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Regarding the difference between synonyms KYOMI and KANSHIN, paying attention to the three points of generality, register distribution, and collocation characteristics, and based on examples that appear in the modern Japanese written word equilibrium corpus (BCCWJ) analyzed. First, the difference in the frequency of use of KYOMI (8,212, 54.8%) and KANSHIN (6,787, 45.2%) extracted from the BCCWJ interface SHONAGON is very weak, and it is remarkable in the degree of generality. There was no difference. On the other hand, in the register, KYOMI is often used mainly in everyday scenes and simple conversational forms, and is not often used in public scenes or revised sentences, whereas KANSHIN is public. There was a tendency that it was used in typical scenes and modified writing styles, but not used in everyday scenes and simple conversational forms. Conjunctive features focus on the semantic differences of co-activators in typical grammatical patterns of “KYOMI-verb” and “KANSHIN-verb”, and KYOMI is unrelated to the will of the subject. it was found that KANSHIN is a rational and willing psychology, while KYOMI is emotionally and accidentally intriguing.

This study contrasts the Korean endings used for dog and cat characters with Japanese ones by focusing on the animal character endings on SNS. The results of analysis are as follows; (1) When compared with Japanese, the Korean language has more kinds of animal character endings for dogs and cats. (2) Occurrence environment of Japanese animal character endings is determined by the relationship with sentence-ending particles. Unlike prior studies, ‘-wan’ can be attached to both the front and back of sentence-ending particles and grammaticalization of it is witnessed to be in progress on SNS. On the other hand, occurrence environment of animal character endings in Korean language depends on whether it is connected to the ending of sentences or included in sentences. The latter case is more versatile and grammaticalized than the former. (3) As for the use of animal character endings, Japanese has many types of endings attached to the end of sentences and only ‘-nya’ and ‘-nyan’ have the function of replacing sentence-ending particles. On the other hand, in Korean, the uses of the types inside the sentences are complicated and their functions and attributes differ depending on the kinds of endings.

This study contemplates that the usage of the perfect have in タ形 of a predicate noun and a predicate adjective also. Originally, because a predicate noun and a predicate adjective conceptualize stativity, the usage of the perfect like タ形 of a predicate verb would been not accept. But, タ形 of a predicate noun and a predicate adjective includes the case related to “the perfect” that was different from “the past”, so the perfect was classified in this study the usage of タ形 of a predicate noun and a predicate adjective could divide into 3 usages as follows 1. the case that the completion of a chain of events was reflected in conversations ･(the greeting of a clerk after that shopping was finished)｢ありがとうございました｣ ･(after finishing a meal)｢おいしかった｣ 2. the case that the outcome of the confirmatory act was reflected in conversations in the situation informing a counterpart ･(when making a report after looking at a bulletin board)｢明日の講義は休講だったよ｣ 3. the case the outcome of the speaker’s guess was reflected in the sentence to be confirmed ･(Watching that the person who enters the hot water first in the hot spring makes a hot expression)　｢熱かった?｣

This paper analyzes the meanings and the functions of “okagede” which connects to nouns. There have been a lot of previous research that pointed out that “okagede” basically shows “desirable results,” but the topic about the example sentences showing “undesirable results” has been rarely studied. In addition, when “okagede” is used in simple sentences and in complex sentences, different features are observed, but no studies have been conducted about these separate features. Therefore, this paper first aims to distinguish between the cases used in simple sentences and those used in complex sentences, and to describe each characteristic by subdividing it into cases in which “desirable results” and “undesirable results” are indicated. The results can be summarized as follows. First, when “okagede” is used in simple sentences, it basically represnts “desirable results.” However, 39 examples have been identified that show “undesirable results”. Second, when “okagede” is used in complex sentences, four categories can be classified as follows: ①“desirable result”+“desirable result”, ②“desirable result”+ “undesirable result”, ③“undesirable result”+“desirable result”, ④“undesirable result”+ “undesirable result”. Among the four categories, the case ③ and the case ④ indicate that “okagede” was used instead of “seide”. On the conclusion, the results of the study in this paper show that “okagede” can represent not only “desirable results” but also “undesirable results” in both simple and complex sentences. “Hiniku” usage is found in “okagede” with the meaning of “undesirable results”. In addition, the “hiniku” usages are shown not only in conversation passages but also in descriptive sentences.

This study, through a discourse analysis from a perspective of argumentation studies, addresses questions encountered in Okakura Tenshin (1863-1913)’s two works, The Ideals of the East, and The Awakening of the East. The questions prompted by considering historical contexts in which those two works were written are: 1) What motivated Okakura to proudly proclaim “Asia is one.” in The Ideals of the East? and 2) Was it the case that in the Awakening of the East Okakura indeed intended to encourage Asian people to fight against Western powers? First in the analysis, it is confirmed that in The Awakening of the East Asia is discursively constructed as an ethnic community, which is supposed to play an inevitable role in the formation of a nation. Next, a view is put forward that a practical reasoning, i.e., a reasoning that leads to a conclusion of the most possible appropriate action to do in a given circumstance, underlies a discourse of The Awakening of the East. Given that a practical reasoning can switch back and forth between an argumentation and an explanation according to context, the final phase of the analysis, by observing a relative weight shifted to the conclusion of the reasoning in the latter half of the work, demonstrates that the discourse of The Awakening of the East functions as an explanation. This leads to the conclusion that what Okakura indeed attempted to claim is that Asia is of irreplaceable value as an ethnic community. This is the way how this study reinforces that an approach from the viewpoint of argumentation studies can exert an effect on discourse analyses.

In this study it was analyzed by comparing the plants poems to song material and the four seasons of the plants that are poems in love part in Hachidaisyu. In that way, in the process of fixing the technique and the image to be created, there is a range of songs that are preferred or limited because they are love songs, such as “Asagi / Ayame / Autumn leaves” It was confirmed by. The singing material of the plant in the love part of the Hachidaisyu uses the singing material openly while utilizing the application or transformation, keeping the common singing material since the Kokinnwakasyu, and incorporating its own special plant material. Compared to this, in the four seasons part, several songs are firmly linked to each season, so the plant is limited and is regarded as a variation that hardly changes. In the <Winter> section, there seems to be an attempt to incorporate various plants in the later stages, but it does not reach the aggressiveness and diversity of love songs. Also, a plant song material that is suitable for making songs that are inspired by plants and have a love story is whether the plant itself is connected with the sense of the season or not. If the technique is possible and it can be taught or developed, it has been found that it maintains a different way of being engulfed than the seasonal song. In other words, even in the same plant, the function is properly used for seasonal songs and love songs.

During the early postwar period, one of the most popular narrative genres in Japanese children culture is an adventurous story in which protagonists have to survive at an unexplored frontier and fight off the invasion of villains with bad intentions such as world domination. In a lot of these works, the stories were often set in locations on the African continent, in a lush jungle, where several wild beasts and “brutal” native inhabitants live. Notably, these representations of “Africa” are clearly based on prewar adventure novels and comics, which means children culture in the postwar era had clearly been influenced by the colonial imagination that flourished in prewar Japan. The purpose of this paper is to consider how these stories represent “Africa” and how they are deeply influenced by various popular culture in imperial era. Moreover, this paper also examines the biographical stories and essays related to “Africa” and comprehensively clarifies the characteristics of the representation of “Africa” in early postwar Japan.

This paper considers the harm of hate speech from the perspective of Korean residents in Japan who are victims of hate speech. Koreans in Japan who have been overwhelmed as “not human” lose his words, and are brought back to the discriminated past at the moment they heard historical discrimination terms such as “futesenjin” and “Chonco”. Also they lost the sense of self-affirmation and the confidence in the relationship with Japanese people who have been making efforts until then. The harm of hate speech goes beyond “word’s violence” and can be said to be the “soul murder” of Koreans in Japan. Through the words of Koreans in Japan saying “I feel desperation for Japanese society that accepts hate speech,” it is asked how Japanese people face hate speech themselves. Dispersing nicknames and discriminatory terms with hate speech raises concerns about the evil that the idea of discrimination is expanded as much as the video is reproduced and spread on SNS. Another harm of hate speech is spreading prejudice and stereotyping, spreading discrimination into society as a matter of course, and strengthening the discrimination structure.

The Old Man with a Lump in Korea’s position of the lump on the old man’s face is that the right is 1.6 times more than the left. But it is left 2 : right 1 in Japan. It is the reason that 1:1 in korea Intended transformation and unintended confusion. And the reason why there are more on the right in Japan is due to the influence of preceding narratives Ujisyuimonogatari. It seems that negative notions of disability on the left sides of body is why the bad old man’s lump on his left face. Next, the direction of the flute is left instead of right in korea. But the direction of flute is right in korea and Japan nowadays. Because it is that the direction of the flute is basically the left in old Korea. There was a lot of confusion and transformation between the left and right in Korean icons. But no such thing happened in Japanese icons. And as a result, In Korean images, the case where the direction of the flute is on the left often appeared, but in the Japanese image, the direction of the flute was almost right. The reason why the left-right confusion and transformation like Japan did not happen in Japan is that the imagination of the painter mass-produced the image of the flute that turned to the right, which is the general direction of the flute. As a result, the generation of the iconic image of the flute that turned to the left was suppressed. The reasons for the differences between the two countries are as follows. In Japan, where the iconography culture was developed from Korea, the direction of the flute in the icon was fixed to the right. but no such thing happened in Korea.

韓国に流布した瘤取り爺さんの話に登場する善良なお爺さんと悪いお爺さんの顔についた瘤の位置は、右の方が左より1.6倍程度多い。日本の2：１より右の方が少ない理由として、意図した変容および意図していない混同の両方ともあげられる。また、日本で右の瘤のほうが多いのは先行説話集の影響によるところが大きい。また、悪いおじいさんの瘤が左の顔についている理由として、身体の左における欠如に対する否定的な観念が働いた可能性が考えられる。 次に、旧朝鮮総督府の博物館の天井に描かれた、笛を吹く天女の図像において、笛の方向が一般的な笛の方向である右ではなく左である理由として、朝鮮における笛の演奏時の方向をわざわざ左に変えた可能性が図像資料から窺える。韓国の図像では左右の混同および変容がよく発生したのに対し、日本では一切そのようなことが起きなかった。そしてその結果、韓国の図像では笛の方向が左であるケースがよく現れたが、日本の図像では笛の方向はほとんど右であった。 日本で韓国のような左右の混同および変容がほとんど起きなかった理由としては、絵師の想像力が笛の一般的な方向である右の方を向いた笛のイメージを量産し、左方向を向いた笛の図像イメージの発生を抑制したためであると考えられる。そしてこうした両国の相違は、図像文化が相対的に発達した日本では図像における笛の方向が右に固定したのに対し、韓国ではそのようなことが起きなかったためではないかと考えられる。

The ‘Complete Works of Literature’ is a publication style made in Japan. The first ‘Japanese Literature Complete Works’ is generally considered to be a ‘EMPON’ around 1925. However, this paper goes back to the “NIHON BUNGAKU ZENSHO (Japanese Literature Complete Works)” of the Meiji period before that, and examines the background of its publication. “NIHON BUNGAKU ZENSHO (Japanese Literature Complete Works ; All 24 Books)” is a complete collection published from the HAKUBUNKAN from 1890 to 1892, and the complete collection includes classical Japanese literature of Middle Ages. This paper explored from what historical background the “NIHON BUNGAKU ZENSHO (Japanese Literature Complete Works)” was published. As a result, it was revealed that the main reason why the “NIHON BUNGAKU ZENSHO (Japanese Literature Complete Works)” was published was to let Japanese know the excellence of Japanese literature. At that time, before the opening of the NISSIN(Japan-China) War(1894), the momentum of nationalism was rising. Such a momentum leads to a movement to lead out ‘the pride of Japan or Japanese’ from classical literature, and leads to the publication of books such as “NIHON BUNGAKU ZENSHO (Japanese Literature Complete Works)”.

This paper examines Ryutei Tanehiko’s creative techniques through comparative analysis about the drafts and publications of his Gokan “Kantan shokoku monogatari”. In this paper, I focused on how much the red letters of the authors written in the second manuscript are reflected in the publication. As a result, the following has been confirmed. ①appearance, pose and age of characters, ②detailed design to fit objects in illustrations and entire border, ③characteristic to express setting necessary for story progress through costume of character. Thus, Tanehiko instructed the artist to reflect the artist’s intention through the red letters of the second manuscript. And Utagawa Kunisada, the painting artist, accepted the author’s request almost as it was. This has been clarified by comparison with the publication. It is not unique to Tanehiko to write the second manuscript when the writers write Gokan. For example, in the second manuscript of Kyokutei Bakin’s major work, “Nanso Satomi Hakkenden”, various instructions on the artist’s sketches and illustrations are written. Barkin’s sketches and the requirements of the red letters were also almost accepted in the publication. As stated above, the production of the second manuscript by the authors of the late modern times is a common feature, and it can be seen that the author’s red letters played an important role in the development of the story of the work.

本稿は近世後期の戯作者である柳亭種彦の合巻󰡔邯鄲諸国物語󰡕の草稿本と刊行本を比較・分析し、彼の創作技法について考察したものである。本稿では、草稿本の第2原稿(刊行直前の状態に本文と挿絵を配置した原稿)に書かれている作者の朱書が刊行本にどのように反映されていたのかに注目した。その結果、①登場人物の衣装の模様、仕草、年齢、②挿絵の枠組みの絵柄、③登場人物の衣装についての朱書があり、これらは刊行本にそのまま反映されていた。 合巻を執筆する際、第2原稿を作るのは、近世後期の他の合巻作者からも確認できた。例えば、種彦と同時代に活躍した曲亭馬琴も󰡔南総里見八犬伝󰡕の第2原稿に挿絵に対する朱書がかかれてあった。だが、第2原稿の朱書は、刊行本の挿絵に全部反映されていなかった。このように近世後期の合巻作者は作品を執筆する際、第2原稿を作り、挿絵にも創作意図を盛り込んでいたのでる。だが、朱書の内容が刊行本にどのように反映されるかは、作者によって異なっていた。

“A Study on the comparison of Kuixing in paintings between Kim Duk-sung and Hokusai Katsushika” presents the comparative analysis between Kim Duk-sung’s “God of Thunder” and Hokusai’s “Moon Chang-sung”. Although the two paintings have different titles, the common elements; a posture of raising one leg and looking up into the sky with a brush in the right hand and an ink bottle in the left hand. shown in the paintings show that they modeled the Chinese Kuixing. Kuixing is a universally unknown god for both Korea and Japan. The reason why the two painting got different name was because Hokusai confused Kuixing as a god of Moon and the Japanese introduced Kim Duk-sung’s painting as a god of thunder. There are two distinct differences between the two paintings. The first is how to express inhumanity. Kim Duck-sung revealed the characteristic of inhumanity, emphasizing the abnormal head and the whites of the eyes. Hokusai, on the other hand, accentuated through the red skin and the animal’s fingertips. The other difference is the movement of Kuixing. In Kim’s painting, Kuixing is holding a brush and a bowl and staring up to the sky, while Kuixing in Moon-Changdo is looking up at the constellation. This study contains the similarities and differences of these two paintings and further notes the feature distinguished from China.

本稿は金德成の雷公図と北斉の文昌星図を比較考察したものである。二人の作品はタイトルが違うのにも拘らず、雷公と文昌星の姿はほぼ同じである。これは中国の魁星をモデルにして描いた結果である。それほど魁星は兩國では知られていない神であった。北斉は魁星を文昌神と混同したが、金德成の雷公は日本統治時代、魁星を知らない日本人がつけた名前だった。魁星は極めて少数によって描かれる対象であったし、その信仰も殆んど見当たらない。こうした状況で生まれた二人の魁星図にはつぎのような二つの面で同異がみられる。一つは非人間性である。これを表すために金德成は禿頭に瘤のような二つの角を描き、北斉は赤肌に獣の爪をもつ人間を描いているが、二人とも白眼の多く瞳の小さい目の白身の多い目を描いて異常さを表している。もう一つは身体の動作である。金德成が竜頭の上に左足を直線に挙げ、片足で立っているが、北斉は空中を浮揚した状態で左足を横に折り挙げた姿勢で上段にある星座を見上げている。ところが右手に筆、左手に升を持っているのは同じである。これは中国の｢藍面赤髮鬼｣の条件とは違う二人だけの特徵だと言える。

This paper proposes to verify the Japanese-specific relations to public shame rooted in others’ appraisal, which has yet to be clarified since it was first put forward as a social discourse by Ruth Benedict, and to review the public shame scales in Japan, where many shame-related psychometric tools have been developed, and compare the Japanese-specific public shame with its Korean equivalent in view of the similar culture of shame rooted in both countries. Prior to comparing the phenomenon of public shame between Korea and Japan, content analysis was performed to compare the public shame scales in Korea and Japan, respectively. As a result, the similarity between the public shame scales in both Korea and Japan is that they have scales composed of items regarding situations in which people are put under embarrassing situations or made to feel inferior due to mistakes or failures made in front of people, such as “tastelessness” scale in Japan and “public view exposure situation” scale in Korea. The difference is that while Korea has scales for “relationship-isolation,” “embarrassment,” “comparison-inferiority situation,” and “ignoring-insulting situation,” while in Japan there are scales for “heterogeneity with other people,” “violation of social norms,” and “detection of public view.” As such, while types some types of scales of public shame reflect universality, while others reflect distinct qualities. Using the subscales of public shame scales as identified in this study, it is planned to conduct an empirical study with the aim of investigating the authenticity of the Japanese mindset of public shame and related aspects.

他者を気にして発生するという日本人の恥意識に関する議論は、1946年ルース･ベネディクトの󰡔菊と刀󰡕が発刊されて以来、1960年代文献研究で｢公恥｣という用語で概念化された後、1980年代から実証研究によって日本人の恥の類型の一つとして明らかにされた。1990年代以降、国際比較で日本人の公恥の特殊性が問われたが、明確な答えは得られなかった。その理由は先行研究が公恥を概念化していない中で、文化的相違性の大きい国々と公恥の一側面を比較したからである。 本論文は日本人の公恥の特殊性の可否及びそのあり方を実証研究で検証する前段階として、日本における公恥の定義と日本で開発された公恥尺度の種類を検討し、その特徴を見つける作業をも試みた。また、今後比較対象として想定している韓国人の公恥との比較のために、韓国で開発された公恥尺度も調べた後、日本と比較してみた。 文献研究による公恥の定義をまとめてみると、日本における公恥とは1)世間の目、あるいは、他者の否定的な評価によって発生する恥、2)他者を気にして発生する恥、3)自分自身を所属集団の内部における｢劣位者｣として認知し、所属集団から孤立している自己を見い出したときに生ずる恥の意識であり、このうち一つ以上の概念を含めている場合を指す。 韓国と日本の公恥尺度の特徴を見ると、その類似点は橋本他(1981)と成田他(1990)の｢かっこの悪さ｣尺度とイ･インスク(2018)の｢視線露出の状況｣尺度のように、人の前で失敗して恥ずかしい状況や劣等感を感じる状況を表現する項目で構成された尺度があることである。次に、韓国と日本の公恥尺度の相違点は、韓国の場合は｢関係･疎外｣尺度、｢恥さらし、顔向けができない状況｣尺度、｢比較･劣等状況｣尺度、｢無視･侮辱状況｣尺度があり、日本の場合は｢社会規範違反｣尺度、｢視線感知｣尺度、｢同調不全｣尺度がそれぞれあることである。 したがって、公恥尺度はその種類によって普遍性を反映する尺度と特殊性を反映する尺度が存在すると思われる。今後日本と韓国の公恥尺度を活用した上での｢公恥に関する韓日比較｣は日本人の公恥の特殊性やそのあり方を明らかにしてくれると期待される。