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This paper focused on the single verbs and the compound verbs which can be replace by each other, and compared the meanings of these words according to the types of meanings expressed by the preceding verb ‘sasu’. We clarified there are four major types of meanings of the preceding verb ‘sasu’: (1) something happens that cannot be resisted, (2) to hold out in front of or toward the other party, (3) to indicate or instruct, and (4) to intervene. As for type (1), we considered ‘semaru, sashisemaru’ and ‘sawaru, sashisawaru’, and clarified the meanings of the compound verbs ‘sashi-’ are limited to which have the element “something that cannot be resisted approaches or happens”. As for type (2), we consider ‘noberu, sashinoberu’ and ‘dasu, sashidasu’, and clarified the meanings of the compound verbs ‘sashi-’ are limited to which have the element “in front of or towards the other party”. As for type (3), we consider ‘hiku, sashihiku’, ‘hikaeru, sashihikaeru’, ‘tomeru, sashitomeru’, ‘mukeru, sashimukeru’, and clarified the meanings of the compound verb ‘sashi-’ are limited to which have the elements “indicate a certain object” or “instruct the other party”. As for type (4), we consider ‘hasamu, sashihasamu’ and ‘kaeru, sashikaeru’, and clarified the meanings of the compound verb ‘sashi-’ are limited to which have the elements “break continuity” or “only the inside or between them while keeping the surroundings and before and after as they are”.

This study analyzed the elements that can know the referent in the concept of context, focusing on copies of printed advertisements used by KO-series demonstrative. First, in the overall contextual aspect analysis, there were many examples of situational contexts in which the referent could be known by pictures during advertisements, and it was found that [KONO+noun] was mainly used. This is thought to be a photograph of the referent by KO-series demonstrative, who have a usage of referring to the object in front of them. Second, in the context of common　knowledge, [konokuni], [konoyo], [konohosi], [konozidai] represents the space or time in which advertisers and consumers exist together, which is thought to have a function of inducing empathy from consumers who watch advertisements. Third, in the formal context, The consumer who are interested in the KO-series read catch-copy, sub-copy, and body copy to know what they instruct, which functions to induce consumers to look closely at the advertisement. Finally, as for the additional context, an example appeared in which the referent could be inferred through the formal context or the situational context. In this way, in the case of speculating the object of instruction through the primary context, the referent is not clear. In other words, it is thought that the additional context functions to focus on advertisements by making the object of instruction unclear.

This paper examines and analyzes the similarities and differences between “ue” in Japanese and “wi” in Korean from a comparative point of view. The meanings and functions of Japanese “ue” have been previously studied in other literature, but no previous study focused on the comparative analysis with Korean language. In this paper, actual example sentences are studied to investigate the similarities and differences in meanings and functions of these expressions in both languages. The results can be summarized as follows. First, in the case of representing the meaning of the space, “ue” basically corresponds to “wi”. Furthemore, even when representing an abstracted space, “ue” has good correspondence to “wi”. Second, when “ue” contains other meanings than the space, the paper found that three different cases can be classified. First of all, “uede”, which indicates the meaning of the aspect and the viewpoint, corresponds to “~e isseoseo” in Korean. And “uede”, which indicates the meaning of a prerequisite, corresponds to “~han daeume” in Korean. Finally, “ueni”, which indicates the meaning of addition, corresponds to “~in deda” in Korean. In conclusion, “ue” in Japanese and “wi” in Korean have direct correspondence when they have the meaning of space, but they do not have a clear corresponding relationship when they express other meanings than the space. In other words, it is found that “ue” in Japanese generates grammaticalization from the meaning of space to other meanings, but “wi” in Korean does not show distinct grammaticalization like Japanese “ue”.

Currently the issue for the social transformation we face are “ESG” (Environmental, Social and Governance) and SDGs (Sustainable Development Goals). This paper analyzes the current status of ESG in Korea and Japan as of July 2022. To this end, we would like to explore the future direction through vocabulary and text analysis of 30 ESG-related articles on websites in both countries. ⑴ As a result of analyzing the semantic distribution of vocabulary according to the classification vocabulary table (2004), we found significant differences in items such as <institution>, <exchange>, and <treatment> in Korea, and <economy>, <aspect>, <people> and <nation･region> in Japan. In particular, while Korea mainly featured government agencies and domestic companies, Japan had many foreign companies and stakeholders. ⑵ In the keyword analysis, the frequency of “evaluation,” “grade” in korea, “funds” and “carbon” in Japan were relatively noticeable. ⑶ In this article, “Investment” and “SDGs” mainly appear in Japan, and not only the environment but also social and governance sectors such as diversity, human rights, and information disclosure are highlighted the same. In Korea, management and eco-friendly appear mainly. The governance sector is negligible, and the social sector focuses on shared growth. ⑷ As a result of visualizing the air network using the Social Network Analysis Program (Gephi), the network was closely connected in Japan than in Korea. While Korea deals with ESG in terms of management and is mainly conscious of customers, Japan is aware of various stakeholders in terms of investment and is sensitive to global trends. Above all, the connection with SDGs is highly active. Korea needs more engagement with SDGs and attention to the social and governance sectors. Beyond the ESG evaluation of domestic companies, it is necessary to make efforts at the national level to raise the status of the country in the global trend.

In this paper, I empirically examined why repetitions of elements, both partial and complete, that were spoken by oneself, are occurring at the unit of topics while considering the entire conversation. The analysis results can be summarized as follows: Conversation Development Functions: (A) Inter-topic cohesion: Repetitions observed at topic transition points are chosen as keywords for the content speakers want to introduce as a new topic and are used as a means to indicate the connection between topics. (B) Progression and concretization of topics: Some repetitions observed in the development of topics not only signify the connection between utterances but also serve to regulate the flow of conversation and concretize the topics. (C) Intra-topic cohesion: Utterances that repeat elements introduced in the initial part of a topic when concluding the topic serve to indicate the conclusion of the topic as well as to display cohesion within the topic. Utterance Management Functions: (D) Time gaining: Repetitions are sometimes used by speakers to buy time necessary for preparing the content of their next utterance. (E) Repair: Speakers repeat problematic elements to correct errors or enhance the listener’s understanding, thereby clarifying their own utterances. (F) Emphasis: Repetitions of previously spoken elements are employed by speakers to emphasize the content of their utterances. (G) Expression of emotions: Speakers use repetitive presentations of the same content to express their emotions or feelings. (H) Indication of attitudes: Repetitions can serve as signals indicating the speaker’s attitude towards their own utterances.

This paper discusses Ryunosuke Akutagawa’s “Jigokuhen” as a horror story. As Yasuhiro Imaizumi (2010) states, although “Jigokuhen” has the elements of a ghost story, it is narrated as if a mystery is gradually unfolding rather than merely telling of a ghost . Specifically, the narrator first mentions the horror of ghost stories by quoting a ghost story, then gradually turns to Yoshihide’s insanity and horror as a painter after he received the order to produce the “Jigokuhen” folding screen. Nonetheless, since Yoshihide “can only paint what he has been able to see with his own eyes,” he produces various scenes imitating hell in the real world, through which the world that exists on the other side (that world) gradually appears on this side (this world). Ultimately, his master burns Yoshihide’s daughter to death in front of him, and it is at this point that the horrors of the “scene of hell” presenting themselves to the world are spoken of. However, Yoshihide—who is ecstatic at the beauty of the sight of his beloved daughter burning to death—reaches a state of ecstasy that transcends hell. Akutagawa is said to have written works resembling horror stories throughout his life. In the early days of his writing he depicted “ghostly horror,” but his work gradually transitioned to “the horror of insanity.” If this is accurate, then “Jigokuhen” can be positioned as symbolizing the period of his transition from “ghostly horror” to “the horror of insanity.”

This research attempts to interpret the meaning of the momentary expression that includes “present” in “The Tale of Genji” and “The Kagero Diary”. In this study, I focused on the scene where typical gift-giving songs of love are exchanged because I focused on the cultural ritual aspect of the act of communication. In other words, it is based on the viewpoint that the original gift-giving song was born in a place where the extraordinary ritualization of the marriage proposal and love process was required. Therefore, the focus of the question is whether the tense words “this morning,” “`today,” and “now” used in the scriptures as cultural rituals can be positioned as love words. At the beginning of love, as I anxiously wondered, ‘Can we meet now? Can we meet today?’ and as I made every effort to create opportunities to meet, fleeting expressions proved useful. Then, during marriage ceremonies or in the process of love, when expressing heartache through poetry like the ‘Kinuginu-uta’, momentary emotions were brought to the forefront. Furthermore, in moments of parting as spouses or lovers, or in extraordinary situations, when pledging eternal feelings or showcasing the pinnacle of compassion, the ephemeral nature revealed itself. “The ‘Izumi Shikibu Diary’ constructs its own unique world of expression, and while I couldn’t find a similar ephemerality in ‘The Tale of Genji’ and ‘The Kgero Diary’ I was able to confirm a certain level of commonality in the expression of momentariness when looking at it from a broader perspective of romantic exchange.

In this study, I examined how Togano’s stag legends are portrayed and their roles in Volume 1, Episode 5 of 『Nansyoku Okagami』 in 『Nihonsyoki』 and 『Settukoku Hudoki』. In chapter 2, I looked the researchers while reviewing the contents of 『Nihonsyoki』 & 『Settukoku Hudoki』. Dream interpretation is concern with faith in the power of language in depth. This is because the spiritual power of the language controls both the speaker and the listener. I think the fact that there has been such a legend since ancient times is proof that the spiritual ability of language was considered important evidence. In chapter 3, the two of them get together and then suddenly feel unlucky, the part of Tannosuke’s dream story serves as a harbinger of tragedy in this story. It can be seen from the fact that it reminds me of encounters to escape human eyes, and a stag crossing the sea. Togano’s stag’s legend accepted Volume 1, Episode 5. The love triangle between the stag couple and the stag is accepted as the love triangle between Daiemon, Tannosuke and the Lord. The dream interpretation of the female stag is accepted as Tannossuke’s answer to Tannossuke’s dream story. Finally, the death of male stag by an arrow is being accepted by Daiemon. The legend of Togano’s stag is playing an important role in the plot of second half of Volume 1, Episode 5, which leads to the tragic ending.

Recently, with the development of science and technology, the fusion of robots and humans has occurred, and the boundary between humans and robots is becoming blurred. In this way, humanity’s vague anxiety about the phenomenon of humans becoming mechanized and machines becoming humans is giving rise to various humanities debates. Masahiro Mori, a Japanese roboticist who proposed the uncanny valley theory, argues that the relationship with humans should be reestablished from the perspective of robots based on Buddhist philosophy. Furthermore, he made it clear that concerns about technological development were not a problem of technology but of the humans who create technology, and at the same time warned of the dangers of technology that cannot be controlled.

The purpose of this paper is to examine the aspects of transformation of beliefs in Suwa(諏訪) focusing on the Literary Arts in Ancient and Medieval Japan. In ancient literature, Suwa manifested his divine status as the god of wind by newly worshiping the gods Suwa and Mizuuchi of Shinano, who were thought to be similar deities in the Nihon-shoki. In the Shoku Nihon Kouki, Suwa-god not only manifested his divine status as the guardian deity of Shinano, but was also deeply involved with water, as he provided water for the Byakurochi. In particular, Minakata-tomino-Kami mentioned in the Shoku Nihon Koki was described in the Kojiki and Sendai Kujihongi as Takemikata-no-Kami, the son of Okuninushi-no- Mikoto and Minakata is representing the water deity of Suwa Lake. Furthermore, Suwa-god divine status as a military deity is described in the Ryojin Hisho, and Suwa-god divine status as a military deity is also clearly stated in Suwa-daimyojin Ekotoba. In medieval literature, Suwa-daimyojin was described as Daisyogun(Coomander in-chief) in the Heike Monogatari and Hachiman Gudokun. In addition, Suwadaimyojin is depicted as the king of the Hadai Province in Tenjiku in the Suwa Kamisha Monoimirei and Suwa-daimyojin Ekotoba, and as the Lord of Tenjiku in the Suwa-daimyojin Koshiki and king of Suwa in the Suwa Mishirushi-Bumi, which gives us an insight into Suwa-daimyojin’s divine rank as a king. In the Shinto Shu, Vol. 4, Suwa-daimyojin was manifested in the form of a warrior, and it was clarified that the principal deity of the Suwa Jogu was Fugen Bosatsu and that the principal deity of the Suwa Gegu was Senju Bosatsu. In Vol. 10, there is also that Suwa-daimyojin was an present human god and he appeared in human form in reality.

In Sugimoto Masayuki’s book “Recent China, Manchuria and Joseon,” he describes the daily life of the Chungcheong region, where there were few information, so it is considered valuable as a material. Sugimoto, on the other hand, shows that he has an ambivalent view of Korea in the book. One of his views is that he incorporates the colonialist discourse directed at Joseon in his book. It would have been difficult to understand the politics of the leadership while staying in Chungcheong-do Province for a short time instead of Seoul, the capital of Joseon. Nevertheless, he concludes that the Korean people are incompetent, will-less, lazy and sly. On the other hand, it is ridiculous to think about how to transport goods from poor Joseon to Japan. On the contrary, the other gaze comes from the experience of traveling in Korea. Sugimoto is guided to every corner of the market, valley, river and towns in Chungcheong-do Province by people who know Korea well. Even if he had known information about Joseon for a long time, the cultural impact he experienced must have been shocked. However, while describing the superior culture of Joseon, he exaggerates and leave negative opinions in the last part. Having experienced the various cultures of Joseon, but openly criticizing it and making negative conclusions can only be considered to acknowledge the fun of the unique experience and the diversity of Korean culture.

杉本正幸の著書󰡔最近の支那と満鮮󰡕では資料が少なかった忠清地域の日常を描写 しているため、資料として価値があると思われる。一方、杉本は本の内容に朝鮮に対 するアンビバレントな視線を送っていることが分かる。 その視線の一つは、朝鮮に向ける植民主義的な談論を自分の本にそのまま盛り込 んでいることである。朝鮮で首都のソウルではなく忠清道(チュンチョンド)に短期間 滞在しながら、指導層の政治がどうであるのか把握するのは難しかっただろう。にも かかわらず、長い間の暴政で朝鮮の民族が無能で意志がなく、怠惰で狡猾だと断定す る。一方、計画的に貧しい朝鮮人の物資をどのように日本に移動すべきか悩む滑稽さ さえ見せている。 逆にもう一つの視線はむしろ朝鮮の旅行先で感じる経験から現れる。杉本は朝鮮 をよく知っている人たちに忠清道の市場や谷や川や町など隅々を案内してもらってい る。朝鮮に関する情報を前から知っていたとしても、直に体験した文化的な衝撃は大 きかったはずである。 しかし、朝鮮の優れた文化を描写しながらも、結局最後の部分には自分たちと違 う文化にむしろ誇張して否定的な意見を残している。せっかく朝鮮の様々な文化を体 験しながらも、結局、露骨に非難し否定的に結論を出すことは、むしろ異色体験の楽 しさと朝鮮文化の多様性について認めているというしか考えられない。