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When writing a composition, when do you use a sequence of simple sentences, and when do you use a single complex sentence instead? Grammarians have yet to clarify the norms for determining which option to choose. In this presentation, we argue that when it comes to the interchangeability of a complex sentence with a sequence of simple sentences, there is asymmetry between statements of cause/reason and those featuring a contrastive conjunction. We also argue that in the case of lengthy complex sentences, Japanese, unlike Chinese, actively uses non-restrictive noun phrase modifiers to avoid a linear sequence of adverbial (dependent) clauses.

In this study, I investigated how listeners respond to the opinion statements in the conversational closings. I analyzed the Japanese conversation of opinion exchange in contact situations to make a comparison of the behavioral features between the advanced- and intermediate-level Japanese speakers. Based on if there were the listeners’ responses to the opinion statements and if the listeners took speaking turns or the speakers held speaking turns right after the closings, the conversational closings have the following four types, “response – turn-taking”, “no response – turn-taking”, “response – turn-holding” and “no response – turn-holding”. Frequency of those four types was used for the comparison. The results showed that the frequency of “response – turn-taking” was the highest in the contact situations by the conversational participants including the advanced-level Japanese speakers. The participants most commonly took speaking turns after responding to the conversational partners’ opinion statements in the closings. By contrast, the frequency of “no response – turn-taking” was the highest in the contact situations by the participants including the intermediate-level speakers. The behavioral feature was that the participants took speaking turns without responding to the conversational partners’ opinion statements. The results revealed that non-native Japanese speakers apparently have such tendency.

Among contemporary Japanese “collecting particles”, “SAE・MADE・SURA”, which means “unexpected”, is a Japanese educational point of view, especially for learners who do not speak Japanese as their mother tongue. Distinguishing between points and differences is never easy. From this point of view, “SAE・MADE・ SURA” was examined with a focus on the tendency of connection relationships. More specifically, “SAE・MADE・SURA” through a large amount of materials (the Asahi Shimbun editorial and the novel of Shincho Bunko 100) is what element is combined with, or what kind of constraint when combined. It was described as to whether or not there is. First of all, when combining before “SAE-MADE-SURA”, “SAE” and “SURA” were often “ga” on the surface, but most of them are “ga” which means theme. It was a case. Next, we investigated the tendency of case particles in the form of “noun + case particle”.　As a result of the survey, it was confirmed that “SAE” is the one that can be contacted with the most elements among “SAE-MADE-SURA”. When dealing with the word, there were some examples of “SAE” and “MADE”, but since the quantity was small, it is thought that it is difficult to co-occur with the word.　And when joining after “SAE-MADE-SURA”, there are fewer types than the elements that join before, but among them, the particles “ga” and “mo” often co-occur. I understand that. In the case of “SAE” and “SURA”, only the “mo” rating is attached. In the case of “MADE”, there were many elements that were followed by “SAE” and “SURA”, but among them, the “ga” rating was the most confirmed.　 As mentioned above, it became clear that there is a certain difference between the judgment based on introspection and the actual data. In many cases, there were no cases in the actual data that could be judged based on introspection. Of course, just because it doesn’t exist in the actual data doesn’t mean it doesn’t exist in that format.

This thesis will consider ルand タ that were used in the scene of a perception change, speaking ago. As follows, I summarize the result that was divided into noun sentence, substantive verb sentence, テイルsentence. 1. I could figure out more clearly usage in the respect of ルandタ as analyzing according to a type of sentence 2. It is little different according to a type of sentence. But there is common in the case of using タ in the scene of a perception change, I can know the important factor that is the situation of speaking ago and the discovery scene 3. Even if the scene of a perception change, I clarify that ル is used to express the question about the scene under speaker’s very nose and the reason why ル was used in the state of repeat or progress. ル and タ in the scene that a change of perception accurred, from monitoring a state suddenly, will be considered in this thesis .

This paper addresses the demonstrative of the A series, which can be seen in advertisement copy from the perspective of deixis.　Advertising copy tries to create a place of communication with consumers by using demonstrative in general conversations.　 The demonstrative used in the advertisement copy seems to have the function of original demonstrative as well as the function of enhancing advertising effectiveness. As a result of the review of the A-series’ demonstrative in the ad copy, most of them were used as non-deictic methods. In the concept of this being the one-sided message of the sender, it may be natural, but we could also see deictic usage among the copy. If used as a non-direct method, the subject of the demonstrative is classified as specific and unspecific, and each is thought to contain the sender’s intention to achieve the advertising effect.　The use of deictic does not clearly indicate the product name of the advertisement they want to advertise, but by using the A series of demonstrative, they attract the attention of the viewer and turn to advertise. Also, most of the non-deictic used in advertising copy was used in non-specific usage.　 It does not directly point to advertising targets. A-series directive refers to the thoughts of the memory, such as longing and thoughts, and the subject of the demonstrative is specific or unspecific. First of all, in the case of refer to specific things, point what any Japanese person can know or point to an advertising object that they want to advertise. This copy shows that it is creating an advertising effect by making the acceptor feel familiar. When pointing to something unspecific, the person who receives the advertisement imagines a variety of images because the subject of the demonstrative is not specific. As such, the demonstrative of the A series in advertising copy are mainly used as non-deixis uses to refer to unspecific things in ideas and memories, and by taking an objective attitude toward the subject of a referent, they have the effect of being at the same point as those who see the advertisement.　

This paper primarily focused on the meanings and the functions of “tsumori” in modern Japanese based on actual examples. Although many previous studies have been conducted on the usage of conjunctive particle for “tsumori”, the noun usages, the postpositions, or componentizations of the compound predicate have rarely been reported. In the paper, the four cases of the meanings and the functions of “tsumori” are described and deeply analyzed, and then the results are summarized as follows. First, when used as a noun usage, “tsumori” is found to have the meaning of “to pile up, to be repeated’, where the preconnected noun indicates. In the Heian period, N+tsumori takes a relatively wide range of cases, but in modern times, the use of this method is rarely observed. Second, when used as a postposition, it represents either the will or personality, nature, or position indicated by the preconnected noun. In the case of the will, the action noun is used in the noun N, while in the case of personality, nature, or position, the non-action noun is used in N. It is morphologically limited to one form called N+tsumoride. Third, when used as a conjunctive particle, it represents the will or assumption indicated by the preconnected verb. In the case of the will, V is classified as a ‘suru’ type, and in the case of assumption, V is classified as a ‘sita’ type. It is morphologically limited to one form called V+tsumoride. Fourth, in the case that constitutes a compound predicate, an ‘iru’ verb is used in a predicate, and It implies an adverb meaning to describe the state of the predicate. In summary, “tsumori” originally stands for “to pile up, to be repeated,” as the starting point of the meaning and function in ancient times, but it is rarely used as the noun usage in modern Japanese. Instead, it is most frequently observed as the forms of postposition, the conjunctive particle, or the componentization of the compound predicate.

This study analyzed the perception of the subject K, who is a Korean learning Japanese, has on Japanese people by conducting interviews and compared results with those of Kim(2016) and Kim(2019) to examine the changes in K’s recognition of others and its factors. As a result, the individual’s recognition of Japanese people appeared to be negative just like they were before. The remarkable point in the interview was that K had experienced relatively close relationships with Japanese people unlike Kim(2016) and Kim(2019). And it was found that the perceptions that developed in those relationships were not a uniform negation but rather various perceptions including positivity. It can be found that as a group, there is a mixture of both negation and affirmation in recognition of Japanese people unlike before. As for the factor, the perception developed during an individual’s relationship with Japanese people who they have actually come in contact with through working in Japan, can be seen as influential to the group’s perception of Japanese people.

本稿では、インタビュー調査を通して韓国人日本語学習者Ｋの日本人への認識に ついて分析を行い、김(2016)と金(2019)の結果と比較することによってＫの他者認識 の変化とその要因について考察した。 その結果、個人の日本人に対する認識は前と同じように｢否定的イメージ｣である ことが分かった。今回のインタビュー調査で注目できるのは、김(2016)と金(2019)と は違って日本人と比較的長期間で密接な関わりのある人間関係を経験したということ である。その関係から生まれた認識は画一的な否定ではなく、肯定を含む多様な認識 であったことが分かる。集団としての日本人に対する認識は前と違って｢否定｣と｢肯 定｣のように多様化されているのが分かる。その要因としては、日本就職日本で実際 に接触した個人の日本人との関係から形成された認識が集団の日本人への認識にも影 響していると考えられる。

This study shows that the traditional relationship between idol stars and fans, which can be explained based on the Habitus dialectic, no longer holds in the system of fandom’s cultural consumption in K-POP, which is typical of the “Shin Hallyu” boom. It is starting from that position.　And, also the traditional patronage culture of Japan argue that in the habitus dialectic of categories, have been discussed about its features while comparing with the BTS of ARMY Among the fandom of K-POP. As a result, it is possible to confirm that it is the content of “Shin Hanryu” which is dominant in Japan, It was pointed out that the K-POP fandom’s global propensity for cultural consumption is also apparent in Japanese fandoms. In other words, being a prosumer who produces endless information and content that goes beyond just buyers and supporters, and has the sense of unity that makes you feel like a friend or family climbing to Stardom together, Seeking higher morals with the same values, and consuming culture in real-time streaming with no content owned. As described above, the mechanism of sharing and consuming culture in a new way is a characteristic that could not be found in the relationship between idol stars and fans. From now on, it can be expected that the concept of fandom or fansummer and the consumption form of streaming will evolve further.

Japan has worshiped many gods since ancient times based on a polytheistic view of religion, and has a rich mythological stories related to it. Among them, Engi(historical tales of temple and shrine) have had a great influence on the lives of Japanese people as well as Japanese myths for a long time as a main religion content. On the other hand, in Japan, Emaki(picture scrolls) had been actively produced. Emaki refers to a painting work drawn on a scroll that unfolds horizontally, and stories and illustrations are written on each other. It was produced in most cultural areas, but in Japan it developed as a media with unique characteristics and gained popularity throughout the ages. Since the Heian period, literature had been produced with Emaki, the visualization of literature had been promoted. In this paper, I would like to consider the influence of visualization on the creation and transformation of myths, focusing on HachimanEngi Emaki. After clarifying the characteristics of each era through comparison with ancient times, clarified the transformations that appeared in visualization and their causes through comparing with other Emakis.

Tyûtôkyôikukokubuntokuhon(中等教育国文読本) is a Japanese textbook published by the Governor-General of Korea. The explanation of The Tale of Genji in Tyûtôkyôikukokubuntokuhon is quoted from Kokubungakurekidaisen(国文学歴代 選)” written by Haga Yaichi.　 Tyûtôkokugotokuhon(中等国語読本) and Syûseisinsenkokugotokuhon(修訂新撰国 語読本) published in Japan at the same time also have quotations from Kokubungakurekidaisen about The Tale of Genji Comparing the textbooks compiled in Japan with the Tyûtôkyôikukokubuntokuhon, we found that there are many differences. For example tyûtôkokugotokuhon contains negative criticisms of the Heian period and The Tale of Genji, but not Tyûtôkyôikukokubuntokuhon. Although it is a quote from the same text of Yaichi HAGA’s Kokubungakurekidaisen, the description of the Tyûtôkyôikukokubuntokuhon and the text edited in Japan are different from each other by omission, excerpt, and editing.

“Suspicion” by Ryunosuke Akutagawa deals with the ethical agony of being confronted with human selfishness emerging from the gaps in the moral system caused by a major disaster, along with the guilt, anxiety, and fear associated with it. The protagonist, who is a practical ethicist, listens helplessly to the story of Gendo, which reminds him of pitiful weakness in human nature. Gendo’s story leads the protagonist to feel sympathy, as he believes that such selfishness, or the “monster” in the subconscious of humans transcends ethical or moral judgement. “Suspicion” can thus be viewed as an attempt to grasp the essence of human nature that is more fundamental than morality, as manifested in the traumatic memories of Gendo. Consistent with the definition of disaster literature, “Suspision” attempts to offer solace and heal the trauma caused by a disaster by recognizing and verbalizing certain aspects of human nature that are beyond ethical judgement. This view allows for a new interpretation of “Suspicion” as disaster literature inspired by the Great Nobi Earthquake.

Recently, in Japan’s ACG(Animation, Comics, Game) culture, modern Japanese literary figures have become popular as characters in the context of a new fiction called secondary creations. The animation Bungo Stray Dogs, the game Bungo & Archemist, and the comics It can’t bark at the Moon are typical examples, while Japan’s publishing market is flooded with books introducing anecdotes and quotations of modern literary figures, which is a literary boom. In this paper, five representative popular works were introduced for such literary works that have currently been leading literature itself in Japan. In addition, I considered the characteristics of the ACG literary works that transformed modern great writers into characters in three aspects. First, the aspects of raising interest in reading modern literature, secondly, the tendency to be centered on writers rather than works, and third, the importance of balance in which the degree of deformation of the character and probability based on facts should be secured at the same time. Despite the danger of globalization of Japanese literature being reflected dangerously or the risk of alienating works due to the writer-centeredness, I think such ACG culture is a field that has a lot of room to be revealed in literary research in the future.

The characteristic of Ayako Miura’s literature is in a word, to be said that the modesty of human being and the grace of God expressing the relation between God and human being is the most appropriate expression. There is such a plot as a relation between God and man in the Ayako Miura’s literature. Ayako Miura as a writer, always, ask readers a question on the ethics, moral and justice which human being has, through the Ayako Miura’s literature without stopping, It could be said the spirit of Ayako Miura’s literature of Christianity that human being should accept the sufferings given from the social mechanism of patriarchy or disaster, not escaping from those calamity, but pushing one’s way through the sufferings. The spirit of Ayako Miura’s literature would be said the freedom from ressentiment as a meaning of grudge and hatred.

三浦綾子の文藝特徵は一言で、人間の謙遜と神様の惠みが、人間と神様との關係 を表現する一番適切な言葉で、このような神様と人間の關係という 構圖が三浦綾子 の文芸作品に用いられている特色であることが分かる。. 作家としての三浦綾子は讀者に対して作品を通じて人間が持っている倫理と 道德 と正義についての質問を投げつけている。 三浦綾子の文藝のなかには登場人物の生きざまの姿勢が端的に描かれている。 が、当時の日本社會の家父長的社會制度の中での女性の生きざまと北海道の自然災害 に追われているなかで、全ての狀況を素直に受け入れるような受容的姿勢を感じさせ る作品の特徴があるといえよう。したがって、三浦綾子の文藝には、不幸の原因を取 り除こうともがいたり、復讐心に燃え上がる 人間の群像は描かないので、不幸は不 幸に終わってしまう。あえて、運命だと、狀況だとが主人公たちに与える苦痛とか、 苦しみのリアリティー、つまり、リを再現する物語展開の特色が表われている。与え られた苦難を運命として受け入れ、その困難から逃げず、掻き分けて生きる勇氣を生 きる意味にするのが、三浦綾子の基督敎文藝に表われた作家の精神である。ニーチェ の 哲學の根本槪念のルサンチマン(Ressentiment:恨み)からの解放精神が入っている わけである。