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This paper is about the ISHIKI-KA(Conscientization) seen from the viewpoint of TAIGU-Communication. This article uses the ISHIKI-KA sheets(conscientization sheets) used in the practice of Japanese language education as materials. This paper analyzed and examined the ISHIKI-KA sheet. Regulations on ISHKI-KA in Japanese pedagogy are as follows. 1) It involves not only the learner’s knowledge and judgment but also the mental part. 2) It aims to make learners themselves aware, still aim to encourage awareness.　3) It extends to items inside the learner (for example, inner information and degree of recognition) as well as items outside the learner (eg language formality). 4) It is common to be done as a teacher-led classroom activity. 5) Effectiveness is recognized not only in mastery of Japanese itself but also in learning process. The ISHKI-KA sheet used in practice has the following structure. a) Individual and individual experience of the learner, b) Generality and universality of the communication, c) Five elements in TAIGU-Communication ; NINGENKNAKEI(Human relations), d) Five elements in TAIGU-Communication ; BA(Scene), e) Five elements in TAIGU-Communication ; NAIYOU(Contents), f) Five elements in TAIGU-Communication ; ISHIKI(Consciousness), g) Five elements in TAIGU-Communication ; KEISHIKI(Formality), h) Elements of Nonverbal Behavior, I) Comparative / control material.

This study aims to suggest ways to use the results of this research for the Japanese instruction and learning by considering of syntactic features in Passive sentences from the educational perspective for the Koreans studying Japanese. In this study, first, A. analyzed types of passive clauses appearing in the corpus frequently, B. analyzed passive clause categories in the textbook and explained the precautionary points for instruction. Passive clauses are categorized into 4 types according to classification of SUZUKI, Sigeyuki (1972) and syntactic and semantic characteristics of each type were examined in A. In addition, the verbs introduced at the beginner level were selected out of frequently appearing predicate verbs, and they were presented by lexical meaning. In B, the examining objects were 6 types of textbooks for beginner and intermediate levels published in both Korea and Japan and analyzed 1. Categorizing passive clauses, 2. Type and structure of presented passive clauses, 3. Frequently appearing types and verbs. Finally, precautionary points for instruction were suggested from the perspective of native Korean speakers. This study is currently based on the literary corpus, and it aims to examine which type of corpus will appear in colloquial corpus in the future.

This paper presents an investigation into the use of broadcasting language in Japan and Korea based on their respective news coverage. The broadcasting language of Japan keeps the principle of using polite language today and maintains the language system right and also its stability and grace as a broadcasting language. The broadcasting language of Korea, on the other hand, has prominent uses of language whose politeness has been dropping and decreases in its stability and grace as a broadcasting language. Improper language uses can make the audience feel resistant and antagonistic and have bad influences on the language use of people. There are several causes here. The study found that the confusion of Korea’s broadcasting language reflected undesirable rapid social changes to the South Korean society. They include changes to parents’ attitudes of educating their children, changes to the viewpoints of education to cause the collapse of public education, changes to teacher-student relations, inclination of gender among teachers providing school education, changes to their sense of duty, and lack of education on language due to these changes. Those who received the education made a career in the society and worked in the Korean broadcasting sector, contributing to the circumstances of today. Let alone the confusion in the language use of the young generation, there are many errors in the use of honorifics by young announcers and hosts in broadcasting. There is also a disorder in the right use of broadcasting language. These findings raise a need for more careful attention to the language of broadcasting news that has great impacts on the language life of people and further reinforcement of language education, especially honorific education in school education.

This paper focuses on formation and development of Japanese evaluative adverbial ‘KOTONI’ that can be seen in the Late Middle and Early Modern Japanese, by taking the examples of ‘KOTONI’　similar to the usage of Modern Japanese. As a result, most examples of ‘KOTONI’ up to the Early Middle Japanese were used in the predicate as complements to form noun phrases. When it comes to the Late Middle Japanese, examples of adverbial phrases begin to appear. Since the beginning of the Early Modern Japanese, initial adverbial usage of ‘KOTONI’ was certainly used in the dialogues, not in the descriptive parts. Also through this survey, it is revealed that in the Meiji and Taisho periods, the initial adverbial ‘KOTONI’ was also used, but the initial adverbial ‘MO(e.g. Fushiginimo(不思議にも))’ was still frequently used. Analyzing the examples of the adverbial ‘KOTONI’ from a morphological aspect, there are many examples with ‘WA’ attached to ‘KOTONI’, and the attachment was optional from the Late Middle Japanese to the Modern Japanese. In addition, from the syntactic aspect, it is pointed out that there are constructional change in position of ‘KOTONI’ from the beginning of a sentence to the end of the sentence. In relation to similar cases, examples in which ‘KOTONI’ were adhered to adverbs were confirmed in the Late Middle Japanese as well. Based on present results, it is necessary to comprehensively analyze the initial adverbials including ‘KOTONI’ and ‘MO’.

There is a common misunderstanding in the translation market that simultaneous interpretation is more difficult than consecutive interpretation, thus the former one is superior to the latter. The majority of existing research concentrates on English‐oriented interpretation with single material. Chinese‐Japanese language pairs have been rarely studied. Against this backdrop, this thesis aims to compare the completeness rates between Japanese‐Chinese simultaneous interpreting and consecutive interpreting of student interpreters by analyzing three separate cases studies. The three cases presented in this thesis are extracted from public speeches in the website of the Japan National Press Club, and fall into three categories in terms of the feature of original speech, speech pace, and information density. Nineteen student interpreters are divided into CS and SC group, and interpret different parts of the speeches consecutively or simultaneously. Comparisons are made between the same interpreter with different but same‐level materials, and different interpreters with the same material.

Regarding a distinct uses of e-retsu in Ancient Japanese, the Japanese academia have considered that it was due to the differences of vowels. In recent society of Japanese language however, it seems that it is more prevalent to see it as a consequence of consonant difference. People who support the recent viewpoint assert that it is the difference between palatalized consonants and non-palatalized consonants. The advantage of this perspective is that it allows us to provide a phonetic and phonological explanations on why the proper use of e-retsu was performed only with ‘ka, ’ga’, ‘pa’, ‘ba’, ‘ma’ gyo. But phonetically, it is not clear if the palatalization of consonant happens before the middle vowel e. Furthermore, with this viewpoint, it is difficult to explain some phonological phenomena of Japanese language, such as conjugation of yodan verb in ancient Japanese or onbin. From many respects, for example the sound of Chinese character used as manyogana, it is likely that there was a opposition between palatalization and non- palatalization in the proper use of e-retsu. However, according to the phonological phenomenon such as a generation of e-retsu’s sound or a division of izenkei and meireikei of yodan verb, it seems more reasonable to see the proper use of e-retsu as an opposition between palatalizing vowels and non-palatalizing vowels, rather than the consonant differnce.

いわゆる上代特殊仮名遣いにおける、エ列の使い分けについて、日本の国語学界ではそれを母音の差異によるものと観てきた。ところが、最近は、それを子音の差異の因るものと観る説が有力にされているようである。 エ列の使い分けを子音の差異の因るものと観る立場では、その差異とは、口蓋化した子音と非口蓋化の子音との差異と捉えている。この説に従うと、何故エ列の使い分けがカ･ガ･ハ･バ･マ行においてのみなされたのかについての説明ができる。 しかしながら、音声学的に、中間の母音である eの前で口蓋化が起こりうるかは疑問である。また、その説では、上代日本語の四段動詞の活用形の違いなど、様々な日本語内部における音韻現象についての説明が難しい。 万葉仮名として使われた漢字の中古漢語の音などから考え、エ列の使い分けに口蓋化と非口蓋化の対立が働いていたのは確かなようである。しかし、それは、口蓋化子音と非口蓋的子音との対立ではないと思う。エ列音の生成、そして四段活用動詞の命令形と已然形の区別など日本語内部のの音韻現象から考え、エ列の使い分けは、子音の差異の因るものではなく、子音を口蓋化させる母音と口蓋化させない母音との対立に因るものと観るべきだと思う。

This research investigated the accuracy of Japanese noun accents during the shadowing of news transcripts by the second year graduate students of Korean- Japanese interpreting and translation in Korea. Some of the texts were marked with accent symbols while others were without. The participants showed an average error rate of 1.54% for accents for the former and 4.36% for the latter, which confirms that shadowing can be more effective when learners can see accent symbols. According to the analysis of the accuracy by accent type, the error rate of atamadaka-gata was the lowest with 1.74% on average, followed by heiban-gata and nakadaka-gata with error rates of 2.63% and 3.33%, respectively. Previous research findings show that the acquisition of heiban-gata is relatively more difficult for Japanese learners than other Japanese accents. However, the fact that a number of compound words with many moras were included among the nakadaka-gata words in the texts might have influenced the learners’ shadowing performance during the test. Long compound words tend to appear more frequently in the texts with high difficulty levels that are usually exposed to advanced Japanese learners compared to other texts, and many of those compound words are nakadaka-gata. Therefore, accent teaching for advanced Japanese learners should address nakadaka-gata type as one of priorities. Further research is needed on specific teaching methodologies to enhance the accuracy of accents during shadowing, such as a clearer marking of accent symbols.

通訳翻訳大学院の修士課程2年生の学生らを対象に、ニュース原稿でシャドウイングをしてもらい、名詞部分のアクセントの正確度を分析した。テキストにアクセント記号を記した時と記しをしない状態でのシャドウイングを比較した結果、アクセントの平均誤謬率が、記号表示状態では1.54％、未表示状態では4.36％と、アクセント記号を目で確かめながらシャドウィングすることの効果がかなり大きいことが分かった。 アクセント型別にシャドウィングの正確度を分析した結果、平均誤謬率が頭高型で1.74％と最も低く、平板型が2.63%、中高型は3.33%で誤謬率が比較的高いことが確認された。平板型アクセントの習得が比較的難しいとされる先行研究の結果とは多少異なる結果だが、テキストで使用された中高型の単語の中に、拍の数が多い複合語が相当数に上ったこと等がその理由として考えられる。 上級者が接する高難度のテキストには長い複合語が相対的に多く使われ、その多くが中高型であるため、上級者を対象とするアクセント教育においては、中高型についてもある程度重点を置く必要があると言えよう。 シャドウイング時のアクセントの正確度をさらに高めるためには、テキストを作成する際に単語の途中で改行をしないことや、文字やアクセント記号を大きく表示することにより、アクセント記号がより明確に見えるようにする等、具体的な教授法に関する研究をさらに行っていく必要があろう。

Tokoku criticized the material idea of advance of Japanese people in the age of Maiji. He said that country must follow the spirit of the age in the world and the world is developing into the peaceful one world. Tokoku introduced the world peace idea of Immanuel Kant and he used the Kant’s concept of Moral in his late criticism. We can see many general ideas of Kant’s transcendental philosophy in the last criticism of Tokoku. We can guess that Tokoku felt hope for Kant’s transcendental philosophy as one peaceful world. Because the idea of Kant for advance is peaceful coexistence of all countries in the world. To realize it human must have hope in his spirit. Tokoku also ended his criticism with Moral Life, namely the human spirit of life.

Junichiro Tanizaki’s “Sasameyuki” started serializing in 1943, but it was a work that was interrupted by the military as not suited for the war period. However, Tanizaki has continued to write after that, and it was completed in 1948. The story time of “Sasameyuki” is from 1936 to 1941 that is just before the outbreak of the Pacific War. “Sasameyuki” is a work about the everyday life of the four sisters of the traditional family called the Makioka family. Among them, events up to the marriage of Yukiko, the third sister, play a role as the axis of the story. Although Yukiko experiences five matchmaking in the story, this paper is analyzed the last matchmaking with Mimaki Minoru who is a bastard child of viscount and getting married with Yukiko. The last matchmaking with Minoru is made by a beautician Itani and the president of the publisher Kunijima. For Itani’s going to the United States, Yukiko got acquainted with the president of the publisher of Tokyo where Mitsuyo works, and the matchmaking with Minoru rises in the process. The Makioka family receive this matchmaking because although he is not a regular worker, but he is a bastard child of viscount, it is thought that the matchmaking made in one room of a hotel where Itani stays before she is going to the United States, has not been established as a matchmaking. Despite not establishing as a matchmaking, Yukiko get married to Minoru, but what is the purpose of the relationship that is not established as a marriage. Although the story of the marriage of Minoru and Yukiko being not to describe to the end of all, Minoru’s marriage is controlled by Kunishima, and Yukiko obeys Kunishima’s instructions by getting married. Although the marriage regarded as a good match, marriage depended on others can never be considered a good match. Also, fact that marriage with Minoru is set just before the Pacific War is intended to make the reader who experienced defeat in war predicts that marriage of Yukiko is never stable. A failure of Yukiko’s marriage shows that the Makaoka family will collapse in the era of wartime.

This paper examines the word “feet” that has not received much attention, through studying Miyazawa Kenji’s Shining Bare Feet. Feet in this work are divided into bare (shoeless) feet, bare (sockless) feet, which developed into shining bare feet, a symbol. As the title suggests, Kenji tries to send a message through the word feet and this study examines what this message is and the inner world of Kenji. There are two worlds―the real world and the world after death. Upon entering the world after death, one finds another world after death where shining feet exist. From this world after death where shining bare feet are active, Ichiro return to the real world. The shining bare feet shows us what the hero should do and then who the hero turns out after returning, showing us what one should do in their life. Using an easy to understand fairy tales, Kenji tells us that the world after death is not something to be afraid of. Even though it appears dark at the beginning, one can advance to a world of light, Buddha, through good deeds and self-devotion. The key words of this piece of work, feet, bare (shoeless) feet, bare (sockless) feet, shining bare feet tells us about strong religiosity in Kenji’s life. This research examines the symbolic meaning of Shining Bare Feet and Ichiro’s return to the real world and analyzes this work from a new perspective. Telling us how a hero deals with after returning to the real world from the world after death, this story tells us that one should lead a better life, with definite goals of one’s life established. The next world after this exists and one should prepare for the next world in this world.

This paper is my study of the ancient court dance called Shunnoden. First, I investigated the origin of Shunnoden in Chinese classical literature. It was composed in China during the Tang dynasty of the 8th century. Second, I examined the literature and history of Shunnoden in Japan. I found that in the Heian period, it was enjoyed as court music and dance performed for the prosperity of the regime and the blessings of a long life. Third, I compared the examples of Shunnoden in China and Japan with those of Korea. In the Joseon dynasty, Shunnoden was created in the 19th century by the Crown prince Hyomeyong. Although the specific structures of the dance were different across the three countries, Shunnoden had the same title and many similarities such as prayers for the prosperity of the dynasty. However, in Joseon during the Japanese colonization, it was used as a dance which was reminiscent of the past without political criticism. In conclusion, Shunnoden is a symbolic court dance which shows that the countries of East Asia have a deep common cultural background to understand one another. However, in the crisis of their peaceful coexistence, Shunnoden loses its meaning and has become a thing of the past.

“Killing Commendatore” of Haruki Murakami is a synthesis novel that contains various themes and ideas introduced in the author’s existing works, in particular, it has the meaning of ‘Post 3.11 Literature’, which was released after ‘the Great East Japan Earthquake’. From the subject point of view, he has reminded the readers about the history of the World War in the 20th century by bringing the history of East Asia and Japan which he had been writing at the beginning and even included the annexation of Austria by German into the story then, he is expressing his opposition to the war; such history should not be repeated in the 21st century. In addition, the writer comforts the ‘the Great East Japan Earthquake’ victims’ anger and sorrow and gives them a message that it is important to live on getting over hardships through the main character, ‘I’ who traveled around Tohoku province and matured by passing ‘the passage of Metapo’ and chose to live with others. The Haruki’s character, a small person in a huge consumer society who was satisfied with his life feeling ‘small but firm happiness’, is definitely growing. In the end of his work, “Killing Commendatore”, Haruki describes ‘I’ who chose the life as a father of a child rather than a hero who returns to reality removing the big subject matter, ‘evil’ and highlights the image of happiness as the importance of personal solidarity and family. I also think that by setting the background as two months after the earthquake, he emphasizes that various natural disasters threatening humanity are unavoidable, but what is essential to overcome them is close friends or family.

This paper aims to review Murakami　Haruki’s motif in Men without Women.　The result of reviewing two short stories <Drive my car> and the <Men without women> is as fllowings: 1. Haruki used to write about a cool young man in his late 50s abandoned by a woman. 2. Haruki’s technique of showing his work’s motif first, focuses on writer’s loneliness by image rather than on depicting the men who were abandoned by women. 3. The writer exposes the social problem of dying alone of old men in his late fifties abandoned by a woman, which gets more and more serious in the contemporary Japanese society. 4. While dealing with such problems with social phenomena, Haruki didn’t suggest the solution, only indirectly alluding to the man’s solitude and appearance in the text. 5. This method of writing led readers to imagine and complete the final content of the novel. 6. This kind of writing style contributes to stimulating the reader’s imagination and increasing the number of international readers.

Frequent earthquakes have been occurring in the world. Korea is no longer a safe zone for earthquakes. The occurrence of the Pohang and Gyeongju earthquake caused great damage to the region and showed Korea’s limitation with regard to disaster response. Therefore, this paper studies at Japan’s disaster response culture, which is striving to overcome disasters and achieve a sustainable development. From a socio-cultural point of view, it also looks at concrete disaster and revival cases in Kumamoto where earthquakes occurred in a similar period as Pohang and Gyeongju areas in Korea. Through this study, we were able to recognize the importance of healing of mind, the necessity of social-scientific restoration and revival and humanistic approach. In addition, we have realized the increase of the role of citizens and the local community when the disaster has occurred and the importance of holding a usual earthquake drill. Above all, we realized the necessity of arrangement as a disaster culture that local residents shared experiences and lessons of disasters and succeeded to the next generation for enhancing disaster response-ability. In Korea, such as Pohang and Gyeongju, we have to accumulate local experience and wisdom in our response to disasters and transfer it as the disaster culture, prepare for the next possible natural phenomenon. Also, It is necessary to establish a city activation plan and regional regeneration model that utilize local cultural resources.

世界中で地震が発生している。韓国はもはや地震の安全地帯ではない。浦項と慶州の地震が発生したことで、この地域に大きな被害をもたらし、韓国の災害対応に限界があることが示された。 本稿では、災害を克服し、持続可能な復興を目指す日本の災害対応文化について考察する。また、韓国の浦項や慶州エリアと同様の時期に発生した熊本の地震に対する防災や復興事例を社会文化的観点から考えてみる。これにより、韓国社会の災害に対処する安全文化を確立し、地震災害地域の活性化を図る。 日本の災害対応文化に関する考察を通じて徹底した災害の記録と行政対応の点検、社会科学的な復旧と復興、そして、人文学的な接近を通じた心の治癒の重要性を認識することができた。また、熊本の防災と復興事例を通じて自助･共助･公助の市民-共同体ー自治体の常時的な協力的体制の構築の必要性を実感した。韓国の地震被災地においても、災害が発生したときの被害を最小限に抑えることができる体系的な防災システムの構築が急務であり、地域特有の文化資源などを活用した地域活性化の方案や都市再生のモデルづくりが必要であろう。

The purpose of this paper is to examine the aspects of the Kanto Bushi in Mutsuwaki and Heike Monogatari and to see how this is expressed in literary works. It aims at examining what was perceived as natural to the people at that time and how it appeared in literary works. In this paper, we can see that the Bushi who had the place of life in the Kanto area among the early Japanese Bushi share two common aspects. At first, the existence of Hachiman god has been recognized very important for Kantou Bushi at that time. Before they went to battle, they showed us how they worshiped Hachiman Shin, and prayed for God’s help in the main scenes of the battle, and that they won by that pray. The second is that they emphasized his relatives, or blood relatives. Especially, in the case of the relationship between the son and the father, it can be seen that it is recorded in the story structure which is opposite to each other according to the region. Next, even though they met each other as an enemy, their perception was that it was natural that they must save their relatives, even if they gave up their own merit. In conclusion, environmental factors have changed the mindset of the Bushi in Kansai and Kanto districts. This can be seen as a change depending on which one was primarily benefited from civilization.

本研究は󰡔陸奥話記󰡕と󰡔平家物語󰡕の中に現れた関東武士たちの様相を探り、またこれが文学作品の中でどのように表象化されるのかを察知することを目的とする。これを通じて当時の人々にとって自然な現象として認識されたのがなんだったのか、そしてそれが文学作品の中でどのように現れたかを考察することを主点とする。 本稿では初期日本武士の中で関東地域で生活を送っていた武士たちがおもに二つの共通な様相を共有していたと見た。その一つは、当時の関東武士にとって八幡大菩薩の存在は大事なものとして認識されたことである。戦闘に挑む前に八幡大菩薩へお祈りし、戦の大事な局面で守に願って助けを求め、その祈願を通じて勝利を収める姿は両作品に共通に登場する。 二つ目は自分の親戚や姻戚、つまり血族を重んじたてんである。とくにその中で、父子の間柄であれば、地域によって互いに相反する物語構造で記録されたことを察知できた。関西の場合では息子が親父を助けるし、関東の場合にはでは親父が息子を助ける姿として表象化されていた。次にもしお互いが敵同士になったとしたら、自分の血族だけは自分の勲功を諦めることになっても必ず助けるべきだという認識が自然なものとして思われたと推測できた。これは関西の地域とは違ってだいたいは地方の有力者として強い武士を中心にほかの武士たちを集めて一つの武士団として成長し、以後、支配階級としてのぶしとして台頭する彼ら関東武士たちの独特な様相だといえる。このような形成過程をたどったのは初期武士階級が形成されるとき、貴族社会の中心として権力の中心地であった都と距離が遠かったのが一つの理由であるといえよう。貴族の侍として始め、次々と権力の中心部へ向う過程をとることべき環境ではなっかったので、関東の武士たちはかような様相を見えるようになったと推測できる。だがこうして命を救われるのが恥であるかいなかは時代によって認識が異なるといえる。