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By clarifying the correlation between paper publication on one side and the academic background & research career of contributors on the other, this study determined whether papers with high levels of academic value and qualitative status score well in paper screening. As for the research subjects, the culture field from the 30th to the 49th issues over the five years from 2015 to 2019 were examined using big data of Journal of Japanese Language & Culture. First, the overall trend of paper publication in the journal was analyzed. In the cultural field of Journal of Japanese Language & Culture, 40 to 50 treatises were submitted every year. The passing lines for 5 years were distributed between 35 and 40 points, forming a fairly high score. Second, the educational background of contributors were reviewed. As a result, the group with an experience of studying in Japan was more active in paper contribution and had a lot of publication. Furthermore, the number of paper publication of prestigious university graduates was a lot. Third, contributors’ research career was examined. As a result, contrary to what was assumed, it was not positively correlated with the paper publication rate. Rather, young authors were more active in contributing papers and had a lot of publication. The causes behind them need to be examined along with the paper screening process through follow-up research.

本論は、学術的価値や質的水準の高い論文が査読でもよい評価を受けているかを確認しようとする目的から出発したものである。その第一のステップとして、本論では、論文掲載と投稿者の学歴および研究歴との相関関係を明らかにすることを目標にした。研究対象としては、韓国日本言語文化学会の学術誌󰡔日本言語文化󰡕の投稿台帳および投稿者に関するビックデータを利用し、2015年から2019年に出版された第30輯から第49輯までの｢文化｣分野の論文を調べた。 まず、󰡔日本言語文化󰡕の文化分野における投稿の傾向について分析した。その結果、毎年40~50篇の論文が投稿されていたことが分かった。5年間の合格ラインは35~40点の間に分布し、かなり高い点数台を形成していた。 次に、投稿者の学歴について調べた。調査の結果、日本で勉学したグループの方が論文を活発に投稿し、論文の掲載数も多いことが確認された。また、主要大学で博士号を取得したグループの論文の掲載数がその他のグループに比べて多かった。 最後に、投稿者の研究歴について調べた。1950~1960年代に生まれた研究者と1970~1980年代に生まれた研究者のグループを分け、それをさらに細分して傾向を調べた。その結果、予想に反して、論文の掲載数は著者の研究歴に必ずしも比例するものではないという傾向が読み取れた。むしろ、若手研究者の投稿が活発で、掲載も多かった。その原因については、査読の過程に関わる複雑な要因などが考えられるが、それについては、後続研究を通じて、補足していきたい。

This paper aims at revealing the features of the Japanese sentence-final particle “kke”, focusing on the grammatical and semantic features. “kke” co-occurs with noun predicate sentences which end with “dakke”, or with verbal predicate sentences which end with the past-tense of the verb such as “shita-kke”. “kke” has the usages such as exclamation, recollection, and question. And this paper has pointed out that the verb “suru-kke” can be used only when the event of the sentence has present tense and it has a question usage, although the previous researches says “suru-kke” should not be allowed to use.

This paper compares the usage examples of the topic article and the sentence-final particle "ttara" between the Meiji period and the present day. In addition, it clarifies the following points about the five usage methods: <evaluation, expression, repeated invocation, re-presentation, and extremeness>. First, the standard expression “Ａ ttara Ａ” was followed by <re-presentation> and “Ａ ttara-nai” was followed by <extremeness>. Both of them went through a period of combined use of “ttara/toittaraa” then it became a single usage of “ttara”. Next, for <evaluation>, there was no period it was used in combination with “といったら” (toittara), and it is considered that “ttara” was used from the start. Finally, in the Meiji period (1868-1912), <re-presentation> was the most common usage with about half of all the cases, while <evaluation> now accounts for about 80% of the usages. In addition, it was pointed out that the five usages shared the common feature of having situation-specific applicability on site.

This paper examines the direct use of indicators in the Ko series used in advertising copies and what functions they play in advertising. In conclusion, in advertising copies, the Ko-type indicator directs and emphasizes the subject of advertisement or related things, and functions to stimulate consumer curiosity and draw attention. In advertisements, advertisers and consumer do not indicator directly to objects in front of them because they are not exist in the same time and space, but they create a place of conversation like that, making them feel realistic. In advertisements, only indicators such as “kore” and “koko” are used without directly revealing the name of the advertisement target, and direct or related to the advertisement target. In this case, it arouses consumer interest and interest in what the indicator points to. In addition, when used in the form of “kono+N,A,V”, the attributes of the advertisement target can be expected more than when only the indicator is used, but there are also cases where the advertisement target name is not clearly disclosed, stimulating consumers’ curiosity and drawing attention. In addition, “konoyo”, “konohosi”, and “konokuni”, which represent absolute space, and “konokoro”, “konosaki”, and “konoharu”, which represent absolute time are used in advertising copies, and in this case, it seems that the function aims at the advertising effect by arousing the sympathy of consumers.

In Japanese, “wakeda” has various meanings. It is difficult to use the word right without understanding its meanings enough. Foreign learners of Japanese thus misuse the word often. It is no exception with Korean learners of Japanese, who misuse “wakeda” a lot, which indicates that “wakeda” is in a difficult form for Korean learners to use. Text authors need to understand the semantic uses of “wakeda” right first and offer basic example sentences for its four different semantic uses based on their understanding so that learners can understand the meanings of “wakeda” right. The current Japanese texts used in high schools and colleges, however, provide no content that is satisfying both in quantity and quality. This study proposes that future Japanese texts should define the meanings of “wakeda” as follows and provide easy and balanced learning methods based on their typical examples:

A lot of research has been done on “Recommendation”, but the way it is used and the scope of its definition vary from researcher to researcher. Therefore, I made a hypothesis that the most important viewpoint in “Invitation” is “Building Uchi-relationship”. The 71st episode of the drama and two movies were analyzed from the perspective of “Building Uchi-relationship.” It was found that the Expression Form uses “suru”, “suruka”, and “dou” types in addition to “shiyou”, “shiyouka”, and “shinaika”, which have been considered to be typical forms. Consider how these six Expression Forms are related to the four Expression functions “Group (guru-pu)”, “Attract (hikikomi)”, “Accept (mukaeire)”, and “Support (atooshi)”. In “Group (guru-pu)”, “shiyou” was the most common. Next is “shiyouka” “shinaika” “suruka” “suru” “dou” in that order. In “Attract (hikikomi)”, “suruka” was the most common. Next is the order of “shiyou”, “shinaika”, and “dou”. In “Accept (mukaeire)”, only two Expression Forms, “suruka” and “shinaika”, were used. In “Support (atooshi)”, only two Expression Forms, “shiyou” and “shiyouka”, appeared. From the viewpoint of “Building Uchi-relationship”, I was able to grasp “Invitation” more broadly and investigate the correlation between Expression Form and Expression function.

Because of the Pandemics, there was a huge change in the way the classes were taught. In the case of foreign language classes, direct communication with students is essential. Therefore, online recording classes are less efficient because real-time feedback is not possible. Complementing those shortcomings, we devised a real-time online teaching method that applied a metacognitive strategy. I guided students to improve their overall cognitive skills of writing, reading, speaking, and listening, which are the goal of basic Japanese classes. Even in a non-face-to-face learning environment, students were provided with self-directed learning strategies through real-time online methods. Open chat rooms using SNS were created class by class and guided students to take the lead in learning. The wrong parts were fed back in real time by the professor, and the students’ ability to teach was individually managed. Students were also able to make up for their shortcomings by checking the important parts they had learned in the chat room. A survey was conducted in the first half and second half of the class to verify that the teaching method applied metacognitive strategies actually helped improve students’ cognitive skills. As a result, it was confirmed that there were improvements in all three areas of cognitive understanding, cognitive management, and cognitive evaluation. After the Pandemic, Metacognitive strategies using smart devices are expected to contribute to improving students’ self-directed learning skills.

パンデミックのせいで、授業のあり方に大きな変化があった。外国語を教える授業の場合、学生と直接コミュニケーションをとることが不可欠である。しかし、オンライン録画授業ではフィードバックが実時間で行われず、授業の効率性が低下してしまう。このような短所を補完し、メタ認知戦略を適用したオンライン教授法を考案した。基礎日本語授業の授業目標である 書取り、読解、スピーキング、聞き取り能力の全般的な認知能力が向上するよう、生徒たちを指導し、非対面学習環境の中でも実時間オンライン方式を通じて、学生に自己主導的な学習戦略を提供した。SNSを活用したオープンチャットルームをクラス別に作り、毎授業の重要内容を日本語で入力させたり、音声録音をして送らせたりすることで、学生が主導的に学習できるよう指導した。教授者は学生から受け取った内容を検討し、間違った部分をリアルタイムでフィードバックして、学生たちの授業力量を個別的に管理した。生徒たちは、自分が学習した重要部分をチャットルームを通じて確認し、足りない部分を自ら補完することができた。 このようなメタ認知戦略を適用した教授法が、実際に学生の認知能力向上に役立ったかを確認するため、授業前半と後半の2回にわたってアンケート調査を実施した。その結果、認知理解・認知管理・認知評価の3分野で向上したことが確認された。パンデミック以降、対面授業が可能となった後も、スマートデバイスを活用したメタ認知戦略は、学生の自己主導学習能力の向上に役立つものと判断される。

In this paper, using bibliographic research methods, I considered the creative activities of Kitao Shigemasa Ⅱ, also known as Ukiyoe artist Kitao Yosimaru, since 1822. As a result, first　of all, I pointed out that in 1822, the names of Kitao Yosimaru　and Kitao Sigemasa Ⅱ were used together. As a background, I infer that the work “Tamanae-monogatari”, which was drawn by Kitao Yosimaru, who had just become Kitao Masayosi’s disciple, had a strategy to flicker the image of the first Sigemasa who died two years ago. Second, unlike 1822, which had a complicated appearance with a mixture of signatures, from 1823 to 1826, he worked as “Kitao Yosimaru”. Kitao Yosimaru shows his work as a disciple of Kitao, but from 1827 he will finally be signed as“Kitao Sigemasa”. As the background, I guessed as follows. At first, he was not recognized by Kitao Sigemasa Group, and first became a disciple of Kitao Masayosi, the high-ranking disciple of Sigemasa Ⅰ. However, it is inferred that his teacher, Masayosi, also died in 1824, and in　1827, Yosimaru inherited the name of Masayosi’s teacher, Shigemasa, and was officially recognized as Sigemasa Ⅱ. Finally, I categorized, charted and presented the symbol of Kitao SigemasaⅡ, also known as Utagawa Yosimaru.

This paper reported that the Korean comedic stories three sisters type have the similar motifs of the beginning of One Thousand and One Nights and KING LEAR. It is unclear which route each of these story patterns took to enter Korea. However, it is likely that this narrative was also prevalent on the eastern side of the Eurasian continent, at least around the 17th and 18th centuries. It can be seen that the story of two “three sisters” who have the same story was disseminated as a “Relationships between sisters get worse type” in the western part of the Eurasian continent.　However, it can be said that it is a remarkable difference that it was disseminated as a “Relationships between sisters get well type” on the eastern side of the Eurasian continent. In addition, the “Two sisters tease one sister type” is mainly distributed in the western part of the Eurasian continent. However, it was found that the type in which one sister teases one sister is predominantly distributed in the eastern part of the Eurasian continent. In particular, if one sister is the type who teases one sister, it is a legend of the goddess of three sisters.

｢The Beginning of Deer Dance｣has two narrative levels: extradiegetic level and intradiegetic level . Starting with the question of why this narrative levels are adopted, this paper clarifies the narrative levels and the narrative invasions, and the common characteristics of narrative structure and content. This work unfolds in the order of extradiegetic level, intradiegetic level, extradiegetic level. However, the beginning “At that time” and the ending “after that” respond, and the common indicator “that” indicates when Kaju started walking westward. The ending event of extradiegetic level forms a circular structure that leads to opening event of extradiegetic level. Therefore, the time of this work goes from intradiegetic level to extradiegetic level(the ending), to extradiegetic level(the beginning) and the opening narrative of “I” is narrative of “I” when all the deer dancing experiences are over. In the intradiegetic level, Kaju’s assimilation into the spirit of deer dancing was brought about by verbal crossing of the border, but it ended without resonance. However, as the character in intradiegetic level crosses the border to the character in the extradiegetic level, the main character, Kaju, or “I” realizes that the spirit of deer dancing has been answered and resonated with Mother Nature. In this work, the theme of cross-border is used in both content and narrative structure and the last cross-border by the wind symbolize the resonance between nature and humans.

The versicle type literature such as Haiku, Senryu, and Tanka are the most popular literary genres in contemporary Japanese society. This paper analyzes the animation Words Bubble Up Like Soda Pop and examines the function of Haiku accumulating and acting as a Database of expression by paying attention to the phenomenon of the young Japanese generation enjoying 17(or 31) syllables poetry including Haiku. In recent popular culture, the younger generation, who can create Haiku or 5･7･5 rhythm is represented as having no will or confidence in communication with others. In this animation, Haiku became a database of expressions, leading to a happy ending in which the main character succeeds in confessing in a grand finale with “Haiku Rap.” Since the fundamental theme of this animation is communication between a boy and a girl and generations, Haiku can be seen as a successful tool for human communication. Since the main character who can create Haiku is considered to have many databases of expression, other characters contribute to the main character with admiration and favor. This structure shows that the hierarchy of language power is based on database utilization capabilities.

俳句や川柳、短歌のような短詩型の文学は、今現在の日本社会で大衆的にも最も多く創作(生成)、消費、流通している文芸ジャンルである。本稿では、近頃の大衆文化の中で登場している様々な五･七･五(･七･七)をジャンルごとに察してみてから、とりわけノベライズしたアニメ󰡔サイダーのように言葉が湧き上がる󰡕を分析し、日本の若い世代が俳句をはじめとして短詩型文学を享有する様相と、五･七･五という音数律の表現が溢れている現状に注目し、俳句が表現のデータバースとして蓄積され働く技能を考察した。 最近の大衆文化において、俳句や川柳、短歌を作り出す若い世代は、他人との一般的な疎通に意志や自信が持てない人物と表象される。󰡔サイダーのように言葉が湧き上がる󰡕の中で、俳句は表現のデータとなり主人公が｢俳句ラップ｣をもって最後の場面で告白に成功するハッピーエンドを導くわけである。この作品の主要テーマは、男女間、あるいは世代間におけるコミュニケーションであるため、俳句は人物間の疎通の道具として優れた技能を見せたといえる。なお、表現のデータベースが最も多く確保されている人物であるほど、その他の人物が憧れや好感をもって従事するようになる、言語権力のヒエラルキーとストーリーの駆動力も確かめられた。 AI俳句一茶くんや、アニメ、ドラマの登場人物、テレビショーの出演者、芸能人などにより俳句、川柳などの五･七･五リズムは、ビッグデータとして生成し続け蓄積されている。言語の駆使能力および文学の表現本質という側面からも、このように増大し肥大化している短詩型のデータベースの今後は注目に値する。

This article examines how Imperialistic ideology of Japan was reproduced through the narrative symbol of “girls” in Takarazuka Revue during the Pacific War period of 1940 to 1945. It delves into the performances and identity transformations of the Japanese operetta, which the government and media used to socially and nationally manufacture and assimilate collective emotion. According to social psychology and media communication theories, the means by which collective emotions are generated positively correlates with de-personalization. This correlation is examined further in relation to international political ideology. The operetta analysis delves into the de-personalization and de-collectivization of the girls—the actresses—and the audience. This article emphasized girls as symbols of narratives that exemplify Japan’s Imperialistic ideology at the time. Additionally, the variables affecting the “degree of collective emotions” in relation to “girliness” are examined. The study examined the girls’ operetta in light of Japan’s imperialist philosophy regarding Greater East Asia. The study concentrated on de-personalization and the resulting development of a strong group identity. Apart from serving as a site of sexual objectification, this study discovered that the image of girls changed and was inextricably linked to politics, the state, and capital.

本稿では、1940年から1945年にかけての太平洋戦争期の宝塚少女歌劇団の演目と当時の朝日新聞の報道記事を分析対象に、｢少女｣というプリズムを通じて皇国史観をベースとした集団感情の誘発がどうのように試みられたかを考察した。当時の日本政府とマスコミが国をあげて集団感情を誘発·受容するのに動員した宝塚少女歌劇団の公演内容と、それによる歌劇団そのもののアイデンティティの変貌ぶりに注目して考察を行った。本稿では、社会心理学とメディアコミュニケーション理論に基づき、集団感情の発生は脱個人化と正の相関関係にあることを前提に論旨を展開する。そして、この関係は国際政治イデオロギーと相まった形で影響し会うことを当時の報道記事の分析を通じて検討する。大東亜共栄圏の構想を歌った演目の１１の主題歌の分析と報道記事の分析にはテキストマイニング分析手法が用いられた。本稿では、当時の日本の皇国史観に基づいた感情の誘発に採用された物理的材料としての｢少女たちの特徴｣に注目する。また、｢少女らしさ｣と掛け合わされ｢集団感情誘発の程度｣に影響を与えうる変数の検討を理論的に推論した。本稿では、個人化の希釈とそれに伴う強い集団アイデンティティの形成が集団感情を織り成す強力なテコとして作用することを推論する。本稿の結果は少女の持つイメージが時代に応じて変化し、政治、国、資本と密接に関わりあっていることを強調する。