捉えたバルトは、自身の最後の講義でこのような圧縮の力を強調した。これこそ俳句の可能性であり、メモのような、｢書くこと｣の準備のための出発点である。しかしバルトが指摘した俳句的な短詩形の力は日本文化だけでなく、東アジア文化圏における短詩にも内在する。　 バルトの最後の講義で議論されている俳句の文学的イメージや哲学的価値の分析は、彼の思想や文学理論研究として、また俳句とそのイメージの受容と研究として要求される。この論文はバルトの最後の講義で論じられている俳句の特性を文学理論の研究及び哲学的議論という観点から分析した。本研究では｢書くこと｣についてのバルトの観点が、彼の俳句に対する理解と繋がっている構造が明らかにされるとともに、俳句に限らない短詩の可能性を看過しているという点が指摘されている。