Earticle

This study focuses on how the sound of /ga/ line in early modern Japanese (Edo period) was written in data in the Joseon Dynasty The consonant of /ga/ line characterized by nasal sound is regarded not as [g] but as [ŋ], and it is considered the standard sound in Modern Tokyo dialect. However, there have been voices of concern about whether the nasal sound of /ga/ should be reflected in learning contents for Non-Native Speakers of Japanese since the sound has vanished amongst the young generation. Then, how Koreans in the Joseon Dynasty recognized the nasal sound of /ga/ line when it was the standard sound? This study examines the names of Japanese places which include the sound of /ga/ line appearing in data in Joseon Dynasty. As it turns out, Koreans at that time denoted the nasal features of /ga/ line as ‘ㅇ[ŋ]’, the final consonant of the last syllable. However, ‘ん’ of ‘豊後, ぶんご’ was not marked in existing research since it was confused with the nasal sound feature of /ga/ line. There has not been any study that points out the fact. Moreover, the final consonants of Korean language were misunderstood as the nasal sound feature of /ga/ line by Japanese as well. As a result, it is assumed that the final consonant of Korean, ‘ㅇ[ŋ]’ and the consonants of /ga/ line sounded too similar to distinguish.

The purpose of this paper is to clarify the irregular usage of moraic phonemes(/R/, /Q/, /N/) in Japanese internet-based language. In Japanese internet-based language, irregular usage of moraic phonemes has been spreading in this years. In this point, we focus on the usage of irregular moraic phonemes on a youth bulletin site is called Casphy.com. As a result of investigation, we clarified that the irregular usage of moraic phonemes have seven types, and four functions. Eight types of irregular usage of moraic phonemes have a relation on ‘economy principle’, and four functions are characterized by ‘an expression of feelings and personalities’, ‘a substitution of prosody’. In conclusion, it is necessary to clarify the relation between ‘an equivocal usage of marks in the meaning of /R/’ and ‘prosody(intonation)’.

The purpose of this research is to clarify the current status of writing classes in Korean universities. For that purpose, a questionnaire survey was conducted for nonnative speaker teachers, and then analyzed qualitatively. As a result, the items targeted by most teachers in intermediate writing classes were “learn intermediate-level sentence patterns”, “enable to write sentences of various themes”, “learn about composition of sentences and paragraphs”, “learn Intermediate Vocabulary”. In the classes, problems such as “many students feel a burden of writing”, “many students are not used to create long sentences”, “many students cannot construct sentences” was. To solve the problem, the teacher used nerve to “teach according to the level of each person” and “selection of the theme of writing”. The current state of intermediate composition writing class has a big difference between learning content and student level, and it is a class that it is difficult to achieve even if the teacher gives a learning objective suitable for subjects of intermediate level composition. Therefore, measures to solve problems, such as establishment of writing subjects that play a role as a bridge from elementary level to intermediate level, and implementation of team teaching, are considered to be necessary.

The pronunciation of consonants depend on whether they are used alone or in relation with their preceding letters. When pronounced under the influence of a preceding letter, consonants tend to be pronounced in fortis. In general, ‘か’ and ‘た’ in the middle or end of a word are pronounced in fortis unlike those at the beginning of a word. Even the same word can be pronounced differently according to the way it is read. When a word is read with a pause between its syllables, even the letters in the middle or end of the word are pronounced like the letters at the beginning. Positions at the beginning, middle, and end of a word determine whether the pronunciation of a letter is under the influence of its preceding letter. The pronunciation of voiceless ‘か’ and ‘た’ sounds are influenced by their positions, but those of voiced ‘か’ and ‘た’ sounds are not influenced by their positions and can be pronounced ‘ㄱ’ and ‘ㄷ’ like ‘g’ and ‘d’ and should not be pronounced ‘ㅋ’ or ‘ㄲ’ and ‘ㅌ’ or ‘ㄸ,’ respectively. Even when they are pronounced ‘ㄱ’ and ‘ㄷ,’ their pronunciation should be heavy and not strong. The pronunciation, ‘か’ and ‘が’ sounds correspond to ‘ㅋ’ and ‘ㄱ’ sound, and ‘た’ and ‘だ’ sounds correspond to ‘ㅌ’ and ‘ㄷ’ sounds. In the phonological aspect, however, their phonetic values do not correspond one-on-one. There are subtle differences in the sound band between ‘か’ and ‘た’ and ‘ㅋ’ and ‘ㅌ’ and between ‘が’ and ‘だ’ and ‘ㄱ’ and ‘ㄷ,’ which means that a good understanding of the differences is required for accurate pronunciation. Compared with ‘ㅋ’ and ‘ㅌ’ in Korean, ‘か’ and ‘た’ sounds have weaker ‘k’ and ‘t’ elements. That is, ‘ㅋ’ and ‘ㅌ’ should be pronounced a little weaker for ‘か’ and ‘た’ for their original pronunciation. ‘ㅋ’ and ‘ㅌ’ have a stronger pronunciation than the original sounds of ‘か’ and ‘た,’ and ‘ㄱ’ and ‘ㄷ’ have a weaker pronunciation than their original sounds. ‘か’ and ‘た’ sounds are between ‘ㅋ’ and ‘ㄱ’ and between ‘ㅌ’ and ‘ㄷ,’ respectively. In addition, ‘が’ and ‘だ’ sounds are also close to ‘ㄱ’ and ‘ㄷ’ in Korean, but the strong pronunciation of ‘ㄱ’ and ‘ㄷ’ cannot reflect the accurate pronunciation of ‘が’ and ‘だ’ sounds. One can pronounce ‘ㄱ’ and ‘ㄷ’ comfortably for ‘が’ and ‘だ’ sounds in the middle or end of a word, but ‘が’ and ‘だ’ sounds at the beginning cannot be reflected simply by ‘ㄱ’ and ‘ㄷ.’

子音の発音は単独で発音されるかそれとも前の字との関係の中で発音されるかによって変わる場合がある。前の字の影響を受けて発音される子音は濃音になる傾向があるが、｢か｣行と｢た｣行の音は、語頭ではなく語中･語尾に位置すると濃音に発音されやすくなる。同じ字でもこれをどう読むかによって発音が変わったりするが、単語を音節単位に切って読むと、語中･語尾に位置する字でも語頭に位置する字のように読むことがある。結局、語頭に位置するか、語中･語尾に位置するかは前の字の影響を受けるか受けないかを意味するのだと言えよう。 無声音である｢か｣行と｢た｣行の発音は位置に影響を受けるが、有声音である｢が｣行と｢だ｣行は位置に影響を受けず、｢g｣｢d｣のように韓国語｢ㄱ｣｢ㄷ｣として発音すればいいが、｢ㅋ/ㄲ｣｢ㅌ/ㄸ｣として発音してはいけない。但し、｢ㄱ｣｢ㄷ｣といっても強くならないようにやや低くて重そうな感じで発音する。 ｢か｣行と｢が｣行、｢た｣行と｢だ｣行の発音を｢ㅋ｣と｢ㄱ｣、｢ㅌ｣と｢ㄷ｣の発音に対応させるが、音韻論的な面からしてこれらの音価が一対一と対応しているとは言えない。｢か｣行｢た｣行と｢ㅋ｣｢ㅌ｣、それから｢が｣行｢だ｣行と｢ㄱ｣｢ㄷ｣が微妙に音の領域を異にし、その発音の違いを理解しなければ正確な発音はできない。 ｢か｣行と｢た｣行は韓国語の｢ㅋ｣と｢ㅌ｣に比べ｢k｣と｢t｣の要素が弱い。つまり、｢か｣行と｢た｣行は｢ㅋ｣과｢ㅌ｣をやや弱めに発音しなければ原音に近く発音できないということである。｢か｣行と｢た｣行を韓国語の｢ㅋ｣と｢ㅌ｣のように発音すれば原音より強く聞えるし、｢ㄱ｣と｢ㄷ｣のように発音すればやや弱く聞え、｢か｣行と｢た｣行は｢ㅋ｣と｢ㄱ｣、｢ㅌ｣と｢ㄷ｣の間の音である考えなければならないであろう。 また、｢が｣行と｢だ｣行も韓国語の｢ㄱ｣と｢ㄷ｣に近いが、これも｢ㄱ｣と｢ㄷ｣を強く発音しては｢が｣行と｢だ｣行を反映することが難しい。｢が｣行と｢だ｣行が語中･語尾に位置する場合は｢ㄱ｣と｢ㄷ｣として発音してもかまわないが、語頭に位置する｢が｣行と｢だ｣行は｢ㄱ｣と｢ㄷ｣として単純に発音してはいけないのである。

This study set out to examine current teaching materials for Japanese and investigate whether their composition and presentation methods for “wakeda” would be proper to promote their right understanding among Korean learners of Japanese. Even though it was an examination within a limited scope, its findings point out that the study materials were so far from enough that the accurate understanding and acquisition of “wakeda” would be impossible. Korean learners of Japanese need to understand the meanings and uses of “wakeda” in an accurate manner to use them with ease. The present study defined the meanings of “wakeda” and provided its typical examples, proposing learning methods based on “wakeda”. Most Korean learners of Japanese have a difficult time with the modality form, one of the grammar areas that pose a challenge to them. The present study conducted field analysis of “wakeda” sentences considered to have a very high difficulty level and emphasized once more the need for education on “wakeda”.

本稿では、現在の日本語文法教材の検討を通じて、｢わけだ｣についての教材の構成及びその提示方法が韓国人日本語学習者の正しい理解を求める上に、問題がないかを確認してみた。限られた範囲内での検討であったが,少なくとも本稿の調べでは文法教材を通じて｢わけだ｣文の正確な理解及び習得が不可能なぐらい不足していることを指摘せざるを得ない。日本語で非常に頻繁に使われている｢わけだ｣を韓国人学習者が正しく使える教育内容にすることができなければ、日本語教育はアンバランスな学習につながるしかないのであろう。 韓国人日本語学習者が｢わけだ｣を簡単に使うためには｢わけだ｣の意味·用法を正確に理解する必要があるが、本稿では｢わけだ｣の意味を規定し、それに該当する典型的な例を提供して｢わけだ｣を通した学習方法を提示した。話者の心的態度を表すのがモダリティ形式｢わけだ｣の表す意味であり、日常の対話の中に頻繁に現れる。｢わけだ｣はある状況から当然に導き出される結論を提示する表現であるが、それらを｢帰結1－原因･理由｣｢帰結2－結果｣｢納得｣｢再確認｣のように四つの意味で規定し、それに該当する｢わけだ｣の用例を教材に適切に配置すことは｢わけだ｣の学習のための最小限の条件であると思う。 本稿では、韓国人日本語学習の文法教材を対象にして｢わけだ｣の学習内容が明確に行われているかどうかの検討を通じて、日本語文法教材の問題点について記述し、その改善案を提案した。特に、難易度が非常に高いと思われる｢わけだ｣に対する現場分析を通じて｢わけだ｣教育の必要性を改めて強調するきっかけとなったと思う。

In this study, the aspects of communication in TV current issue discussion program of Korea and Japan were examined from three perspectives of ‘development of discourse’, ‘speech level’ and ‘hedge’. As a result, it was found that the current issue discussion program of Korea is proceeding in the form of more consideration for viewers compared to current issue discussion program of Japan at the beginning and the end part of the discussion. For speech level, the defaults of speech level was polite form, and there were many similar contexts where each speech level is used in both Korea and Japan. In the current issue discussion program of Korea, the ratio of ‘polite form’ is noticeably high compared to that of Japan, whereas in the current issue discussion program of Japan, the ratios of ‘non-polite form’ and ‘incomplete utterance’ are relatively high compared to that of Korea. This result shows that speech levels are being operated more dynamically in the current issue discussion program of Japan. In addition, the ratio of hedge was relatively higher in the current issue discussion program of Japan than that of Korea, and it means that Japanese language and cultural characteristics, which are reluctant to express their opinions directly, are reflected in the current issue discussion program.

本研究ではテレビ時事討論番組に見られる韓日両国のコミュニケーション様相を｢スピーチレベル｣と｢ヘッジ｣という2つの観点から調べてみた。その結果、韓日ともに｢丁寧体｣が基本スピーチレベルであり、各スピーチレベルが使用される場面は共通している部分が多かったが、使用割合の面からは韓国では相対的に｢丁寧体｣の使用割合が高いのに対して、日本では相対的に｢普通体｣と｢中途終了型発話｣の使用割合が高く、スピーチレベルがよりダイナミックに運用されていることが窺えた。特に｢中途終了型発話｣の場合は、韓日両国ともに接続助詞形と名詞形の使用割合が高く、使い手(司会者とパネリスト)の役割に応じて、主に使用される(好まれる)表現形式があるという点で類似した傾向を見せている。しかし、全体的には日本の時事討論番組で接続助詞形の使用割合が非常に高く、また格/副助詞形の場合にも引用助詞形の使用割合が高く、日本語においては｢中道終了型発話｣の形式をとることにより発話内容の断定を回避しようとする傾向が顕著であることが改めて分かった。また日本の時事討論番組ではヘッジの使用割合が相対的に高く、自分の意見を断定的に表すことを嫌がる日本人の言語文化的な習慣が時事討論番組にも反映されていることが分かった。

In this paper, we analyzed and considered the similarity and difference between Japanese noun sentences and verb sentences, focusing on “Prefix O + Conjunctive Noun + Auxiliary Verb” (hereinafter “O-Noun Sentence”). Despite the fact that the syntactic form of the same type is often used in the real life as a concise honorific expression, it has surprisingly not received much attention in existing studies related to honorifics. However, among the few studies, Shinya (2003, 2014) picked up “O-da” corresponding to the same form as a typical example of Japanese noun orientation and noun-centered syntax, and compared it with other honorific expressions. Through analysis, she approached its morphological and syntactic features. However, Shinya’s analysis was aimed at the combination of the prefix ‘o’ and the conjugation ‘da’ that constitutes the same form, so analysis and consideration on the verb conjunctive form, which is another component, is not enough. Therefore, in this paper, we newly define the verb conjunctive form appearing in “O-Noun sentences” as “conjunctive nouns”, and then examine the grammatical behavior in the same form, including the validity of combining with prefixes.

本稿では｢接頭辞お＋連用形名詞＋助動詞(繋辞)だ｣(以下、｢お名詞文｣)を中心に日本語の名詞文と動詞文の類似性と相違性について分析および考察を行った。同タイプの構文形式は主に簡潔な敬語表現として実生活の場でよく用いられているにもかかわらず、意外なことに敬語関連の既存の研究ではあまり注目を集めることはなかった。しかしながら、数少ない研究の中でも新屋(2003,2014)は、日本語の名詞指向性や名詞中心構文を象徴する典型例として同形式に相当する‘お~だ’を取り上げ、他の敬語表現との比較分析を通じてその形態論的･構文論的特徴に迫った。ただ、新屋の分析の主眼は、同形式を構成する接頭辞‘お’と繋辞‘だ’の組み合わせのほうに向いているため、もう一つの構成要素である動詞の連用形に関する分析および考察が疎かにされている感は否めない。そこで、本稿では、｢お名詞文｣に登場する動詞の連用形を｢連用形名詞｣と新たに規定したうえで、接頭辞との結合の当為性をはじめ、同形式におけるその文法的振る舞いについて実際の用例を交えながら議論を試みた。

There is for “Another one Kage-Kiyo (も う 一 人 の 景 清)” of Nishida Gozo(西田耕三). Nishida Gozo dismissed the Ming Dynasty Kagekiyo and the Kamakura period Kagekiyo、two figures of the names that match those coincidences that matches the anecdote about “revenge of the lord.” But his research that explores only a limited portion of particular historical material(史料) to listen to that technology only in Japan and the conclusion was overlooked. The authors would like to prove that this is not a coincidence that the Ming Dynasty Kagekiyo and the Kamakura period Kagekiyo the anecdotes of the same name is just a coincidence matches.

This work represents an analysis of Korean and Chinese history books using country names, such as Han(韓) and Joseon, Wae(倭) and Japan. An ancient history, for example, has been constructed on a basis of perception of “Han=Joseon=People living on the Korean Peninsula” and “Wae=Japanese=People living on the Japanese islands”. This aims to identify what problems lie on such perception and clarify how borders of ancient kingdoms are “created” in the world views of different texts. First, it was observed that “Wae” and “Japan” were differently perceived according to the background of the times and world view which a text was written. The reason why “Wae≠Japan” was theorized in the Book of Tang and “Wae=Japan” theorized in the New Book of Tang was found from the background of the times. Second, it was observed that “Joseon” and “Han” were also differently perceived in “Samguk Sagi” and “Samguk Yusa.” In “Samguk Sagi”, “Joseon” is just Gija Joseon(箕子朝鮮) and its refugees are merely members of Jinhan(辰韓). On the other hand, in “Samguk Yusa”, it emphasized on the legitimacy of the kingdom by creating a myth of a homogeneous country as “Samhan (Three Han; Mahan, Jinhan, Byeonhan)” from Dangun Joseon. And, in “Samguk Sagi” and “Samguk Yusa”, “Wae” was believed to exist in Gaya, southern part of Silla. As shown above, different country names and borders in texts were examined. By examining such records, it shall help figure out borders are created by world views in the texts and re-organized.

Japanese manga is a popular genre in Korea, and various manga works are translated into Korean. “Asakiyumemishi” is a Japanese manga version of Murasaki Shikibu’s “The Tale of Genji” by Waki Yamato. In 2008, Asakiyumemishi was translated into Korean. “The Tale of Genji” is regarded as the essence of Japanese classical literature. Japanese manga is also gaining popularity in Korea. Considering these, it is necessary to analyze the Korean of “Asaki Yumemi”, which is a Japanese manga version of “The Tale of Genji”. “Asakiyumemishi” Korean version seems to aim for easy-to-understand texts, such as unifying complex names and translating them into a natural form in the Korean language environment. However, the translations are generally incomplete due to frequent mistranslations caused by the lack of understanding of the Heian period culture and the Tale of Genji.

｢Crows and the Big Dipper｣by Miyajawa Kenji was written during the Japanese Intervention in Siberia. The literary field of that time was the period when writing was difficult because of the strict censorship and control. This study focuses on the inner world of Kenji through looking into his works during this period. Crows and the Big Dipper, personifying crows and likening a herd of them to soldiers and warships, signifies the writer’s message and is full of a variety of comparisons and metaphors. The background where flying crows controlling warships and the hero crow’s activities so naturally and impressively written that readers would not find any fault. Despite the background, this work actually depicts the world of adults through the eyes of children with pure sensibilities, beautifully depicting winter sceneries that evoke the purely sensible nature. This study analyzes｢Crows and the Big Dipper｣according to six steps. The six steps correspond to the introduction, the conclusion, as well as the introduction, the development of the theme, conversion, and summing up. Using comparisons and metaphors as methodology, this paper studies the connectedness between the work and its Zeitgeist, the fluctuations of the hero’s status, and the introduction and the conclusion of the work. In sum, this paper examines the message the author intended for his readers through the structure of the work and metaphors. This paper focuses on the division of the work into six parts through the coexistence with the enemy, the esthetics of self-sacrifice as a major tool of understanding the work. Through the analysis, it is realized that the work is significant in its double structure of the introduction that signifies the final message and Kishōtenketsu. Through comparisons and metaphors, the study examines the hidden frame of mind, thoughts, and sense of values of the author. This study argues that the mystery that comparisons and metaphors throughout the fairy tale produce and their literary effects result in the special literary structure.

In this paper, focused on Heike Monogatari, a representative work of Gunki Monogatari, and examined how Bushi appearances are depicted in various battle appearances. By examining how the aspects of these early Japanese Bushi were represented in literary works, it was possible to identify how the early Japanese Bushi were perceived by the people of the time, and the differences between them. Unlike the representation of the Bushi formed by the existing media, first, the Bushi of the time showed that the battle pattern was similar to shooting by bow each other rather than hand-to-hand fight. In addition, I think that archery was not treated as a martial art but rather perceived as a sacred symbolism among Bushi. Next, we looked at the Nanori and vanguard struggles that the Bushi in the northeastern region showed in battle. In the case of Bushi in the northeastern region, they competed to take the lead each time a battle was fought to prove their worth, and they were agressively doing Nanori. As this was established as an aspect in the recognition of the authors and people of the time, it was confirmed that it is represented in the work. Lastly, the Bushi in the Kinki region, centered around the capital, are shown to be more likely to consider their honor and want fairly contested match than this tendency. I think this is because of the environmental requirements for accepting new values were in their case and they were closely related to coordination. Thus, in forming their own values, it may be assumed that they would have a similar recognition as the Bushi of posterity.

This thesis examines the director Kurosawa’s view of war and perception of nuclear weapon shown in the 《Dreams》. The results of this study could be briefly summarized as follows. First, in the ｢Tunnel｣, Kurosawa not only contains the ‘requiem’ messages from numerous war victims, but also severely criticizes the militarism and imperialism just as shown in ‘black dog’ and ‘useless death’. Considering his style focusing on human’s life instead of ideological or political issues, this short story extraordinarily shows the director’s anti-war consciousness, which should be observed. Second, what should be paid attention in the ｢Mount Fuji in Red｣ are the warning of hazards of nuclear plants caused by natural disasters in the connection with Ukiyo-e’s Mount Fuji, the emphasis of messages on the risks of radiation leak/pollution, and many common features with the director’s first atomic-bomb film 《Record of a Living Being》. Third, as a reminiscence of the earlier episode ｢Mount Fuji in Red｣, the ｢Ghost’s Cry｣ shows the hell-like hopeless world caused by the nuclear war in the result of chasing the immediate gains. Due to the radioactive contamination, humans become Onis, and the Onis’ warning statement towards humans is harsh and straightforward as much as the statement on the war. Through the Onis’ unnatural death, Kurosawa emphasizes that there should be no deaths caused by atomic bomb or radioactivity.

This paper focuses on the process of creating the 1948 Constitution of the Republic of Korea in order to examine the legal interpretation of the “Inheritance of the Pop-tong (legitimacy or legal tradition, in Korean) of the Provisional Government of the Republic of Korea” addressed in the preamble to the Constitution of the Republic of Korea (1987 Constitution), based on materials left by Yu Chin-o, a Korean legal scholar who wrote the draft of the 1948 Constitution. Specifically, the importance of the preamble to the Constitution and the literal meaning of ‘pop-tong’ are examined. The memoirs and manuscripts of Yu Chin-o are then discussed, based on discussions in previous studies. The author points out in closing that it is difficult to conclude that Yu Chin-o gave consideration either to the pop-tong of the Provisional Government of the Republic of Korea or its inheritance by the Republic of Korea in his constitutional planning.

Soseki said that he wrote Kusamakura as a special story for the feeling of beauty like Haiku, Japanese traditional poem. He also said that it has no clear plot. We can see similar motif and subject of A Play Horay in Kusamakura. A Play Horay was written 15 years ago before Kusamakura. Each literature describes the beautiful woman like a ghost or an illusion who has relationship with the other world. The heros of these literatures are always deluded and amazed by beautiful woman. We can feel that this woman probably tempts him to the world of death. But the hero of Kusamakura tries to paint this woman who tried to leap out of a cliff even though the hero of A Play Horay died on the top of the cliff at last. We can say that the subject of these literatures are leaving this harassed world and entering into the spiritual world. But the former devoted himself to the spiritual picture and poem, the latter entered into the spiritual world actually. Soseki wrote that “This world is not created by God nor devil. There is no other world which we can move however this world is painful to live.” Soseki may be afraid of tragedy of Tokoku as to die searching for pure spiritual world.

This paper analyzes the two typical 1950’s Japanese literary melodrama, The Munekata Sisters and Portrait of Madame Yuki which deal with the heroine’s adultery, focusing on their male protagonists and the film criticism dominated by male critics. The male protagonists show the stereotypical “the feminine man” in Japanese melodrama of the 1930s, established by Ken Uehara who himself played leading roles in both films. However, their excessive feminization, influenced by Christian sexual morality under the American occupation, made them virtually “impotent” which led them to be criticized by male critics. Additionally, this paper argues that although both films have been categorized as women’s genre and thought to represent the inner minds of the women they targeted, they were possibly advertised and distributed aiming at male audiences simultaneously. Apparently, not only that they enjoyed these so-called women’s genre, they owned the rights to define and historicize the genre itself.

本稿では、1950年代に流行した既婚女性の｢不倫｣や｢姦通｣を描いた女性文芸映画ジャンルを、二つの代表作を中心に、上原謙が扮した男性主人公の人物設定と男性中心の批評空間に焦点を当てて分析した。両方とも、男性主人公は30年代から女性メロドラマ映画を通して構築された上原の二枚目としてのスター･イメージ、すなわち｢フェミニン｣な男性像を踏襲しながらも、同時代の性的規範に影響され、｢(性的)不能｣ともいうべき男性人物として作り上げられていた。次に本稿は、これまで映画史において、女性をターゲットにし、彼女たちの内面や欲望を代弁するジャンルとして語られてきたこれらの映画が、実際には男性観客をも念頭に置いて宣伝･流通された可能性があることを確認した。また、ホモソーシャルな批評空間のなかで、これらの｢女性映画｣は男たちによって評価され、彼らの言葉によって語られ続けてきたことを明らかにした。

This study explores how the mind functions in late adulthood by examining the change in Toson’s consciousness during the 1930s using “Dew of a Peach” (1936), his sixth and last miscellany. After Toson focused on the life within the walls including himself and his family between his return from France in 1916 and the late 1920, he started “life outside the walls” in the 1930s as his children became older and increasingly independent. As he became more socially engaged, he revealed his devotion to being a “public leader”, concerned with the country and people beyond the immediate concerns of the safety and comfort of himself and his children. He also demonstrated his “globalist consciousness” in arguing for harmony with neighboring countries and Japan’s opening up to the world. “Dew of a Peach” clearly demonstrates Toson’s externally-oriented energy in the 1930s through his transformation from “within the walls to outside the walls”. His later works, “Pilgrimage” (1940) and “Gate to the East” (1943) maintain his orientation toward openness for acceptance of and harmony with the world outside. This study reexamines the status of “Dew of a Peach” in the literature and concludes that the work establishes elderly consciousness and should become a new standard in elucidating the life and the work of late adulthood.

本稿は6番目の最後の感想集“桃の雫”(1936)を通じて1930年代の藤村意識を考察し、老年の精神世界を探ってみようとした。藤村の場合、1916年にフランスから帰国した後、家族に忠実で20年代まで屋内に集中している姿を見せるが、子どもたちが成長して独立し始めた1930年ごろから屋外へ出てきた以来、新しい“外部的な生”が始まったことが分かる。対外活動が始まると、私と子どもの安危から脱し、国家と国民を心配する“社会的指導者の面貌”を見せたり、周辺との調和と和合が必要であることを述べ、ひいては開かれた心で全世界に開放しなければならないという“汎世界的な認識”も見せた。このように“桃の鈴”は1930年代,屋内から屋外へ進んだ藤村の外エネルギーが最もよく表現された作品だった。以後,“巡礼”(1940)と最後の作品である“東方の門”(1943)にも受容と調和という開かれた意識が相変わらず続いていた。 本稿を通じて“桃の雫”の位相を再照明することができた。要するに“桃の雫”は老年の全般的な意識世界を確立した作品として晩年の生と作品を解明する新しい基準になければならない。