Earticle

The present study analyzes code-switching in Korean and Japanese by observing instant messaging group chat data involving Japanese teachers and advanced Japanese language learners. Although there have been some preceding studies on code-switching that occurs in SNS texts, the present study aims at revealing the characteristics of Hangeul transcriptions of Japanese by focusing on the switching of the transcription language rather than the switching of the language itself. The results of the analysis are as follows. First, intra-sentential code-switching characteristics in common with preceding studies include the transcription of loanwords in imitation of the Japanese pronunciation and the use of combination forms involving Japanese and ‘-hada’ on the one hand and Korean and ‘-desu’ on the other. The study differs from preceding studies in that code-switching occurs in both Korean and Japanese base sentences. Also, complex code-switching occurs in sentences. This may be classified as conversational code-switching. Involving simultaneous communication, instant messaging is closer to actual conversation than Facebook or Instagram, so the characteristics of code-switching more easily manifest in instant messaging as these characteristics appear in conversation. Next, the functions for transcribing Japanese with Hangeul involve economy, entertainment, and group consciousness. In the future, research is expected to examine the aspects and frequency of code-switching by each learner and the correlation between Japanese language learning duration and code-switching.

In this study, The タ(ta) of discovery is separated タ(ta) of realization and タ(ta) of change of recognition, also it will describe in a way of ｢existence and nonexistence of expectation｣ and ｢modification of recognition｣. we knew the result when speakers expressed current situation in their face, they didn’t use ル(ru) in the present tense and used ル(ru) in the past tense. That is, speakers used タ(ta) to express that they had gotten their motive or expectation before speaking, not in the case, they did ル(ru). In addition, we could know that speakers used タ(ta) to express that they had changed their recognition, not in the case, they did ル(ru). By extension, we considered タ(ta) not in a discovery but in ｢existence and nonexistence of expectation｣ and ｢modification of recognition｣. So, we confirmed that ｢タ(ta) of discovery｣ was used not only in a dynamic phrase as ｢アル(aru),　イル(iru)｣ but also in a static phrase as ｢来た(kita)、笑った(waratta)｣

In this study, various expressions in ‘Request’ were compared by taking data from Korean and Japanese TV dramas. As a method of classifying data, we examined the relationship between ‘~hae juda’ and ‘~hae jusida’ in Korean. For the Japanese language, sentence expressions derived from basic reception verbs ‘~tekureru’ and ‘~temorau’ were classified in consideration of ‘sub-relationship’, and their appearance and frequency were reviewed. and In the case of ‘Request expression’ without using a verb, it was classified. Instead of using words corresponding to ‘Request’, it was reviewed by the person who had the burden of ‘Request’ in the conversation. As a result, in the case of Korea, the relationship between ‘Chin’ and ‘So’ is preferred for ‘~hae juda’. between ‘So’, the combination of ‘Request’ in ‘Request’ without the use of a verb is used to appeal to the politeness of ‘Request’. In Japan, the relationship between parent and parent is all used. The most frequently used textbooks used by Japanese learners indicate that they need to be presented like ‘~tekudasai’ which is the most frequent formative practice of ‘Request’ in textbooks used by Japanese learners.

This Paper discusses the issues related to the grammatical features and functions of the o as showing a Period and naka-o as showing a situation. In the usage of case particle o, these forms of o were considered a sort of the usage as showing a move and path in precedent studies. However, there are grammatical deferences between the period o, the situation o and the path o. The first point is that we should discuss that the grammatical features of the period o, the situation naka-o are different from the path o. In order to know that, it is necessary to analyze the indispensability of noun phrase revolving around a verb in a sentence. Moreover, it is also necessary to analyze that there are the differences of movement between the situation o and the path o. In conclusion, it is clear that the period o is parted in the period o① of the indispensable case and the period o② of the secondary case, i.e. the period o② has a different grammatical function with the path o of the indispensable case. Situation naka-o is also parted in the spatial naka-o and the temporal naka-o. The spatial naka-o has a same movement with the path o, but the spatial naka-o is the secondary case. The temporal naka-o has a temporal movement and the grammatical function of situation component.

Newspaper articles are everyday learning tools used by both practitioners and learners of translation and interpretation. Korea has been providing Japanese or Chinese translations of Korean news shows on the Internet for a long time for the learners to employ them as readily available tools. Furthermore, translated articles of Kyodo news have recently become meaningful tools in Japanese-Korean translation and interpretation learning. As the native speaker of the Korean language, the author of this paper carries out proofreading of Japanese news translated into Korean and figures out, analyzes and systemizes errors from the viewpoint of translation and interpretation. The errors are classified into four types and corrective measures are also presented. The four types of errors include errors in spelling, errors for lack of knowledge in terminology, errors resulting from insufficient knowledge of Korean vocabulary and sentences and errors involved in literal translation of vocabulary and sentences.

This study made empirical reviews regarding the moment of which silence occurs in everyday conversations and animation conversations and functions and roles played by silence. The analysis results of this study can be summarized as follows: (A) Silence observed during the process of which the speaker carries on with the talk in everyday conversations can be understood as a signal that the speaker is thinking about what to utter in the mutual actions and a signal requiring the listener’s reaction. Silence observed along with the filler is interpreted as silence representing maintenance of the speaker’s turn to speak. Moreover, silence observed before dispreferred utterance and response utterance is identified as a signal implying dispreferred utterance, answer holding or avoidance, while silence longer than usual is often understood as a proper place to introduce a new topic. (B) Silence of the speaker observed in animation conversations in which all utterance processes are previously written and the dubbing artists act as the screenplay says is used as a means of delivering the content of utterance with clarity. On the other hand, silence used along with filler and silence used before dispreferred utterance and response utterance is utilized as a means of creating personality and psychological state of the characters. Silence observed in the scene of topic change that is longer than usual is used as a means of representing relationship among characters and creating scenes. According to the analysis results, silence in everyday conversations plays a role in boosting smooth communication with the counterpart, while silence in animation conversations play a role in expressing personality and psychological attitude and representing relationship among characters and creating scenes.

In this paper, we discuss the end-of-sentence expression tto in spoken Japanese. tto has a function of the speaker talking to his/her own objectively viewed self, simultaneously indicating clearly that the utterance is not intended for the listener. This paper focuses on the environment in which tto is used (namely, the presence/absence of specific/non-specific listeners).　From the result, we find a tendency of negative emotions of the speaker entrusted in the use of tto when a specific listener is present. On the other hand, in the case of a soliloquy and internal speech, attitudes such as a declaration and reminder to the self come to the foreground. In addition, it has become clear that in the case of having an unspecified number of listeners when used online, this often leads from a considerate expression. In addition, there are “intention”, “description”, and “request” in sentences using tto. Usage examples are found to be expressing “intention” when a specific listener exists and expressing any of “intention”, “description”, and “request” when having an unspecified number of listeners. It has been found that the usage environment and sentence types correlate, and seemingly contradictory pragmatic meanings occur, such as disregard and consideration for the listener.

In the early works of Shusaku Endo, the word “yellow” is often used to describe the Japanese protagonist. Why did Endo Shusaku use the word “yellow”, which is used by Westerners to belittle Asians, for the Japanese characters in his works? The use of “yellow” to describe Asians and current attitudes to the word as racial discrimination is discussed.

In this paper, the purpose is to verity the works that Santei Syunba was said to be the author in the previous research and the date of establishment of such works. The theory that the so-called “Kanzendo” is the Ikku Ⅱ　or Ikku Ⅲ　is wrong, it certify that the author of the “Ekyodai-sugataawase”, “Karukaya-dosin” and the second volume of “Yakusya-mitate-gozyusanchugi” is not Syunba. The formation time of the confusing Ninzyobon “Syunjyu-hutakikusa” was clarified by the type of signature. In other words, it was proved that first and second volumes were published until the fall of 1844, and that after third volume, it was a work by Umehiko, who was different person from Syunba.

In 1928 Makoto Nishimura exhibited a robot called “Gakutensoku” that means “follow the laws of the universe and nature” at the exposition held to commemorate Emperor Showa’s throne. Although it has been evaluated as the first robot in the Orient, the “Gakutensoku” is not made of metal like Western European robots, but it is made in a form that can not move alone. So At the Chosun Expo, no attention was paid. Whereas Western robots were high-end machines that were born as cutting-edge machines that replace human labor, But the Gakutensoku Produced a robot that conveys its thoughts to humans, which has nothing to do with labor. Nishimura emphasizes that robots are the same as human beings, and that he consider how humans should live and what humanity is through robots. Today, the symbiosis between man and machine is emphasized. These attitude of Nishimura is very important for us in dealing with machines.

“The Joseon Poetry and Tanka Collection(朝鮮詩歌集)” was published under the colonized Korean peninsula in November, 1943. The biggest purpose of compiling the collection was to encourage for student mobilization since there was a send-off party just before the publishing. 1943 is a year in a middle of WWⅡ, and also late of Japanese colonial period. After 1938, there were oppression such as banning to teach Korean language, arresting someone who might resist a government even if he/she had not done anything bad. Namely the year “The Joseon Poetry and Tanka Collection” published was hard to express Korean things, and hard to use them not only as expressions, but also linguistically. However, some poems collected in this collection have non-national political representation. The purpose of this paper is to argue how the expression differ from national policy in spite of the background of editing the collection with reading “A little girl (童女)” and “A chapter of summer grass (夏草之章).” These two poems at first sight to affirm the war as one of Japanese nationals, actually express not acceptable the war and forcing them to be a cluster like that. Even if “The Joseon Poetry and Tanka Collection” was made for the war, some poems have a small different expression like not according to the national policy.

In 1928, Nanba Sentaro, a Japanese resident of the Korean Peninsula, published his essay, <Korean Topography>, which wrote his essay on how he felt about Korea’s landscape and culture for 10 years. This book was supplemented and published in volume one and two in 1942-43, when Japan was at war with the United States and China. Looking at the supplementary version, the contents are very different from the 1928 version. In contrast to the 1928 edition, which had the characteristics of a essays, the 1942-43 edition of <Korean Topography> has a clearly political purpose. The purpose is to deepen the understanding of Korean in order to achieve the accomplishment of the Greater East Asia Co-Prosperity Sphere. To this end, the 1942-43 edition of <Korean Topography> is mainly supplemented with war-related articles such as the Imjin War, which contributes to achieving the author’s purpose. This paper examines how the 1928 edition of <Korean Topography> published by Nanba changed as it was supplemented in 1942-43, and analyzes the characteristics of it.

1928年、韓半島に居住していた日本人、難波專太郎は、自分が朝鮮に10年間居住して感じた朝鮮の景色と文化について、エッセイを書いて『朝鮮風土記』というタイトルで出版する。この本は、日本が米国･中国との戦争の真っ最中であった1942-43年に『朝鮮風土記』上･下巻で増補･出版されるが、増補版の内容上、1928年版とは少なくない違いが見られる。 随筆集の特徴を持っていた1928年版『朝鮮風土記󰡕とは異なり、1942-43年版『朝鮮風土記』は明らかに政治的な目的を示す。その目的は、｢大東亜建設の大業を果たす｣を達成するため｢朝鮮への理解｣を深めることである。この目的に合わせて1942-43年版『朝鮮風土記』に増補された内容は、主に壬辰倭亂など戦争関連の記事が多く、これらは著者の著述目的を達成することに貢献する。本論文では、難波により出版された1928年版『朝鮮風土記』が1942-43年に増補され、どのような変容が行われるのかにについて増補版の内容を中心に察して、その中にはどのような特徴があるかについて分析してみる。

This study is to find Japanese cat ghosts hiding in Korean folktales and movies. As a result, the forms of folktales were collected from Gwangju, Gyeonggi-do and Gyeongsan, Gyeongsangbuk-do, and the form of horror in the film appeared in Lee Yong Min’s ｢A bloodthirsty killer｣, Shin Sang-ok’s ｣A Ghost Story Of Joseon Dynasty｣, and Kim In-su’s ｢Public Cemetery of Grudges (1983)｣, Kim Young-Han’s ｢The Headless Murderess ｣(1985). One thing they have in common is that ｢Cat eats its owner’s blood and become ghosts taking its owner’s revenge.｣This ghost story is not found in the classics and folk tales of China, Jurchen, and Korea, but a motif that is easily found in Japan. Therefore, it can be seen that its origin is Japan. While the folktale was formed under the absolute influence of the ghost story of Nabeshima in Japan, Lee Yong-min’s ｢A bloodthirsty killer｣ in 1965 employed the elements of ｢The Ghost of Yotsuya｣ and ｢The Five Great Cats of Japan.｣ In other words, Japan’s ghost cat has crossed the sea to come to Korea. There is a painful history that our modernization begins through Japan. Through such a historical environment and experience, the Japanese cat ghost was established and gained citizenship in our Pop culture.

本稿は、韓国の民話と映画に内在している日本の怪猫譚を考察したものである。その結果、民話には、京畿広州と慶北慶山で採集された説話の中にあり、映画には恐怖物の形で李庸民の｢殺人魔｣、申相玉の｢李朝怪談｣、金仁秀の｢怨恨の共同墓地｣、金永漢の｢首のない女殺人魔｣という恐怖物にあった。これらの一つの共通点は、｢飼い主の血を飲んで怪猫になり、主人の代わりに復讐する猫｣ということである。このような怪猫譚が中国と韓国の古典や民話では発見されない。その反面、日本では誰もが知っている有り触れたモチーフである。それにより、それの源郷が日本にあることが推量される。民話は、日本の鍋島猫騒動から絶大的な影響を受けている。それに比べ、映画は1965年李庸民の｢殺人魔｣が｢東海道四谷怪談｣と｢日本五大の猫怪談｣の要素を大幅に受け入れていることが明らかになった。つまり、日本の怪猫が韓国に来たのであった。韓国の近代化は日本を通して開始される辛い歴史がある。そうした歴史的な環境と経験により日本の怪猫は海を渡り韓国の大衆文化の中で堂々と市民権を得て定着したのである。

This study aimed to analyze Watershed written by Hoe-song Lee based on the concept of mobility suggested by John Urry, and to discuss how ‘mobility’ was reproduced focusing on the narration of ‘deportation’ of Koreans. The motive of the work was the story of two Zainichi Korean novelists who were invited by an alliance of writers in Kazakstan to visit the Soviet Union for about one month. ‘The Deportation of 1937’ is the main story they tried to cover, but there are two underlying narrative structures. One is the process of covering for ‘Chang-ho Gang-reportage writer-the Deportation of 1937-history restoration’ and the other is the narration of the mobility of ‘an individual,’ ‘Zainichi Koreans’ and furthermore the ‘diaspora’ unfolded, focusing on the memory of the main character, Chun-su, that was recalled in the process of covering the story. The ‘deportation’ of the diaspora demonstrates how ‘mobility’ composes political violence through the power and control system of the state back then that forced and blocked mobility. In addition, the narration of mobility of the diaspora as an individual and Zainichi Koreans that is described through the memory of Chun-su depicts the process of the creation of ‘attachment to a place,’ that is, the desire to go back to ‘Sakhalin’ and their homeland both psychologically and physically.

本稿は、ジョン·アリーが提示したモビリティ概念に焦点を当て、李恢成の󰡔流域󰡕を分析することにより、高麗人“強制移住”の叙事を中心にモビリティがどのように形象化しているのかを考察してみた。 この小説は作品の中で二人の在日朝鮮人作家がカザフ共和国の作家同盟に招かれ、旧ソ連を約1ヵ月間訪問した取材旅行をモチーフにしている。“三十七年問題”を取材するという設定だが、その中にはさらに二つの叙事構造が存在する。一つは“姜昌鎬-ルポ作家-三十七年問題-歴史の復元”のための取材過程であり、もう一つは取材中に主人公春洙の記憶を中心に展開する‘一人の個人’の‘在日朝鮮人’のさらに‘ディアスポラ’の移動叙事である。 ディアスポラの“強制移住”は移動を強要し、遮断する当時の国家権力や統制システムを通じて“モビリティ”がどのように政治的暴力を構成するのかを表している。また、春洙の記憶を通じて語られている個人の、在日朝鮮人としての、ディアスポラとしての移動叙事は‘サハリン’に、そして祖国に心理的、物理的に戻ろうとする‘場所愛着’が生じる過程を描いているのである。