Earticle

In this article, we compared the content of the comments and the attitude of the viewers based on the comments of the Korean and Japanese dramas, and clarified the differences in the characteristics of the two countries and the function of the comment section. First, in the case of Korea, the percentage of [negative] is the highest in terms of “story,” “character,” and “writer/script”. While Korean viewers are posting negative impressions of the story, they seem to be using the comment section as a place to anticipate and enjoy the story themselves and to seek sympathy from other viewers by posting their own requests. Also, as a characteristic of Korea alone, [mocking] can be seen in all sub-categories except for “actors”. Next, in the case of Japan, the percentage of [negation] is the highest for “story,” “character,” and “writer/script,” but there is not much difference from [affirmation]. “Analyzing topics of conversation” is one of the most noteworthy characteristics. Viewers seem to be using the comment section as a place to express their opinions by analyzing and posting on the topics behind the drama. Furthermore, comparing the “communication tools” that have nothing to do with the content of the drama, Korea has a higher percentage than Japan, and the comment section itself is a social gathering place for those who frequently post comments. On the other hand, in the case of Japan, the comments are mostly about how they feel about the drama, and its function as a communication tool is weak.

Recently, the problem of youth employment in Korea has emerged as a serious social problem. In this environment, young Koreans are interested in getting jobs in Japan. This study analyzed what experiences are described to when referring one’s past experiences on the entry sheet in Japan and Korea. As a result of comparing the number of times a particular ‘experience’ of Japan and Korea was mentioned, the following points were identified. First of all, in the description of ‘the efforts made during school days’, Japan’s top three categories include ‘clubs activities’, ‘part-time jobs’ and ‘research/ seminar(zemi),’ while Korea’s top three categories include ‘part-time jobs’, ‘team projects’ and ‘internship’. This can be attributed to the difference in the culture of Japanese and Korean universities. Next, in the description of ‘the motivation for application’, in Japan, there were many mentions of experiences related to companies such as ‘participation in corporate briefing’, ‘visiting OB/OG’ and ‘company visit/store tour’. On the other hand, in Korea, there were many mentions of experiences with education such as ‘major/research’, ‘external education’.

This paper aims at revealing the features of the Japanese adverb “tashika”, focusing on the grammatical and semantic sides of it. “tashika” is one of the epistemic adverbs such as “tabun” and “osoraku”. However, “tashika” has the usage of memory regeneration, but the others don’t. We, human beings cannot memorize the every information about the events that we have experienced, so when “tashika” is used in the sentences, it contains the speaker’s uncertain attitude for the event. Grammertically, “tashika” is often used in the Noun-predicate sentences , and it comes with past tense when you want to focus on the past which the event has taken place, or non-past(present) tense when you focus on the speaking time. When it comes to sentence-end expressions, “tashika” is often found in the assertive sentences, and co-occur with epistemic modal predicates such as “hazu-da” and “to-omou”. Finally, “tabun” has the usage of memory regeneration, but tabun is mainly used as an inferred usage.

It points out the lack of education of “to”, “ba”, “tara” and “nara”, which are the forms of conditional expression, and suggests a solution through what this investigates and analyzes how conditional expressions are handled in Japanese language textbooks used in the field of Japanese liberal arts course at universities, and examines whether Korean Japanese learners are properly trained on conditional expressions. Even for liberal arts course, all four forms must be presented at the elementary and intermediate level, but it need a step by step presentation that considers the difficulty level is required rather than a package presentation and the explanation of each form should be done in various ways through example sentences for different meanings and usages. And it is necessary to have an easy-to- understand education on whether to substitute for the 4 forms.

本稿は登場人物の葛藤状況を中心に三島由紀夫の戯曲󰡔サド侯爵夫人󰡕を探って見た。サドをめぐる女性たちの重層的な関係性は悪徳と美徳の価値が重なる二律背反性を見せる。また、ルネの貞淑は悪徳のもう一つの顔になり、極と極の同一化という二律背反性を露にする。このような原理はルネとモントルイユ夫人の葛藤にも見られる。ルネの比喩は神聖と汚辱を変えながら固定観念の枠を破る。また、一方的な区分付けで相手を裁断する自己中心的な考え方を批判する。これにより、視線の暴力性と虚偽性を暴露し、これに対する省察を要求している。 受動的な女性原理を体現するルネは、一方で独自性と主体性が込められた｢発明｣という用語を通じて、彼女の中に潜在した能動的な力を暗示する。ジュスティーヌの物語を読んで、サドが作った物語の中に自分が閉じ込められていることに気付いたルネは、監獄文学者としてサドの主体的行為、すなわち創作の恐るべき威力を痛感する。監獄に閉じこめられたサドの主体的な意志と威力を確認したルネも、受動的な女性原理から脱して主体的な存在への転換を選択している。󰡔サド侯爵夫人󰡕に現れた二律背反の原理は、既成の価値を覆し、固定観念の硬直性を批判する装置となっている。この原理こそ三島由紀夫が言う｢人間性の最も不可解で最も真実なもの｣であると言える。

I argued that Hokusai was the pioneer in drawing Ukiyoe in “Hizakurige-Group”. I argued that Hokusai was the pioneer in drawing Ukiyoe in “Hizakurige-Group”. Hokusai repeatedly used the following five episodes as painting motifs. ①“Hizakurige” 1th volume, boy anecdote in Kanagawa, ②“Hizakurige” 1th volume, woman anecdote in Hodogaya, ③“Hizakurige” 1th volume, dog illustration in Fujisawa, ④ “Hizakurige” 2th volume, the couple quarrel anecdote in Mariko, ⑤ “Hizakurige” 5th volume, Kuwana’s clam anecdote and illustration. However, among these, only ④ has become established as a painting motif in posterity. Compared to the 14 most popular painting motifs, the only thing that overlaps is “The couple quarrel anecdote in Mariko”. In other words, Hokusai’s pioneering about literary and painting history was recognized in “Hizakurige-Group” but it was not so popular that it was inherited by posterity.

On April 19 2019, the Japanese National Assembly enacted the ‘The Act Promoting Measures to Achieve a Society in which the Pride of Ainu People is Respected’. Under this decree, which began to be enforced on May 24 of the same year, the Japanese government officially recognized the Ainu people as ‘Hokkaido indigenous peoples’ for the first time. It was a significant turning point in which the Ainu people’s efforts to regain their identity and rights as ‘Hokkaido indigenous peoples’ while fighting against social discrimination paid off. In this paper, I considered the point of how Ainu people should be treated justly in a multicultural society as a Japanese citizen by analyzing the process until the Ainu people were officially recognized as indigenous peoples of Hokkaido. Considering the relationship between the Ainu people and the Japanese government in the past, it can be seen that conflicts have been repeated over the Rights of Indigenous Peoples. In order to realize a truly multicultural symbiotic society, fair agreement and implementation of the rights of the natives must be preceded. Then, with the new Ainu-related law in 2019, it is necessary to realize meaningful changes suitable for multicultural society in education about Hokkaido history and the Ainu as Hokkaido indigenous peoples.

This paper aims to investigate how the Sino-Japanese War and the Russo- Japanese war had affected Noh’s cultural movement. Noh around 1887(Meiji 20) had failed to spread among the young generation, and its existence was in danger. However, the victory in the Sino-Japanese war brought general vitality throughout the Japanese society as explained in the magazine that was published in 1904 “everything has risen suddenly(諸事勃興)”. In cultural art, the Military art and Kawakami Otojiro’s War drama had prevailed, and the world of cultural art actively supported the nation’s conduct of war through the collection. Therefore, the Sino-Japanese war was the driving force of Japan’s rapid unity and transition as a nation-state. Likewise, Noh established a solid foothold as a nation-state’s performing arts by donating the funds raised from the performance to the military for war while protecting the Noh actors living internally by providing more opportunity to perform as they suffered from war. This was the relationship between the Sino-Japanese war and Noh. As Noh built a solid social foothold, it published the first edition Nohgaku(能楽) which was a technical magazine for Noh in 1902. When the Russo-Japanese war broke out in 1904, arguments like “Yamato Soul and Noh”, “War and Noh”, “Military prowess and Noh(勇武と能楽)” became popular and the creation of ‘Noh martial song(能楽軍歌)’ and an argument “Noh of Warlike spirit(尚武の能楽)” from ‘Bushido’ turned Noh into the State entertainment which was to respond and participate to the nation. As such prestige was strengthened through the Second Sino-Japanese war and Pacific war, it developed into ‘Japanese spirit/Nihon Seishin(日本精神、日本精神の国粋)’ under the total war system and established a firm status in the Japanese culture. Noh reverted to ‘Noh of Yugen(幽玄の能)’ before one knows after the dissolution of the Japanese empire. It has desisted being warlike and returned to Yugen that carries literary aesthetic consciousness. In this process, the author deems that apoptosis – a phenomenon in that the main body kills a part of its own cells for survival - had occurred. More precise and specific consideration will be covered in the next research.

In this paper, I did a comparative study of the adopted daughters in the “The tale of Genji” and “The Cloud Dream of the Nine”. The two works are different in many respects. However, both countries are highly influenced by Chinese culture, and there are many similarities in that they were created at the time the original letters were invented. Among the similarities, this paper examined the legal system of adoption and examined the meaning and process of the work of adopted daughter. A review of the legal system found that both adopted parents and biological parents were legally treated equally, even if they were actually discriminated. In addition, the case of the daughter was not legally constrained to adopt. It was confirmed that the laws of the Joseon Dynasty were more patriarchal than the laws of the Heian period. These social system differences also emerge in the process of adopting daughter. However, the function of the adopted daughter in the work has in common that the purpose is to give the protagonist absolute power as a result.

With the emergence of Edogawa Ranpo, 1923, is remembered as an unforgettable year in the history of Japanese creative detective stories. Of course, it was not without detective stories in Japan until then. There were many detective stories from the Meiji era and the middle of the Taisho period, but in most cases, even if it was a Western detective novel or a creation, there were many cases where sentence power was poor or the material was not fresh. Until then, it was no exaggeration to say that a detective story was published in a popular literature magazine, but it was a list of literature that almost read and throw away because the composition of the work was crude, the characters were less humane, and the sanctions were so popular. The appearance of Ranpo in such a situation would indeed have had the same dramatic effect as the welcome rain in a drought. However, at that time, it appeared like a comet at a relatively late age and published numerous high-profile works to form a new mountain range in the history of Japanese detective novels, but over time, the original witty and fresh materials were depleted faster than expected and received harsh criticism from critics. It is understandable that Ranpo’s achievements are considered somewhat negative in terms of the influence of popular culture, as it is thought to be related to the popular style of writing that stimulates peripheral nerves, which has been a general trend of works since the beginning. Among the works that were free from such controversy, This study selected four short films from the beginning of their debut to find out the characteristics of each work and the charm of detective novels that Ranpo wanted to pursue.

This paper inverstigates Mishima’s plays focusing on the “maid”. Mishima put a lot of effort into drawing “home,” the smallest unit of human relations in society, and “family play” is one of the characteristics of his plays. The family form that Mishima drew is a postwar modern family model represented by a nuclear family, and its nature depends on the gender role division of work, such as “white-collar worker husband and homemaker wife”. In a word, the woman is confined in the home, and it is said that it is to be responsible for the home administration as a “housewife”. However, in the home depicted by Mishima, there is no figure of a woman who actually manages as a housewife, that is, a mistress who behaves perfectly as a mother and wife. Instead, the “maid”, who is another person who has entered the home, appears. In Tada hodo takai monowa nai (1952) confirmed in this paper, there was a fierce confrontation with the mistress in the “maid”, but the mistress gradually disappears. These changes may be deeply related to the process by which modern family forms take hold. In a word, the standpoint of the woman named “housewife” that the modern family system was born was confined in the home instead of erasing the existence of “maid” from the society, and it was made to take charge of housework and the child care. It can be said that women exclusively responsible for the function of housekeeping in the home shifted from “maid” to housewife, but the fundamental change does not occur, and the woman who became a housewife can be said to be the weak position than “maid”. In other words, because placed in the position of a housewife, the woman is not recognized professionally like a “maid” and could be regarded as being demoted to an existence with only empty power as a mistress. Mishima’s “maid” is the literary figure that can most effectively explore the power of women that results from the fact that the modern family specializes in home economics and the problems that inevitably accompany it. It can be said that there was.

In this study, Gotanda, a character of Haruki Murakami’s Dance Dance Dance, was analyzed and examined from the point of view of the media environment overflowing with video images(photography, TV, film, etc). Gotanda plays roles only with a fixed image at all times by the star system that easily generates stable profits. His personal life is not distinguished from the images produced in front of the camera(the roles in movies, dramas, etc), and it feels as if they are connected. Boku(narrator: the main character in this novel) feels a greater sense of reality in video images than in the real: the doctor playing Gotanda is more like a doctor than a real doctor. It seems to Boku that the real (original) pales in comparison to the images (reproduction). When Gotanda is involved, many experiences in daily life do not become the first and unique ones of one’s own, but a rehash of the video images Boku has seen before. It can be said that Gotanda embodies the dominance of video images, in which video images precede the real and prescribe the real in a highly advanced capitalist society.

This paper examines Mishima Yukio’s “Marquis of Sade” focusing on the characters’ conflicts. The complex relationship between women surrounding Sade shows the principle of antinomy, in which the values of vice and virtue overlap. And Rene’s virtue becomes another face of evil. This principle can also be seen in the conflict between Rene and her mother. Rene’s parable breaks the stereotype by reversing divinity and disgrace. She also criticizes self-centered thinking of judging others with a one-sided view. Rene, who embodies passive women’s principles, on the other hand, implies her latent active power through the term “invention,” which contains independence and identity. Rene, who read the Justine story and realized that she was trapped in the story made by Sade, fully feels the subjective behavior of prison literature writer Sade, the formidable power of creation. Rene, who has confirmed the subjective will and power of Sade in prison, is also choosing to move away from passive women’s principles and become an independent being. The principle of the antinomy of interest, which appears in “Marquis of Sade” is a device that reverses compatible values and criticizes the rigidity of stereotypes. This principle can be said to show what Mishima Yukio calls the “most inscrutable and most authentic thing of humanity.”

本稿は登場人物の葛藤状況を中心に三島由紀夫の戯曲󰡔サド侯爵夫人󰡕を探って見た。サドをめぐる女性たちの重層的な関係性は悪徳と美徳の価値が重なる二律背反性を見せる。また、ルネの貞淑は悪徳のもう一つの顔になり、極と極の同一化という二律背反性を露にする。このような原理はルネとモントルイユ夫人の葛藤にも見られる。ルネの比喩は神聖と汚辱を変えながら固定観念の枠を破る。また、一方的な区分付けで相手を裁断する自己中心的な考え方を批判する。これにより、視線の暴力性と虚偽性を暴露し、これに対する省察を要求している。 受動的な女性原理を体現するルネは、一方で独自性と主体性が込められた｢発明｣という用語を通じて、彼女の中に潜在した能動的な力を暗示する。ジュスティーヌの物語を読んで、サドが作った物語の中に自分が閉じ込められていることに気付いたルネは、監獄文学者としてサドの主体的行為、すなわち創作の恐るべき威力を痛感する。監獄に閉じこめられたサドの主体的な意志と威力を確認したルネも、受動的な女性原理から脱して主体的な存在への転換を選択している。󰡔サド侯爵夫人󰡕に現れた二律背反の原理は、既成の価値を覆し、固定観念の硬直性を批判する装置となっている。この原理こそ三島由紀夫が言う｢人間性の最も不可解で最も真実なもの｣であると言える。