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In this paper, we take case examples of class practice in line with the concept of CBI(Content-Based Instruction), and consider the results and issues, so that it is not just language education for acquiring knowledge and skills but also language education as education. The purpose is to study the class design development of business Japanese language education with a focus on content-based instruction of language education. In order to do that, we conducted a project activity to learn honorific and corporate culture. This is an activity that investigates, announces, and evaluates the business honorifics, interpersonal relationships, manners, and the corporate culture of Japan- Korea, using dramas made in Japanese and Korean languages. By analyzing the results, problems and improvements from the perspective of CBI, we examined the possibility of business Japanese language education. As a result of the survey, problems and points of improvement were also pointed out, but there were many positive opinions and impressions. Through collaborative activities such as research, presentation skills, full use of Japanese language, discussion, PPT preparation, etc., learners can gain many experiences such as a sense of solidarity among members, a sense of accomplishment achieved, and discovery of new knowledge.

This paper aims at revealing the features of inferred usage of “to-omou”, and the differences between inferred usage and memory regeneration one. First, in the inferred usage we can find the syntagmatical relation between a sentence of premise and an inferred sentence. However, in the memory regeneration usage, we cannot find the syntagmatical relation anymore. Secondary, adverbs such as “tabun” and “kitto” are used in the inferred usage, but “tashika” is found in the memory regeneration usage more often. Thirdly, only past tense can be used in the memory regeneration usage, but all of the tense is used in the inferred one. However, the memory regeneration usage is closing to inferred one, when there is a syntagmatical relation, and is co-occurred with “tabun“ and present tense. So, sometimes it is not clear to distinguish the usage of the sentence from another one.

This article analyzes Japanese political discourse, and especially politicians’ controversial statements about gender, which exhibits many elements of impoliteness. The purpose of this study is to identify how the discourse is legitimized. Van Leeuwen’s grammar of legitimation was employed to identify the strategies used in Japanese political discourse. As a result, these strategies were classified as authorization, moral evaluation, rationalization, and mythopoesis, which are Van Leeuwen’s framework of legitimation. And also other strategies were found, which I named questioning, emphasizing, and inner and outer. In this study, only the legitimation strategies were analyzed, however, this perspective of seeing the discourse is necessary for Japanese language education in the future.

This study aims at clarifying the characteristics of language use of one Korean‐Japanese bilingual child with a discourse data. I conducted a recording the discourse of the child when he was with his parents at home. The child used Korean with his father, and used Japanese and Korean with his mother. Compared to his mother’s Japanese use, the child used less Japanese to his mother. Compared to the first survey, in the second survey which is conducted after 1 year, Japanese use increased exceedingly. This seems to be due to the improvement of Japanese competence, the increase of Japanese input of mother, the contact with Japanese books and television, and the positive attitude of the child and father to Japanese. I divided the data of the child into four situations: Japanese books, painting activities, television, and play. As a result, the use of Japanese increased slightly when watching Japanese television, and it increased relatively when reading Japanese books. This suggests that the contact of Japanese, such as reading books and watching television, is related to the increase in Japanese use of the child.

This study explores Japanese translation strategies on the names of tourist destinations in Korea. Unlike other languages, Japanese has different writing systems, with Chinese characters that can be pronounced in multiple ways. That being said, the translation and notation of the names of sightseeing spots varies from book to book, and website to website. Although Korean and Japanese both use Chinese characters, the simple switching of those characters often results in meaning being lost, and transliteration of pure Korean words of non-Chinese origin can hardly work. For this reason, semantic considerations should also be given. Translation of the names of tourist destinations should take into account a number of factors: the nature of the name itself, as a proper noun that signifies the features of a particular place, notations (Hiragana, Katakana, Kanji, Roman characters and numbers), phonetics, visuality and how well-known the destination is. As such, this study reviews translation strategies currently used, drawing upon information from the National Institute of Korean Language, the Korea Tourism Organization. In tandem, the tourism destination translation strategies of Japan, and websites on Korean tourism have also been consulted. Cases of discrepant translations are also discussed, along with suggestions on harmonization, to explore future directions for Japanese notation and translation of Korean tourism destinations.

Expressions of ｢~naimonodeha(mo)nai｣ and ｢~naikotodeha(mo)nai｣ are discussed as follows: In meaningful aspect, the expressions of ｢~naimonodeha(mo)nai｣ and ｢~naikotodeha(mo)nai｣ give weak positive meaning and negative phrases are used twice to express vague and euphemistic meaning, indicating <existence of situation / possibility of validity>, <consideration of oneself or the other>, and <denial, addition, or explanation of preceding locution>. And ｢~naikotodeha(mo)nai｣ has a fixed vocabulary form like ｢iwanaikotodehanai｣. In usage, the expressions of ｢~naimonodeha(mo)nai｣ and ｢~naikotodeha(mo)nai｣are hard to be combined with norms and adjectives but mostly combined with verbs. However, in comparison to ｢~naimonodeha(mo)nai｣ which is easily combined with verbs, the expression of ｢~naikotodeha(mo)nai｣ tends to be combined with verbs in strong limitation thus it is limitedly combined with verbs of thinking and possibility ; particularly, it is mostly combined with ｢kangaeru｣ ｢dekiru｣ and ｢ariuru｣.

本稿は、二重否定表現の｢~ないものでは(も)ない｣｢~ないことでは(も)ない｣を中心に形態的、意味的、用法的な側面について比較、考察したのである。考察した内容をまとめると次のようになる。 共通点としては、第一、｢~ないものでは(も)ない｣｢~ないことでは(も)ない｣は内側否定と外側否定から成り立つ複合形式であり、弱い肯定の意味で、婉曲/曖昧性という情意を持つ。第二、｢~ないものでは(も)ない｣｢~ないことでは(も)ない｣と結合する述語は品詞の制約のため、名詞、イ形容詞、ナ形容詞と結合しにくい。第三、思考動詞、可能動詞と結合しやすいが、知覚動詞と結合しにくい。第四、断定的な肯定を避けることによってある事態の存在･成立の可能性、相手の配慮、自己防衛、先行する内容(発話)の打ち消しを表す用法として二重否定表現が用いられる。 相違点としては、第一、｢~ないことでは(も)ない｣の｢ことでは(も)ない｣が二重否定をあらわすことに諸々の制約が従う原因になる。第二、思考動詞の場合、｢~ないものでは(も)ない｣は｢分かる｣と、｢~ないことでは(も)ない｣は｢考える｣との結合が多く見られた。第三、動詞と結合しやすい｢~ないものでは(も)ない｣と違って、結合する動詞の制限が強い｢~ないことでは(も)ない｣は限定の動詞と結合し、｢考える｣｢できる｣｢あり得る｣のように特定の動詞に偏って結合する。第四、｢~ないことでは(も)ない｣は｢いわないことではない｣のような固定的、慣用的な形式がある。

This paper is about interaction of Korean students who are majoring in Japanese and Japanese students who are studying Korean in a Korean university. They had group activities for one semester and had interaction in Korean and Japanese Language. The results are follows: first, the main language of the activity was Japanese that resulted many Korean students in a burden. Second, despite of their linguistic disadvantages, it was Koreans who were highly evaluated for their contribution to the activities. Third, they have some stereotype on Korean and Japanese that Koreans speak directly and actively on the other hand, Japanese express indirectly and passively. These differences in communication styles seem to have influenced the evaluation of each other.

本論文は韓国の大学で日韓の学生がグループ活動を行った｢異文化コミュニケーション｣の授業の様子を報告するものである。授業では日本人21名と韓国人19名が一緒に4人のグループを作り、自ら選んだテーマを深化しながら調査、研究し期末にグループ発表を行った。その過程の様子と互いに関する認識を調べた結果は次の通りである。第一、論議に使われる言語は日本語の方が優勢であり、それによって多くの韓国人は言葉による困難を感じたと答えた。第二、それにも関わらず、グループ活動における寄与度については韓国人の方が高い評価を受けていた。第三、その理由として、韓国人の方が積極的に意見を話し、論議で主導的な役割を果たしたのに対し、日本人は消極的であまり意見を言わなかったことを挙げていた。韓国人は積極的、日本人は消極的というステレオタイプを感じたという答えが多く見られたが、短い時間と個人差を理由に言い切れないという答えもあった。全体的に今回の活動についての満足度は高く、今後の異文化接触場面に備え、有意義な経験になったと思われる。

In this paper, I researched how third rounded rhymes contained consonant finals reflected to Sino-Korean mainly focused on the changing to one syllable. The reflects of Sino-Korean are summarized as follows. 1) In Sino-Korean, B type contained /wï/ appeared as a one syllable /o-/ or /u-/. It means that Sino-Korean taken /w/ and omitted /ï/ of Ancient Chinese. 2) In Sino-Korean, A type contained /wi/ appeared as a one syllable /j-/. It means that Sino-Korean taken /i/ and omitted /w/ of Ancient Chinese. 3) The <wï+main vowels+Final Medials> structure in Ancient Chinese changed to one syllable in Sino-Korean by eliminating /ï/ and combining of Medial w and main Vowels, Final Medials. 4) The <wi+main vowels+Final Medials> structure in Ancient Chinese changed to one syllable in Sino-Korean by eliminating /w/ and combining of Medial i and main Vowel, Final Medials. 5) Rhyme Geng(庚)･Zhi(職)･Fan(凡) difficult to this refect because rhyme Geng was reflected phonological changing of Ancient Chinese, rhyme Zhi was reflected Late Ancient Chinese, rhyme Fan is a labial that rounded vowel eliminated in Sino-Korean.

本稿では、中古音における3等合口の陽声･入声韻が韓国漢字音にどのように反映されたかを1音節受容の観点から考察した。牙喉音字を中心に基本的な反映を提示すると、以下のようである。 韓国漢字音では、基本的に、丁類は拗音性を省略してu･oで合口性を反映しており、丙類は合口性を省略してi母音をもって拗音性を反映している。 これを中古音の音節構造に従ってまとめると以下のようである。 1)中古音の<wï+核母音+韻尾介音>は、韓国漢字音では、介音wïからïを脫落させ、wと他の要素とを結合させて1音節化する。 2)中古音の<wi+核母音+韻尾介音>は、韓国漢字音では、介音wiからwを脫落させ、iと他の要素とを結合させて1音節化する。 庚韻･職韻･凡韻はこのような反映から外れているが、庚韻は母胎音における音韻変化、職韻は秦音の反映という母胎の違い、凡韻は脣音の特質による圓脣性の排除というものにその原因が窺える。

This thesis considered the meaning of Onnasannomiya’s marriage to her subject as an imperial princess, and the relation between characteristics of expression and theme shown in Kashiwagi’s story, focusing on the work development and structure of expression of Volume 1&2 of ｢Wakana｣. In the beginning part of Volume1 of ｢Wakana｣, the dialogues of characters around Onnasannomiya are continued based on Onnasannomiya’s marriage issue. In the comparison of Yugiri and Hikaru Genji out of the candidates group, Genji with lots of curiosity about women is highlighted as an ideal character than Yugiri who is a sincere man that loves only one woman. However, the abdicated emperor Suzaku’s decision to select Genji as a protector of immature Onnasannomiya just like “Genji raised young Murasaki-no-ue”, causes the situation of having another noble woman in the blood relationship with Fujisubo in Rokujyoin. In Kashiwagi’s story, the eyes and <peeping> of the characters are working as the important chance for the work development to the adultery. Without cognizing the immaturity of Onnasannomiya, Kashiwagi loves an illusion of ‘Onnasannomiya’ as a symbolic being with the highest status. And as a tragic and self-destructive character who could not get the love eventually, the light and shade of Rokujyoin created by Hikaru Genji are shown. Through the work development after ｢Wakana｣, the theme of adultery is varied to impressively express the death of a young man Kashiwagi, which is finally converged into the internal issue of Hikaru Genji.

The purpose of this paper is to trace Abe Kobo’s turning point in style and ideas in For the Nameless Night (1948) and to explain the internal process of transforming himself into an avant-garde writer. For the Nameless Night has been generally known as an imitative work of Rainer Maria Rilke’s The Notebooks of Malte Laurids Brigge. However, soon after writing this novel, Abe separated himself from Rilke’s style and sought drastic changes to write “Dendrocacalia”, one of the most famous avant-garde short stories. Abe wrote For the Nameless Night not in the most influenced period, but in the time of change. so we can get a clue to what he was searching in it. To the narrator of For the Nameless Night, writing Dinggedicht (poem of things) just like Rilke was the most important objective. Dinggedicht needs both keen observation and oblivion, so the narrator compared the former to “day”, and the latter to “night.” But devoid of the eyes of Rilke, the narrator was lost for a long time without a single good poem written. One day, he suffered from short-term amnesia and changed his mind. He was led to believed that living in the present is more important than understanding the past. and that this is the true meaning of The Notebooks of Malte Laurids Brigge. He promised himself to be freed from the solitude that Rilke once recommended. This paper discovered a self-declaration feature of this novel and ranked this novel as a forerunner of Abe Kobo’s new writing style era.

This paper deals with the “three-line poetry” which appeared in the literary section of The Keijo Nippo, the largest Japanese daily newspaper published on the Korean Peninsula in the first half of the twentieth century. This poetry appeared over the course of four months from the autumn to the winter of 1919, immediately after the 3.1 independence movement arose. The “three-line poetry” of The Keijo Nippo, which was clearly influenced by Takuboku Ishikawa’s three-line Tanka, could not maintain a fixed Tanka form, nor did it constitute a completely new type of spoken free verse, and it ultimately disappeared from the literary world. However, I have identified how these poems drew on not only the Tankas of Takuboku in One Handful Sand and The Sad Toy, but also on the emotions and figurines that epitomize Takuboku’s work. Furthermore, I also point out that since these poems were created on the Korean Peninsula, they reveal the atmosphere of Joseon by using local proper nouns and unique linguistic elements that convey the distinctive colors of Joseon. Through this analysis, this paper reveals that Takuboku enjoyed a short-lived but distinct period of great popularity, and that around 1919 there was a related but novel poetic departure represented by the “three-line poetry” which appeared in The Keijo Nippo.

This paper examines how Murakami Haruki’s novel Tony Takitani describes Japan’s consumer society of the 1980s by comparing it with Hitchcock’s movie Vertigo. The two works use a common motif of obsession with a dead woman, which includes putting the clothes of the dead on other women. However, while Vertigo uses clothing to symbolize one man’s obsession with his deceased beloved, the novel uses the dead dressed in the clothes of Tony’s dead wife and viewed by strangers to suggest the consuming the feelings of loss; that is, Tony’s pain is so great that it is as though she died more than once. The text, however, does not depict Tony as a person who is compliant with consumer societies. Its descriptions convey a human loneliness that cannot be satisfied by material things in a consumer society.

本稿では、村上春樹の短編｢トニー瀧谷｣が1980年代の日本の消費社会をどのように描いているかをヒッチコックの映画󰡔めまい󰡕との比較を通して考察した。これらの作品は、死んだ女性への執着によって他の女性に死んだ女性の着ていたものと同じ服を着せるという共通のモチーフを使っている。しかし、󰡔めまい󰡕の場合は男が愛する女性への執着を象徴する手段として服を利用しているのに対し、小説は死んだ妻の服を見知らぬ女性に着せることで妻との相違を認識し、喪失の感情を記号化された妻の身体を介して消費しようとする欲望を示唆している。ただし、テキストはトニーを消費社会に徹底的に順応する人物では描いていない。このことを通して消費社会の消費方法では満たされない人間の孤独が暗示されているのである。

This study focuses on emotional expression in the story of Empress Jingu which has been ignored in advance researches. In particula, this study analyzes the anger patterns of Empress Jingu and the utmost purpose of the emotional expressions of anger in Kojiki, as well as comparison of the contents and expressions of Nihonsyoki. There are fourteen examples of anger paterns in Kojiki. The examples of these anger are different from each other in subjects, objects and causes, however the results finally lead to irreversible endings such as death or loss of relationship. After all, Kojiki wants to say the divine right of kings by using emotional expression of anger and traditional legitimacy. This study attempts to analyze the purpose of the original text by searching the meaning of emotional expressions of anger in the Kojiki. Especially, this study tries to focus on the textual analysis of the emotional expression of anger in the story of Empress Jingu, which was failed to consider in advance researches.

本論文は従来の研究が見過ごしてきた神功皇后伝承における感情表現に注目したものである。とりわけ󰡔古事記󰡕における忿怒を中心に󰡔日本書紀󰡕の記述内容や表現方式とも比較･対照を加えながら󰡔古事記󰡕に現れた忿怒のあり方を分析すると同時にこれらの忿怒を通して󰡔古事記󰡕は何を語ろうとしているのかを検討したものである。 󰡔古事記󰡕に現れた忿怒の事例は全部で14の用例があるが、これらの忿怒の用例はそれぞれその主体、対象、原因は区々ではあるもの、その結果は共通して死やそれまでの関係への断絶のような、取り返しのつかない結末に繋がっている面があることを明らかにした。結局、󰡔古事記󰡕は忿怒の感情表現を用い、既存の伝承を活用して積極的に王権の論理を貫こうとした作品としての一面をもっていると言えよう。 本研究は󰡔古事記󰡕における忿怒の感情表現をみきわめることでテキストの本質に近づこうとした試みなのである。これまで見落とされてきた忿怒の感情表現に着眼し、主にテキストに基づいて󰡔古事記󰡕という作品を読みなおしたところに意義があると考える。