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This study is to understand the appropriateness of the review in the process of reviewing papers by Korean academic societies. In other words, we are investigating what kind of review is being conducted in the process of reviewing papers, and aim to make proposals for a more rational and reliable system. Since various factors are involved in the publication of submitted papers, comprehensive research is needed, but this time, we will focus on the aspect of judges. In other words, he raised the issue of the influence of the qualifications of the reviewers and their tendencies on the dissertation review. In this way, by classifying the basic data in the dissertation review process, it became clear that although there is a certain flow as a whole, homogeneity cannot be ensured by the method of scoring each reviewer. After all, in order to prevent such deviations in the scores of multiple reviewers, we changed the direction to a system in which one reviewer is in charge of multiple papers in the same field, and dissertations were distributed to a large number of reviewers with different tendencies. The current system of entrusting review should be reviewed. As a future task, let’s try to understand the inconsistency of the examination and the difference in the score due to the tendency of the examiner by comparing the range of the score of each judge with the poster one by one.

本研究は韓国の学会の論文審査過程において、その審査の適正性を把握するためのものである。すなわち、論文審査の過程でどのような審査が行われているかを調査し、より合理的でかつ信頼性を有するシステムへの提言を目指している。投稿論文の掲載の可否にはいろいろな要素がかかわってくるので総合的な研究が必要であるが、今回は、特に審査者という側面に集中して考察した。つまり、審査者の資質とその傾向性などが論文審査に与える影響について問題提起をした。 このように、論文審査過程における基礎データを分類することにより、全体的にはある程度の流れはあるが、一人一人の審査委員の点数のつけ方では同質性が確保できていないことが明らかになった。結局このような複数審査者の点数の偏差を防ぐためには、同じ分野の複数の論文を一人の審査者が担当するシステムへと方向を変えて、傾向性の異なる多数の審査者にばらばらと論文審査を任せる現行のシステムを見直すべきである。今後の課題としては、各審査委員の点数の幅を投稿者と一々照らし合わせてみることにより、審査の非一貫性及び審査者の傾向性による点数の隔たりを読み解いていこう。

There is no overemphasizing fairness in paper reviews since they are related to contributors’ life as researchers. The fairness of a review system can be guaranteed by the organization, management, and quality of a judging panel. The review system should first be improved. A review should identify a high-quality paper rather than fairness in the process. In the current system, many judges select a paper to be published in a journal based on their subjective criteria that lacked in consistency. Their review tendencies determine which papers are to be published, which means that there is no guarantee of fairness in the review system. A judging panel should be comprised of experts with professionalism in the concerned field. Their reviews should be acceptable to restore their authority and reliability. The editorial panel should consist of members whose qualification is recognized objectively. That is, a small number of judges with their respective abilities in the concerned fields should be held accountable for their reviews in the system. The National Research Foundation of Korea needs to abolish the system of managing societies and mass-producing papers under the pretext of research supports and ensure that normal papers should be produced from normal academic activities. In this way, the number of societies can be restored to the normal level. Research activities for the honor of societies and individuals rather than those forced by the demand of research foundations can lead to the true development of study.

論文の審査は投稿者の立場からすると研究者生命にかかわる問題で公正性の重要性はいくら強調しても強調しすぎることはないはずである。公平な審査制度を確保するためには審査委員の構成や運営のみならず、審査委員の質も保証されなければならない。 そのためにはまず審査制度の改善が必要である。審査には過程の公正性より質のいい論文を世に送り出す役割が求められるべきである。多くの審査委員が一貫性の欠ける主観的な判断基準で判定した審査結果を並べて、その中から論文の掲載を決定する今のシステムは審査委員の審査傾向によって掲載可否が決定されてしまい、審査制度の公正性を求めることはできないであろう。 審査委員の構成も納得の行く審査が行われ、権威と信頼を取り戻せるものにすべきである。そのためには客観的に資格が認められる編集委員を構成することである。つまり、分野別に能力のある少数の審査委員が責任を持って審査できるシステムを構築することである。審査委員の構成で該当分野の専門性を持った者が納得できる審査を行い、権威と信頼を取り戻すことができるようにしなければならないだろう。 研究を支援するという名目で論文を量産させるシステムを廃止し、正常な学術活動を通じて正常な論文が世に出るようにしなければならない。そうなれば学会の数も正常に戻るであろう。研究財団の要求に強制される研究活動ではなく学会と個人の名誉のために行う研究活動であってこそ真の学問の発展につながるであろう。

In this paper, in order to show Japanese language learners how to use ‘yaru’, ‘ageru’ and ‘ataeru’, I considered the relationship between meanings in each word from the perspective of semantic extension and compared the central and peripheral meanings of these three words. As a result, the following four points were derived. 1) When the object is “a thing” and the giver is “a subject with an intention”, any of ‘yaru’, ‘ageru’ and ‘ataeru’ is used. 2) If the object is “a person”, ‘yaru’ is used. This is because when we use ‘yaru(give)’, we also recall the meaning of the polysemous word ‘yaru’, which also means “send the object to another place”. 3) If the giver is “a thing or an action”, ‘ataeru’ is used. 4) If the object is “an action”, ‘ataeru’ is used.

This study will consider non-noda and noda sentence to be used when a discovery situation was described in speaking. At the preceding research, the case of using noda in describing the discovery situation already explained “unexpectation” at the viewpoint. but, an unexpectation scene of a nomal and a using noda was not clearly marked. so it lacked about the case that noda was used. This study reviewed the unexpectation and got the result about a using condition of noda. The first, a speaker can expect the situation before speaking at that time of discovering the situation. The second, if a speaker can’t expect the situation, the awareness to had been formed before speaking was changed and the new awareness was formed. Also, in terms of change perception before and after speaking, we made a comparative study noda and ta-style that have something in common. we can know the result that there is the difference of recognition before speaking in noda sentence and ta-style. noda sentence described a change in a recognition that a speaker had formed before speaking. A ta-style expressed not to recognize that a speaker could have recognized the change before speaking.

This paper discusses morphological variants in the conjugatione of Japanese innovative verbs based on the schema of verbal paradigm. The innovative verbs are classified prescriptively as 5-grade verb (godan verb). We, however, found that the verb ending with /...eru/ can be conjugated as lower monograde verb (shimo ichidan verb) but the verb ending with /...iru/ is rarely conjugated as a upper monograge verb (kami ichidan verb) by investigation NINJAL Web Japanese Corpus (NWJC). And we found that the conjugation of the innovative verbs are affected by phonotactic distributions of monograde verbs, that is, stem final Cs in CV (V = /i, e/) are /k, g, z, t, n, h, b, m, r, (s)/. It was also found that analogy to monograde verbs was related to the token frequency of the source of base. We explained these factors with schemas of verbal paradigm (5-grade verb, lower monograde verb and upper monograge verb) and network relations, which are affacted by frequencies, to innovative verbs.

“Adverbs of point in time” indicate when a certain action or behavior is performed depending on the context between the time of utterance and event. In Cheobhaesineo, ten types of adverbs of point in time are used on 38 occasions. Depending on the meaning, these can be divided into adverbs of absolute point in time that directly express the context between the time of utterance and event, and adverbs of relative point in time that show it indirectly. In contrast with other time adverbs, those of absolute point in time directly relate to certain tenses and aspects, and there are adverbs with imperfect or past meanings. However, among these, “いま” and “ただいま”, which are the most frequently used, can appear in one sentence without any restrictions on tenses and aspects, and show the characteristic of freely combining with predicates with action or with state. In addition, “いま”and “ただいま”, which denote the past, are revised in both the revised and middle editions, and this is seen as an educational consideration to distinguish them from “いま” and “ただいま”, which denote non-past. Others are intended to be understood as “revision through the refinement and clarification of meanings.” Unlike adverbs of absolute point in time, those of relative point in time appear freely in past, non-past, and incomplete sentences, and are not restricted by tenses and aspects. Therefore, it can be said that it mainly functions to show the context between the time of utterance and postulated event or relevant event.

This study analyzes the structural characteristics of persuasive behavior and the use aspect of persuasive strategies of Korean native speakers and Japanese native speakers. As analysis data, 8 cases of actual telephone conversation in each Korea and Japan were collected, which was transcribed through a method suitable for this study. 1)In the low burden situation of a preceding paragraph, Korean native speakers preferred the type of checking the opponent’s environment or asking for information to understand the current situation of the opponent. Under the high burden situation, Japanese native speakers preferred the method of provides information about persuasion situations in advance. 2)Regarding the persuasive paragraph, the use aspect of persuasive strategies was examined. As the biggest characteristic, Japanese native speakers showed the highest use aspect of｢Strategy to Induce Listeners’ Psychology｣regardless of types of persuasive situation. Through this, Japanese native speakers tended to save the listener’s(opponent’s) face rather than him/herself as a speaker regarding the linguistic behavior inducing the opponent’s behavior. 3)In the re-persuasive paragraph, both Korean/Japanese native speakers commonly showed the highest use aspect of｢Strategy to Induce Listeners’ Psychology｣under the low burden/high burden situation. With the matter of the opponent’s response in persuasive discourses, and the suggestion of proper reward and the reduction of listeners’ burden in re-persuasive discourses, the linguistic behavior to save listener’s face was more preferred.

The purpose of this study is to analyze objective data of interest in Japan, reveal its trend, and seek the direction of education through a survey on the frequency of expression of associated words related to society and culture in Japan. In fact, the emphasis on culture in university language education is due to the globalization and information age and the reorganization of curriculum, and this is why the number of lectures on social culture in universities is increasing. The need for cultural education, which was neglected in language education in the past, has been emphasized, but it is undeniable that it is a transitional situation that is recognized as a basic knowledge to develop language skills. Through the observation of the frequency of expression of culture-related words in this study, it can be recognized that university students are interested in Japanese society and culture in various fields. In general, other cultures were mainly delivered in the form of knowledge through media, newspapers, books, and magazines, but in the recent information age, a large amount of cultural items are delivered quickly and directly through various media such as the Internet. In addition, the spread of the Internet, YouTube, and SNS has led individuals to actively and selectively interact with and learn about culture at their own discretion.In addition, the number of ways to travel in person and experience socializing is increasing. Through this study, it can be assumed that the direction of cultural education should be changed, as there are perception gap of culture between generations, individual experiences and education, and the utilization of media, etc. In future university education, various IT technologies such as virtual reality space (Metaverse) should be combined to provide Japanese culture education through SHEEF experiences.

本研究は、日本の社会と文化関連連想単語の表出頻度調査により、日本に関する関心度の客観的資料分析とその傾向を明らかにし、教育の方向を模索することを目指す。 実際、大学での言語教育で文化が強調されたのは、グローバル化、情報化時代の流れと教育課程の改編によるもので、大学での社会文化と関連した講座が増加したのもこのような理由からだ。かつての語学教育で度外視されてきた文化教育の必要性は強調されたわけだが、語学能力を育てるための基礎知識程度に認識されている過渡期的状況であることも否めない。 本研究における文化関連単語の表出頻度に関する観察を通じて、大学生が日本社会および文化に対して多様な分野にわたって相当な関心を持っているということを認識できる。 通常、異文化についてはマスコミや新聞、書籍、雑誌などを通して詰め込み知識の形で伝えられるものが主流であったが、最近の情報化時代には多量の文化アイテムがインターネットなどの様々な媒体を通じて迅速かつ制限なく直接的に伝達されている。 また、インターネットやユーチューブ、SNSの拡散により、個々人が自らの判断によって能動的かつ選別的に文化に接し体得するようになった。その他にも、直接旅行したり、交流などの体験を通した方法も増加している。 本研究により、文化を認識するには世代間、個人の経験および教育、媒体の活用度などによって差があり、したがって文化教育の方向が変貌する必要があることが推測できる。 今後の大学教育においては、仮想現実空間(メタバース)のような多様なIT技術が組み合わさった教育方式や教育の場が設けられ、体験(SHEEF)を通した日本文化教育が行われるべきと考えられる。

In the 1960s, the Japanese manga culture expanded its readership to young people. While this expansion of readership strengthened the commercial nature of manga, it also gave rise to experimental and radical works that took literature and art as their reference points. In particular, as the discourse of self-expression, according to which literature or art should express the author’s self, flourished in Japan, some manga artists tried to express their selves through the medium of manga. Among them, Nagashima Shinji was one of the most popular comics artists of the time. He produced many stories about manga artists. In Fūten, published in the late 1960s, Nagashima used himself as the model for the protagonist, a technique that is reminiscent of the tradition of the autobiographical novel in the modern Japanese literature. This paper focuses on the new cultural intersection of self-expression and self-representation in the manga culture in the 1960s, focusing on the production and reception of Fūten. Referring to the cultural contexts, such as the development of manga as a youth culture, the popularization of self-expression, and the increase of paratexts about manga artists in the comics magazine COM, this paper will clarify the cultural and media environment in which Fūten was produced and received as a self-representational text.

As the Ukiyo-e artist who drew “Hizakurige-Group” can understand at a glance, from the total of 76 types of 【Chart 1】 created in chronological order, in this paper, I investigated Yosichuya who drew ⑬ and whose publisher and production year are not clear. Then, I picked up the works of three painters, Yosikazu’s painting Ⓕ, Kunichika’s painting ⓛ, and Sigemasa’s painting Ⓛ and Ⓜ, which are Ukiyo-e “Hizakurige-Group” that I didn’t notice in my manuscript. As a result it was revealed that, regarding the “Tokaidochu-hizakurige” series by Yosichuya painting, the production period is from January 1848 to around September 1850, and the publisher is the publisher of the “ヲ:wo” trademark in the star shape and Ootaya-takichi. Next, as “Hizakurige-Group” Ukiyoe, (1) Yosikazu painting “Mariko /Fujieda”, (2) Kunichika painting “Yokkaichi”, (3) Sigemasa painting “Kanagawa daino-chyaya /Hodogaya”, “Tochukanosakamichi / Fuzisawa”, “Kuwわからなかったana / miya” and “Hizakurige-kokkei-chuziuranai” was newly introduced.

When a migrant lives in a new country, his identity is also affected. Currently, there are about 500,000 Zainichi Koreans living in Japan. Unlike the Zainichi Koreans 1st and 2nd generations, Among the 3rd and 4th generation, the number of naturalized Japanese is increasing. due to the Japanese government’s assimilation policy. Concerns about the identity of Koreans in Japan were urgently carried out under various backgrounds, such as the special geopolitical relationship between Korea and Japan, the wide range of changes in the relationship, the peculiarities of the homeland and the mother country, and the change of the times. Immigrants are required to accept to some extent the culture of the host community that they have acquired. In addition, the dual identity is not a matter of choice, it is automatically formed in life. According to the survey conducted for this study, Zainichi Koreans introduced their dual identity that they are neither Korean nor Japanese. The identity of Zainichi Koreans is characterized by the pursuit of freedom for personal convenience, enhancement of usability in a more active and global dimension in the face of the global era, emphasis on networks among compatriots, and pursuit of coexistence and human dignity.

As part of A Modern history of Noh, this paper set up the research of A Colonial history of Noh by seeking to inquire into the development of Noh and Utai and what kind of Cultural Apparatus they worked as during Japanese colonial rule. The paper highlights how insufficient the research is about the formation of Noh and Utai within the Japanese society in the colonies at the time, and yet the research conditions remain unrevealed. Furthermore, it presents a critical view about how Noh and Utai have settled down as the traditional performing arts, Canon, and used as a device to display the greatness of Japan as a nation-state after 1945 even though they have a history of mobilization for national integration and patriotic service to defend the national polity under the propaganda warfare ‘Japanese spirit/Nihon Seishin’(日本精神、日本精神の国粋) during the total war. It is already revealed that the Yokyoku circles in Colonial Joseon’s Keijyo(Seoul) had begun in December 1905 by the small gathering of the Japanese establishment such as bureaucrat, military officer, teacher and doctor who were sent to Korea due to the foundation of Residency-General practicing Utai because there was no entertainment which satisfied them. Therefore, the colonizer’s movement caused the transference of the performing arts and culture. In Taiwan, where the Japanese colonial rule had begun 15 years earlier than Korea(Great Korean Empire), Yokyoku circles was led by Katsura Roppei(桂六平) from Kita School(喜多流) in 1902. The Japanese faced fierce resistance when they first came to Taiwan in 1895 under the Treaty of Shimonoseki which was crushed by the Japanese sending a division and colonial rule was enforced. This means that Yokyoku circles became active within the Japanese society in Taiwan at an early stage of Japanese colonialism. Interestingly, it was the Noh performance that took place in the Seoul-Busan Railway Opening Ceremony in May 1905 at the present Seoul station square when the Japanese navy defeated the Russian Baltic fleet that invigorated the Yokyoku circles which was insignificant in Colonial Joseon, and similarly, a company of Kita Roppeita(喜多六平太) performing Noh at the Taiwan Shrine in October 1905 was one of the turning points in Colonial Taiwan. Significantly, the first and second overseas performances since the modern age were the two mentioned above. Like Colonial Joseon(Korea), Yokyoku circles was forming very quickly in reaction to the change in power in Colonial Taiwan. Although expanding influence would have been the main objective for each school, Noh and Utai drew a clear line between the ruler and the ruled, the ‘true’ Japanese and the ‘institutional’ Japanese and worked as Cultural Apparatus to select disciplined and competent subjects from the colonies. The beginning and development of Yokyoku circles in the two colonies are very similar because Noh and Utai could not reflect the unique cultural feature of both Joseon and Taiwan, and the leading intelligentsia among the ‘True’ Japanese, especially those who enjoyed Noh and Utai were at the very top of the pyramid in the colonial society. However, the history of Noh and Utai is not recognized in Japan today. They only exist as the performing arts showing the greatness of the nation-state because of their 600-year-old history, which almost makes them valued as an ideology. This structure surrounding the power and cultural art has also been present in other nation-states and enables the observation of the universality of ‘Cultural Power’.

The purpose of this paper is to examine the aspects of Kumano Faith(熊野信仰) in Ryōjin Hishō(梁塵秘抄). First of all, the deity of Kumano Gongen as the god of mercy is revealed in “Four Phrase God Song”, but the worship of Nyakuoji Shrine(若王子社), which is one of Junisho Gongens(十二所権現), stands out. Nyakuoji Shrine is one of the five Ojis of Kumano, but the place where the five Ojis are enshrined is also said to be the place where Junisho Gongens was revealed. In addition, “Nachi of Kumano” is included in the present singing of the Shugendo hall, but Nachi of Kumano is said to be the Potalaka Pure Land where Kanzeon Bosatsu lives, and it is far beyond the sea of ​​Nachi. It is said that there is the Potalaka Pure Land as a sea world, and the beliefs in Potalaka was reflected. The first, second, and twelfth Kumano pilgrimages of Go-Shirakawa-in are described in Ryōjin Hishō Kudenshu(梁塵秘抄口伝集), but in the first Kumano pilgrimage, it is shown in response to Imayo(今様). In the second Kumano pilgrimage, it was depicted as god who made a decree, and in the twelfth Kumano pilgrimage, it was depicted as god who mobilized all the senses to manifest, showing a new spiritual test. It can be said that Kumano faith in Ryōjin Hishō represents Nyakuoji Shrine faith, Shugendo where Hijiri conducts mountain training, and Kannon faith such as Mt. Potalaka. And it also means that the Pure Land Buddhism spread, and Kannon sacred place formed with Kannon faith, the fusion of Shinto faith and Buddhist faith, the formation of Shugendo, etc.