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This thesis looks into the use of language by girls in six Japanese TV animations for kids. The study shows that there is a gap in the use of female sentence-closing particles in a sense that the use of the particles is decreasing in reality while they are used a lot by girls appearing in animations. A survey was conducted on Korean Japanese learners to understand their perception of this phenomenon and it was compared with native Japanese speakers. The results are summed up as follows. First, those who have a higher level of JLPT have a similar level of knowledge about gender differences in the Japanese language to that of native Japanese speakers and their understanding is lower in female languages than in male languages. Second, native Japanese speakers perceive those who use female sentence-closing particles are mainly in their 20s and 30s while Korean Japanese leaners perceive them to be in higher age brackets, especially those who use wa sentence-closing particles. Third, native Japanese speakers feel a sense of incompatibility when female speakers use female sentence-closing particles in reality but feel less of it about the use of the particles in animations. Also the sense of incompatibility is felt greater among Korean Japanese learners with higher levels of JLPT. The language level is proportional to the viewing rate of Japanese animations and those who view Japanese animations more have more knowledge about female sentence-closing particles and find the use of them more incompatible.

This paper examines the motivation for consonant gemination in Japanese loanword by analyzing NTT database series Nihongo-no Goitokusei (Lexical properties of Japanese). Based on the comprehensive investigation, it is pointed out that consonant gemination is a result of a phonological augmentation in prominent position, that is, accented syllable. and word medial position. And it is argued that the gemination in word-medial position is due to the influence of phonological augmentation and accentuation assigned by pseudo-morphemic suffixes ― /-ikku/(-ic), /resu/(-less), /-mento/ (-ment). /-aa/ (-er, -or), /-shon/ (-tion, -sion) and /-ingu/ (-ing).

This study is about the criticism, which involves swearing, disagreement, challenge and teasing among close friends. And this paper focuses on gender differences of criticism. At first, my analysis shows that participants express more criticisms when they talk with opposite gender friend than when they talk with same gender friend. The result suggests that speaker can be more defiant attitude toward opposite gender friend. Secondly, the expressions of criticism are classified into 6 types, which are (1) interrogate, (2) confirmation, (3) comment & describe, (4) negative assessment, (5) deny, negate& opposite and (6) negative feelings. My analysis shows that the type (3) comment & describe was used about 44% in the case of men. On the other hand, women use all types equally and use interrogative sentences and confirmation more than men.

This paper, using the speech thinking of protocol analysis, tried to improve the reliability by quantified using a multivariate analysis to process that categorizes the results obtained from interviews conducted interviews. Japanese, “happy”, “fear, sadness,” “surprise, anger” are plotted in a short distance. “Fear, sadness” is not distinguish, for example, between large and small and the voice of the low of the voice as a clue, “surprise, anger,” it was found to be distinguished, such as How to put out of breath and the strength of the voice as a clue. Koreans, “fear‐sad” is have been plotted in a short distance, “happy, anger, surprise,” are plotted at a short distance. For Korean, it said to have been largely based on the overall voice intensity determination. Chinese “happy”, “fear”, “sad”, “anger, surprise” has been plotted at a short distance. Chinese plotted is different from speech feature position is different plot position by country of Japanese and Korean than experiment collaborators.

Japanese literature can be divided into “Japanese literature” and “Japanese- language literature.” Whereas a “Japanese literature” study is a diachronic study of Japanese literature, a “Japanese-language literature” study is a synchronic study of Japanese literature that encompasses several language variants. Specifically, “Japanese-language literature” refers to literature written by: (1) non-Japanese authors, for those who reside in South Korea or China; (2) non-Japanese authors who are immigrants to, and reside in Japan; and (3) Japanese authors who reside outside of Japan. The current study focuses on dissimilation and diversification of the “Japanese-language literature” by examining the novels of three Akutagawa Prize winning Korean-Japanese writers: Kaisei Ri, Yanji I, and Miri Yu. The results revealed that the original texts written in Japanese used frequent tense shifts whereas Korean-translated texts mostly used past tense. In the original Japanese text, for example, narration in historical present successfully created dramatic tension for the readers. This paper also examined the difference in Taigu Hyogen(or Japanese honorifics) including upper and lower treatment expressions. In Japanese, the upper treatment expressions depend on the speaker(mesareru, sumimasenn), whereas in Korean the same expressions depend only on the “age” of the speaker(sinu,sumanai). The word “eat” in the Japanese texts were also expressed using four terms: kannjikaki(食べる,喰べる), hiraganakaki(たべる), honorific word(食べる), and negligent word(喰う). The Korean translation, however, expressed the same word with only one term(먹다). In Kaisei Ri’s novel, the first Korean-Japanese writer to win a Akutagawa Prize, old Japanese language along with Korean word order were often found. Additionally, intransitive expressions often found in Japanese language were replaced with transitive expressions during the translation. Through this study on dissimilation, we learn that Kaisei Ri, Yanji I, and Miri Yu have marked a new era.

Students of graduate school of interpretation translation(GSIT) feel a lot of pressure in the interpretation of the numeric part, more than teachers are thinking. In fact, it is difficult to accurately interpret the numbers. Analysis was performed for students of GSIT, it was confirmed that there are a variety of patterns to misinterpreting of numbers. In addition, misinterpreting ratio is not necessarily proportional to the number of digits. The context of the number, load of interpretation, such as the density of information is a large impact on the accuracy of the interpretation of numbers. In order to teach the interpretation of numbers, at first, teachers should properly understand such as a pattern or reason of misinterpreting. And I propose to set the learning target for “accurate interpretation of the number”. It will be desirable to regulate the number in the text in some cases, to make the relative difficulty of the interpreting. Students will be used to the number if we let them continue “shadowing”, and may expect the effect to learn the right pronunciation, accent of the number.

通訳翻訳大学院の学生たちは数字部分の通訳において、教師らが考えている以上に大きなプレッシャーを感じている。実際に、数字を正確に訳すことは難しく、ソウル所在の通訳翻訳大学院の学生らを対象に行った分析で、数字部分の誤訳には様々なパターンがあることが確認された。 また、誤訳比率は必ずしも数字の桁数に正比例するのではなく、例えば、逐次通訳においては2桁数字の誤訳率が4桁のそれよりも低くなっていた。4桁数字で良くある‘年度’は、ほとんどが｢19~｣または｢20~｣であることから、事実上2桁数字とさほど変わらないことなどがその理由である。また、数字前後の文脈、通訳の際の負荷、情報の密度などが数字部分の通訳の正確度に大きな影響を及ぼす。 数字部分の通訳の教授法として、まず教師は誤訳のパターンや誤訳の理由などについて正しく認識することが必要である。そのうえで、講義の一定部分の学習目標を｢正確な数字通訳｣などと設定することを提案したい。 場合によっては、テキストの中の数字をある程度編集するなどして、通訳の難度を調整することが望ましいだろう。また、学生たちに｢シャドウイング｣を継続させることにより、数次に慣れ、数字の正しい発音･アクセントを身につける効果が期待できよう。

Translation is an act occurring when two or more languages come into contact with each other, so it is based on otherness. And the otherness can come into the foreground or go to the background depending on the purpose of the translation or politics, power or ideological relationship that surrounds the translation. The relationship between linguistic subject and other has long been studied, and it is based on the assumption that the source text and the target text are written in one homogeneous language. However, deterritorialization and denationalization of literature that started from the end of colonialism present new translation issues that cannot be explained from the perspective of subject and other. Diaspora literature, which is written in other languages by diaspora who left their home country and settled in other countries, is situated in a “third space” and is born on the boundary between the residing country and home country, center and periphery, and assimilation and resistance, and one of its characteristics is linguistic hybridity. Especially, in the case of Korean diaspora literature in Japan, linguistic hybridity has resisting power that subverts the hierarchy between the imperial language and nation language and is directly linked to the identity of the diaspora since Korean diaspora literature in Japan implies contact, conflict and dynamics between the two languages. Through “The Other Side of August” by Yu Miri and “The Volcanic Island” by Kim Seokbeom, which are postcolonial hybrid texts, this study investigates how linguistic hybridity appears in these texts and how it is changed in the process of translation into Korean to deal with translation issues presented by hybrid texts and examine the possibility of translation of linguistic hybridity.

翻訳とは、二つ以上の言語が接触する際に発生する行為であり、それゆえ他者性を前提とする。そしてこの他者性は、翻訳の目的や翻訳をめぐる政治と力、イデオロギーなどによって前景化または後景化する。こういった主体と他者の関係は、起点言語と目標言語がそれぞれ均一的な単一言語であるという前提で成り立っているが、近年の文学の脱領土化と脱民族化は、こういった主体と他者という二項対立では説明できない新たな翻訳の問題を提起する。母国を離れ、異国に定着した離散民(ディアスポラ)によって、異国の言語で書かれたディアスポラ文学は、定住国と母国、中心と周辺、同化と抵抗といった境界に生まれる｢第三の空間｣に位置する文学であり、多言語性を特徴とする。特に植民地支配を経験している在日朝鮮人文学の場合、多言語性は、帝国のことばを転覆させる抵抗としての力を持っており、言語間の交渉と葛藤、力学関係を含蓄しているだけに、ディアスポラのアイデンティティーと直結する。 本研究では、ポストコロニアルテキストとして多言語性が目立つ柳美里の󰡔8月の果て󰡕、金石範の󰡔火山島󰡕のハイブリディティがどのように翻訳されたか、その様相を把握し、ハイブリッドテキストの翻訳が提起する翻訳の問題を考察して翻訳の可能性を模索する。

In the present paper, we analyzed the usage of Okotaeninaru, Kotaerareru, and Iwareru which appear in four different Japanese versions of the Bible published by the Japanese Bible Association. It was found that there are three usage norms in the selection of the three words in the translated versions: 1) the characteristics of the honorific agent, 2) the domain difference in the uttered context and 3) the talker’s social status. <1> In Matthew, these usage norms seem to be respected as the translators strictly distinguish between Okotaeninaru of the Naru-type honorific and Iwareru of the Reru-type honorific. <2> In Mark, the social status of the honored agent Jesus is referred to either as a honored God or a peer human being. Okotaeninaru is used for the former while Kotaerareru for the latter. <3> In Luke, Jesus is characterized not as a human being but as God in the translated versions of the Bible. This suggests that the translators put more priority on the characteristics of the honored agent among the three usage norms. <4> In John, Jesus’ sayings are translated based on two different domains: sayings in public or inclusive incidents and in individual or concrete incidents. Okotaeninaru is used for the former whereas Kotaerareru for the latter. However, the amicable, neutral or adverse relationship between Jesus and interlocutors in conversation does not play any role in the translators’ selection of Okotaeninaru, Kotaerareru, and Iwareru.

4福音書においては、[1][敬意主体の特性]、[2][発話內容のカテゴリー的な違い]、[3][丁重さ(改まり度)という話体的要因]といった使用上の基準が認められる。 <1>[マタイ福音書]では、このような使用上の基準を反映し、ナル型敬語｢お答えになる｣とレル型敬語｢言われる｣を使い分けている。 <2>[マカ福音書]では、[敬意主体の敬語的な身分]を[<神的イエス>＝敬語的上位者]と[<人間イエス>=敬語的同位者]に区分する翻訳者の表現意図が反映されており、前者については｢お答えになる｣を、後者については｢答えられる｣を使用している。 <3>[ルカ福音書]では<イエス>を<人間イエス>としてではなく<神的イエス>として描写しているのが特徴的である。こういった翻訳者の表現意図は他の使用上の基準より敬意主体の特性を優先させ、ナル型敬語に投影されていると解釈されよう。 <4>[ヨハネ福音書]では<イエス>の発話内容のカテゴリー的な違いを[包括的かつ抽象度の高い事件=超個人的な答え]と[個別的かつ具体的な事件=個人レベルにおける答え]に区別する翻訳者の表現意図が反映され、前者については｢お答えになる｣が、後者については｢答えられる｣が使われている。 そして、4福音書においては<イエス>と発話相手の[友好的･敵対的･中立的]関係は｢お答えになる｣･｢答えられる｣･｢言われる｣の選擇においては非関与的なものと見なされる。

A comprehensive account of the adnominal demonstrative expressions of contemporary Japanese has not been developed in the literature. In this article, we will address the six groups of adnominal demonstrative expressions, and reveal their functional differences through quantitative and qualitative analyses. The expressions of the kono-group refer to an entity or a single category (“unique reference”) and do not have the illustrative function of implicitly referring to other entities as an example of referents. Our analyses indicate that the expressions in the non-kono-groups are commonly characterized in that they exhibit illustrative reference but that they differ in terms of the manner of illustrative reference, the strength of illustrative reference, etc. The function of illustrative reference is especially tied to the konoyouna-group, the koushita-group, and the kouitta-group. The expressions in these groups do not have the function of unique reference. The expressions in the konoyouna-group illustratively refer to approximate referents. On the other, the expressions in the kouitta-group are associated with representative illustrations. The konna-group and the kouiu-group display both the function of illustrative reference and that of unique reference. The expressions in the konna-group tend to refer to unique entities when inherent and specific objects are referred to. Further, in the case of the cataphoric use, they may refer to unique entities when the content of referents (linguistic information) is presented sufficiently and non-excessively. Unique reference in the case of the cataphoric use is also observed in the expressions in the kouiu-group.

I considered from the point of view of a “publisher” and “author” about the content features of the “Kokkei Edo-guige: Gakutei-harunobu’s work, Ikkeisai-yosiiku picture, published in 1861” Although the list of cooking and cooking method is expected because it is the walking and eating Edo-machi in a day, the actual text is copious list of cafeteria name and cooking name. Such background work has been established, it is up to adopt the planning intention of the published or “propaganda of the restaurant”. Also was brought to main character dressed that wear wearing wooden clog and leather soled sandals, it was due to meet the demand of the publisher of “to write the thing of cooking cost to the episode”. On the other hand, as the author of ideas for bringing the humor, a humor by story with the rhetoric and over eating were exemplified. Then, two people as main character of satiation state made them walking the Yohsiwara as the last travel destinations, also deploy humorous away from the main theme of Eating. It also occur the results to draw the different illustrations with the story by publisher of the request and the author of the ideas, such as the above.

全三十丁、岳亭春信作･一恵斎芳幾画、1861年刊行の『滑稽･江戸久居計』の内容的特徴を、｢版元｣と｢作者｣の両視座から見極めることを本稿の目的とした。一日で江戸市中を食べ歩くことをテーマにしているので料理･料理法の羅列が予想されるものの、実際の本文では店名･料理名の羅列に近い。このような作品が成立した作製背景に、料理屋の宣伝という版元の企画意図を読み取った。下駄履きと雪駄履きという服装を主人公にさせたのは、そのような版元の要求、即ち殆どのエピソードに料理代の高低を難なく述べる為の、作者なりの方策だったわけである。そのような｢店名を出す｣という注文に忠実しようとして、ストーリーには忠実でない絵組を置く場面すら導出される。 一方、滑稽をもたらす為に作者が工夫した具体的な方法として、故事付けのレトリックや過食による可笑しみが挙げられる。そして、過食状態の主人公二人をして、最後の旅行地として吉原を歩かせ、食べ歩きというメインテーマから離れる滑稽も展開する。このような滑稽感を醸し出すための作者の工夫は、ストーリーに忠実でない絵組を導く結果にもなる。以上、板元の企画に影響されるところが多かったという作製背景を推論し、その中での作者岳亭の苦心を考察することで、合巻『滑稽･江戸久居計』の作製意図を究明した次第である。

This paper is aimed to trace a formation of Japanese culture’s inner side that talk about the Korea-related ghost stories in the Meiji and Taisho period. For this, in this paper, forcused on Kim, Ok-gyun’s ghost story not have to be introduced in the academic circles until present time. This paper determine not only to the excavation and presentation of materials about Kim Ok-gyun, but also to political stance of Modern Japan coupled with Korea. While Kim Ok-gyun is a person who occupies a significant position in the history of Korea, he did not have to be imagined as a ghost in Korea. The fact that has been representation as a ghost in the literature and article that has been written by Japanese, show us that political desire lies behind that.

Nogami Yaeko made her debut in the literary world by publishing ｢Enisi｣ to 『Hototogisu』 in the Meiji 40 years. After then, she published 19 works, among the 28 works published until the Meiji 45 years, in 『Hototogisu』 and moved to other journals leaving 『Hototogisu』 in the Taisho period at last. When she was recommended to write a nature sketch through observation by Natsume Soseki, she began to concentrate on writing nature sketch-styled short stories and established her initial world of artwork. When it comes to theme, she consistently depicted love, marriage, and romance for women influenced by iye(home) ethics rather than focusing on gentility or ego-centrism. The works in the Meiji period are characterized by the fact that materials are taken from the home of others including parents and relatives to draw the home in the old times and her own home is described as being positive and healthy as a cultural and improving modern house. This suggests that ideological democratism and aristocratism as life feeling, as two major characteristics of Taisho Liberalism sprouted from here. it is needless to say that her family values would be based on the education she received from the Meiji girls’ school where she graduated. Iwamoto Yosiharu’s teaching aiming at destroying iye(home) which was based on confucian status relationship and accepting ｢Sweet Home｣ which was based on modernistic causal relationship bore fruit within her real life after childbirth.

野上弥生子は明治40年、『ホトトギス』に｢縁｣を発表することによって文壇デビューを果たした。その後弥生子は明治45年に至るまで発表した28篇の作品の中、19篇を『ホトトギス』において発表しており、大正期に入ってようやく『ホトトギス』から脱皮し他の雑誌へと発表場所を移していく。夏目漱石が観察による写生文スタイルの文章を書くことを勧めていることから『ホトトギス』に適合している短い写生文風の短編に集中して初期の作品世界を築いていく。その主題においても古風で自我を意識しない、家の倫理に左右される恋や女性たちの結婚や恋愛をめぐる内容が一貫して描かれている。『ホトトギス󰡕という雑誌の特性上、因果関係の明確な筋書きを持たず、観察する態度の語り手や主人公は自分の主観によって物事を語ることが慎まれている。そのような明治期の作品群の中で一つ特質として挙げられるのが弥生子の自己肯定の意識がこの時期すでに萌芽していることである。古い家を描くときは決って親や血族の家庭を含める他人の家に作品の素材をとり、自分の家庭については文化的で向上する近代の家庭として肯定的で健全に描いていることである。大正期教養主義の特質としての観念上の平民主義と生活感情としての貴族主義の芽生えがここから始まっていたとみることができる。さらに、自分の家庭を近代的、文化的雰囲気の中で描くことに止まらず、自分の子供への限りない肯定意識へと発展する。子供を神聖視するのは自分を神聖視するためである。第一流の明治女学校を卒業し、夫豊一郎の援助と最高の文学者である夏目漱石の勧めによって文壇にデビューし、自分の好きな読書や作品活動が思う存分できるなど幸運な生活環境がもたらした実生活への自信が彼女の自己肯定の意識をより頑なにしたと思われる。さらに弥生子が学んだ明治女学校の教育が何よりも彼女の家庭観の土台にあったことは言うまでもない。儒教的な身分的関係に基づく家を破壊し、近代的な人間関係に立つ｢スイートホーム｣の受容移入を目標した巖本善治の教育は弥生子が子を産んでから実生活のなかに結実する機会を持ったといえるだろう。『ホトトギス』という舞台はまだ人間の葛藤を描くことが不得手だった弥生子に好個の場所であったし、彼女の作品世界を限定することになったが、そこで養った観察力を生かし大正期の＜子供物語＞へ進化していく契機となった。神聖な崇拝の対象としての子とその母の関係の創造、そこに彼女の特有の世界が顔を現してくるのである。

At the very early stage of multi-cultural societies, political ideologies or economic solutions were major problems. But recently, more various subjects like religion, philosophy, and, arts are becoming problematic issues to immigrants and causes of social conflicts. It means the past social adaptation program, an one-sided assimilation policy drvien by Korean government, revealed its limitation. Now in various viewpoints, mutual understanding programs become necessary. Through the process of giving narratives to their own stories, immigrants or settlers can help themselves to recover their identity and reveal significance of their existence. Based on such critical mind, this study will try to suggest followings as one of practical steps to solve conflicts in Korean multi-cultural society. It is to make immigrates say their own immigration experience and to reconstruct those stories. Such works can broaden opportunities to communicate in Korean multi-cultural society. To do that, a practice oriented research process was attempted in this study, which is theoretical based on one of the qualitative research methods of Japanese multi-cultural symbiosis policy. Utilizing that qualitative method, cases of interviews of Chinese compatriots were taken mainly in ‘Garibong dong’ settle town. Their stories have experience of hardship such as being neglected or discriminated, but also have experience of overcoming difficulties and achieving personality and sociality growth. Above all, stories of multi-cultural society or family need to be more exposed to Korean society.

最近、多文化社会化が早く進むことにより、移住初期にあった政治的理念や経済的問題だけではなく、文学、宗教、哲学、芸術などの文化的問題などが移住民たちの社会的葛藤の原因になっている。過去韓国政府が主導した‘同和主義’次元の一方的な社会適応プログラムは限界を見せ始め、実際的に相互理解の観点から疎通できる方式へとのプログラムの転換が必要となった。移住民たちが自身のストーリーを物語る過程を通し、自己アイデンティティーの回復と韓国社会の居住民との疎通を助ける役割を期待することができるであろう。 本論文では、そのような問題意識をベースにして、韓国多文化社会の葛藤解決のための実践的な方案の一つとして、韓国に居住する外国人労働者や結婚移住女性などを対象として、移住民たちが自身の経験を物語りながら、再構成する作業を通して多文化理解と疎通のフレームを提供しようとした。 そのため、日本多文化共生政策の質的研究方法のナラティブ研究を理論の背景とし、実践志向的な研究過程を試みる。韓国の代表的多文化地域と言われるソウル市加里峰洞の中国同胞タウンを中心にインタビュー調査を実施して研究を行った。

During the Imjin War, the war between Chosun Dynasty and Japan that broke out in 1592, Japan had experienced victories after victories in land but could not avoid consecutive losses to Chosun fleet lead by the navy hero Admiral Yi Sun-Shin. During the 7 year span of the war, the only victory that the Japanese Navy had enjoyed was the naval battle of Chilcheonryang(1597). After the Imjin War had ended, there were many literatures published in Japan about the war. Only after one century after the end of the war, Japan had published ‘the History of the Imjin War’ by collecting many historical records. In order to understand Japan’s current recognition about the Imjin war, it is critical to research about how did Japanese describe the naval warfare where they had to experience consecutive losses over the land battles where they were overwhelming. The main objective of this research paper is to contemplate on how naval battles on the Imjin War is portrayed in Japanese modern Publication collections. In this study, we can find why and how the naval battle of Chilcheonryang had been changed a lot on acceptance process in Japanese historical Novels about the Imjin war. The above process and aspects were closely considered in this research paper.

日本の戦国時代の幕を下ろした豊臣秀吉は1592年日本軍は朝鮮を侵略した。この戦争が｢壬辰倭亂(中国では萬曆役、日本では文禄･慶長の役ともいう)｣である。この戦争は朝鮮･明･日本の三ヶ国が全部参戦した始めての戦争で、1592年から1598年まで計7年間続き、三ヶ国に莫大な被害を与えた。この戦争は東アジアに実に莫大な影響を及ぼし、それからの歴史を全部変えた。 この戦争で日本軍は陸戦では連戰連勝したが、海戦では敗北を重ねて、7年間の海戦の中、日本水軍が勝った海戦はたった一回であった。その中心には強力な朝鮮水軍と、朝鮮水軍の代表的な名将、李舜臣の存在があった。彼が率いた朝鮮水軍は一度も負けず、朝鮮水軍の一回の敗北は、彼の不在中、彼に代って朝鮮の水軍統制使になった元均が率いる水軍の敗北であった。それが“漆川梁海戰”である。 本稿では近世初期日本壬辰倭亂文獻群の中、代表的な五つの文献、すなわち『太閤記』、『朝鮮征伐記』、『豊臣秀吉譜』、『朝鮮太平記』と『朝鮮軍記大全』刊行の流れの中で、“漆川梁海戰”がどのように描かれて行くかについて考察しようと思う。結論から言うと、“漆川梁海戰”は朝鮮軍記物類で様々な変容が行われている。『太閤記』では“漆川梁海戰”だけが登場しているが、ただ一回で過ぎなかったこの日本軍の海戦での勝利は時間が過ぎて多様な原因によって二回、三回になる。このような変容の様相と原因について考察しようと思う。

The goal of this study is to analyze the records of the legend of the Emile Bell, elucidating the influence of the colonial Japanese translations on the Korean records of the legend. The very first records of the legend are the English translations by missionaries. However, these poems or short introductory texts do not specify the temporal or spatial background of the story and focus only on the motif of sacrificing a child in the process of forging a bell. They lack explicit description of the characters and narrative structure, also not showing any relation to the Bell of Bongdeoksa. Only after the 1920’s, when the legend was documented by the Japanese, the records began to convey clear portrayal of the characters, structured narratives and the link to the Bell of Bongdeoksa. Hamaguchi’s “Play Daughter Sacrifice Story” was the first to establish the motifs of “the Emile Bell” legend by explicitly depicting the characters and showing a concrete narrative. Nakamura’s “The Bell of Bongdeoksa” represented the story in connection with the Bell of Bongdeoksa for the first time. Osaka’s record first mentions a woman who voluntarily gives her child as a temple offering. Those records by the Japanese influenced the records by Korean researchers after the 1930’s. The texts feature a range of representations of women, classified into slip-resistance, slip-conformity and voluntary-offering types. The representations of slip-resistance type later developed into the image of women criticizing the Japanese Empire for mobilizing the people of Korea by force. Voluntary-offering type, in combination with slip-conformity motif in artist novels, developed into the image of women used for the propagation of the war ideology. In the light of the images of women discussed above, “the Emile bell” by Ham-sedeok can be seen as a criticism of the “mother of military nation” ideology. Despite the apparent pro-Japanese framework, his work shows how Ihwanyeo resists to the unjust authority that demands sacrifice of a child and thus points out the violent nature of the ideology forcing mothers to send their children to the battlefield.

本論文では、｢エミレ鐘伝説｣の記録の特徴を分析し、植民地時期日本人の手による採録･翻訳された伝説が以後韓国人の記録や文学作品に如何に関わったかを検討し、咸世德の｢エミレ鐘｣の親日の構造と母性モチーフを分析した。 ｢エミレ鐘伝説｣の最初の記録は、H. B. Hulbertの｢The Korean Legend on the ‘Spirit of the Bell’｣やConstance J. D. Coulsonの｢The Sights of Seoul｣のような英語の翻訳で、これら記録は時代や空間を特定せず、ただ鐘を鋳る過程で子供が犠牲されたというモチーフを含む詩或いは紹介の文章に過ぎない。具体的人物造形や叙事構造が現れ奉德寺神鐘と関わって記録されたのは1920年代の日本人の手による。すなわち、浜口良光の戯曲子供寄進(一場)｣において始めて具体的人物像と叙事構造が現れ｢エミレ鐘伝説｣の様々なモチーフが登場し、中村亮平の｢奉德寺の鐘｣においてはじめて奉德寺神鐘の芸術性を説明するため｢エミレ鐘伝説｣が活用された。また大坂六村の｢奉德寺の鐘｣において始めて自発的に子供を普施した女が登場する。 これら日本人の手による記録は、1930年代以後の多くの韓国人学者或いは文学者によって変容される。この記録に於ける女性像は、失言-抵抗型、失言-順應型、自発-普施型に分けられるが、失言-抵抗型は強圧によって戦争に動員された朝鮮民衆の日帝への批判意識を具現する女性像に発展し、自発-普施型は失言-順應型の芸術家小説のモチーフと結合し日鮮融和や皇国化に資したり戦争動員イデオロギーのプロパガンダ─として活用される女性像に発展する。 上記の女性像に基づき、咸世德の｢エミレ鐘｣を再検討すると、鐘を作るための鍮器献納運動、鐘を作る方法やシムナ姫の恋愛をめぐる対唐意識と日本との関係を通じて親日の意図を露に現れているが、娘の犠牲を強要する権力に抵抗しその残忍性に目を覚める｢梨花女｣の母性を通じては、強圧によって息子を戦場に送る軍国の母性というイデオロギーを批判していることが確認できた。

This article aims to examine the history, nature and prospect of the relationship between the state, local government and civil society in Japan. This subject requiring a historical perspective, ideas of Keiichi Matsushita(1929~2015) are taken up as a useful theoretical tool. His central argument is that the bureaucratic and centralized system of governance which has been predominant since the Meiji era should be changed into the citizen-participating and decentralized system of governance. This essay investigates how things were in the 1960s when Matsushita began to study his research interests, how much things improved in accordance with his theoretical claims, and what are the limits to the improvement and what kind of remedy may be available. For the period of about half a century, along with advantages such as the improvement of ‘civil minimum’, the abolition of the agency delegated　functions, enactment of rules of local government, information disclosure, the expansion of concept of citizen participation, some limitations were also apparent, for example, poor preparations for practical autonomy including matter of finance, meagre capabilities of not a few local governments and unsatisfactory state of civil autonomy. While much concerned about the future of Japan, Matsushita stressed that there is no choice but to go on citizen-participating autonomy and decentralization. In order to embody his principled demands, this paper asserted the necessity to overcome the discourse on generations and the pessimism on the civil society and drew attention to NPO activation, public meetings for discussion, and the literate public sphere. In addition, it pointed out what is missed in Matsushita’s ideas, and suggested the possible relationship between the State, local government, and civil society.

ここでは、日本における国、自治体、市民社会の関係の歴史と性格、展望について語る。この場合、松下圭一(1929〜2015)の研究は有用な理論的資源として活用できる。彼の問題意識は、明治以来、日本のシステムは、官治･集権的な国家統治型であり、これを自治･分権的市民自治型に変えなければならないということである。 松下がこのテーマを研究し始めた1960年代の時期はどのような状況であり、以降の現実は、彼の理論的要請に照らしてどれほどの進展があり、また、どのような限界を見せているのか、また対応策は何かを探る。 約半世紀を経過しながら、シビル･ミニマムの改善、機関委任事務の廃止、自治体の条例制定、情報公開、市民参加の概念の拡散などの進展が行われる一方、財政を含む実質的な自治権の不在、多くの自治体の古い体質、不十分な市民自治の現実などが限界として指摘される。 松下は日本の将来について非常に懸念しながらも、市民型自治、分権を通して解決するほかに方法はないことを強調する。彼の原論的要求を具体化するため、ここでは、市民社会の存在と世代論的限界についての悲観論を乗り越えながら、NPO活性化、市民討議会、文芸的公共圏について注目する。また、松下の理論の空白を指摘し、日本の国、自治体、市民社間関係の展望について検討する。

This paper analyzes the text of Haruki Murakami announced in 2013, “Colorless Tsukuru Tazaki and His years of Pilgrimage” from a critical point of view studying his awareness of history. He has produced several works of fictions with historic material since 1990. In this text, a rape case of a woman named “Shiro” is an allegory of the historic tragedy “the Japanese army’s comfort woman”. The protagonist “Tsukuru” had been excluded from his friend’s circle without knowing why makes a pilgrimage to find a truth. After exonerated by every friend of him, he is redeemed. This structure of story is not uncommon in Marakami’s other texts. However, this text never reveals the truth whether Tsukuru did commit sexual assault against Shiro or not. Shiro is excluded and eliminated from the whole story and only the outsiders remain declaring she was lying. It is worth noting that, without a testimony of the victim of the crime, only distorted truth gains victory.

本稿は村上春樹の歴史認識を考察するにあたって、2013年に刊行された󰡔色彩の持たない多崎つくると、彼の巡礼の年󰡕をテキストとして批判的視点で作品分析を行った。村上春樹は1990年代から歴史を題材とした作品を執筆してきたが、本作品では｢シロ｣という女性のレイプ事件が｢従軍慰安婦｣問題のアレゴリーとして登場する。わけも分からず友達グループから排除された｢つくる｣が真実をもとめ巡礼を通して友達から免罪され、救援にいたるという話は、村上春樹の他の作品でもよく見られるパターンである。しかし、真実は永遠に明されず、真実のキーをもっている｢シロ｣はテキストから除去されて、外部者だけが彼女がウソをついたのであると決め、暴行の被害をうけた当事者の証言なしで歪曲された真実が勝利を収めているということには注目すべきであると思う。

Soseki Natume is the Japanese modern writer who does not believe God nor Christianity. We can see that his suffering to western culture in his many works means the conflict with Christianity. His idea of nature in Sorekara and Mon appears the old Japanese native spirit which is against Christianity. Such a Soseki wrote the spiritual love and conflict between mind and body in the latter three works. Especially the idea of Platonic love and dualism is described here and there in Kokoro. This is like as the idea of western Christianity. According to the conclusion of Kokoro we can see that Soseki got such a idea of true love by Tokoku Kitamura who wrote about Platonic love and dualism 10 years before than Soseki.