Earticle

People acquire hints from literary and artistic works listed in books and magazines to deepen their thoughts on contradictions and irregularities in daily life, how to have personal relationships with family, workplace, and community, and how to choose their own way of life In addition, people will make new meaning to society and life while sharing the work drawn through the eyes of the writer and expressive power and the popular art works. We will draw the necessary information and ideas from the works of literature and literature to make them a model and at the same time be comforted and at times we will sneer at the world with the author and pass through the world of " I wonder what kind of works of literature and literature will be the theme, and what kind of new breeze blows into our lives.

人々は本･雑誌等に掲載された文学･文芸作品からヒントを得て、日常生活における矛盾･不条理、家族･職場･地域における人間関係のあり方、自らの生き方の選択等について考えを深めていく。また人々は、作家の観察眼や表現力を通して描かれた作品や大衆文芸作品に共感しながら、社会や人生に新たな意味づけを行う。 私たちはこれからも、文学･文芸の作品から必要な情報や考え方を引き出して手本とし、時には慰められ、時には作者と共に世間を冷笑し、なんとかこの｢しんどい｣世の中を渡っていくだろう。今後、文学･文芸の作品はどのようなことを主題にするのだろうか。私たちの暮らしにどのような新しい風を吹き込んでくれるだろうか。期待は大きい。

The goal of this study is to seek more effective lecture design and research the possibility of such a lecture through the practice example that utilized video to the education for learning of language and culture. For this purpose, we researched the cases utilizing drama video executed in Japanese conversation class. For the education of linguistic aspects, after selecting some scene of Japanese drama video we made learners listen the dialogue and create the script of such a video. And we arranged learners to read and practice the script to announce its contents verbally and then we described them after selecting honorific language and postposition in the dialogue. Afterward, we made learners describe the characteristics of Japanese culture expressed in Drama in the view to compare the culture between Japan and Korea, the similarities and differences with Korean culture in order to educate a nonverbal aspects. Finally we evaluated the presentation of each group, made learners create the report on such a teaching method. Especially we focused on the items of honorific language and postposition, and confirmed if we could hammer the respectful expression and impolite expression home as an explicit knowledge. As a result, it was confirmed that Japanese eduction utilizing video clip can enhance the will, interest and motivation of learners, promote the learning ability of language and culture by acting both explicit knowledge and implicit knowledge at the same time.

Some textbooks for learning Japanese (or Korean) used in 18–19 century have sidelines (or ties) on the right of kana writing which is not accord to pronunciation. in this paper I investigated and considered numbers and features of this sideline- notations. As a result, I found features as follows: (1) The sideline-notations are found at kana which write long vowels, palatalized short vowels, palatalized long vowels, and double consonants; and these are rarely found at Syllabic nasal /N/. (2) The numbers of sideline-notations are different depending on texts; a lot of them are found in some texts, and few are found sporadically in other texts. (3) Even texts which have many sideline-notations also have kana which lacks sideline-notations though they are necessary. it suggests the sideline- notations are written as learners’ own memorandums.

This thesis is the study on plural expressions both in Japanese and in Korean. Through the study of precedence, I examined the types of the plural suffixes, especially comparing Korean plural suffixes such as [deul/ne/hui] with Japanese ones like [tachi/domo/gata/ra]. I analyzed the meanings of suffixes on each case, dividing ranges of each suffix into a personal pronoun, a common noun, a collective noun and a proper noun. In addition, I compared through examples that unlike Japanese plural suffix which is conjuct with only a personal pronoun, Korean plural suffix is joined with the other nouns and the other parts of speech as well as a personal noun. Also, I suggested the possibility that [deul], which is Korean plural suffix, has not only the plural meaning but also spuriously exemplification or the meaning of state indentity.

This study was on Korean learners’ acquisition of conditional expressions of the Japanese language and examined the Korean language corresponding to 「なら(nara)」. The findings on the recognition of 「なら(nara)」 are as follows: The Korean language corresponding to the assumption condition of 「なら(nara)」 included 「-면(myeon)」 and 「은･는(un･nun), -ㄹ때는(lttenun), and –ㄹ바에야(lbaeya)」 .Basically, there was no problem with the subjects’ recognition of the assumption condition of 「なら(nara)」. However, Considering the incorrect answers, their recognition was low on the function of 「なら(nara)」in the sentences focusing on the speaker’s opinion. In case of the use of 「なら(nara)」 for nonfactual conditions, it is respondence mostly 「-ㄴ거라면(ngeoramyeon), -ㄴ거면(ngeomyeon), -ㄴ다면(ndamyeon), and –ㄹ거라면(lgeoramyeon)」. However, Considering the incorrect answers, the recognition of the use of 「なら(nara)」 for nonfactual conditions was not high. 「なら(nara)」 for parallel conditions was mostly related to 「-ㄴ가하면(ngahamyeon)」 in multiple choices. But it is only translated into 「-라면(ramyeon)」, manifesting that it is not recognized as simple parallel listing. Considering that the ratio of incorrect answers was 61%, the subjects’ comprehension was very low. The Korean language corresponding to 「なら(nara)」 for suggestion of a topic was mostly 「-라면(ramyeon)」, but it was mostly translated into 「은･는(un･nun)」, manifesting the subjects’ recognition of the use of 「なら(nara)」 for suggestion.

This study focuses on NP2 of Korean noun phrase ‘NP2 of NP1’, based on the reseach by Kim･Terai(2016), a study of temporal relativity between NP1 and types of NP2 of Japanese noun phrase ‘NP2 of NP1’ with the clause structure. As in Japanese, it is also seen in Korean that NP2 has types such as a Chinese noun, a Korean proper noun, a derived noun or an adopted word. But differences are found when the phrases are interpreted. Roughly, there are two ways to translate. One is when the phrase is translated into ‘to do ~’ - Chinese noun, adopted word- ,the other is when translated by restoring to the original verb –derived noun-. Derived nouns of Japanese can be translated in the both ways, whereas Korean derived nouns cannot be translated by ‘to do~’ but only by restoring to the original verb. It is confirmed that NP2 with the characteristic of verb can be translated, as in Japanese, through a semantic interpretation of the relativity with NP1 ,as for “movement”, “condition”, “existence” and “relation” in the perspective of temporal localization.

To study the Japanese-to-Korean translation of “uchi- (打ち-),” a compound verb by the first word, a preceding understanding of “打つ (utsu)” must be provided: on each of its semantic meaning as a verb and as a part of a compound verb. The compound verbs that take “打ち- (Uchi-)” as the first word can be indexed into four categories, depending on the word structure. Among the four types, the “verb+verb” form and the “prefix+verb” form are the focus of this analysis given the inaccuracy of the Japanese-to-Korean translation of such types. In translating the “verb+verb” form, there were cases in which the compound verb by the first word “打ち- (Uchi-)” was translated into “쏟아” (to pour), “밀려” (to be pushed), or “때려” (to strike), resulting in simplified sentential meanings that do not reflect the height of strength or force. In case of the form “prefix + verb,” there were many cases in which the emphasizing meaning of the prefix was overlooked. Simplified or erroneous translation of semantic meaning must be avoided. It is important to express the author’s intentions as appropriately as possible, and the translator ought to neither rearrange nor omit based on her subjective judgment. The Japanese-to-Korean translation of the compound verb “打ち- (Uchi-)” can sufficiently reflect the original meaning by attaching phrases such as adverbs that indicate degree.

This paper has anylyzed a way of classification and system of Japanese and Korean sentence type. Analysis results are as follows. ▪Sentence type can be understood from the perspective of not only morphological level but also the functional and semantic level. ▪It is more clear to understand the classification of sentence type from the perspective of the morphological level than the functional and semantic level. ▪The following results were obtained from the perspective of the morphological level; In japanese Declarative and Imperative, Volitional constitute the paradigm of sentence type. On the other hand in Korean Declarative and Imperative, Interrogative, Hotartive constitute the paradigm of sentence type.

In this paper, I analyzed the meaning and usage of HASIRASERU based on corpus while pointing out imperfectness of dictionary. The collocation and meaning and usage of HASIRASERU can be summarized, as shown as follows. (1)＜vehicle＞をHASIRASERU car. horse, train, bike, vessel, ski, sled, heavy equipment (2)＜eye＞をHASIRASERU eyeline, gaze (3)＜messenger＞をHASIRASERU　retainer, maid, an occupation, a name (4)｢pen｣をHASIRASERU writing brush, pencil, chalk, crayon. memo, doodle (5)~を(~に)HASIRASERU a person, young man, dog, (school) grounds, long distance (6)Aを~にHASIRASERU(negative) a trick, suicide, speculation, misdeed, disturbance (7)＜line＞をHASIRASERU railroad, waterway, branch, crack, wrinkle, ray, lightning (8)＜finger＞をHASIRASERU fingertip (9)＜emotion･sense＞をHASIRASERU tension, fear, impulse, pain, chill (10)＜lips＞をHASIRASERU tongue, penis T​he foregoing contents of the meaning of HASIRASERU extracted from usage of lexico-grammatical patterns can propose a standard criteria of word learning with japanese learners. It can also provide useful informations of priority problems on semantic learning phasein on the ground of vocabulary-education.

辞典的意味記述の不十分さを指摘した上でコーパスに現れた使用実態に基づいて「走らせる」の意味用法を分析した。本稿で明らかになった「走らせる」のコロケーションと意味用法を重要度の順でまとめると、次のようになる。 (1)＜乗り物＞を走らせる 車, 車種, ブランド, 玩具, バス,タクシー, 文脈, 馬, 列車, バイク, 自転車, 馬車, 船, スキー, 人力車, そり, 重機, 飛行機 (2)＜目＞を走らせる 目, 視線 (3)＜使い＞を走らせる 使い, 家臣, 女中, 職名, 人, 名前 (4)「ペン」を走らせる ペン, 筆, 鉛筆, チョーク, ブラシ, クレヨン, メモ, 無駄書き (5)~を(~に)走らせる 人, 若者, 犬, グラウンド, 校庭, 長距離 (6)Aを~に走らせる(否定的) 企み, 妄動 ,自殺, 投機, 非行, 絵空事, 争い, 騙し (7)＜線＞を走らせる 線, 線路, 回線, 水路, 枝, 亀裂, 皺, 光, 稲妻 (8)＜指＞を走らせる 指, 指先 (9)＜感情･感覚＞を走らせる 緊張, 怯え, 凶相, 衝動, 痛み, 寒気 (10)＜唇＞を走らせる 唇, 舌, ペニス 以上の頻度と語彙文法的な使用実態から取り出された意味用法の内容は日本語学習者に単語の学習における具体的な基準を提供するものである。なお、語彙教育の現場で学習意味の段階的導入ににおける優先順位を選定する問題に向けて有用な情報を提供するだろう。 一方、実際の使用において、テキストや場面を基準とした意味用法別特徴があるのかについては、コーパスを通して効率的に把握することができるのだが、NLBのグループ別画面や基本画面を利用すれば、「走らせる」のどんな意味用法がどんなサブコーパスで用いられているかを分析することができる。サブコーパスの分布はある程度出現テキストや場面の使用比率を代弁してくれるので、これを根拠として「走らせる」の意味用法がそれぞれどんな領域で使用されるのかが調べられる。学習者のコミュニケーション能力の向上に直結される「走らせる」の意味用法別使用域を明らかにする作業と共に韓国語の対応表現との対照分析を今後の課題としたい。

This survey researched the actual condition of Japanese learning and awareness about the visually handicapped university students. The survey showed that studying Japanese, the visually handicapped university students prefer to study spoken language rather than do written language. Especially, they recognized that ‘Chinese letter’, ‘writing’ and ‘reading’ are the most difficult part than other parts while, they were aware that speaking part is the easiest parts than other parts. Actually, when they took the Japanese culture course in university, they preferred the free talking class by native teachers rather than reading the text, translation focused on the written language, or grammar class. In the types of Learning Method, the visually handicapped university students selected an individual lesson, this reason could analyze that due to visual impairment characteristics, they selected the Japanese conversation class focused on the function of speaking to be able to communicate with each other. Above all, the visually handicapped university students consider important interaction with teachers, also, this study showed that the learning supporting systems and careful concerns for them have an important effect on choosing their own courses. Also, they stressed the importance of speaking drills and a full explanation about textbooks on Japanese teaching materials. Depending on the rating disability, total blindness students received Braille translation service, For low vision students, by asking the teacher to make an enlarged copy for them, they hope that it is enough for them to read the Japanese teaching materials.

本硏究の調査結果、視覚障害をもった韓国人大学生は日本語を學習するにおいて、文字言語よりは音聲言語を中心とした學習方法をさらに好む傾向があることがわかった。 また、大學で敎養日本語の講義を受講する際にも文字言語を中心とする飜譯や講讀、文法の講義よりはネイティブ敎授者によるフリートーキング授業の方を選択する傾向があった。 日本語の學習方法の類型においても視覚障害の特性から、相手との1:1會話練習ができる學習スタイルを好んでいた。何よりも視覚障害をもった大学生は敎師との相互作用を重要だと思っていて、特に障害をもつ學生のための配慮や學習支援の有無が講義を選択するにおいて、大きな影響を及ぼしていると考えられる。 學習に役に立つ日本語敎材に関しては、｢トーキング練習｣や｢學習內容に関する充分な說明｣をもっとも重要な要素だと認識していた。また、障害のレベルによって、全盲の學生は敎材を點字に點譯してくれるサービスを期待した。低視力の學生の場合は、敎授者が敎材および學習資料の活字を擴大複寫し、読みやすくする支援を希望していた。

The purpose of this study is to comprehend the social and cultural characteristics of Korea and Japan by examining significant difference in the lexical distributions in the high school national language textbooks of Korea and Japan based on Bunrui Goihyo(1964). First, in ‘the overall number of words’ of the 5 large categories, Korean language textbooks showed a great significant difference in the item ‘the subject of human activities’ while Japanese language textbooks showed a great difference in the item ‘abstract relationships’. This is a phenomenon consistent in the national language textbooks after the level of elementary and middle school. To focus on the overall number of words among 43 sub-categories, Korean language textbooks showed a great significant difference in 14 items including human beings, family, members･position, society, and economy. Japanese language textbooks showed a great significant difference in 9 items including instructions, alliance･organization, mind, creative activities･writing, interaction with people, machine, and animal. Based on the above results, a comparison of social and cultural characteristics through small categories and words of high frequency can be made as follows: Korean language textbooks use titles of relatives of a wider range associated with husband and wife, grand parents, grandchildren, and brothers, and showed a significant difference in specific person, words indicating persons, boss, monarch, ruling class, tax, wage, income, occupation, peace･war and various products. This probably reflects actual life including economy and national security as greater emphasis is laid on individual, family, and relationship between subordinates and superiors. In Japanese language textbooks on the other hand, most of the words related to family were those about parents, many words were common names referring to humankind in general, and words indicating ethnicity and temporary positions, and there was a significant difference in words related to feelings, knowledge/opinion, creative activities/writing, organization, assembly, and machine. This result confirms that Japanese society gives priority to group over individual, and is comparatively free from the dominant-subordinate or subordinate-superior relationship, and more focused on emotions and mental activities rather than on practical reality.

本稿では『分類語彙表』(1964)に基づき、韓國と日本の高校國語敎科書の語彙分布に現れた有意差を通じて兩國の社會文化的特徵を明らかにする。 まず、5個の大分類の｢全體語數｣を見てみると韓国は｢人間活動の主體｣で、日本は｢抽象的關係｣で有意差が現れた。これは小･中学校でも一貫した現象でもある。只、小･中學校の場合、他の｢生産物及び用具｣｢人間活動-精神及び行為｣｢自然物及び自然現象｣でも有意差が現れたが、高校では両国とも類似しており、また各項目別語彙の比率も低くなっている。 43個の中分類の｢全體語數｣の場合、韓國は人間、家族、構成員･職、社會、経済など、14項目で有意差が現れ、日本は｢こそあど｣のような指示語、同盟･團體、心、創作･著述、交流、燈火、動物など、9項目で有意差が現れた。 以上をもとに、小分類および高頻度語を通じて社會文化的特徵を分析すると次のようである。韓國は夫婦･祖父母･孫･兄弟と関わる広い範囲での親族語彙を数多く使っており、特定人物、人稱語、長、君主、支配階級、稅金、給與、所得、仕事、平和･戰爭および何らかの生産物などで有意差が現れた。韓国の教科書は個人および家族など、上下關係が守られ、経済及び安保など、實生活を積極的に反映していると言える。一方、日本は家族と関わる語彙は主に｢父母｣に限られ、特定人物よりは人間全般を指す通稱語や人種、自他、老少分野および臨時的な地位を表す語彙が多く、感情、知識･意見、創作･著述、團體、集い、機械などで有意差が現れた。日本は個人よりは集團を大事にし、支配および上下關係から自由で、現實的な生活よりは人間の感情や精神活動に焦点を当てていると言える。

In this article, we analyze the process in which the concept of firefly forms its inherent image and yields various types of expression in the literature during the Heian period. The concept of firefly as represented in WAKA-poems has been established as a poetry-word which gives rise to the impression of passionate love due to the logic of expression in WAKA-poems, though the word has also been affected by the notion of firefly as the metaphor of star and light in KANSHI-poems. Fireflies were introduced to stories in various ways. In Isemonogatari, fireflies were represented as the image of the spirit of a dead woman or that of the spirit of a man in passionate love. In Utsuhomonogatari, where women were lit up by the light of fireflies, fireflies were represented as the image of men’s passion. In Genjimonogatari, fireflies were closely related to the development of the story, the theme of the story, and so on. Most of them were associated with the love of Hikarugenji, implying the progress of his love and serving to describe his heartbreak. In particular, the fireflies represented in Hotarunomaki served to topicalize Hikarugenji’s passion towards Tamakazura. In post-Genjimonogatari proses, the description of fireflies is hardly attested. In the world of WAKA-poems, too, works featuring fireflies are restricted to the types of poem previously attested, most particularly love-themed poems. On the other hand, in Shinkokinshu, a selection of poems during the medieval era, fireflies were featured in distinctive ways (e.g., as a metaphor of Buddhism). In medieval proses, however, fireflies were hardly represented, except that poems featuring fireflies created during the Heian period were revisited based on people’s interest in narratives.

Japan has been affected by natural disasters such as earthquakes, tsunamis, volcanic eruptions. And many articles have been written by people have experienced a disaster. These articles give us hints to prevent disasters and information how to act in situations of natural disasters. I focus on essays among disaster articles, because essays contain a lot of personal impression compared to the public record. Eitai bridge collapsed during Tomioka-hachiman festival in 1807, killing or injuring about 1,500~3,000 people. Ota Nanpo and Santo Kyoden wrote the essay of the same title as <Yumeno Ukihashi> each after saw that accident. Nanpo was junior administrator of the Edo shogunate and Kyoden was a merchant but they are famous authors. Nanpo described sufferers and disaster situation dramatically used official documents. Rakugo <Eitaibashi> based on one episode of <Yumeno Ukihashi> by Nanpo, <Hokuetu Seppu>, or a book about the life of heavy snowfall region, introduced snow flood. Suzuki Bokusi a writer of <Hokuetu Seppu> experienced snow flood when he was a young. He not only described vividly it for Edo people who never have experienced it, but also analyzed a reason why it occurred. <Buko-jidono-ki> was wrtten by Saito Getsin who was a intelligent of the Edo. He recorded a disaster of Ansei great earthquakes. He wrote many episodes without filling. It seems like to repose of victims souls.

As it is well known, Uji was a stage of Genji-Monogatari Uji Jyujo. It was a place Hachinomiya spent rest of his life in retirement since he had been defeated in power struggle. And it was also a place where Ukihune, who had been agonizing between loves for Kaoru and Nioinomiya, committed suicide. In Genji-Monogatari Uji Jyujo, a desolate landscape of Uji remote from everyday life was depicted in wonderful harmony with tragical lives of characters. This is a study on characteristic aspects of bleak atmosphere of Uji, a unique atmosphere much different from that of mundane world, as shown in Genji-Monogatari, in relation with similar aspects in Kagero Diary. Since Uji was located in a major pathway for Hatsuse Moude, it came to get religious overtone. Uji was also a place where Ukihune, the heroine of Uji Jyujo, committed suicide. Significantly, we can trace the folklore of Hashihime that surrounds the Uji River as a background of her suicide. Hashihime was a deity who was known to perform a purification ritual for atonement on behalf of others at the water’s edge and has some relation with Seoritsubime enshrined in Sakunati Shrine, described in Ishiyama Moude in Kagero Diary. By focusing on common elements in these two literary pieces, Kagero Diary and Genji-Monogatari, we can see that Uji in Heian Period was soaked in ambience of death because of a swift current of the Uji river. This atmosphere strengthened the dark image of the fateful death of Ukihune, which in turn was closely related with the folklore of Hashihime, the guardian deity of the Uji River.

When we read the ‘Takwsimakiji’, We can see the containment between Tsushima and the government of Chosen Dynasty over the paper which was sent from Chosen Dynasty to Tsushima. The paper was sent as a reply of the decision of forbidden of across to Takesima at 1696. Because of this forbidden, Tsushima lost their interests which they had enjoyed for almost 80years. So they tried not to be handed down the records, which ‘Takesima’ is a island of Chosen Dynasty. For these reasons, they didn’t send any paper which remained as a proof to future generations. And they required revision of the contents of the paper which was sent from Chosen Dynasty to Tsushima. Tsushima always insist that they make efforts to coordinate Chosen Dynasty and Japanese Bakuhu. But their real intentions lies in how they can keep their interests. So they even don’t want to let Chosen Dynasty know the decision of the forbidden.

『竹島紀事』は日本政府が1696年に下した「竹島渡海禁止令」に対して、朝鮮側が送った書簡をめぐって、対馬と朝鮮政府の間で行われた論争を記載している。日本側が禁止令を口上だけで伝えてきたので、朝鮮政府としては後日、証拠となる書簡という形で返答している。そのため書簡に「その名、異なると雖も、其の我が地と為すこと、則ち一なり」、「諸奉行之文字」との文句を記載したのは当然の帰結であった。しかし、対馬は予期しなかった内容に何度も書き直しを要求した。このままでは江戸の将軍に上申できないと言い張ったが、「渡海禁止令」を口上だけで伝えるという方針は、実は将軍ではなく宗義真のものであった。対馬はこのように日本と朝鮮政府、両国の理解を調律するという名分の裏で、朝鮮側には「禁止令」が下った事実を伝えるのにさえ躊躇していた。

Though 『ShinManyoshu』 was planned and issued as national business revealed from cultural, national, nationalism recognition with large expectation, the sensation was finished at poor level because of circumstance of the nation after. However, in criticism saying epigone and slow study history compared to its scale, the value and influence that 『ShinManyoshu』 affects to Tanka study of ‘overseas territory’ may be regarded that they are big. In this abstract, as it pays attention to Taiwan that is one of ‘overseas territory’ area, it analyzed about the selection process, Tanka poets resident in Taiwan, and their Tanka. As a result, although the selection process was same with Chosun at that time, it may be confirmed that the sensation, Tanka poet, and Tanka contents were more diverse. However, local color applied Tanka like Chosun was not accepted innocently to ‘main islands of Japan’. It is told that this re-interpretation of ‘overseas territory’ local color in ‘inland territory’ and giving ideology are full of suggestions not only at 『ShinManyoshu』 but also at local color study of East Asia. In 『ShinManyoshu』, there are many Tanka poets and their works existing in Manchuria and many places in China besides Chosun and Taiwan. After that, as the research about these areas will be conducted, research regarding East Asia in 『ShinManyoshu』 should be produced in various viewpoints.

1938年に日本で刊行された『新萬葉集』は文化的、民族的、国家的に高い意識から企画されたものであったが、当時の時局状況によりほとんど注目を受けてこなかった。よって、今までなされてきた『新萬葉集』研究もほとんどが日本に集中しており限られた研究であった。それにもかかわらず『新萬葉集』が外地における短歌研究に及ぼした影響力とそこに残された価値は大きい。本稿では『新萬葉集』研究での空白地帯といえる台湾で詠まれた作品に注目している。その中でも台湾での『新萬葉集』募集過程と発刊後の反響、在臺灣歌人と選抜されたそれらの短歌を分析した。その結果、掲載短歌の募集過程は朝鮮と同様であったが、その反響や歌人の構成、短歌の内容は実に多彩であった。しかし朝鮮と同様にローカルカラーが反映された短歌(外地の異国情趣のある短歌)は当時の時代状況に巻き込まれ純粋には受け入れられなかった。このように当時の日本｢内地｣の｢外地｣ローカルカラーに対する再解釈とイデオロギーの付与の問題は、単に『新萬葉集』研究のみならず植民地期における東アジアのローカルカラー研究にも投げ掛ける意味が大きい。『新萬葉集』には朝鮮、台湾以外にも満州と中国の各地から｢内地｣へと短歌を発信した歌人らの短歌が埋もれている。今後、このような地域に対する研究が次々と行われ『新萬葉集』研究がさらに浮かび上がることを期待する。

The ancient Chinese philosophy of ye-ak(courtesy and music)held an important position in the ancient musical theory of China. It was established as a musical theoretical system in the “Musical Records” section of Records of Courtesy and as a musical philosophy of East Asia. The philosophy of ye-ak is also a political ideology based on national government. “Ye” means order and “ak” signifies harmony. A noble man was supposed to have these virtues of order and harmony, and these virtues functioned as means to govern the nation.　The book titled Summary of Musical Books, brought into Japan by Kibiomakibi, a Japanese envoy to the Tang Dynasty, served as a conduit in Japan’s acceptance of Ｙe-ak philosophy. On the other hand, the scope of ancient music as a ruling ideology included poetry, songs, and dance. These three things are the basis of virtue, and act as a link in the form of arts. The preface of Kokin-wakasyu expressed the theory of praising virtues by Waka as the concept of music and established the Waka-centered views of the era of peace based on the Confucian musical theory. In addition, Confucius’ “philosophy of playing with arts” emphasizes the ethical role of arts in building character but the aesthetic function of arts, or the concept of “Asobi (having fun)” in Japanese. The relations between Asobi and arts in Japanese cultural history is based on the “philosophy of playing with arts” of ancient China. In particular, the musical viewpoint reflected in Monogatari of the Heian Dynasty was centered on the philosophy of courtesy and music and elegant and refined enjoyment. The phase of elegant and refined Asobi is a starting point of arts for amusement for ancient Japanese people. Therefore, the ancient Japanese history of arts for amusement is a part of the history of Asobi of Japanese people, and the culture of arts for amusement was being shaped anew while people were enjoying arts.

礼楽思想は単なる音楽思想ではなく、律令制を根幹に据え、需教を基点にして築かれた日本古代制度や政治思想の中で大きな位置を占めている。そのなかで需教的な礼楽論を集大成したのは『礼記』の｢楽記｣であり、政治思想として経典化され、音楽思想の主流を占めていた。 それで、本考察では『礼記』の｢楽記｣を中心に‘礼’と‘楽’の概念、日本における礼楽思想の受容と政治的なイデオロギーとしての古代日本の‘楽’の様相、そして礼楽思想を受容し実行した為政者の政治·文化活動が文学のなかで、どのように反映されていたのかを考察してみた。 遣唐使の吉備真備により持たされた『楽書要録』は日本の礼楽思想に大きな影響を与えた。礼楽思想は秩序を意味する‘禮’と和合を意味する‘樂’を基に、君子が備えるべき徳として、治世の手段として機能をした。そして、その代表的な宮廷芸能の行事が五節舞であり、それは国家統治と皇室の莊嚴化のために天武天皇によって制作されたものである。 一方、理想の統治イデオロギーとして機能した古代‘楽’の範囲は、｢詩、歌、舞｣で、これらは心の徳の根本であり、いわゆる‘藝’の形として一つの継ぎ目に作用している。その中で,『古今和歌集』の序文の歌德論は、礼楽思想を背景にした楽論に基づいており、和歌中心の聖代観を構築した。 また、孔子の‘遊於藝’の思想は、単に‘藝’の倫理的な人格の完成だけではなく、‘藝’を楽しむという‘遊’の概念、すなわち‘藝’の心美的な機能を強調している。すなわち、‘遊’と‘藝’との相互関係は、古代中国の〈遊於芸〉思想を基にしている。特に、平安物語にみる一般的な音楽観は、礼楽思想の側面と遊楽的な側面があり、その風雅の遊びの段階が古代人にとっての〈遊芸〉の出発であると考えられる。したがって、日本の古代の〈遊芸〉は日本人の遊びの歴史の一部であり、‘藝’を楽しむ中で遊芸文化は新たに生成していった。

Circle movements first started with ‘poetry’, gradually spread as ‘record of their lives’ and ‘choir movement’ Then again extended as ‘citizen movement,’ they displayed aspects to put civic awareness of new postwar democracy into practice. In particular, from the incident that Japanese deep-sea fishing vessel, Daigo Fukuryū Maru, was exposed to radiation by Nuclear Test at Bikini Atoll in 1954, antinuclear movement emerged in Japan. The circles triggered this movement. The circle movement’s issue in the 1950’s was ‘Anti-Atomic-and-Hydrogen Bomb Movement’ and the circles were its main agents. The incident that Daigo Fukuryū Maru was exposed by ‘radioactive ashes’ became a starting point of nation-wide anti-nuclear movement in Japan. Under the distorted concept about ‘Korean Japanese people’ in Japanese society after war, Korean Japanese youth who had to go through a harsh period joined in solidarity with Japanese citizens beyond nationality and ideology by means of ‘Anti-Atomic-and-Hydrogen Bomb Movement’. The 8th and 9th issue of 『Azalea』 covered ‘special issue of hydrogen bombing’ and highlighted their existence at ‘metropolitan newspapers.’ A principle to live together by solidarity with Japanese was created by inflated desire to spread the truth and public participation and responsibility as citizens. They conceived their poetry magazine 『Azalea』 as a public place. They was considered to put their behavior of ‘group writing’ into practice as a movement for expanding the base of postwar democratic citizenship.

50年代は、一般人が自分たちのサークルを作って、詩という手段で自分たちの雑誌を作った時期である。この時代には労働者のサークル運動とサークル誌が全国8000ヶ所もあり、京浜工業地帯の東京方面である｢東京南部｣だけでも200余りのサークルがあったという。その中で、53年に在日青年たちが｢大阪詩人集団｣というサークルとともに自分たちの機関紙である詩誌『チンダレ』を創刊した。 サークル運動は、｢詩｣として出発したが、次第に｢生活の記録｣や｢歌声運動｣としても拡散し、これが再び｢市民運動｣としても広がって、新しい戦後民主主義の市民意識を実践する様相を見せた。特に、54年アメリカのビキニ環礁での水爆実験によって日本の遠洋漁船である第五福龍丸が被爆した事件をきっかけに、日本では反核運動が芽生えた。その結果、50年代サークル運動は｢原水爆禁止運動｣をもってピークを迎え、この運動の起爆剤であったサークルはその主役としての役割を担った。 第五福龍丸の水爆実験による被爆で、日本は広島･長崎に続いて原子力の被害を受けた前代未聞の国になった。｢死の灰｣による第五福龍丸の被爆事件は、日本国内における反核運動の出発点となった。全国のサークル誌は、原水爆に関する文章を次々と発表し、原水爆に対する恐さと憤怒は署名運動から｢原水爆禁止運動｣へと広がった。 戦後、日本社会で歪曲されていた｢在日朝鮮人｣という認識の下で、最も苛酷な時期をおくらねばならなかった在日朝鮮青年たちは、｢原水爆禁止運動｣を通して民族とイデオロギーを越え、自分が住んでいる日本の市民と連帯して、詩という手段で参加した。『チンダレ』は、8号と9号に｢水爆特集｣を掲載することで、自分たちの存在感を｢中央誌｣にアピールした。真実を伝えねばならないという欲求と市民としての社会参加および責任感は、日本人と連帯して共生しようとする原則を作った。彼らは、自分たちの詩誌『チンダレ』を公共性の場として認識しながら、戦後民主主義的な市民意識の底辺拡大と運動として｢集団となって書く｣行為を実践したと考えられる。

Since the 2000s, Haruki Murakami’s world of literature has tended to be preoccupied by the word “From ”detachment to commitment“, which was uttered by the author in 1995. ‘Commitment’ is the change of Haruki’s ‘recognition’ that was acquired while seeking the relationship between individuals and society and there is a ‘commitment novel’ as a medium to link this to ‘reality’. Then what are the characteristics of Haruki’s ‘commitment novel’? This paper analyzed his short story “Landscape with Flatiron” and it was revealed that for Haruki, a ‘commitment novel’ intends to link the real world of the story to the real world of the author’. In other words, this refers to the ‘relationship of fiction and reality’. He also structurally separates the illustrations describing the process of healing the wounds by projecting people, who got hurt after the earthquake, onto the characters rather than describing the earthquake directly and using a bonfire that is a symbolic unit to show indirectly. But then he shows in a very indirect and symbolic way by connecting the illustrations to complete the entire story in content and placing elements symbolizing the earthquake at a long distance. But this method is focused on the detail rather than showing the contradiction of ‘From “detachment” to “commitment”’ and the whole and excludes other parts for the detail. For this reason, this leads to doubt about the true meaning of ‘commitment’. Nevertheless, ｢Landscape with Flatiron｣, which fictionalizes the problems of the real world by the medium of the Great Hanshin earthquake, contains the writer’s intention fully as a ‘commitment novel’ and taking into account that literature is a genre reflecting reality through ‘language’, it is thought that this is a clear literary expression.

2000年代以降の村上春樹の作品世界は、1994年、作家自らが發話した「ディタッチメントからコミットメントへ」という言葉によって先取りされる傾向を呈している。「コミットメント」とは、個人と社会の関係を突き止めていく末得られた春樹の「認識」の変化として、その認識の変化を「実在化」するための媒介として「コミットメント小説」が存在する。 では、春樹の「コミットメント小説」における特徴は何だろうか。 春樹において「コミットメント小説」とは、「作中現実と作家の現実世界のかかわりあい」すなわち「虚構と実在のかかわりあい」を図るための表現手段である。そして、コミットメントを実践するための具体的な方法として春樹は非常に間接的で象徴的な手法を選択している。①地震という題材を直接には取り扱わず、物語の場所も神戸とは遠いところに設定され、その地震がもたらしたものをできるだけ象徴的な形で描かいている。②地震による傷の治癒過程を挿話として示すときも、挿話と挿話の関係を構造的には分離させながらも、内容的には関係付けている。③地震を象徴する要素も遠距離で掲示されるなどである。しかし、これらの方法は、「ディタッチメントからコミットメントへ」という方法そのものから生起する矛盾性と全体より詳細を集中的に描くことによって他の部分が陰となり排除されてしまうことがある。このため「コミットメント」の真意に疑問を抱かせる。 にも拘らず、阪神･淡路大震災を媒介に現実世界の問題をフィクションの世界の中に取り入れた『アイロンのある風景』は、作家村上春樹の「コミットメント小説」としての意図性が大きく内包され且つ凝縮された作品である。このような村上春樹の意図は、文学というものが「実在」ではなく「言語」というものを媒介に実在を反映した「虚構の装置」であることを思い起こせば、極めて意図的な村上春樹式「文学的表現」であったと言える。

Hereby, this thesis intended to inquire into the psychology of the characters appearing in Murakami Haruki’s short story collection titled 『After the quake』, which was written with Japan’s Great Hanshin Earthquake as a main theme, by relying on post-traumatic stress, the theory of Post-Traumatic Stress Disorder(hereinafter, referred to as “PTSD.” The characters were exposed to an earthquake indirectly as one man though they didn’t directly experience it, or have a connection ring with Kansai District which was struck by the quake. Among the post-traumatic stress disorders, this thesis looked into the PTSD state caused by a quake shock through mass media as the first psychological damage. This writer, through ‘earthquake’ which is a theme as a foundation of a work, and also a subject matter which creates and changes characters’ values & psychological damage state, looked into variform trauma. Also, the same writer was able to confirm the appearance of people who accept a natural disaster as their destiny, or the appearance of people who are in search of another different way of life while considering a natural disaster-earthquake. which can be said to be closely connected with Japanese society, and the psychological damage of the Japanese who live though the earthquake.

この論文は日本の阪神大地震をテーマにした 『神の子どもたちはみな踊る』に登場した人物の心的外傷後ストレス障害、つまりピーティーエスディー(PTSD)の理論によって究明してみた。PTSDは心的外傷後ストレス障害ともいわれ、災難を経験した場合はもちろん、間接的に経験した人々にも現れる心理的な被害の状態をいう。春樹は間接で経験した地震を 『神の子どもたちはみな踊る』という短編に登場した数人の人物たちに投影した。 第一、心理的な被害はマスメディアを通じた衝撃で生まれるPTSD状態を調べた。 第二、神戸に残した家族がある人物を通じて感じられる間接的な地震の恐怖と‘死’に対する苦悩を通じてトラウマを持つようになる断面を考察した。 第三、｢蜂蜜パイ｣の登場人物を通じて、地震で生じたトラウマを通じて人生観が変化することになる心理状態を考察した。 『神の子どもたちはみな踊る』はこれまで心理学的観点として多く研究されていなかった小説だったが、本稿を通じて、地震という自然災害を通して様々な形態に変化する群像の姿を新しい観点で考察した。また、日本で地震をはじめ様々な自然災害を宿命と受け入れる日本人の姿が知ることができた。阪神大震災という歴史的事件を想起させ、心理的な被害、心的外傷後ストレス障害とは新たな視点から新たに研究される可能性があるということに今までの研究と他の意義があったと言える。

In this paper, I have analyzed The Tale of Genji with a focus on music education. I investigated the keyword ōshitate, which means to raise and teach a person. In this literature, the word relates to the metaphor of a master and pupil. In the chapter entitled “Wakana: Ge,” Genji provides the instructions at the musical banquet of women, stating that he is a master and the four women are his pupils. It is not only the representation of his pride, but also the symbol of the relationship he has with the women. In the banquet, Onnasannomiya is praised as an excellent pupil, but she has no chance to demonstrate her ability and play the koto for his father, Suzaku. She is prohibited from doing so because of her misconduct with Kashiwagi, a young nobleman; the other reason is her marriage with Genji. From the beginning of the marriage, Genji is not expected to play the role of a husband; instead, his roles are as a father and teacher. The musical banquet shows the harmony of instruments and women on the surface, but it also reveals the complex relationships between Genji and the women. Consequently, the instruction of koto from Genji to Onnasannomiya does not transfer to their descendant opposite to the type of the preceding literature. The music education in The Tale of Genji shows the flow of musical culture from generation to generation without being limited to the distinct family tree.

本論文では 『源氏物語』における音楽教育を「若菜下」巻の女楽の場面を中心に考察した。女楽に関して、先行研究では、芸術論、典拠論、学芸史、王権論などの側面から接近した研究が行われてきたが、本論文では先行研究の成果を踏まえながら、源氏と女性たちの人物関係に注目したい。特に、女楽の場面で繰り返して提示される「生ほし立てる」という用例や「師と弟子」の言説を中心に源氏と女性たちの関係に着目した。「若菜下」巻で源氏は女楽を催し、楽器を演奏する女性たちを弟子に比喩するが、そこには音楽を教えていく源氏の師としての自負心が見て取れる。しかし、それはただの源氏の自負の表現ではなく、彼と女性たちの関係を象徴する言説として働いている。特に、「生まし立てる」という動詞は作品全体で21例が使われているが、その中でも源氏の紫の上に対する教育を指している場合が最も多い。同じ言葉が女三宮の源氏への降嫁の場面にも使われ、また、紫の上と女三宮を比較する文脈でも複数使われている。女三宮は琴の伝授において優れた弟子であると誉められるけれども、彼女が父の朱雀院の前で実力を披露する機会はなかなか訪れない。表面的原因は女三宮と柏木の密通であるが、その深層には、源氏と女三宮にそもそも夫婦関係というより、養育関係、師弟関係という特殊な間柄が要求されていた事情が置かれている。女楽の場面はそのような捻れた夫婦関係を浮彫りにする。調和的にみえる女楽の底には女性たちの身分差の問題も横たわっている。紫の上が悩みはじめ、病気になるのも女楽のすぐ後である。源氏は女三宮に琴を伝授するが、それが源氏や彼女の子孫へ伝授されていく姿は描かれない。しかし、「宿木」巻で明らかになるように、源氏と女三宮の間で交された精神的共感の跡は楽譜という形に残り、琴の伝授は次の世代に精神的遺産として継承されていく。女楽の場面を手がかりに 『源氏物語』における音楽教育を眺めると、この作品は音楽の伝授が個別人物の中で終わるのではなく、文化として次の世帯に広がっていく姿を仄めかしていると思われる。