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When the mood of apodosis is expressive or imperative, use of ba is allowed only on certain conditions. First of all, when the mood of apodosis is expressive or imperative, ba protasis, not like tara protasis, cannot be a fixed condition. Non-actual conditions can be divided into two sub-categories: “fixed condition” and “hypothetical condition”. They both express potential event, yet with fixed condition the speaker is confident that the event will happen in the future, while with hypothetical condition the speaker is not sure whether the event will happen in the future or not. Fixed condition cannot contain “moshi”, while hypothetical condition can contain “moshi”. When apodosis mood is expressive or imperative making the sentence more actual compared to the general condition sentence, ba protosis gets strong connotation of “moshi” making itself impossible to be used as fixed condition.

The purpose of this study was to obtain suggestions for teaching in a classroom in order to achieve a sufficient conversation by discussion and we explored what kind of characteristics we could observe in conversation that we could observe a deep discussion in terms of contents. For the analysis, we focused on the differences in speaking through dialogue and co-operative conversation. As a result, we could observe a common point that pairs with a deep discussion have a higher frequency of co-operative conversation and based on the conversation example, we could observe a scene in which they enhanced recognition that they had same opinions each other by speaking through co-operative conversation while discussion. Furthermore, for a pair who had a different opinion at the beginning of discussion, it was shown that they acknowledged ideas from the partner by speaking through co-operative conversation, clarified their ideas by speaking through dialogue, and compromised with the conversation partner. As a result of this study, we can assume that participants in conversation can have a sense of security against the other speaker and speak with open mind by enhancing consensus or accepting different opinions from the partner by speaking through co-operative conversation as well as clarifying mutual opinions by speaking through dialogue, which contributes to a deep discussion in terms of contents.

This study aims to identify what professional interpreters would do when they face the risk of fluctuations in speech rate in simultaneous interpretation. In order to investigate it, the study first proposed the method of calculating the speech rate, information density as well as the percentage of interpretation. Then, it gathered research materials which can be classified into two types, one is speakers speaking with text and the other is impromptu speech. On top of that, the study analyzed how the speech rate, information density and speech pattern of speakers affected the percentage of interpretation, and what the most suitable new information is for professional interpreters.

In this paper, I describe the method of describing detailed usage rules of a word by using a corpus, which is a collection of usage conditions, by using the word comparison of synonym “TOKUCHO” and “TOKUSHOKU” as an example. In terms of the frequency of use, “TOKUCHO” was estimated from the comparison of numerical values of “TOKUSHOKU”. frequency information indicates the generality of expression. there is also an educational implication that not only linguistic meaning but also the priority of introduction in the monolingual teaching. In the case of register, the use of textbooks as “TOKUCHO” and “TOKUSHOKU” (“TOKUCHO” is frequently used in magazines, white papers, and published books) is also emphasized by using PMVs that exclude BCCWJ text composition ratios. Features “are used in science, mathematics, and other sciences, while” features “are used in social sciences such as society and geography. Finally, a typical grammatical pattern of “TOKUCHO” and “TOKUSHOKU” is extracted and the feature of the noun and verb in the top two “noun~TOKUCHO (TOKUSHOKU)” and “TOKUCHO(TOKUSHOKU)~verb” The semantic difference between the “point of view perceived by sensation” and “when value perception is superior” pointed out in the research were specifically compared and analyzed. in the future, I would like to talk about the CSJ survey and the comparison with the Korean language.

Since 2005, the term “multiculturalism” has been widely used in Korea and Japan as a result of the surge in the number of foreigners visiting and settling in the two countries. Due to this influx of foreigners, the respective governments of Korea and Japan had to take necessary actions in response. Since there are various reasons as to why foreign nationals come into Korea and Japan such as training, employment and marriage, border guards must critically evaluate these reasons as well as assess each foreigner’s intended duration of stay and allow entry only to those nationals whose purposes are valid and necessary for their respective countries. Korea and Japan are both experiencing low fertility rates and aging populations. In order to resolve these two major issues, the two countries decided to implement a law that would welcome migrants and hire foreigners because doing this would help them maintain their economic stability, increase the number of marriages through intermarriages with foreigners, and increase employment rates. These two countries carefully control the number of foreigners that enter and cautiously monitor their activities. For neutrality purposes, the term “foreign policy” will be used in this article instead of “cultural policy.” When examining the respective foreign policies of Korea and Japan, one would realize that Korea’s policies are being executed by its central government while Japan’s policies are implemented by its private and local institutions. As such, Korea’s foreign policy is called “multiculturalism from above” whereas Japan’s policy is termed “multiculturalism from below”. Given only these pieces of information and without further knowledge about the matter, it is quite difficult to understand the realities and differences of the foreign policies of the two countries and it will be challenging to foresee the future directions that each country would take. Language education for foreign immigrants is one of the prominent features of these two countries’ foreign policy. In Japan, its central government started to open its residential areas and Japanese schools across the country to foreign immigrants. The Japanese government also provided support to foreigners. However, by 2006, the Japanese central government and its private sector began making countermeasures against its foreign residents.

This paper contemplates the usages and functions of SO demonstrative series in advertising copy. Most of SO demonstrative series in advertising copy are context indication. And context indication is classified as “when the preceding text exists” and “when the preceding text does not exist”. First, SO demonstrative series of “when the preceding context exists” emphasize and explain the preceding sentence once more by using “SORE, SOU, SONNNA, SOUIU, SOKO, SONO + noun”. In other words, it has directing function and emphasis function. Next, SO demonstrative series of “when the preceding text does not exist” case is, when only the SO demonstrative series is used without the preceding sentence, “SORE, SONO + noun, SONNNANI” is used to induce the consumer tobe curious about the indicated subject to focus on advertising. In this way, the directors of the SO demonstrative series in the advertising copy take an objective attitude toward the object to make the consumers curious. In other words, it can be said that the directive of the SO demonstrative pronoun series has afunction of “+ α” to increase the advertising impact, not just to direct something.

There is considerable similarity in the grammar structure and linguistic form between Korean and Japanese, but their corresponding relations are complex due to both similarities and differences in the end of sentence form such as “Noda” and “Wakeda” that are modality forms. It is difficult to figure out the meanings of grammar forms right in which there is no one-to-one correspondence between Korean and Japanese and further not simple at all to translate them. Unless there is the right understanding of semantic differences between “Noda” and “Wakeda,” both of which exhibit a mental attitude, it will be difficult to translate them into Korean clearly. The judgment will depend on whether to take a linguistic perspective that translation should reflect the meanings of every word clearly or a practice one that translation should suffice to deliver overall meanings. There is, however, a basic need to be loyal to vocabulary during translation even in the position that translation should suffice to deliver meanings. If there is, in particular, the intention of the speaker(writer) that has chosen the form, his or her intention should be respected. The translations of “Wakeda” into Korean have been arbitrary mostly, and its original meanings have not been reflected right in many cases. There may be many different ways to translate it, but its translations into Korean must reflect its meanings of conclusion, understanding or substitution in order to convey its meanings correctly. It is necessary to make use of sentence-ending particles, adverbs, conjunctions, and exclamations to accompany “것이다” in the translation of “Wakeda” into Korean as well as “것이다” alone. If one assumes there will be no big differences in Korean sentences according to its translation and accordingly chooses to omit its translation in moderation or be liberal with its translation, he or she will fail to convey the intention of the speaker(writer) and contribute to the decreased literary value of literary works through the simplification of its meanings.

This paper compared and contrasted the volition expression in Japanese and Korean, focusing on grammatical forms and grammaticalized forms. Analysis results are as follows. •In morphorlogical category of sentence type, Japanese has volition form, but korean does not. •Instead Korean has morphological category dedicated to volition depending on the presence of keyss. •Decalrative of non-past can mean volition in Japanese, but cannot in Korean. •Hortative is derived from Volitonal in Japanese, whereas Volitional is derived from Hortative in Korean. •The grammaticalized forms of eyaci or eyakeyss are considered to be used in order to represent the non communicative volition in Korean. •The grammaticalized form of ulkey(yo) is considered to be used in order to represent the communicative volition in Korean. •In Korean, ulkeya/ulkeyeyo means the volition with association function, but ulkey(yo) does not.

This paper is a study on how the term ‘roman’ which is related to “romanticism, romanticism, romanticism” is translated and changed in meaning. The first word related to ‘roman’ is not ｢roman｣ but ｢romance｣ in the Japanese dictionary and Chinese dictionary, and the meaning of ｢romance｣ is ‘nonsensical stories’. The ateji ｢浪漫｣ first appeared in the form of ｢浪漫派｣in 1907, when Natsume Soseokji used the word in his novel 󰡔nowaki󰡕 in the magazine 󰡔hototogisu󰡕. In Showa period, there were a growing number of examples of ｢浪漫｣which was used with Yomigana ｢romansu/romanchikku｣. When the Katagana ｢ロマン｣was used is after 1950s, and ｢ロマン｣usually meaned ‘a yearning of dreams, goals, and adventures, etc’ while ｢ロマンス｣ meaned ‘love stories’. To sum up, the first word introduced in Japan related to ‘roman’, was not ‘roman’ or ｢浪漫｣. ｢ロマン｣was one of the Yomigana of ｢浪漫｣, which was derived from the usage｢浪漫主義｣｢浪漫的｣, the translation of｢romanticism｣and｢romantic｣.

After analyzing examples obtained from different data, the results of the Japanese- Korean comparative research between “ni oite” and “e isseoseo” clarify the following four points: Firstly, only a part of the examples belonging to usage (a) “limited range” of “ni oite” and the examples belonging to (b) usage of “ni oite” correspond to the Korean “e isseoseo”. The other examples of “ni oite” do not correspond to ‘e isseoseo’, but to the simple particles “eseo” or “e”. Secondly, the examples of (a) “limited range” usage are the most numerous but, the tendency of using Japanese-Korean compound particles is not uniform. Thirdly, in the case of (a) “setting/circumstances” usage of “ni oite”, if the noun “process of” is inserted after the preceding noun, “ni oite” changes to the usage of “ limited range”. In this case, in Japanese language, irrespective of whether “process of” is inserted or not, both “ni oite” and “de” are natural. However, in Korean language, we can see a different tendency. Fourthly, in the case of (b) “range” usage which is materialized by “assessment/ judgment”, we can observe the same tendency in both Japanese and Korean. In the case of this usage, not only “ni oite” and “e isseoseo”, but also “ni kanshite”, “ni tsuite” and “e gwanhaeseo”, “e daehaeseo” are permitted.

This research was conducted on 16 students at graduate school of interpretation and translation in Seoul, and the findings showed that the accuracy of their simultaneous interpreting, measured between in the beginning of learning (in about 3 months) and the mid-term (in about 6 months), substantially improved. One possible explanation for such an improvement could be the fact that many of these students were able to perform a fairly accurate simultaneous interpretation even during the first few weeks of learning although they had never been trained for simultaneous interpreting previously. Moreover, eight out of the 16 trainees, or 50 percent of the total, showed a steady improvement in terms of accuracy of interpreting from the first to the second and to the third trials. The other students achieved the same or lower accuracy with time while one of them delivered a poorer performance in the third test compared to the first test. Not all learners steadily improved in interpreting accuracy in this study. However, it compares and analyzes their progress in the accuracy of interpretation, thereby helping better understand the learning effects of students and explore how to improve their performance.

金漢植(2014)は、ある学期の初めと終りに、同時通訳の学習者に最大限同じ条件·同じテキストで通訳をさせ、その結果を比較することで、能力の向上を確認する方法を提案した。本研究では、3度にわたり同じテキスト·同じ条件で通訳をさせ、より長期にわたる多様な比較分析を試みた。また、通訳の正確度の評価をより明確に行うため、数字の多いテキストを取り上げて数字部分に重点を置いて評価·比較を行った。 ソウル所在の通訳大学院の学生16人を対象に分析した結果、全般的には、同時通訳の学習初期(約3か月)に比べ、学習中期(約6か月)により大幅に正確度が向上したことが確認された。同時通訳をまったく学習していない最初の週から、すでにある程度正確の通訳ができていたことなどがその理由として考えられる。 また、通訳の1回目、2回目、3回目と回を重ねるごとに正確度が右肩上がりに向上した学習者は16人中8人とちょうど半分で、1回目と2回目·2回目と3回目の比較で正確度が同じスコアにとどまったり低下した学習者が8人、その内1回目より3回目の正確度が低かった学習者は1人いた。 学習者全員が順調に通訳の正確度を向上させたとは言えないが、正確度を比較し確認することで、学習効果を確かめ、改善すべき点について考えるきっかけ作りになるものと思われる。

Smart learning driven by ICT technology and mobile devices, and free from many of the limitations of personal computers is drawing attention. This is evidenced by different mobile stores offering a variety of applications for language learning. Mobile applications related to interpreting, however, are mostly for simple translation services only. Applications for interpreter training are also largely limited to foreign language learning at sentence levels. The present study proposes the necessity and structure of mobile-based class aid which overcomes the limitations of e-class, cyber campus or other tools currently operated by many higher education institutions. A simple survey was conducted with interpreting teachers and learners, asking how consecutive interpreting(CI) classes are delivered and how ICT is utilized. The survey result indicated that some of the limitations of current CI classes could be addressed by introducing smart learning. To help address those limitations, while improving the efficiency of CI training, the development of a mobile application as an assistive tool was examined in detail. Items on the user interface screen are schematized, describing the function of each item, to provide a more practical proposal. This could be a model on which to design CI training based on smart learning.

近年、情報通信技術(ICT)の発展に伴い、空間や時間の制限を受けないモバイル端末によるスマートラーニングが増加している。その一環として、語学学習のための数々のアプリケーションが登場しているが、通訳学習に関しては文章単位の外国語学習のレベルにとどまっているのが現状である。 本稿では、大学や大学院の逐次通訳授業のための補助的手段として、モバイルで実現可能なアプリケーションを構想し、通訳授業におけるスマートラーニングを提案した。 まず、通訳大学院の逐次通訳担當教授と学習者を対象としてアンケート調査を行い、情報通信技術の活用の現状をまとめた。その結果、課題の提供や遂行、提出、評価などにおいて現在の技術や送受信(Eメールや校内LMSなど)では技術的限界による不便な点があり、改善の余地があることがわかった。この結果にもとづき、逐次通訳授業用のアプリケーションを考案、操作画面を図式化し、各項目について具体的な考察を行った。

This study aims to analyze the process in which the tactile onomatopoeia with the meanings of ｢hardness, moisture, viscosity, and pain｣ is extended to those with the abstract meanings. It also compares and analyzes the co-occurrence of nouns and verbs with the onomatopoeia. As a result, it is verified through this study that when the meaning is extended from the concrete tactile sense of the human body to the abstract meaning of human psychology or of the external situation, the tactile onomatopoeia with the same meanings in both Korean and Japanese is extended to those with the similar abstract meanings. Meanwhile, in the case of co-occurrence of nouns and verbs, the onomatopoeia is most frequently used with the nouns representing body and food, but it does not show as many co-occurrence restrictions with specific verbs as with nouns.

本研究では韓国語と日本語の觸覺を表すオノマトペの中で｢かたさ、湿り気、粘り気、痛み｣などの意味資質を持つオノマトペが、抽象的な意味に意味拡張していく様相を分析し、共起する名詞·動詞についても比較·分析してみた。人間の身体が感じる具体的な感覚である触覚から人間の心理、または、外部の状況を表現する抽象的な意味へ意味拡張していく過程をメタファによる比喩表現という認知言語学的な側面から説明しようとした。たとえば、かたさを表す｢がちがち｣｢딱딱｣の場合、人の性格、または、人間関係に対する態度などに意味拡張しており、湿り気を表す｢しっとり｣｢촉촉｣の場合は人間の内面心理、雰囲気などに意味拡張している。粘り気をあらわす｢どろどろ｣｢끈끈｣の場合は、日本語の｢どろどろ｣がマイナス的な人間関係、内部状況に意味拡張していることに対して、韓国語の｢끈끈｣は結束力のあるプラス的なイメージの人間関係に意味拡張が現れている。痛みを表す｢ぴりぴり｣｢따끔｣の場合は、日本語の｢ぴりぴり｣が精神的な緊張感を表していることに対して韓国語の｢따끔｣は目覚め、忠告の意味に拡張している。名詞·動詞との共起制約において、身体·食べ物を表す名詞との共起が特徴的であり、特定動詞との共起は現れていない。

This paper focuses on aspescts of diseases on the Kabuki in the Edo era. Diseases in literature have been thought of as a mirror reflecting society and an advance hint of stories. In the kabuki, problems continue to occur, such as an loss of treasure, a revenge of parents or lovers. Characters in kabuki sold there daughters or wife, or sacrificed there own sons or daughters try to solve this problems. The audience are touched by the stories such as sacrificing ownself or sacrificing own families. In a words diseases have a function of causing conflict in the Kabuki. But a feigned illness does the opposite function. Characters in kabuki pretend to be ill for resolving conflict. And I reported changes in Kabuki content due to wrong medical knowledge as an example of “Tokaido Yotuyakaidan”. The people of Edo believed that contaminated blood would cause illness such as syphilis and leprosy. The disturbed sex custom was believed to foul the blood. Oiwa, who is a heroine of “Tokaido Yotuyakaidan”, sicked of ‘ti-no-miti’ or blood disease. Oiwa was a woman of strong morals and sicked pimple in the original story. But Oiwa in the Kabuki was a prostitute and her diseases changed to blood desease 100 years after original story. This is a result reflecting changes in society.

The Hiroshima Panels began to be released by husband-and-wife artists Iri and Toshi Maruki from 1950 when no clear information was given about the devastation by the atomic bomb, and the censorship by the occupation forces still remained. Iri and Toshi who witnessed tragic sight just after the atomic bombing started to create works collaboratively to inform the fact of the atomic bomb. The Hiroshima Panels that gave a great impact on those who did not know the facts eventually became a symbolic presence of the anti war / peace movements and anti-nuclear movement through touring exhibitions in Japan. Especially, “Talking” in front of the pictures, which was practiced intentionally in the touring exhibition, created a space to share the misery of the war with stirring the imagination of the viewers. We could say that the existence of Hiroshima Panels shew the significance that an art work could be a tool of social movements. It also gives great suggestions to the social role of art to tackle the current international problems such as nuclear weapons and wars.

丸木位里と俊夫妻による＜原爆の図＞シリーズは、占領軍による検閲の余波が残り、原爆の被害について明確な情報がもたらされていなかった1950年から発表されはじめた。原爆投下直後の凄惨な状況を目撃した位里と俊は、原爆の事実を知らしめるため共同作業による制作を行った。事実を知らない人々に大きな衝撃を与えた＜原爆の図＞シリーズはやがて、巡回展を通じて反戦·平和運動、反核運動の象徴的存在となっていく。特に巡回展で実践された、絵の前での｢語り｣は、絵を見る人々の想像力を掻立て、戦争の悲惨さを共有する空間を作り上げた。このように美術作品が社会運動の武器となった点で＜原爆の図＞が持つ意味は大きい。また核や戦争をめぐる現在の国際的な問題において、美術が果たす社会的役割について大きな示唆を与えている。

This paper examined the phenomenon of “earthquake disaster poetry,” which was previously unseen and analyzed its various types by focusing on hundreds of Tanka composed by several poets just after the Great Kanto Earthquake in 1923. This analysis strived to show literary expressions, their features, and the role of poetry as earthquake disaster literature in modern-day Japan. Earthquake disaster Tanka can be typified as follows: works that keep the character as the literary record; works that describe feelings of trouble and psychological complication; and works that show the true character of humans manifested while injured. Lack of narration, which is often a versicle, was made up by the shape of the work, which was produced in collaboration. In addition, the characters gave vivid documentation of science. Tanka poets planned for sympathy between an imbalance of the senses, a state of panic, and a spirit state catabolized by an unrealistic disaster and the survivors who offered descriptions of God-like things. Earthquake disaster Tanka succeeded in goodness and vice by showing that the true character of humans comes into focus and by presuming the varied groups formed by the victims. Through this analysis, the following items were confirmed: messages as the things with which poetry responded to the most serious earthquake in modern Japanese times; a recovery of the aspect in detail; and the life formalized in literature.

本稿は前近代には観られなかった｢震災詠｣の登場という現象に着目し、関東大震災の直後に数多くの歌人により詠まれた数百首の短歌を対象としてその類型を分析し、これを通し日本の近代短歌に移行しながら顕になった災難の文学的な表現と特徴、震災文学としての詩歌の役割を考察したものである。 1923年9月1日、帝国日本の心臓である東京を直撃した関東大震災は、日本の文学者に大きな影響を与え、散文だけではなく｢震災詠｣と呼ばれる短歌も大量に創作された。この｢震災詠｣は充実な文学的記録としての性格を保つ作品、災難による感覚と心理の錯綜を描き出す作品、被災した状況下で人間の本性が発現する局面を捉える作品などに類型化できた。短詩型でありがちな叙事性の足りなさは、連作という形で補われ、生々しい記録文学の性格を呈した。また、歌人らは非現実的な災難により異化した感覚と恐慌状態、精神状態の錯乱や神なるものに関する描写などをもって、生き残った人々の間の共感を図った。さらに、善悪の両面に人間の本性が現れることに焦点を合わせ、多様な罹災者の群像を描き出すことに成功した。このような分析を通し、日本の近代詩歌が大震災に真剣に対応し、文学的に形象化した具体的な様相と、生命(力)の回復というメッセージを仮託する技法が確認できた。 近代以来、日本では大震災のような災難直後の失語的な状態で｢言葉｣を取り戻そうとしたさい、短歌や俳句のような短詩型が選択されたが、これは数多くの震災詠という存在が立証しているところである。つまり短詩型の文学には、生を続ける、あるいは再建する｢言葉の力｣として期待される災難文学としての役割を与えられていることがわかる。災難を詠む日本の詩歌が時代によりいかなる変容と特性をみせるかをはじめ、その系譜及び災難と詩歌文学の相関関係を探索していくことを今後の課題にしたい。

He tried to describe the extremely lurid destiny of coming close to Jesus, but by disappearing from the community, couldn’t realize the completion of it and shows the features of a fatalist. It looks to be unnatural that this is analysed into Mushakoji’s symbolic code suggesting leaving for the new village. But still the disputant to a certain degree intends to value describing the aspiration toward similarity to Jesus. Mushakoji puts his literary value not on others different from myself, but on being conscious of and discovering another side of myself through the others. Also he has the weakness that he doesn’t agonize to seek the method of being able to accompanningly improve my subjective will and others. That will be clearly revealed when the trilogy of Christianity is comparatively analysed.

この作品は現実を理想化しようとする作家の認識が現れている。理想的な共同社会を背景で時空を越えた舞台と人物が登場する。1920年代の理想的小説傾向の把握と小説様式の先駆的実験性を解明するためにももっと積極的に検討する必要がある。 武者小路は幻想から現実へに登場人物を返したが、その現実は普通の人間の社会ではなく、理想を夢見る現実社会であることを描い出して、当時、その建設に真最中であった新しき村の成功を祈願したい切実な心情を表象したのである。そして新しき村内での紛糾のあとの作品であるから󰡔幸福者󰡕󰡔耶蘇󰡕よりその悲劇性はあまり感じられない。それは個人とともに社会の力と関係の力を大事にしたからであろう。 武者小路は自分の主体的意志が他者と同伴上昇できる方法を苦悩しない弱点が見えるが、自分とは違う他者ではなく、他者のなかの自分の新しい資質を意識し、発見することでその文学的価値を置いている。個人の欲望と社会的不条理を引き出して、現実に戻るまたは、背く過程を通じて、自我省察という発見の過程を循環させている。 耶蘇に近付こうとする人間の凄絶な運命を書こうとしたが、共同体から消え去って、共同体の完成は果たせないたまま、運命にまかせる運命論者としての面貌が現れる。これは新しき村からの離村を暗示する武者小路の象徴コ-ドと解釈することは無理かも知れない。ただ筆者は耶蘇を似つつあろうとしたその向上意識を描き出した点を肯定的に評価しようとする。

The Chunhyang-jeon is one of the most familiar classical literature which every Korean would have known; it has been reproduced within various genres overtime. It had put on stage as a play for the very first time in japan spring 1938 directed by Tomoyoshi Murayama. This play made a hit with the Japanese and put on a stage in autumn same year at Seoul as well. Moreover, it had a significant influence on the Japanese society as much as it was well received by the Japanese press mentioning boom of the Joseon culture. In this regard, The Chunhyang-jeon directed by Tomoyoshi Murayama is very important work to find out on how the Original Chunhyang-jeon was perceived and enjoyed in Japan. In this study, how Murayama has altered the original play provided by Jang Hyeok-ju and how he has borrowed Kabuki style in his play will mainly be discussed. According to following analyses, this study will take a closer look at on how Murayama has comprehended the Chunhyang-jeon.

『春香伝』は、韓国人であれば誰でも知っていると言っていい程、馴染みの深い古典文学作品であり、今まで様々なジャンルにおいて再生産されてきた。日本では、1938年春、初めて、村山知義が率いる新協劇団によって芝居になったのだが、この公演は大変な評判を得ることとなり、秋にはソウル(当時の京城)でも上演されることになる。また、日本で“朝鮮ブーム”の火付け役であったと言われるほど、当時の日本社会において少なからぬ影響を及ぼしたと見受けられるのである。そうした点において、この村山知義演出の『春香伝』は、『春香伝』が日本においてどのように読み解かれ、またどのように受け止められていったのか、その受容のありようを探る上で、極めて重要な作品であると考えられる。 本稿では村山知義の『春香伝』の特徴、特に張赫宙に対して戯曲の変更を要請した内容、そして演出において歌舞伎の様式を借用していることを中心に分析している。このような分析によって、村山知義が『春香伝』をどのように理解していたのかを考えていきたいと思う。

In this thesis, I examined the intention and method appeared about birds of spring,summer in Basho’s phrases. Existing Basho’s phrases are 976 phrases we don’t know exact manufacturing year. The works about birds are 88 phrsis in total. Those works are made up of spring 25phrases, summer 38phrases, Autumn 11phrases, winter 14phrases. Almost of them, Little cuckoo of spring is main character we can see in 28 phrases. Next oriole which appears in spring’s phrases is keeping original meaning that would be peaceful mind listening it’s voice of traditional meaning. At the same time, it is creating new world breaking traditional world by using willow,camellia, bird’s shit as new words not plum. In addition, Skylark emphasized the auditory element that can clearly recognize skylark in the peaceful surround of spring keep going original meaning of idyllic singing voice and eminent mood rising in the spring field which is traditional meaning. Above all is meeting which Basho pursued between tardition and new world. Finally, We are organizing about cuckoo shown in summer’s phrases. We can find crying cuckoo as tradition meaning nowhere eventhough Basho is reciting cuckoo as season word. He was creationg a new world using new materials and expressions as rock royal azaleas and red tears, birds stick,pole,cuckoo flying across the field adding up cuckoo as traditional materials. We can say this is only Basho’s results about his concern to complete new literature. In addition, the crake Basho recites is understood as real meaning as imagining as sound of knocking the door hearing it’s song at night conveyed from traditional japanese poems and rhythms. Furthermore, He was creating new world like a lonely mountain hermitage even cuckoo also doesn’t visit not cuckoo comes and knocks the door. We could understand that Basho inherits the real intent of traditional material or He was trying to complete a unique world of Haiku only by using new season words and expressions through phrases used birds as season words.

本論文では、芭蕉の発句に登場する春と夏の鳥に表れた本意と作句方法について検討した。現存する芭蕉の発句は作句年代未詳を含めて総976句であり、そのなかで鳥を詠んだ作品は総88句である。春25句、夏38句、秋11句、そして冬14句である。その中で最も多く詠み込まれた鳥は夏のホトトギスで28句に至る。春の発句には鴬、雲雀、鶴、雉子の順で、夏はホトトギス、水鶏、鶴の順である。秋の発句には鴈と鶉が、冬は千鳥、鴨、鷹が多い。鳥の種類が最も多い季節は冬で、総10種類登場する。 次に春の発句に登場する‘鴬’は伝統的な詠まれ方である‘鳴’き声を待っていてやっと聞き穏やかな気持になるという本意を受け継ぎつつも’梅’ではなく、‘柳、椿、糞’のような新しい言葉を取り入れて伝統的な世界を脱して新しい世界を作り出そうと試みていた。また、雲雀は伝統的な詠まれ方である‘春の野原にあがるのどかな鳴き声や浮き立つ気分’を守りつつ、雲雀の存在を明確に認識できる聴覚的な要素を強調していた。ここでも芭蕉の伝統尊重と新しい世界への好奇心がうかがえる。 さらに夏の発句に登場する‘ホトトギス’は季語として詠まれてはいるものの、伝統的な本意である‘鳴くホトトギス’という表現はどこにもない。季語の‘ホトトギス’に‘岩躑躅と血涙、鳥刺し、竿、そして野をよこに飛びきるホトトギス’まで新しい素材と表現を利用して新しい世界を作り出していた。これは俳諧という文芸を完成するための芭蕉だけの努力である。また、芭蕉の詠む水鶏はすでに伝統的な和歌や連歌から伝わる‘夜、鳴き音を聞いて連想した門を叩く音’という本意を理解したうえで、‘訪ねて行って門を叩く水鶏’ではなく‘水鶏さえやってこない寂しい庵’という新しい世界を作り出していた。 以上、芭蕉は伝統的素材の本意を受け継いでいく一方、その本意に基づいて新しい素材と表現を利用して俳諧だけの独自の世界を築いてあげたことを‘鳥’を季語とした発句を通して明らかにすることができた。