Earticle

This paper examines the sentences that end with “-tte”, focusing on the grammatical features and the differences from the typical quotative sentences. This paper says the typical quotative sentence grammatically has the subject of speaker, quotative clause, and quotative verb, and has “dualism of field”, and has an explicit subject. The sentences ending with “-tte” have the following features; 1) the information source is the third person and is seen in the same sentence or the context. 2) the sentence type is declarative sentence or interrogative sentence. 3) the sentence has no predicative verb, but the verb with past tense, such as “said” or “was saying”, are thought to be missed. 4) when the information source is the implicit third person, the functtion of “-tte” changes from quotation to hearsay.

In this paper, I focus on the fact that Korean-speaking Japanese learners tend to use ‘niau’ when ‘au’ should be used. And the meaning of each word and whether or not they can be replaced were examined in order to help guide the proper use of ‘au’ and ‘niau’. As a result, it was found that ‘au’ begins with the meaning of “multiple things approach and gather”, and overall tends to express highly objective events. On the other hand, ‘niau’ means “feeling harmony or balance between superficial or external features” or “disagreement between the speaker’s preconceived notions about people or animals with certain features and their actual behavior”(used in the negative forms). Thus, it was found to represent highly subjective events. And it was revealed that ‘au’ and ‘niau’ are interchangeable, when they mean “feeling harmony or balance between superficial or external features”: the semantic usages that is the most subjective in ‘au’ and relatively low subjectivity in ‘niau’. In addition, it was revealed too that in the cases of the more objective semantic usages of ‘au’, and in the cases of the relatively highly subjective semantic usages of ‘niau’, they cannot be replaced, or acceptability of replacement is low.

In this study, Examine Chuzo MITSUCHI’s view of education. In addition, this study examines the characteristics of Japanese language education as a foreign language. The research method is to compare “MITSUCHI’s Japanese Grammar books(1906, Japan)” and “Nichigo Tokuhon(1909, Korea)”. MITSUCHI focused on the “sentence” rather than the “part of speech” that was emphasized in grammar education. The reason MITSUCHI focusedon “writing” was that he hoped that “grammatical education” would not only be a means to understand the structure of sentences, but would also lead to “reading and writing skills”. “MITSUCHI’s Japanese Grammar books(1906, Japan)” and “Nichigo Tokuhon(1909, Korea)” reflect MITSUCHI’s view of education, which focused on “sentences”. Therefore, it is composed mainly of relationship between subject and predicate. However, there is a fundamental difference with “MITSUCHI’s Japanese Grammar books(1906, Japan)” and “Nichigo Tokuhon(1909, Korea)”. “MITSUCHI’s Japanese Grammar books(1906, Japan)” is a book for Japanese language education studied by students whose native language is Japanese. “Nichigo Tokuhon(1909, Korea)” is a book for Japanese language education studied by students whose foreign language is Japanese. MITSUCHI’s developed a “sentence pattern” to resolve the difference and introduced it into “Nichigo Tokuhon(1909, Korea)”. Sentence pattern is a pattern of frequently used subjects, particles, and predicates. MITSUCHI’ is the first to develop sentence pattern in Japanese language education. Therefore, the introduction of MITSUCHI’ sentence pattern has significance in the education of Japanese as a foreign language.

In this paper, we examine compound accents in the Daegu and Gyeongju dialects of Korean and the Tokyo dialect of Japanese, and discuss the factors that determine compound accents. The results show that the Daegu　and　Gyeongju accent of compound nouns is of the "posterior element-determining type" in which the accent of the compound is determined by the posterior element, either because the front and rear elements are both of the word-final accent type in which only the final syllable appears high, or because the front element is of the word-final accent type and the rear element is of the word-initial accent type in which only the initial syllable appears high. accent, where the front element is word-final and the back element is word-initial accent, where only the initial syllable is raised. In other cases, the accent of the compound is determined by the front element. In contrast, in the Tokyo dialect of Japanese, the accent of compound words is regularly determined by the properties of the posterior elements. In particular, when the back element of a compound has three or more moras, the accent is determined mainly by the number of moras of the back element and the type of accent, and the front element is not involved.

The purpose of this paper is to clarify the usage intention of prolonged sound marks ‘ー’, ‘~’, ‘…’ in Japanese internet-based language. One of the most interesting features of Japanese internet-based language is frequent use of prolonged sound marks. But it have been not clarified the usage intention of prolonged sound marks in Japanese Internet-based language. Thus we carried out a questionnaire survey which was targeting at ten Japanese native speakers from teens to fifties. As a result, we clarified the usage intentions of prolonged sound marks have unique features. The usage intention of ‘ー’ is ‘softening nuances of sentences’, ‘~’ is ‘expression of amiableness’, and ‘…’ is ‘worrying or deep thinking or disappointing’. we also clarified the tendency of sequenced use of prolonged sound mark which is hardly recognized former.

As a result of reviewing the Japanese expression corresponding to the Korean ‘-deora-’,the Japanese language corresponding to the Korean ‘-deora-’ can be divided into nouns and adjectives, タshape and ルshape+ノshape, but in the case of verbs, verbs appear in various forms, such as, ルshape タshape, テイル, テイタ etc. ノダ same like nouns and adjectives was used. The causes of the phenomenon are regarded as follows ① ‘-deo-’ was used in newly learned facts or in the past than when speaking in korean, タshape and ノダ was divided into verbalizing only the past or the only newly learned facts in the case of Japanese ② in korean, it was expressed by dividing the time of occurrence than speaking express the past into the time of recognition than speaking express the pastin the case of Japanese, it isn’t like korean it think highly of meaning of ルshape タshape, テイル, テイタ etc and ノダ was used in case of necessity of discovery meaning such a newly recognition

韓国語の‘-더라’に対応する日本語表現を検討した結果、韓国語の‘-더-’に対応する 日本語は名詞と形容詞に接続する場合は、タ形とノダに現れる場合があるが、動詞に 接続する場合は ル形, タ形,　テイル,　テイタ などのように現れ、ノダが付け加える場 合もあった。このような現象は韓国語の‘-더-’は認識時が発話時より過去であること や、新しく分かった事実であることが重要な使用条件になるが、日本語の場合は過去 だけを言語化したり新しく知った事実だけを言語化したりしてタ形とノダと使い分け られているのである。また、動詞の場合は韓国語は状況時が発話時より過去なのか、 認識時が発話時より過去なのかに分けて表現する言語であるが、日本語の場合はその ような分け方はなく、ル形, タ形　テイル,　テイタ などが表す意味がそれぞれ重視され ながら、新しく知ったという意味を表す必要がある場合はノダが用いられることが分 かった。

Children are vividly portrayed in “Edogesaku” and Ukiyoe. In this paper, I investigated children’s arts and sciences and various forms of entertainment through the Kokkeibon “Ukiyoburo”, which gives a glimpse of the ecology of various children who gather in public baths. As a result, it was found that children who appear accompanied by adults in Ukiyo-buro have typical patterns of parents and children according to age and gender. Specifically, the following can be pointed out. (1) The parental pattern is a mother who is enthusiastic about her daughter’s education and a father who is lenient to his daughter. (2) It can be seen that girls are more envious of mansion apprenticeship than Terakoya. (3) Through the arts and sciences that an 11-year-old girl does in one day, we can understand the types of lessons she received by gender and age. To summarize the above, the “Ukiyo-buro” is characterized by the fact that there are more mothers who put more effort into educating their daughters than their sons through ① boys and girls around the age of eight who attend a Terakoya and a daughter who served the mansion and ② the lesson of her 11-year-old daughter, who continues to study hard.

This research attempts to interpret the meaning of the momentary expression that includes “now” in Izumi Shikibu’s diary. This series of work was for the purpose of demonstrating whether it works as “a word that regards the moment as eternity”. However, as I looked at all 33 poems, I was able to confirm that the role of the ephemeral vocabulary does not stop there, and that there are further characteristics. It can be said that the characteristic is a unique aesthetic that emphasizes the ephemerality in the scene where the typical gift-giving song of love is exchanged. When I tried to decipher the ephemeral expressions in the song, I was able to organize them into about four characteristics. - Being a point in time as a boundary line that brings about transformation and change of feelings of love. - Maximization of anxiety and impatience caused by momentaryness and ephemerality - Even if it is the same “now”, “today”, and “this morning”, there is a discrepancy in the way that Miya and Shikibu recognize each other. - The climax of the taste that shouldn’t be missed In this diary, the entanglement and nervousness of the love affair between the two are read as a lively flow with expressions that grasp the moment. It will become clearer from now on by comparing it with other works, but I can argue that the expression expressing the moment is remarkable in this diary, and that this can be read roughly in four patterns.

The fragrance that appears in The Tale of Genji originally came from the continent in the Nara period along with Buddhism and medicine. Accordingly, most of the perfumes used as ingredients for the fragrance are from outside the country. In the Heian period, only a limited number of dynastic families and aristocrats of the highest rank knew how to do it, and each family handed it down as a secret story. In this study, the substance of “Kunjuruisho” was first revealed through “Kunjuruisho” a traditional book on the blending method of Kaoru in the Heian period. Furthermore, it was confirmed that the incense was brought from Silla at that time through “買新羅物解” a record of trade related to actual spices. In other words, Kaoru-ko is imported from overseas and was not created in Japan. There are two possibilities based on records such as “買新羅物解”. First of all, did Silla export Kaoru, a secondary processed product that created new value by adding incense manufacturing technology to imported incense materials, or did it export Kaoru, which was imported from China and the West, to Japan again through intermediary trade? Either way, it is certain that Japan was introduced to various incense materials and incense through Silla at that time.

This article discusses the literary magazine Asian Poetic Pulse founded by Kenji UCHINO in October 1926. Asian Poetic Pulse aimed to promote friendship and development among Japanese poets living in the Korean Peninsula while also incorporating Japanese and world literature. Through the poetry, criticism, and articles in the magazine, as well as commemorative photographs, it is possible to understand the interaction and exchange between Japanese poets living in Korea, representative Korean modern poets, professors at Keijo Imperial University, and famous Japanese poets within Japan. The article also analyzes Ikuko GOTŌ, Sōji UCHINO, and Hiroshi KŌRIYAMA, who were the main poets of Asian Poetic Pulse Association, the characteristics and contemporary evaluations of each poet’s work, the healthy culture of criticism within the magazine, and why the magazine was eventually banned and discontinued.

As Edogawa Ranpo’s work was published in the application year as a creative novel, 1923 is remembered as an indispensable year in the history of Japanese creative mystery novels. It is no exaggeration to say that there were mystery novels in popular literature magazines, but in most cases, there were many works that were read and discarded because the composition of the works was crude, the characters were sparse, and the sanctions were so popular. In such a situation, the appearance of Ranpo would have served as a refreshing agent like rain in a drought. At that time, at a relatively late age, Edogawa Ranpo appeared like a comet under the pen name of a pun and published many hot topics, but over time, the early witty and challenging fresh materials were depleted faster than expected, and by the time he reached an age of doubt, he was branded as a representative writer of Eroticism and Grotesquery. Perhaps it is related to the dreamy, erotic material and gothic atmosphere, which are somewhat different from the early styles, but considering the impact of his works on general popular culture in the process of being consumed as media content such as movies, TV, and radio, I think Ranpo’s achievement is somewhat negative. Moreover, it should not be overlooked that his mystery novel has a unique location and historical achievement that divides Japanese mystery paragraphs before and after Ranpo, and is still loved by the general public to the extent that it is constantly reproduced and reinterpreted through video media as well as general research. Therefore, I would like to analyze the works of the early Ranpo period, which received enthusiastic support and support from mystery writers and readers, focusing on “Exploration of Human Psychology”, “Intellectual Play”, and “The Pursuit of Honkaku Detective Story”, which he was very interested in and played a decisive role in the early works. Specifically, this study tried to find out the unique value of Ranpo’s detective story ｢Dzakanosatsujinjiken｣, ｢Shinrishiken｣, and ｢Yanenouranosanposya｣ in the early days of Ranpo’s works.

江戸川乱歩は1923年デビュー以来、次々と話題作を発表し日本の探偵小説文壇の 新たな地平を拓いた作家である。当時としはわりと遅いデビューだった乱歩は日本探 偵小説界に新しい山脈を形成しながら旺盛に執筆活動したが、時間が経つにつれ初期 の才気に満ち、挑戦的だった新鮮な素材は思ったより早く枯渇していった。乱歩が40 歳を越えた頃には純文学作家たちから猛烈な批難とともにエロ･グロ作家の第一人者 として烙印されてしまう羽目にもなった。 おそらく、初期の作品とはうって変わった夢幻的でエロチックな作風とゴシック な雰囲気に深く関わってくると思われるが、乱歩の作品が映画やテレビなど映像メ ディア･コンテンツとして消費される過程において一般大衆文化に及ぼした影響をも 考慮にいれれば乱歩が成し遂げた成果が多少期待に及ばぬ評価に留まるのは非常に残 念であり、再考の余地も充分あると思う。 さらに、彼のミステリー小説は日本のミステリー文壇を乱歩以前と以後とに分け るほど不動の位置と歴史的業績を有していて今までも一般研究は勿論のこと、映像コ ンテンツを介して途絶えることなく再生産、再解釈されているほど一般大衆から愛さ れ続けていることを看過してはいけない。 そこで、本稿では、推理文壇と読者から熱烈な声援と支持を受け続いてきた乱歩 の初期作品を対象にし、彼が並ならぬ熱情をもち、また初期作品の随所に創作の理由 と方法として決定的な機能を果たした<心理的に人の心の奥底を見抜く探偵法>と <知的遊戯>、そして<本格探偵小説の追求>に重点を置いて分析してみた。 具体的には、デビュー早々の｢二銭銅貨｣、｢D坂の殺人事件｣、｢心理試験｣、｢屋根 の裏の散歩者｣など、4作品を取り上げ、各作品ごとに内在している<本格探偵小説> の用件を充足する周到綿密な戦略とともに執拗なまで日本独特の<本格探偵小説>に 拘った乱歩の探偵小説作法への模索を考察することで乱歩が辿り着いた探偵小説の不 思議な世界を探ってみた。

UKIYOE, one of the drawing genre developed in early EDO era(1603~1868) shows the main theme was about women, KABUKI actors and scenery of the famous places and etc.. Though studies about KITAGAWA(1753-1806) known as a beauty artist are found, studies on his early work, 『Insect drawings selection』 are not in Korea. The aim of this study is centered on KYOKA in 『Insect drawings selection』. KYOKA is Japanese traditional WAKA and the content consists of jokes, wit, and humor. 『Insect drawings selection』 is made up of 15 pieces of drawings and 2 poems of KYOKA. The material of KYOKA is insects and the theme is on love. Based on this, two noticeable results are made and analyzed as below: First one is about naming of insects names; Japanese into Korean by KITAGAWA drawings and KYOKA. Second one is KAKEKOTOBA(homonyms) application that makes short poems expand to long stories. The study of 『Insect drawings selection󰡕 is well progressed with KITAGAWA, KYOKA(30 pieces of short poems), and KAKEKOTOBA applicaion. The major 3 drawings of KITAGAWA are 『Insect drawings selection』, 『All kinds of birds KYOKAAWASE』 and 『Gift of sea water』. Next study of 『Insect drawings selection』 is to be on the biological approach and the drawings of the other two, 『All kinds of birds KYOKAWASE』 and 『Gift of sea water』.

浮世絵は江戸時代(1192-1868)において江戸を中心に盛行した庶民的な絵画で、題 材は美人画、役者絵、名所絵など、庶民の需要や、当時の風俗を反映している。その 浮世絵には、｢木版画｣と｢肉筆画｣の2つの形式がある。特に美人画として評判になっ ている喜多川歌麿(1753-1806)は韓国に紹介されているし、浮世絵も考察されてい る。しかし、喜多川歌麿の実力が高く評価された最初の作品である『画本虫撰』は研究 されていない。そこで本稿は『画本虫撰』の狂歌を中心に、虫の絵と合わせて考察し た。 狂歌とは、社会風刺や皮肉、滑稽を盛り込み、五･七･五･七･七の音で構成した諧 謔形式の短歌である。『画本虫撰』は｢恋｣をテーマとして、全15図からなる狂歌絵本 で、見開き2ページの中に虫を2匹描き、その2匹の虫にちなんだ狂歌を2首歌うという 体裁をとっている。まず、その狂歌を韓国語に狂歌の形式に合わせて訳した。その中 で、二つの問題を解決することが出来た。日本の虫の名前を韓国語に訳す場合起きる 問題は、歌麿の優れた絵描きと狂歌、この両方のおかげで割りと明快に解決できた。 つぎは、短い狂歌から長いストーリに繋がることができる機能として掛詞の役割を確 認することができた。 狂歌絵本『画本虫撰』は喜多川歌麿の優れた浮世絵、30首の狂歌とその中の掛詞が あってこそより豊かになったことがわかった。歌麿の代表的な狂歌絵本で、『画本虫 撰』を含めて『百千鳥狂歌合』、『潮干のつと』を特に彼の三部作と呼ばれる。これらの 考察と、生物的な根拠にしたがって訳すことを今後の課題として残しておきたい。