Earticle

This study examines the anaphoric relations and the model of appearance for ‘人’ (hito) which refers to a specific person. The examined example sentences include ‘人’ which refers to a specific person and the person referenced by ‘人’. Based on the earlier study that pronouns are used for a person serving as the topic in the context, which serves as the topical person, between ‘人’ that refers to a specific person or the person referenced by ‘人’, has been examined. Also, to examine the mode of appearance, the example sentences are classified into the act of expressing and the context. The results of the examination are as follows. The anaphoric relations held by ‘人’ which refers to a specific person differ from those held by pronouns. This is because the person referenced by ‘人’ is likely to serve as the topical person, in that ‘人’ is frequently used to indicate the awareness of victimhood. ② ‘人’ which refers to a specific person concentrates in speech as the speaker (first person). This is because the victim is more easily expressed as the speaker (first person) than as the other and the situation is more easily reflected in speech than in passage. ③ ‘人’ which refers to a specific person is expressed as anger, advice, and complaint for the speaker (first person) and as shame for a third party person (third person).

Argumentation is a social activity whereby an arguer increases the audience’s adherence to claims being advanced. Argumentation is performed at a site of discourse, where the arguer, the audience, and arguments affect each other through a process of argumentation. This study, from a perspective of argumentation studies, attempts a discourse analysis to identify what solicited Okakura Tenshin (1863-1912) to commit so-called complex question fallacies in The Awakening of the East, in which he urged Asian people to take action of resistance against Western imperialism. The paper first clarifies the coercive nature of the pertinent fallacy in the sense that a respondent can be trapped into conceding a presumption embedded in the question given to him/her. A consideration of the historical background suggests that the presumption at stake here does not hint the fact that the Imperial Japan as a newly emerging power intensified tendencies to behave similarly to imperialistic Western nations. Regarding this work of Okakura’s as practical argumentation, i.e. argumentation whereby agents involved make a decision on what to do, this study then shows that the pertinent presumption does not immediately correspond to any premise in the structure of practical argumentation, but contributes to the enhancement of Okakura’s ethos as an arguer. This enhancement of his ethos is expected to establish his communion with Asian people so that their adherence to his claim can increase. Thus this finding reinforces the significance of a reciprocal cooperation between discourse analyses and argumentation studies.

This paper, based on synchronic and diachronic studies on systems of the temporal relational nouns in Korean and Japanese temporal relative clauses, describes and identifies correspondence of the systems of temporal relative nouns in terms of facts and observation. On this paper, corresponding relation and lexical association(on Chinese words/Haneo) of Koran “전” and Japanese “前(マエ／ゼン)” are classified as 4 types and considered. as a reviewing method, based on dictionaries published in Korea and Japan, all vocabularies are extracted and reviewed. Each heading vocabulary extracted from each dictionary for each type is described; ① beyond the standards, and “前･後” is lexically corresponding. ② beyond the standards, and “前” is lexically not corresponding. ③ beyond the standards, and “後” is lexically not corresponding. ④ “前”,which is beyond the temporal standards, means a temporal relational noun in the standards. As a result of consideration, temporal directional functions in Korean and Japanese temporal relative nouns do not coincide. In other words, when we think about when the generality inherent in each temporal relative noun is actually realized in language, we find that their specificity is part of the universality, not an exception, but a process of grammaticalization.

This This study defined negativizing of positive treatment by using honorific prefix ｢オ⋅ご｣in Japanese language as the language behavior where speaker uses expression of plus treatment ｢オ⋅ご｣to signal his or her intention to give minus treatment to audience, and analyzed and examined the uses of it. In various ｢scenes｣, it was possible to identify uses of negativization of expression of positive treatment using ｢オ⋅ご｣. It was found that, in most cases, the prefix is used to express sarcasm in equal human relations as follows: ① While it is expression of plus treatment with honorific or polite words, we can grasp the intention of speaker to treat audience negatively by the context in which the prefix is used, human relations between speaker and audience, or the vocabulary used with ｢オ⋅ご｣; ② In the case where, even if ｢オ⋅ご｣is used, contents of the sentence is minus treatment, we can figure out the intention of speaker to express minus treatment without considering human relations or the context; ③ In the case where, while the sentence is expression of plus treatment, it is not formed as honorific expression without ｢オ⋅ご｣, we can recognize it as the expression of minus treatment by considering human relations or the context.It seems that the reason why speaker uses such an expression is to emphasize minus treatment of the audience, and to upgrade the effect of the expression. In most cases, audience seemed to understand the intention of speaker to express minus treatment.

This paper analyzed each other’s recognition of K, a Korean Japanese learner and J, a Japanese Koran learner, namely, perception of others through an interview research. Also, by comparing the analysis results to Kim’s(2016), it intended to examine each other’s change in other’s perception and the factors, and imply each other’s need for Language education. The results showed that K still had a negative image about a Japanese, and his image about a group of Japanese changed from positive to negative. The factors are that a negative image was reinforced due to repeated failure in establishment of relationship with a Japanese, and that the negative image about a person negatively worked on the image about a group of Japanese as well. As for Jane, positive and negative were mixed about both a Korean person and a group of Koreans, but currently, it can be seen that a positive image is reinforced. The factors are J’s efforts and study for understanding the others, and that J views and contacts Koreans with the third values called cultural exchange and world peace. The implications of this examination for the future language education is that first of all, a plan for classes to cause an interior motive to try to resolve conflicts with and understand others is needed. Likewise, a plan for classes to discover a third significant value in common to look at and pursue together as well as understand one another is required.

This study focuses on chotto among the adverbs that are interjectionally used and describes the process of how the meaning and function of adverbs has derived from adverbial usage to interjectional usage in case of increased subjectification. (1)Chotto precedes the predication and indicates low degree or small quantity. (2)The acquisition of affective meaning by chotto is probably enabled by contexts in which speaker’s negative feelings or attitude to the addressee. In such uses, it appears to have lost its original meaning, small extent as an adverb. Chotto occurs without a predicate as a response but it is not procedural with interjectional meaning. (3)Chotto is used as an interjection to call someone casually. It occurs in clause-initial position. Moreover, it can stand alone as an utterance. It functions at a discourse expressive level. As addressed above, chotto illustrates increased subjectification; originating in a clause-internal degree modifier (i.e. propositional function), it comes to show the speaker’s emotional involvement as an interjection (i.e. expressive function).

There have been many issues on the classification criteria on “Invitation” so far. In this study, the analysis was performed upon determination that the development of psychological “Uchi Relaiton” was the most important factor in the “Invitation” expressions. Upon the analysis results in the subjects with scenarios, four types of “Invitation” were classified. “Grouping type” Invitation is to suggest the listener the execution of the common behaviors with speaker and listener together. “Inducing type” Invitation is to involve the listener on the behaviors that the speaker is doing or is going to do, which aims the common goal. “Inviting type” Invitation is to invite the listener to the location that the speaker is or belongs to. “Supporting type” Invitation is to express as if they do the common thing so as to support the listener aiming the psychological common state. “Supporting type” Invitations were commonly used in those who hesitated the behaviors or children who were not familiar in the behaviors, because it developed the psychologically common state that there was someone who supported them requiring courage. In this study, the different expressions were found depending on how the speaker perceived the listener’s will to execute the behaviors, which might be the next study topic.

Language acquisition is highly influenced by one’s surrounding environments. People living in foreign countries selectively choose linguistic features from their mother tongue and foreign language, thus becoming hybrid speakers of both languages. This paper is interested in how Korean writers in Japan adopted Japanese language and how they formed unique hybrid identity as Korean-Japanese. This paper has sorted out five hybrid phenomenons from the works of Lee Hoesung, Lee Yangji, and Sagisawa Megumu. First, frequent tense shift was found in the Korean-translated version of Japanese texts. Second, complex forms of modifiers were used in their Japanese works. Third, honorific expressions were different in Japanese and Korean. Fourth, postpositional particle ‘ばかりbakari’ was extensively used by Lee Hoesung. Fifth, literal translation affected grammatical structures in their Japanese works. The hybrid phenomenons are going to be found more often in Japanese as more and more people from different linguistic backgrounds are learning Japanese, and this will lead to the diversification of Japanese.

Peer feedback is said to affect the whole process of interpretation learning, but active research is not being done. For that reason, although We spend a lot of time on interpreter learning on peer feedback, it has not been verified whether it is meaningfully effective. Therefore, research is necessary to increase the educational effect of peer feedback in interpretation learning. In this paper, in order to conduct more systematic research, we first decided that it is necessary to consider peer feedback by types, and created a classification table of types using actual peer feedback data. The basic framework was based on the classification table in the composition field. However, because the unique characteristics to interpretation are not reflected in this classification table, the primary classification table was created by adding the item of interpreter evaluation. After that, I was able to obtain the final version by repeatedly modifying it by coding the actual data.

ピア⋅フィードバックは通訳学習の全プロセスにおいて影響を与えるとされてい るが、活発な研究が行われているとは言えない状況にある。そのため、通訳学習で多 くの時間をピア⋅フィードバックにかけているものの、それが有意義に効果を発揮し ているかどうかは検証されていない。したがって、通訳学習におけるピア⋅フィード バックの教育的効果を高めるための研究が必要である。 本稿では、より体系的な研究を行うためには、まずピア⋅フィードバックをタイ プ別に分けて考察する必要があると判断し、実際のピア⋅フィードバックのデータを 用いて類型の分類表を作成した。 基本となる枠は作文分野の類型分類表を参考にした。しかし、同分類表には通訳 ならではの特性が反映されていないため、通訳評価の項目を加えて1次分類表を作成 した。その後、実際のデータをコーディングする方法で修正を重ね、最終版を得るこ とができた。

In this study, we analyzed the plant poems written in love in the trilogy of tanka poem. Thus, it is possible to interpret the development process of original work as a plant material in a love song different from that of the seasonal song, and to highlight the plant group of love which is largely separated from the plant representing the seasonal feeling. It became clearer in comparison with the materials used only in the “Kokin” waka poetry collection. First of all, the representative plants of the season, which express a sense of the season, are not liked by the song.Even if they are sung, they tend to use place-name-related pillows to give personnel priority. Since ancient times, many songs have been sung for practical purposes, such as those that are closely related and familiar with life. As a material for rhetoric, songs by writers such as pillows, prepositions, and adverbs tend to have developed and fixed. The core of this book is the possibility of developing into a wide range of singing languages.

Recently, researches that claim that the modern civilization got started from the sea are gaining attention when it comes to the West and East Asia. As such, such researches are actively underway. In particular, study of history is focusing on the view of history centered on sea that considers the sea as the center of start and spread of modern civilization whereas view of history centered on land was commonplace. Likewise, this movement of perceiving the sea as the start of the civilization and its eventual spread is not limited to the study of history. Instead, this view is affecting other fields of humanities as well. This kind of sea centered viewpoint can be applied to literary works as well. In other words, it may be possible to examine new aspect of literary works with the sea centered perception, casting away land centered perception. Even during the Edo era when Japan carried out closed-door policy, there were many works related to ocean. Among these kinds of works that depicted ocean, this paper examined Ryukyu symbol centered on the Chinsetsu Yumiharizuki authored by Kyokutei Bakin. In addition to this work, this study focused on the data such as books on the history of premodern society, literature and ideology related to Ryukyu. Perception on the outside of Japan depicted in the works was examined as well, through the island, Ryukyu that is not the land called Japan. In particular, this study sought to examine how the sea of Japan including Ryukyu during early 19th Century is depicted with which viewpoint and ideology in case of the novels on the premodern society. Ideology of governance for the island that is faraway, Ryukyu shows the Sinocentrism that had become a part of Japan at the time. Sinocentrism that claims that China is the center of the world affected perception of Ryukyu as well. In case of the work, Chinsetsu Yumiharizuki, Japan centered viewpoint leads to the governance of the Genji samurai family on the Ryukyu. Ryukyu’s historical traditional value is denied, and it was being re-created as a different nation of Japan. Likewise, it is possible to know that the China centered perception which is China/barbaric outlander was changed to perception to Japan/nearby ocean and island in case of Japan in the 19th Century.

The purpose of this paper is to discuss about the circus images in Terayama Shuji’s literary works, especially dramas. Terayama Shuji is a Japanese poet, a theater director and a playwright, a novelist and also an essayist. He is famous for the outrageous performances by the directions and the stories of his own. This paper emphasized that there was a big gap in concerning ‘hometown’ between cultural elites of after war period in Japan and Terayama. When he wrote about a circus, the images of ‘deformity’, and a case of ‘death of parent’ appear in his works always. One of the main themes in Terayama’s works written about circus is the realization of ‘festivity’, that presents tragic and negative power. And another important theme is the existence of a human who is standing on the border of a life and death as a ‘living dead’. Terayama Shuji represents the rebirth from an old cradle by oneself with these themes in his drama works with circus images.

Ogawa Yoko’s early work “Pregnancy Calendar” starts with a story from the sight of my sister “I”. “I” have relied on the elder sister after losing their parents. There is also a tendency to equalize the sister with “I”. The sister got married and we begin to live with a brother-in-law. The depiction of “I” about that couple is biased. It is emphasized that the sister has been in psychiatry for a long time. “I” feel irritated by the attitude of a brother-in-law to his wife. “I” feel like the couple “fragile gas” and also it is strange that they can have children. They don’t show emotion though conceived the baby. “I” also wonder if pregnancy is “congratulation things”. “I” continue to record the sister’s pregnancy on the calendar. The feeling of alienation and discomfort develop gradually. The emotion increases with the sister’s morning sickness. The sister also says anxiety about her child as just before she gets birth. But, there must be a difference in anxiety between the sister and “I”. “I” continue making jam of grapefruit including carcinogenic ingredients for the pregnant sister. It’s just because her appetite has returned so let her eat the jam. And it is also to grow “destroyed baby” which is an alien substance in the image of “I” then make it born.

小川洋子の初期作品である｢妊娠カレンダー｣は妹｢わたし｣の視線から物語が始まる。両親をなくしてから姉を頼りしていたし、姉妹の間でよくある自分と姉を同一化している傾向も見える。そういう姉の結婚により義兄と三人で暮すようになる。その夫婦に関する｢わたし｣の描写は負の視線で、偏っている。姉が長い間精神科に通っているのを強調しているし、義兄が姉の気分を悪くさせないためにいつも気を配っている様子に苛立たしさを感じると言う。 ｢わたし｣には、夫婦というものが｢はかない気体｣のように思える。そういう二人に子どもができるのが妹は不思議でならない。子どもができたことに夫婦が何らかの感情を示さないのも理解できないし、それに妊娠というものが｢おめでたい｣ものかどうかも疑問に思う。姉の妊娠に寄り添うつもりでカレンダーに記録を続けているが、だんだん｢疎外感｣や｢違和感｣が芽生えてくる。その感情はは姉のつわりとともに増殖してゆくのである。 出産間近になって生まれてくる子どもに関する不安をやっと姉が妹にも話すのだが、姉と妹の不安は方向性は全く違うはずである。発癌性成分で漬けられ輸入されるグレープフルーツのジャムを作りつづけるのは、食欲が戻った姉がよく食べるからでもある。とともに、｢わたし｣のイメージの中の<染色體⋅腫瘍⋅双子の幼虫⋅異物質>である｢破壊された赤ん坊｣を成長させ、それを誕生させるためである。

In this paper, we will look at how Yi Sun-sin is depicted in some of the books of the 19th century published for the purpose of commerciality. Especially, the main target genre that I want to deal with in this article is Ehon-Yomihon, which was a genre that had a commercial purpose. In the course of the commercialization of the Imjin war of early modern Japan, it will be possible to confirm how Yi Sun-sin is depicted in the genre of Ehon-Yomihon. In the study of the above objects, it was confirmed that the exaggeration, the creation and the quickness for commercials as commercial publishing continued or created the heroism of Yi Sun-sin in Japan in the 19th century. It is interesting to note that Yi Sun-sin’s image, which was drawn in commercial publishing, continued until the end of the 19th century, despite the lowered value of these materials. Their influence was so great that it suggests that commercial distribution books through publishing have had a lasting effect on the image of Imjin war and Yi Sun-sin in modern Japan.

本稿では、近世日本で李舜臣を扱った書籍の中で、その商品性を目的として出版した19世紀の書籍の一部を対象に、李がどのように描かれているのかを見てみる。特に本稿で扱おうとする主な対象ジャンルは絵本読本であるが、これらは商業的な目的が濃いたジャンルであった。絵本読本というジャンルの中で、李舜臣をどのように描かれているのかを見ることで、近世日本の壬辰倭乱が商業化されていく過程の中で、李舜臣がどのように描かれていくのかを確認することができると判断される。 上記のような対象への研究で、商業出版として興行のための誇張、創作、迅速性が19世紀の日本で李舜臣の英雄化を継続、創作したことを確認することができた。これらの史料的価値が低いにもかかわらず、商業出版の中で描かれた李舜臣のイメージが、19世紀末まで続くことが興味深い部分である。結局的にこれらの影響は大きく、出版を通じた商業流通書籍が近世日本の壬辰倭乱、李舜臣のイメージに継続的な影響を与えたことを示唆している。

One of the most notable acts in Japanese literary circles since the 3.11 outbreak was the overwhelming reality, “What is the play?” and “What can play do?” in succession. Some of them have been performed in Korea since their premiere in Japan. Japan’s play since 3.11 should have described various contexts related to Japanese society after the nuclear accident and the nuclear accident, including the convenience of developing technology, as well as the future of Japan’s modern society, which should not be seen. Some of the pieces have appeared in the form of plays in literary magazines since their stage performances were preceded by performances, which should also be noted as emphasizing ‘Japanese’. When a character’s pronunciation is written in Hiragana after intentionally writing the name of a character in Chinese characters, or if part of the speech is translated into pure Hiragana without a Chinese character, the parts that are never clearly known. Paradoxically, we could also look at plays that allowed us to rethink the meaning of using Japanese and speaking Japanese by emphasizing the ‘crisis of Japanese’.

3.11発生以降、日本文学界の目立つ動向の一つして戯曲の創作や上演が活発に行われたことが上げられる。圧倒的な現実、非常時の状況下で‘演劇に何ができるのか’‘演劇とは何だろうか’という当時の問題意識がよく見られる作品が次々と上演されることになる。そのなかでいくつかの作品は韓国での上演も行われた。 3.11以降の日本戯曲は原発事故と原発事故以後の日本社会を多様な脈略から描こうとした。科学技術の発展とその発展に基づいた便利性に伴って高いリスクを甘受しざる得なくなった日本現代社会の断面を描写したり、原発事故以来先が見えなくなってしまった日本社会の現状態を象徴的に比喩しているのが見えてくる。 さらに、いくつかの作品は舞台上演だけではなく、活字化されて文学雑誌に載せられるケースもあったが、この場合どれも‘日本語’を強調している点も注目に値する。舞台では見られなかった登場人物の名前がひらがなで書かれたり、せりふの一部分を敢えて漢字を一切使わずひらがなとかたかなだけで表記したりする傾向が見られる。また‘日本語’の危機を強調することによって日本語を駆使するということ、日本語という言語の重要性喚起されることも見られる。