Earticle

This article analyzes how kinship terms for brothers and sisters used for non-relatives are translated in the subtitling and dubbing translations of the Korean drama “My Love from the Star”, based on foreignization and domestication strategies criterioned by Venuti. The analysis showed that the foreignization and domestication strategies were applied in 24.8% and 75.2% of subtitling, respectively. In dubbing, the ratios were 33.4% and 66.6%, respectively. With regard to the impact of an increased understanding of Korean culture among Japanese audiences on selection of the translation strategies, the numeric figures exemplify the dominance of the domestication strategies. However, in dialogues between individual characters, the tendency to use the foreignization strategies of terms that show intimacy that a speaker feels toward a listener. This suggests that, behind the use the foreignization strategies for such terms, there is the DVD producer’s assumption that using of Korean kinship terms for brothers and sisters in referring to non-relatives will be understood by Japanese audiences in consideration of the increased understanding of Korean culture since the onset of the Korean boom. As for differences in the use of translation strategies between subtitling and dubbing, the analysis found that foreignization strategies are more frequently seen in dubbing than in subtitling, presumably because of the influence of norms for audiovisual translation. While there is a restriction on text lengths in subtitling, much less omission of what is spoken is required for dubbing than for subtitling. This is assumed to be one reason for adopting the foreignization strategies while considering correlations of dialogues.

In contemporary Japanese, repetitional aspect can be expressed by verb form “suru” and “shiteiru”. In many cases these two forms can be replaced by each other without changing the meaning of the sentence. However there are some cases we can use only one of these forms to render repetitional aspect. In this article I focus on the cases in which only “suru” can be used and examine the reason why these phenomenon happens. The result of the examination of the usage leads us to the conclusion that when the repetitional event is not volitional it can be rendered only by verb form “suru” and not by “shiteiru”.

In this paper, in order to show Japanese language learners how to use ‘morau’ and ‘ukeru’, I considered the relationship between meanings in each word from the perspective of semantic extension and compared the central and peripheral meanings of these two words. As a result, the following four points were derived. 1) There is a giver in the event represented by ‘morau’, but there is not necessarily a giver in the event represented by ‘ukeru’. This is because the event represented by ‘morau’ cannot be established without the subject giving the object, but the event represented by ‘ukeru’ can be established without the subject giving the object. 2) The object of ‘morau’ is a thing, and the object of ‘ukeru’ is an event. 3) ‘Morau’ implies “receiving a thing from the giver” or an event similar to this, and ‘ukeru’ implies “whether or not there is a response to the event represented by the object”. 4) ‘Morau’ implies “making the object my own”, but ‘ukeru’ does not have such an implication.

This paper reports on conversation lessons that do not use a textbook. Usually, conversation lessons generally use a textbook and adopt methods such as pair work, group work, speeches, and roleplaying, but the author instead conducts lessons all in Japanese without using a textbook. The lessons are developed by deciding on an omnibus topic for each session. However, the topics consist mainly of items that often appear in the JLPT, such as “sequential order,” “schedules,” “weather forecasts,” and “street directions.” Since the lessons are also in preparation for the JLPT, consistency has not been ensured between sessions. With this background, this paper particularly emphasizes the “imaginary conversations” method. In this method, students create imaginary plans, such as “travel plans” or “moving plans,” and hold discussions to determine the date, schedule, and other details together. The advantages of this method are that students can use all their previously learned basic grammar skills and it gives them equal opportunities to speak.

This paper clarifies the grammaticalization of a single form that belongs to multiple grammatical categories, specifically considering the so-called sono-ta hitei expressions hoka, kiri, shika, and pakk-ey ‘only’ in Japanese and Korean. These expressions behave as both negative polarity items (NPIs) and adverbial particles. The arguments of this paper are as follow: (i) These expressions are characterized by the following generalizations: The grammaticalization of adverbial particles and NPIs occurs at about the same time. Likewise, degrammaticalization of these grammar categories also occurs at around the same time. (ii) The reason for this could be that adverbial particles and NPIs belong to the same category, that is, the minor category. (iii) If a single grammatical form has more than one minor category, these categories possess a strong grammatical feature like a group. Therefore, they behave in the same manner when entering or exiting a minor category.

The writing of Japanese in Korean is an important element influencing the provision of information and study of Japanese. The writing of カ行, タ行, バ行, and special phonemes in Korean causes the loss of the words’ discriminating functions, thus needing improvement. In the writing of か行 in Korean, the beginning is ‘ㄱ’, and the middle and end are ‘ㅋ,’ and it fails to show the differences between カ行 and ガ行. As a result, ‘ㅋ’ should come in the beginning, and ‘ㄲ’ in the middle and end. In the writing of タ行(タテト) in Korean, the beginning is ‘ㄷ’, and the middle and end are ‘ㅌ.’ This shows no differences between タ行(タテト) and ダ行(ダデド). It is thus needed to have ‘ㅌ’ for the beginning and ‘ㄸ’ for the middle and end. In the writing of チ in Korean, the beginning is ‘지’, and the middle and end are ‘치.’ The beginning should be ‘치’, and the middle and end should be ‘찌.’ In addition, ツ should be written as ‘쯔’ instead of ‘쓰’ in Korean. パ行 is written in ‘ㅍ’ in Korean, but its beginning should be ‘ㅍ’, and its middle and end should be ‘ㅃ.’ Prolonged sounds of Japanese are completely different from those of Korean, which calls for different marks. When consonant signs are not allowed in the management of Korean to write Japanese words in Korean, vowels should be introduced. In the case of 促音 (ツ), it should be written in Korean as‘ㄱ’ before ‘カ’行, ‘ㅅ’ before ‘サ,タ’行 and ‘ㅂ’ before ‘パ行 instead of ‘ㅅ’ all the time. The writing of 撥音(ン) should not be ‘ㄴ’ all the time. It should be written in ‘ㅇ’ before ‘カ,ガ,ハ’行, ‘ㄴ’ before ‘サ,ザ,タ,ダ,ナ,ラ’行, ‘ㅁ’ before ‘バ,パ,マ’行, and ‘ㅇ’ before vowels or at the end of a word. The writing of Japanese in Korean should be revised to have discrimination and reflect the original pronunciation of Japanese. In many parts, current Japanese can be written correctly in Korean, which raises a need for an urgent revision. Once revised, the writing of Japanese in Korean will contribute to the provision of information about Japan as well as the study of the Japanese language.

日本語の韓国語表記は情報伝達及び日本語の学習に影響を及ぼす重要な要素であ る。か行、た行、ば行及び特殊音の韓国語表記は言葉の識別機能を失いつつあり、改 善すべきである。 か行の韓国語表記は語頭が‘ㄱ’、語中･語尾が‘ㅋ’になっているが、が行との違いも 考慮し、語頭が‘ㅋ’、語中･語尾は‘ㄲ’にすべきであろう。 た行(たてと)の韓国語表記は語頭が‘ㄷ’、語中･語尾が‘ㅌ’になっているが、だ行と の違いも考慮し、語頭が‘ㅌ’、語中･語尾は‘ㄸ’にすべきであろう。 ちの韓国語表記は語頭が‘지’、語中･語尾が‘치’になっているが、語頭は‘치’、語中･ 語尾は‘찌’にし、つの韓国語表記は‘쓰’になっているが、‘쯔’にすべきであろう。 ぱ行の韓国語表記は‘ㅍ’になっているが、語頭が‘ㅍ’、語中･語尾は‘ㅃ’にすべきで あろう。 日本語の長音は韓国語と全然異なり表記しなければならないものである。韓国語 の運用に長音符合の使用が不可能ならば母音を入れて表記する。 促音は‘ㅅ’になっているが、‘か’行の前は‘ㄱ’、‘さ/た’行の前は‘ㅅ’、‘ぱ’行の前は‘ㅂ’ で表記する。 撥音は‘ㄴ’になっているが、‘か/が/は’行の前は‘ㅇ’、‘さ/ざ/た/だ/な/ら’行の前は ‘ㄴ’、‘ば/ぱ/ま’行の前は‘ㅁ’、母音の前や語末は‘ㅇ’で表記する。 日本語の韓国語表記は原音も反映し、弁別力も揃えたものに改訂しなければなら ない。日本語の韓国語表記は多くの部分が韓国語に正しく表記し直せるもので、それ だけに早急に改訂し、日本語の学習のみならず、日本に関する情報提供にも役立てる ものにしなければならない。

In order to clarify the problems of Kawabata-Yasunari literature’s <untruth and the paradox>, the writer looked at Kawabata’s relationship with I-Novel of Japan through his literary ideology and literary point of view, including Kawabata’s theory of untruth. During the shifting period from the Taishou Age to the Shouwa Age, where it was the replacement of the new and old literature ideas, Kawabata opined that it was important, above all things, to truly write the truth of the author in the novel. At that time, Kawabata took the new issue of “life and art” as his a major task as an artist, and was conscious of <It is to surmount the circumstance of the literary world itself, not to mention surmounting the circumstance of our own lives and art>. In this trend, the interest in “new literary art” in “A new tendency explanation of a rising author”, which is seen as Kawabata’s “a neo-sensualist” statement, started from a point of “mentalism” and expressed its position of “a new sense” in Buddhist terms such as “Banbutsu-itchinyo” and Shukyaku-itchinyo“ The aspects of Kawabata’s special literary figure such as “observant spirit” and “religious character” were seen as common to pure literati with an artistic sense of the literary world at that time. In addition, the aim towards the unity of human and natural exchanges、the spirit of Musa and Muga、expressed in Kawabata’s lifetime works appears to be something in common with the religious character in “I-Novel of Japan”. At that time, within the literary circles, the process of making a “I-Novel of Japan” that condenses <I>, which Kume-Masao made clear that <the fact that the prose art had to be “I-Novel of Japan”, that is it was the essence, the foundation, and the basis of art>, was initially applied to several works in the creation of Kawabata’s work for sure. However, in the case of Kawabata, as Kawabata’s own theory of untruth alludes, other than why he primarily had distrust towards the facts, because of the fact that “it is important for a writer to write the truth of life in a novel,” it is thought that he wrote his own “My I-Novel of Japan” in Kawabata’s own way by writing in a different way from typical historical novels.

This study examines Japanese Licensed prostitution the factors divided into two categories in early morden and modern Japan and as a new keyword for overcoming thehistorical limits and problems, tries to reconsidered Yujohyoban-ki. The purpose was to try to utilize it in cultural history. The Yujohyoban-ki is a practical book that inevitably appeared with the establishment of the Japan brothel system, and has survived with thesystem. The Yujohyoban-ki records the aspects of prostitution, which is the core of Japan’s prostitution system, in various forms, so far it wasn’t attracted much attention until now, even though it is a starting point for elucidating Japan’s Japanese Licensed prostitution system. It was nat determined that the cause was the fallacy of the history of literary research that set the ended of the Yujohyoban-ki in the middle of the 18th century. As a result of the research, first, it was confirmed that the Yujohyoban-ki was continuously written and published during the period when the Japanese brothel system was implemented. Secondly, from the original function and format of the Yujohyoban-ki, it was found that it was in reality show the reputation and the situation of the prostitute for the existing prostitute. Thirdly, we were able to confirm the customs and customs of the brothel provided by the prostitute reputation, and the appearance of the sex sales of transactions between the prostitute and the passenger from the price and the actual content. From the above, the record of the Yujohyoban-ki provides the basis for exploring the structure of the Japanes Licensed prostitution system and its management system, and the sexual culture that forms the core of the Japanese brothel system, and by extension, entertainment. It seems to have historical significance in research to elucidate culture in general.

｢In the volumes ranging from “Hashihime” to “Akemaki”, the love story between Kaoru and Uji’s Oigimi is developed. In the love story between Kaoru and Uji’s women, the “Peeping” acts as one of the reasons for the development of the story. The “Peeping” acts not only as the friend of Buddhism with Hachinomiya leading Kaoru to Uji but also acts as the factor restricting the progress of love with Oigimi. In the volume “Shiigamoto”, the scene is depicted in the story, where Kaoru took a second ‘peeping’ of the Uji’s women after Hachinomiya passed away. The love story between Kaoru and Oigimi does not develop in the same way as the ‘old story’ though it adopted the typical idea of traditional love story. In the fall just 1 week prior to the first anniversary of the death of Hachinomiya, there was the mismatch in the relationship between Kaoru and Oigimi concerning the word ‘promise’ as shown in the exchange poems between Kaoru and Oigimi. The parallel relationship between Kaoru and Oigimi is symbolically expressed in the word ‘distance’. Though Oigimi had affection toward Kaoru, she thought that it was hard for her to get married to him. So, she tried to keep the relation with Kaoru by making her sister Nakanokimi to get married to Kaoru. In the life of Oigimi, when she was proposed for a marriage by a man, she showed the women’s attitude as expressed in Seihen, which is consistent with the method of her own way without taking any utilitarian or realistic attitude. The story is considered to have granted the topics of succeeding Murasakinoue shown in Section 2 to Oigimi.

This article looks into Tanikazki Junichiro’s novel “Jinmenso” to explore his aspiration towards the film media. His perception of the film media is displayed in his essay “The Present and Future of Moving Pictures”, published around the time he was conceiving “Jinmenso”. In this essay Tanizaki paid attention to one of the aspects of film - ‘looking and feeling real’. As film makes any fictional world seem true, the audience can experience both reality and fantasy. Tanizaki focused on this borderlessness of cinema and wrote the novel “Jinmenso”. The short novel contains several borderlessness factors. In terms of form, Tanizaki introduced screenplay writing into the novel. Content-wise, as the movie world in the novel influences the novel world, the double structure plot of movie-in-novel becomes ambiguous. The story is told in rumors which also have the effect of breaking the border between truth and lies. The borderlessness shown in “Jinmenso” is actually the borderlessness of the film media. Tanizaki firmly believed that by using this characteristics of film he might navigate the world of the ‘real’ fictional world, which his stories were aimed at.

In 1928, botanist Makoto Nishimura created the robot Gakutensoku. Far from walking, this robot was a giant 3m long robot with no other functions. However, ‘Gakutensoku’ was the first in the world to express various emotions through the eyelids, pupils, and lips. Nishimura made the skin of ‘Gakutensoku’ out of rubber, and it used air pressure as a power source to make facial expressions and gestures smooth like a human being. Nishimura’s attempt like this was to infuse the doll with a “soul as if it were a living being.” This is in line with the oriental view of life, which recognizes that life exists in all beings, including humans, along with the Karakuri dolls.