Earticle

This paper reveals the aspect of Korean ‘kuruma’ mainly from the late 19th century to the first half of the 20th century in terms of language and history. ‘Kuruma’ in Korean is a word borrowed from Japanese sounds in the late 19th century. Japanese ‘kuruma’ was used in the meaning of <float> irrespective of the times, and also called ‘kuruma’ as a means of transportation that is used frequently in each period. From the mid-nineteenth century to the twentieth century, new means of transportation, such as rickshaws, steam locomotives, trains, trams, subways and bicycles, Kuruma. On the other hand, ‘kuruma’ of Korean from the late 19th century to the 20th century was used only to mean ‘floats’, unlike Japanese. In other words, it can be seen that the meaning domain of Japanese is wider than that of Korean, and the meaning of Korean is limited to only a part of the meaning of Japanese. Korean ‘kuruma’ was used in the meaning of <rickshaw> and <car> as in Japanese, but it was not settled. Although the notation is unified as one, it is a highly productive word that constitutes a large number of compound nouns. Korean ‘kuruma’ was used more often than ‘sure’, a native language before 1945, but after 1945, it suffered a decline, especially after 1970. The reason for this is that Korean or Korean language has moved away from the Japanese sphere of influence after the liberation, and the words that were in the Japanese sphere of influence due to the Korean language faction have disappeared.

This paper aims at considerring the usage of “to-omou” with adjective predicate sentences, which have the inferred usage and the non-inferred usage. The inferred usage has the typical inferred usage which is possible to replace with the modality “darou” and to cooperate with the adverb “tabun”, and the euphemism usage which “to-omou” is grammatically not necessary. In non-inferring usage, replacement with “darou” or co-occurrence with “tabun” is impossible at all , so you can say that “omou” is working as actual verb. Finally, we saw the relationship between the basis of inference and the certainty. If the basis of inference is certain, the sentence with “to-omou” is close to the assertive sentence, and in the case where the basis of inference is uncertain, it expresses an uncertain and unconfident inference, or it becomes a euphemism expression simply to avoid affirmation. “to-omou” occurred with the adjective predicate sentence has a wide range of meanings and functions, such as judgement of inference , communication and an actual verb.

This paper described “TEINEISA(politeness)” in Japanese language behavior. Description of the paper is based on the recognition of Korean Japanese learners. In this paper, data collected from Japanese learners was classified and analyzed using the KJ method. As a result, 53 basic labels could be put together in eight ‘Islands’. The eight ‘Islands’ are as follows. 1:Language format is important. Especially the honorific form is the main element. However, that is not an essential element. 2:It is important to use proper expression appropriate for human relations and situation. In particular, proper recognition of human relations with the partner is indispensable. 3:Consideration, respect, politeness of the other party (listener) is important. 4:Politeness is an important factor, but there is not have to stick to one’s courtesy. 5:It is important to show a positive attitude in the communication of their own (speaker). But, it must not go through. 6:It is to show the dignity of one’s (speaker) to the other person (listener). 7:It is to consider even the details. 8:Not only linguistic but also nonverbal parts, especially attitudes and behavior are also important.

The present study tries to show the semantic usages connoted in the variant forms of Oru and Te-Oru in the Japanese living Bible version of the Old Testament, The results are as follows: [1] As for Oru, forms like [Oraseru], [Orareru ‘possibility’], [Oranu], [Oran], [Otte], [Oru], and [Oreba] were associated with an archaic speech. [Orimasu], [Orimasen], and [Orimashita] connoted an honorific tone. [Orareru ‘respect’], [Orazu] and [Ori] were substitutive expressions while [V1＋Otte], [V1＋Otta] and [V1＋Oru] were listener-despising vulgar Hibago. [2] As for Te-Oru, [Te-Oreru], [Te-Oranu], [Te-Oran], [Te-Otta], [Te-Oru], [Te-Ore], [Naide-Orareru ‘possibility’], [Naide-Oreru], [Zuni-Orareru ‘possibility’], and [Zuni-Oreru] connoted an archaic tone. [Te-Orimasu(Orimashita)(Orimasen) (Orimashita)] were courtesy words in the Honorific II class. [Te-Orareru ‘respect’], [Te-Orazu], and [Te-Ori] were used as a substitutive expression. [3] Orareru and Oraremasu were intermediate-level honoric words. On the other hand, more specific forms like Irassyaru, Irassyaimasu and O-idede-desu were high-level honorific words. There was a strict boundary in the honorific status between the former and the latter groups. [4] Te-Orareru and relatively more honorific Te-Oraremasu had intermediate- level honorific connotation while more specific forms like Te-Irassyaru, Te- Irassyaimasu, and Te-oide-desu connoted a high-level honorific tone.

This paper reexamined the theory (Kikuchi 1997, Kabaya 1999) that related the extension of “Saseteitadaku” to the use of “Itasu”. I surveyed the “Budget Committee” of “Diet Conference Proceedings” and investigated sample changes in the number of uses of “Itasu” and “Saseteitadaku”. I found out that As a result, until the Showa 50’s, the usage rate of “Itasu” was over 90% for “Saseteitadaku”, whereas in the 1980s the usage rate of “Saseteitadaku” exceeded “Itasu”. In order to investigated the cause of the transition from “Itasu” to “Saseteitadaku”, It investigated frequently used words in both expressions. Also examined the nature of the words that can be connected to each expression. I tried to clarify the relevance of the change of use of “Itasu” and “Saseteitadaku” from such investigation. As a result, it became clear that there is a relationship with the process of expanding use of “Saseteitadaku” approaching polite language on usage.

‘Ellipsis’ is a linguistic phenomenon that appears frequently in the Japanese language. This paper aims at a systematic examination of the incomplete utterance type abridged sentence with ellipsis or partial ellipsis of the part of predicate. Daily conversation and advertising language, which are data with different purposes of utterance, are to be examined. While daily conversation requires strategies for smooth communication with the listener in the face-to-face scene, advertising language is the text for advertisers to achieve their intended advertising effect from consumers or the public. In this respect, it would be worthwhile to make a comparison between the two types of utterance. Beginning with the stereotyping and characterization of the incomplete utterance type at the morphological level, this study enhanced the relationship between the incomplete utterance type abridged sentence with the pragmatic functions and usage. In addition, this paper took an integrated research methodology including cognitive linguistics and rhetorical approaches taking account of the characteristics of advertising language. Incomplete utterances were examined by dividing them into four types: conjunctive particles, non-conjunctive particles, nouns, and other forms. This paper clearly identified the difference between daily conversation and advertising language by pointing out that if ellipsis in daily conversation is derived from brevity purposes and interpersonal consideration of the listener, ellipsis in advertising language is intended to maximize the effect of expression in order to persuade consumers or the public to meet advertising objectives.

｢省略｣は日本語でよく現れる言語現象で、本稿では特に述部またはその一部が省略されたいわゆる中途終了型文末省略文の体系的考察を目標とした。 日常会話文と広告文という発話の目的を異にする資料を分析対象とするが、日常会話文は面と向かっての場面で聞き手との円滑なコミュニケーションのためのストラテージが求められるのに対して、広告文は消費者または大衆を相手にして広告主が意図した広告の効果を上げるためのテキストである点で比較の価値は充分であると考えられる。 形態論的レベルでの中途終了形態の類型化及び特徴の糾明を出発点にして、中途終了型省略文の語用的用法と役割との関連性の詳細を明らかにしようと試みた。しかも広告文の特性を考慮して修辞学･認知言語学的アプローチ等を含める統合論的研究方法を取った。 中途終了形態としては大きく接続助詞類･非接続助詞類･名詞類･その他の形態などの四つの類型に分けて考察した結果、広告文では特に名詞類中途終了型の出現率が最も高く現われた。日常会話文では接続助詞類が非接続助詞類より出現率が高く現れたのに対して広告文では非接続助詞類が接続助詞類より出現率が高く現れた点は有意味である。 日常会話文での省略が｢簡潔性｣と｢聞き手への配慮｣によるものであれば広告文での省略は消費者または大衆に対して広告の目的を達成するよう説得を行ない、広告効果を極大化するための省略であるという点で異なっていることを明らかにした。

This research selected 42 kinds of Japanese grammar books out of 143 kinds of Japanese grammar books completed the first construction of <History of modern Korean grammar formation historical database> constructed at Yonsei Institute of Language and Information Studies, The purpose is to observe the transition of the transition of the concept of “grammar” that appeared in modern Japanese grammar books. Consideration as a so-called “language” for Japanese and its results have already been made as early as the 16th and 17th centuries through materials such as “日葡辭書” in 1603, “日本大文典” in 1604, In the 1800s that led to the nineteenth century Japanese phonetic trends centered on Western missionaries and hired foreigners in Japanese grammar history actively absorbed while introducing and translating Western grammar books, dictionaries, theories, etc. It can be said that it is meaningful from the aspect that it was time to shift to the achievement of Japanese researchers. As a result of this study, the concept of “grammar” which was seen from 42 kinds of modern Japanese grammar books is “rule of literature”, “rule of colloquial word”, “language of spoken word and spoken word”, “language structure” The tool to embody the idea of can be divided into five categories. It was in the 19th century that I restricted “grammar” to “rule of literature” by organizing it.And the position including both “spoken language rules” and “literal and colloquial laws” was remarkable from the beginning of the 20th century. In addition, after that, “literal” and “colloquial” spread through the recognition of “language” through 大槻文彦 in 1898, and also showed that “grammar” is defined as “rule of language and structure” by him. And to 山田孝雄 “grammar” has been transformed as “a tool to embody human thought”.

本研究は延世大学言語情報研究院で構築してきた<近現代韓国語文法形成史データベース>の第一次構築完了分143種の日本文法書の内、42種の資料を選定し、近現代期日本文法書に現れた｢文法｣用語の出演と概念的な様相やその変遷の推移を観察するのに目的がある。 日本語に対するいわゆる｢言語｣としての考察や其の成果は1603年󰡔日葡辭書󰡕、1604年󰡔日本大文典󰡕などの資料を通じて既に16、17世紀から早くも成されてきたのであるが、19世紀に至った1800年代は日本文法学史上西洋人宣教師及びお雇い外国人を中心とした日本語研究の基調が西洋の文法書、辞書、理論などを紹介、翻訳しながら積極的な吸収した日本の研究者の業績に移っていく時期であったという側面から意味深いと言える。 今回の考察の結果、近現代日本文法書42種から見えた｢文法｣の概念は｢文語の規則｣、｢口語の規則｣、｢文語と口語の法則｣、｢言語の構造｣、｢人間の思想を具現する道具｣といった五つのカテゴリーに分ることができた。これによって整理してみると｢文法｣を｢文語の規則｣に限っていたのは19世紀に集中していた。そして｢口語の規則｣や｢文語と口語の法則｣のように両方を含んだ立場は20世紀に入ってから著しくなていた。加えてその後、｢文語｣と｢口語｣は1898年大槻文彦を通じて｢言語｣といった認識が広まり、彼によって｢文法｣が｢言語の規則と構造｣と定義される姿も見ることができた。そして山田孝雄に至って｢文法｣は｢人間の思想を具現する道具｣として変貌している。

The purpose of this paper is to examine how the idea of dessin and déformation in introductory manga books changed during the 40s of Showa era (1965-1975). Dessin and déformation, which is a basic concept of modern art, has influenced many manga artists since the pre-war era. Therefore, many introductory manga books have stressed the importance of manga artists learning these methods. In the the 40s of Showa era, many introductory books to manga were published, and they can be divided into three categories. The first category comprises introductions to traditional cartoons, which were intended as political satire and were influenced by modern fine arts since the pre-war era. The second category comprises introductions to story manga, or comics narrating stories, which became hugely popular among children following World War II. The third and final category comprises introductions to gekiga, an offspring of story manga that incorporated more realistic expressions and was mainly targeted at young adults. This paper discusses how each kind of introductory book explained the idea of dessin and déformation, focusing particularly on introductions to story manga and gekiga because both genres gained more popularity than cartoons during the 40s of Showa era. First, each genre’s explanations of dessin and déformation will be compared. Next, the ways in which each genre received influence from the traditional idea of dessin and deformation, which was strongly connected with cartoons, will be examined. Finally, the reasons for such differences will be clarified, taking into account the sociocultural context surrounding manga, such as the decline of fine art’s influence, advancement of information society, and the rise of new visual media like TV.

syunsui ninjobon was designed as a romance novel tailored to the demands of a new readers(young women). syunsui ninjobon continued to be very successful because it had features of a mass media magazine as well as a novel. However, criticism of syunsui ninjobon has also increased in proportion to its popularity. The criticism was focused on the depiction of the romance scene which is the key point of syunsui ninjobon, and a label named obscene, vulgar stuck. umenoharu is a work that has eliminated emotional romance portrayals and explored compromises with critics. umenoharu maintained readers’ interest by using the syunsui’s Novel technique called tsunagi and dandori instead of love scene which was a key element of syunsui ninjobon’s popularity, depiction of the latest epidemic that enhances verisimilitude, advertisement, etc. The significance of this paper is that umenoharu used real person and space, not only linguistic reality, but also verisimilitude was extended. It is also significant that we confirmed how to use syunsui’s Novel technique in umenoharu through the relationship circle of PPL, the one of the syunsui’s Novel technique and syunsui ninjobon through advertisement of Izumi Mekichi the doll maker.

Along with the advent of civilization, the espansion of the railway has greatly altered the way of human daily life. In this thesis, the study attempted to analyze the works about trains that adopted the interior of trains in a way that the space of train has a new meaning in terms of literature. In the case of a works about the interior of trains, the props that are used in a limited space is very useful. In other words, the props are surprisingly helpful in interpreting the works. For example, in “Sanshiro” the hero’s student cap and the woman’s possession have significant implications. Both objects imply that the owner is not very suspicious or dangerous. It is possible that the couple spend the night at the inn together. In the case of “To Abashiri”, the main character is mainly unconscious of the objects possessed by women, which are handkerchiefs and postcards. Of course, before such a fixation, the I am fully aware that the woman is a good mother and liberal woman caring for her children. Moreover, I guess she was a daughter of a respectable family when she was a virgin. I have become obsessed with the props she possesses, and is paying keen attention to her handkerchief and postcards, in particular her body odor. Not all novels matter important to the props. “Sanshiro” and “To Abashiri” are special because they deal with episodes within the limited time zones and spaces.