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In this study, I aim to clarify how the Japanese language learners who are highly evaluated in writing revise their essays. To do this, I conducted a quantitative and qualitative analysis on the comments at the time of mutual revision between the learners and the comments at the time of self-revision after the mutual revision. Results showed that there was no difference in the type and frequency of the comments between the groups of learners with high evaluation in writing and low evaluation and that the learners mutually give many comments on the contents and structures of essay. On the other hand, results also showed that the group of learners with high evaluation in writing actively modify both the contents and language when compared with the group of learners with low evaluation in writing. In addition, the learners reflected the experience of giving comments as a reader in the process of self-revision of their essays as shown by the examples of the essay. The above results revealed that the Japanese language learners aggressively revise their essays by using the experience of mutual revision. This study suggests that this way of revision is one of the factors that increase the perfection level of essay.

This paper compared and contrasted interrogative sentence of the volition expression in Japanese and Korean, focusing on the correspondence of grammatical forms. Analysis results are as follows. ‒Interrogative sentence of volitive in Japanese expresses ‘doubt of volition’, ‘question of intention’, ‘suggestion’. But these usages cannot be demonstrated by the interrogative sentence of volitive in Korean. Instead in korean -ulkey(yo) can refer to these meanings. ‒Interrogative sentence of volitive in Korean expresses ‘question of volition’, ‘rhetorical question of volition’. But these usages cannot be demonstrated by the interrogative sentence of volitive in Japanese. Instead in Japanese suruka/ shimashyooka can refer to these meanings. ‒Interrogative sentence of volitive in Japanese holds the speaker-centered characteristics, whereas interrogative sentence of volitive in Korean bears the hearer-centered characteristics. ‒Interrogative sentence of volitional expression in Japanese and Korean can be expressed in not only plain style but also polite style. But Korean has another style distinction like formal style and in formal style, and the five usages of interrogative sentence of volitional expression in Korean is expressed in partial in formal style or informal style.

In this paper, the meanings and functions of modern Japanese “kuse” are studied based on practical example sentences. Previous research mainly focuses on the usage of “kuse” as a conjunctive particle in a format of “kuseni” connecting to a verb. No literature has reported on the usages of “kuse” as a noun usage or a postposition. In the paper, the usages of “kuse” are described in the three different cases of meanings and functions: (1) noun usage, (2) postposition, and (3) conjunctive particle. The results of the study are summarized as follows. First, when “kuse” is used as a noun usage, it basically represents a habit indicated by a front noun, and “N+kuse” takes various cases in the sentences. In this case, “N+kuse” functions as a noun usage. Second, when “kuse” is used as a postposition, it implies the criticism against the meaning of a front noun. Nouns with stereotype meanings are commonly used in N, and unexpected or opposite things are discussed in the predicate. It is morphologically limited to the one fixed form of “N+kuseni”. In this case, “N+kuse” functions as a postposition. Third, when “kuse” is used as a conjunctive particle, it represents the criticism indicated by a front verb. Contradictions to V are discussed in the predicate. It is morphologically limited to the one fixed form of ”V+kuseni“. In this case, “V+kuse” functions as a conjunctive particle. In conclusion, our research found that “kuse” is used as a postposition or a conjunctive particle, although its basic function is a noun usage and it represents a habit in modern Japanese. As a postposition or a conjunctive particle, “kuse” shows significant changes in both aspects of formats and meanings.

In this study, the usage of discourse markers in conversations between friends of Japanese female high school students and conversations between friends of Japanese female university students was analyzed. The results of this study could be summarized as follows. The types of discourse markers used in actual conversations are not so different between those of female high school students and those of female university students. Moreover, in both conversations, there are common tendencies in that the proportion of ‘なんか’ is the highest, and the proportion is high in order of ‘じゃない(か)’, とか’, みたいだ’, ‘ちょっと’. However, there were differences in detail usage patterns between female high school students and female university students. in that the preferred discourse markers in both conversations are different and abbreviations are often used in conversations between female high school students. On the other hand, the frequency of use of the discourse markers was higher in conversations between female university students, compared with conversations between female high school students. Multiple discourse markers were used in a single utterance, and this tendency was remarkable even in the co-use of ‘なんか’.

This paper describes the various usage of baai in modern Japanese and aims to consider the syntactic functions of baai in each usage. The results are summarized as follows. (1) Baai has three syntactic functions as <formal noun>, <conjunctive particle>, <modal auxiliary>, depending on how it behaves in sentences. These syntactic functions are common in that can not stand alone in sentences as an independent part of speech and become a component of a sentence by itself. (2) In the usage of a formal noun, basically, baai is qualified with an adnominal modifier indicating action, state, and situation, and expresses an external situation surrounding the event of the predicate. (3) In the usage of a conjunctive particle, baai are part of the grammatical morphology attached to a subordinate clause. It is interesting to baai can used in both of temporal and conditional subordinate clause. (4) In the usage of a modal auxiliary, it predates exclusively in the form of baai-dewanai. and expresses the negative evaluation of the speaker, that the action is inappropriate for the current situation.

This study has investigated the characteristics shown in Japanese articulation focusing on its intensity, height and length including the paralinguistic Information of Korean Japanese learners by orally dividing it into a beginning and end. As a method, Korean language and Japanese sentence having the intention of ‘admiration’, ‘disappointment’, ‘indifference’, ‘doubt’ and ‘neutral’ was made to be articulated by the native speaker to investigate the characteristics of oral beginning and end, and verified whether the influence was caused to the Japanese language spoken by the Korean Japanese learners. As a result, for intensity, for both oral beginning and end, the learners spoke more strongly than the native Japanese people and for expressing intention, it was thought to reflect the characteristics of Korean which uses intensity control. But, the difference in intensity between intentions against Korean did not show significantly. For height, oral beginning was shown to be pronounced higher. This seems to be caused by the Japanese accent rather than Korean, and in the case of ‘admiration’, the fact it was lower than the intention having a different ratio of high pronunciation at the oral beginning, it can be seemed to reflect the influence of Korean language which speak high for the oral end. For length, both the oral beginning and the end were shown longer than the Korean language and the native Japanese language. This, unlike Korean language which controls the length of the oral beginning per intention, the tendency of Japanese language which controls the length of the oral end was reflected in the articulation of Japanese language by Korean learners.

コミュニケーションにおいて、話し手の聞き手へ発する言語には、語彙、音声、文の構造などの様々な言語情報が含まれている。特に、音の強弱・高低・長短といった音声的な要素、いわば｢パラ言語情報｣には、意味情報のみならず、話し手の感情情報も含まれており、コミュニケーションにおいては欠かせない習得要素といえる. しかし、多くの韓国人日本語学習者は、パラ言語情報については意識していない場合が少なくない。韓国人学習者の日本語パラ言語情報の発話について明らかにすることにより、円滑な日本語コミュニケーションのヒントを提供することが必要なものと思われる。そこで、本稿では、韓国語と日本語、および韓国人学習者の日本語発話に現れるパラ言語情報の音声的特徴を、句頭と句末に、さらに表現意図をを＇感心’、‘落胆’、‘無関心’、‘疑問’、‘中立’に分け、各々の強さ、高さ、持続時間を調べ、比較分析した。 調査の結果、韓国語の発話では、句末のほうが句頭よりも強く発音されており、意図によって強さに差が見られることから、句頭と句末の発音の強さがパラ言語情報に関わっており、感情要素が含まれると句末が上昇する傾向があることがわかった。一方、日本語の発話では、強さは意図の区別とはあまり関わりが見えず、高さは句頭のほうが句末より高く発音され、句末区間の高さの差が小さかったのは、句末に上昇が見られる‘疑問’であった。また、持続時間は句末が句頭より長く発音され、話し手の意図によって差異が見られることから、パラ言語情報に深く関わっていることが明らかになった。

In this study, we analyzed what features the learners have shown in the course of acquiring Yo-da, Mitai-da, and how the learning level is affecting it. To summarize the results, the following can be expressed. (1) “Yo-da” and “Mitai-da” are used evenly, without being biased to either side, regardless of the learning level. However, as the learning level rises, the ratio of “Mitai-da” increases. (2) “Yo-da” and “Mitai-da” have different preferred connections. “Yo-da” is mainly used in connection with verbs and nouns and “Mitai-da” is clearly used in connection with nouns. This tendency becomes stronger as the learning level rises, indicating Yo-da = Use with the verb at the higher level and Mitai-da = Use with the noun. (3) “Yo-da” and “Mitai-da” differ from the positions used at the sentences. “Yo-da” is used in the technical department regardless of the learning level, and “Mitai-da” tends to be used in the technical department as the level increases. (4) The acquisition of “Yo-da” and “Mitai-da” shows the formation of frequently used units in strong combination with a particular phrase.

本研究は日本語学習者の｢ようだ･みたいだ｣の習得過程でどのような特徴があるのか、また、そこには学習レベルがどのように関与しているのかを分析したものである。分析の結果をまとめると次のようである。 (1)｢ようだ｣と｢みたいだ｣は、いずれのレベルにおいても一方の形式に偏ることなく使用されるが、学習レベルが上昇するほど｢みたいだ｣の使用比率が少しずつ高くなる。 (2)｢ようだ｣と｢みたいだ｣はそれぞれ好んで接続する形式が異なる。｢ようだ｣は主に動詞と名詞に接続して使用され、｢みたいだ｣は名詞に接続して使用される傾向が見られる。このような傾向は学習レベルが上がるするほど強くなり、上級レベルでは｢ようだ=動詞との使用｣、｢みたいだ=名詞との使用｣という傾向が顕著になる。 (3)｢ようだ｣と｢みたいだ｣は文で使用される位置に差が見られる。｢ようだ｣は、学習レベルに関係なく非述部で使用され、｢みたいだ｣はレベルが上がるほど非述部で使用される傾向が強くなる。 (4)｢ようだ｣と｢みたいだ｣の習得には特定の語句と強く結合して頻繁に使用される｢ユニット形成｣が見られる。

This thesis indicates how his work has been handled in Korean universities. Also, not only will this research help courses to be developed, but also it will be the clue of the research for my animation. The information given by students from 2015 to 2018 is arranged in this dissertation. From these data, this research paper shows rites of passage, the story of coming up to the capital, and the story of talents which are the important factors in his work. What I was impressed is that one student in class conducted in 2015 pointed out that “Kiki’s delivery service” and ‘Tangled“ have a same characteristic, the formula of girl’s growth. Similarly, presentation from class in 2018 shows the genealogy of ‘magic girls’, so people notice this work due to the direction of evaluating the main character of witch historically. After student’s presentation and group discussion, the author, who is the professor in charge, prepared to argue the basic factor for his work such as its background as well as argument, and to complement the contents that students suggest. However, there is a problem that the research about his work is not fully achieved; thus, this dissertation was highly based on the words of Hayao Miyazaki. From now on, it is necessary to discuss, not interpretations based on such an author’s remarks, but even the parts that appear in the author’s unconscious areas in the face of the work.

It is not uncommon than a single story to be presented in various forms, such as novel, theater play, movie and even video game recently. But rewriting a story in various forms by the author himself is a rare example in the history of literature. In this article, I analyze the genre consciousness of Kikuchi Kan focusing on his 4 versions of novel/theater play [Tojuro’s Love](1915-1920). He wrote a short play in 1915 but after 4years he rewrote the same story as a novel. As the novel got popular, he made it into play in 1920 and after that, he wrote another play script based on the same story again. 4 different yet similar texts of [Tojuro’s Love] in 5 years of time, show how his conception of genre changed and also how his way of thinking ART changed. These 4 variations are the literatural experiment of Kikuchi beyond the genre of theater play and novel. His famous saying “life first, art second” frequently refered when discussing Kikuchi’s work, may be said to be based on the belief that life and art are not two, rather than giving precedence over life to art.

With the appearance of Ukihune as a momentum, the crisscrossed composition including a wandering man because of obsession over a woman refusing him was gradually magnified in the monogatari. To Kaoru, Ukihune was no more than an object reminding of sole and unique Oigimi, and the sexual relation unaccompanied by psychological exchanges was empty. Due to the absence of father, Ukihune depends a lot on her <mother>. By her mother, Chujo-no-kimi, Ukihune is moved from the mansion of Hitachi-no-suke as her stepfather to the nijoin mansion with Nakanokimi. The incident in which Ukihune was about to have a sexual intercourse with Nionomiya works as a foreshadowing of suggesting the following development of the Ukihune-maki in the aspect of an incident happening before Ukihune forms a relationship with Kaoru. The basic frame of the Ukihune-maki is the competition between two men over a woman, and the story is developed under the structure of laying a burden on the woman in the love triangle. Even though Ukihune has a conflict between two men just like female characters of traditional stories, it is not the matter of relative seriousness of those two men’s affection, but showing the condition of <inability to choose> in which she cannot select one out of the two men. Developing based on men’s competition over a woman of traditional stories, the book, Ukihune is changing into a <modern play> by the method of monogatari that uses the <relation> and <composition> between characters.

This paper is aimed of the analysis and its consideration on a Buddhist priest and dreams in “Ujishui Monogatari” it is focused on the “Ujishui Monogatari” Vol.6-6. “Ujishui Monogatari” is a collection of narratives written around the beginning of the 13th century. “Ujishui Monogatari” Vol. 6-6 visited a poor Buddhist priest in Hieizan(比叡山) to visit Kurama Temple(鞍馬寺), Kiyomizu Temple(清水寺), and Kamo Shrine(賀茂神社) to get revelation through dreams. It is a story that becomes rich by obtaining Gohei kami(御幣紙) and rice(散米). Gohei(御幣) is one type of heihaku(幣帛) used in the religious services of Shinto(神道), made by clipping two shide(紙垂) into a heigushi(幣串) (staff to which shide are attached to make a gohei) made of bamboo or other wood. As a result, “Ujishui Monogatari” Vol.6-6 is not a story to preach appreciation to the Merciful God Buddha. It is thought that there was interest in the pleasures of the story that a Buddhist priest of a poor Buddhist temple will visit Kurama Temple, Kiyomizu Temple and Kamo shrine to raise secular benefits. A Buddhist priest, who is disappointed with the thing given as a result of dedicating many prayers to various Buddhist cathedrals. His discouragement makes him look human. The Kannon narrative of “Ujishui Monogatari” has a tendency to show a strong interest in the human being of the present age rather than the instructional message. such a tendency of the “Ujishui Monogatari” can be said to have created a narrative about a human figure that a Buddhist priest in a medieval society relies on miracle to meet an individual’s temporal desire.

This report is about the relation of the government guidelines for teaching about Takeshima and The 10 points to understand the Takeshima Dispute of MOFA. The guidelines was revised in 2014. The Revised Contents are different from the past guidelines which about Takeshima. Before the revision, it insits that the Northern Territories have been under illegal occupation by the Soviet Union. But after revision it insits that Takeshima is indisputably an inherent part of the territory of Japan, in light of historical facts and based on international law and The Republic of Korea has been occupying Takeshima based on such an illegal occupation have no legal justification. Such attitude is reflected to The revised 10 points of MOFA. Many illustrations of students who question about Takeshima are printed in The points. It shows us the targets of the education about this issue are students. The pamphlet of MOFA faithfully supports the educational policy of Abe’s government.

本稿は2014年に作成された｢学習指導要領解説書｣の内容変化が日本外務省ホームページの竹島関連のパンフレットにどのような変化をもたらしたのか、また外務省はその内容の改定を通じて何を主張したかったのかを考察したものである。2014年度に改定された解説書をみると、｢竹島｣に関連した内容が以前のものと大きく二点の違いを見せている。 第一に、北方領土だけが固有の領土であり、ロシアによって不法占拠されているとの立場であったのが、竹島やはり日本固有の領土であるのに韓国によって不法占拠されているとの内容が加わった。第二に、竹島は国際法で正当に日本の領土に編入されたとの内容が加わった。 このような政策の変化は当然外務省のホームページにも反映され、同年｢竹島問題10のポイント｣やはり修正された。まず、学生たちが質問する挿画を新しく掲載することによって、教科書問題とともに教育対象の的を学生たちにおいていることを明確にしている。また竹島の名称関連のないようを新掲載し、竹島が日本の固有の領土であるという点を強調している。さらにポイント８に最後の挿画を載せ、アメリカが竹島を日本の領土と認めているという、いわゆる国際法の上でも日本の領土であるとの見解を強調している。外務省のパンフレットの改定は安部政権の教育方針を徹底的に裏付けするためのものであった。

This paper highlights the controversy surrounding the Joseon film “The Wanderer(Nagune)”, which was released in 1937, on the subject of ‘things Korean’ which was pursued by the Joseon film industry in the late 1930s. The controversial debate consisted of three different opinions : first, that of a Japanese film critic(Kijima Yukio); second, that of a Korean novelist who wrote mostly in Japanese(Jang Hyuk-joo); and last, a young film director Ahn Cheol-young, who returned to Joseon after studying film in Germany. By comparing the differences in their opinions about ‘things Korean’, this paper reveals the meaning and limitation of ‘things Korean’ of the Joseon films in 1930s.

本論文では、1930年代後半の朝鮮映画界で希求した｢朝鮮らしさ｣の問題について、1937年に公開された映画󰡔ナグネ(旅路)󰡕をめぐった論争を中心に探ってみた。この論争を通じて、日本内地の映画評論家(来島雪夫)と、植民地朝鮮出身の朝鮮人文学者(張赫宙)、そしてドイツから映画留学を終えて朝鮮に帰った新人映画監督(安哲永)の｢朝鮮らしさ｣に対する認識の違いを具体的に比較することで、当時朝鮮と日本で流通されていた朝鮮映画の中の｢朝鮮らしさ｣の意味と、その限界を明らかにしようとした。 安哲永によると、1930年代後半、まだ技術的･芸術的に未熟な段階にあった朝鮮映画が目指すべきことは、海外輸出のために実在しない虚構の｢朝鮮｣を描くのではなかった。朝鮮の現実と民衆の生活をありのまま、素直にスクリーンに投影した映画が、安哲永にとって｢朝鮮らしさ｣であり、｢朝鮮色｣であったのである。安哲永は、このような｢朝鮮らしさ｣を写真技術を応用し、具体的に現実に近い形で映画に具現しようとしたといえる。

Since the sale of Pokemon GO in 2016, there has been a craze around the world for Pokemon. Although various media outlets have been competitive in analyzing the causes of popularity, most of them point to technical factors such as AR technology and simple way of game play. This paper reveals the background of Pokemon contents in Japanese classical literature. Pokémon’s original source of media mix, which is utilized in games, comics, animation and character industries, can find its roots in the publishing and theater fields of the Edo era. The steady expansion of the game world was also seen in Japan’s classic literary creation process, Sekai(or story-world) and Shuko(or idea). Its characteristics are world’s expansion, and various characters and order (an opposing plot) are considered as factors of expansion. Also, collection and training, one of Pokemon’s biggest characteristics, can be seen in Edo era. There are Fair Fever and Barneske(or poster). As such, the traditional culture was based on, Pokemon was able to succeed.

全世界の人々は、2016年に発表されたポケモンGOに熱狂した。マスコミと学界は、その人気の理由を分析した。しかしそのほとんどは、AR技術と単純なゲーム操作方法という技術的な理由を指摘するにとどまっている。本研究は、ポケモンというコンテンツが生まれた背景として古典文学を提示している。ゲームと漫画、アニメイションとキャラクター産業で活用されているポケモンのOne Source　Multi-Useの方法は、江戸時代の出版、演劇産業においてもその類似点が見える。また持続的にゲームの世界が拡張するというポケモンの特徴は、古典の世界に当代の趣向を混ぜて新しい作品を作り続けた江戸文学の創作過程と似ている。またポケモンの特色と言えるモンスターの｢収集･育成｣という要素が生まれた背景には、江戸時代の博覧会と百科事典刊行ブームから、｢対決｣はあらゆる番付の人気があったと思われる。