Earticle

This paper investigates the usage pattern of the elementary Japanese sentence pattern “to omou” in discussions in contact situations, and its effect on the conversation. In particular, the characteristics of Korean learners were analyzed in comparison with native Japanese speakers. The analysis revealed that although the usage frequency of “to omou” for the expression of opinions in conversations did not differ between learners and native speakers, learners tended to use the form “normal form + to omou / omoimasu” learned as a beginner’s sentence pattern. In addition, native speakers tended to use “to omou” accompanied by elements with the function to soften their argument before or after the word, whereas learners tended to add a sentence-ending particle immediately after “to omou” on its own. Observations of conversational examples confirmed that these utterances by learners sometimes contributed to smooth discussions, while at other times they were strong arguments against their conversational partners. Based on the above results, this paper made suggestions on how to improve the teaching of “to omou” in the educational field in the future.

In this paper, as one of the attempts to effectively utilize the vast amount of text data, I have introduced a text mining technique called Topic Model into the field of Japanese studies. Concretely, the texts of the reading comprehension parts of the previous format JLPT for the past 20 years were collected, and Topic Model analysis was carried out. The following points were made clear by such a study. First of all, it was confirmed from actual data that the subjects of the previous format JLPT tried to avoid topic-specific biases when selecting and producing the texts for the questions. Next, the text can be statistically classified into four main topics: “Private relationships such as family and work,” “Communications related to schedules,” “Public relations related to the country and society,” and “Economic activity.” The techniques and results of topic model analysis in this paper were empirical analyzes of actual existing questions. It is considered significant in that it can be applied to all fields of Japanese studies that are needed. Of course, the discussion in this paper is limited to the texts of the previous format JLPT, not the new format JLPT, and the amount of data is relatively small, although it covers all the data for the past 20 years. In addition, a comparative analysis with other texts was not possible. Therefore, it seems that there is still room for improvement in this paper, but I would like to address this as a future issue.

This paper examines the grammaticalization of the negative adverbs kyeltankho/ kyelkho and kessite ‘never’ in Korean and Japanese from the viewpoint of language contact. In previous research, kyeltankho, kyelkho and kessite have been considered the same expression. However, this view requires modification. In fact, kyeltankho has undergone degrammaticalization from an NPI, unlike kyelkho and kessite in the modern languages. Specifically, until the middle of the 20th century, kyeltankho was more grammaticalized as an NPI than kyelkho, but since the middle of the 20th century, kyeltankho has undergone degrammaticalization from an NPI under pressure from kyelkho. In other words, kyeltankho has not progressed to Stage 3 as an NPI and has lost its grammatical features as an NPI. This paper argues that the main reason for this linguistic phenomenon is language contact with Japanese. This paper presents (i) the grammaticalization processes of kyeltankho and (ii) five pieces of evidence to support the above claims.

In this study, “TTS” equipped with Ai((artificial intelligence) skills was used to focus on the automatic conversion of text language to speech language. In this theory, the analysis focused on the types of words that become voiceless, what is “TTS” and the input of words into “Ai’s TTS” and the preservation of speech language(mp3). A target <19words> is a word related to voiceless phonation (no vibration of vocal cords, omitted) for the pronunciation of “U” between “ku+sa line”, “ku+ta line”, and “ku+a･ka･ta･ha line”.In addition, we collected items that were difficult for Japanese learners to pronounce and listen to. Through the analysis, we noted whether this rule of voicelessness is properly reflected in Ai’s TTS, whether it is voiceless, not voiced, or weakened in the output of voice. As a result of a series of analyses, it is frustrating that the contents of the speech language itself cannot be displayed directly on this page.As a result of checking the theoretical pronunciation by inputting each word of the experiment into Ai’s TTS, nothing was wrong and it was surprisingly accurately reflected and audio output.This was a satisfactory result because it was an accuracy that could be used for Japanese language education. As for this, I would like those who teach Japanese language education to make effective use of Ai’s TTS to improve the learning environment.

In this paper, “adverb of degree” is defined as an adverb of degree appearing inside a proposition that limits and evaluates the degree of a certain state, action, or quantity. The adverbs of degree appearing in Cheophaeshineo were classified into the subcategories of “adverbs of evaluative degree,” “adverbs of comparative degree,” and “adverbs of quantitative degree.” Cheophaeshineo contains eight types of adverbs of evaluative degree, which are used a total of 48 times. Among them, more than half modify words with stative properties such as adjectives and adjectival verbs, but there were also instances where they modify nouns or verbs. When modifying verbs, the verb mainly falls under the category of “non-limiting change verbs”, but there are other cases as well, indicating a combination of adverbs of evaluative degree. In addition, the modifier category of Korean adverbs appears to be more clear-cut than that of Japanese, as examples of modifiers for nouns do not appear as nouns in the corresponding Korean phrases. On the other hand, in the case of adverbs of quantitative degree, only2of the25uses modified stative words, while the remainder appeared in nominative or action-based verb sentences, and there were no restrictions on the semantic attributes of the combined modifiers. These characteristics can be interpreted as being due to the lexical property that the adverb of quantity limits the number or quantity of an object.

This paper analyzes specific cases of <prefixization>, in which Japanese nouns change their meanings and functions to be used as prefixes. In the analysis, examples were retrieved from “The Balanced Corpus of Contemporary Written Japanese” (BCCWJ) online version (Chunagon), and the usage was analyzed. Including ‘Baka’, ‘Oni’ and ‘Kuso’ are used as nouns with negative meanings to express denial or insult people or things, when used as a prefix, their original negative meaning becomes quite rare and has gained a meaning that limits the degree of expression of the vocabulary. In previous studies, there has been no individual research on the meanings and functions of these terms, and no proper positioning has been made for the actual usage of ‘Baka’. Therefore, in this paper, we investigated ‘Baka’ as a case of <prefixing> of nouns, considered the process of semantic and functional changes from nouns to affixes as a grammaticalization phenomenon, clarifying the meaning and usage.

This paper focuses on essay comics created by those who were affected by the Great East Japan Earthquake, known as “3/11”, and aims to clarify how the comic artists represented their experiences of “3/11”. First, the artists actively described their experiences in the form of essay comics, which played a journalistic role and represented a reality of an affected area and a victim’s individual experience that mass media did not report on. The essay comics have a tendency to depict the disaster victims in a cartoon style. This mode of description makes readers feel a sense of intimacy with them, but at the same time, it also has the possibility of reducing the uniqueness of a victim’s experience. Furthermore, for the authors who experienced “3/11”, the disaster not only destroyed their daily life, but likewise became a comic subject that attracted an great deal of social attention, giving them an opportunity for self-realization as an artist. Considering this finding, this paper insists that essay comics on “3/11” can be regarded as a site where ambivalent elements intertwine, such as cartoon and documentation, individuality and generality, citizen media and culture industry, and transmission to and recognition from others.

After Japan’s defeat, Koreans in Japan who lost their Japanese nationality struggled with the society in the face of Japanese discrimination and exclusion. Researchers understood that Zainichi at that time had a strong motherland orientation. Under Japan’s assimilationist policy in the 1980s, when immigration began to increase, they experienced confusion about their identity as neither Korean nor Japanese. After 2000, as the era of globalization opened, migration became common, and Japan revitalized its multicultural policy, Koreans in Japan established a new identity. At this time, by focusing on individual cases, research on the complex identity of Zainichi increased. Immigrants adjust to their country of origin while maintaining a sense of belonging and connection to their place of origin, so they try to express their identity in some form. On the other hand, E. Erikson distinguished an individual’s identity into a psychosocial identity, meaning a sense of belonging or unity toward the group to which the person belongs, and an individual identity conscious of one’s own uniqueness. Therefore, in this study, I would like to reveal that Zainichi is forming a new dual identity by mixing individual identities through statistics and surveys on Japan’s naturalization rate, birth rate, marriage rate, and divorce rate.

This paper inverstigates Mishima’s play The Decline and Fall of The Suzaku (Suzakuke no metsubo, 1967), which is an analysis of the female image representing Mishima literature. In this paper, I focused on the family drama as one of the characteristics of Mishima plays, and I turned my attention to The Decline and Fall of The Suzaku, which is set only at home among the plays. Mishima’s family style is based on the modern view of division of gender roles such as “men work, women work and raise children,”and the role of women in the family is a nuclear family. However, it should be noted that Mishima’s portrayal of a hostess is not a full-time housewife who is oppressed by her roles such as housework and childcare, that is, she is not the bearer of a wife and mother trapped in a family. Instead, an old maid appears. In The Decline and Fall of The Suzaku, the hostess was absent from the beginning, and there was only a “maid” in the house, and eventually the maids were confirmed to be completely in the position of hostess. These changes may be deeply related to the process of “modern families” becoming established. In other words, the position of a “full-time housewife” created by the modern family system, instead of eliminating the maid from society, she was confined to the home and took charge of housework and childcare. It can be said that women in charge of the functions of domestic affairs have moved from maids to housewives, but no fundamental change has occurred, and women who have become housewives are weaker than maids. In other words, because she was placed in the position of housewife, she was not recognized professionally like a maid, and she was demoted to a position where she had nothing but empty power as a hostess. It can be said that Mishima’s maid was the greatest power of women resulting from the full-time home administration in modern families and the literary figure that could most effectively explore the problems that inevitably follow. Orei in The Decline and Fall of The Suzaku, which overthrows the transcendent logic of life and death by her own life, can only live in the family of the master’s family. In this sense, it can be said that it is the image of a modern family mistress, or a full-time housewife. However, Mishima expresses the paradox of a “selfcentered” human being by portraying women in the family as maids who are capable, skilled, intelligent and willful. In other words, “subjectivity” expressed by individual human beings can be said to be born only in restricted human relationships and can only be exercised under oppression. In this paper, I identified the self-reliance and control of the limitations of home through the image of women in Mishima’s modern family. Mishima’s female characters embody this contradictory dual nature.

本稿はパラドックスに焦点を合わせ、サド裁判およびこの時期の文学に現れた サードについて考察した。概念も曖昧なわいせつを理由に法廷に召喚されたサド、裁 判の勝利より敗北に意味を置きながら弁護人たちと葛藤する澁澤龍彦、そして権力が 闇の中に葬ろうとしたサードにむしろ大衆の関心が集まるようになった現象、無名作 家の澁澤龍彦が裁判を通じて反権力のアジテーター、異端者のイメージを構築して作 家としての立場を固めるようになった状況、また、自らを｢極左インテリゲンツァ｣と 称しながらも政治とは徹底的に距離を置く澁澤龍彦の自己矛盾、すべてがサド裁判を めぐるパラドックスだ。 このような逆説と矛盾は、澁澤龍彦の闘争が想像力を本質とする非常に観念的な ものだったという事実と関連がある。想像力はサドの思想と文学を理解するキーワー ドとして、この時期の文学作品と深く結びついている。想像社会をもって現実社会 を克服しようとする監獄文学者の創作行為は抑圧に対する反発であり、既存の秩序を 破壊する思想の発現だ。これは想像力を革命の本質として受け入れ、観念的闘争を繰 り広げる澁澤龍彦の歩みと合致していると言える。