Earticle

This paper aims at revealing the characteristics of the Japanese heasay “んだって (ndatte)”, focusing on the grammatical and semantic features. The summary of the main characteristics is as follows. First, different from a quotatve usage of “んだ･って”, in hearsay, “んだって” becomes formalized and is used as a modality which expresses the speaker’s attitude, and it serves a similar function as “そうだ(soda).” Secondly, unlike a quotation, the original speaker and time and space are not clear. The original speaker can be either explicit or non-explicit in the sentence, but it is often not-explicit. Thirdly, “んだって” has pragmatical usage expressing <surprise> and <confirmation>. This paper also discussed on the function of “のだ” from a pespective of <structure of explanation>. When “んだって“ is in the <stricture of explanation>, it explains the cause or reason of the preceding descriptive sentence, and it has two functions of hearsay and explanation. However, ”んだって“which is outside of the <structure of explanation>, it has only the function of hearsay, which often can be seen in <confirmation> usage.

This paper focused on the single verbs and the compound verbs: ‘uchi-’ which can be replace by each other, and compared the meanings of these words according to the types of meanings of the preceding verb ‘utsu’. I clarified there are four major types of meanings of the preceding verb ‘utsu’: (1) applying a shock to the target, (2) creating, (3) releasing, and (4) touching strongly mentally. As for type (1), I considered ‘otosu, uchiotosu’ and ‘kaesu, uchikaesu’, and clarified ‘uchi’ means the way to perform the action of the latter verb. And through the consideration of ‘narasu, uchinarasu’ I also revealed ‘uchi’ sometimes means “by hitting” and sometimes means “strongly”. And through the consideration of ‘katsu, uchikatsu’, ‘kesu, uchikesu’ it also became clear that ‘uchi’ means “with all my might” or “everything, completely”. As for type (2), I considered ‘tateru, uchitateru’ and ‘dasu, uchidasu’, and clarified ‘uchi’ means “to create something new and give a shock” or “to clearly (strongly) indicate something that created newly”. As for type (3), I considered ‘suteru, uchisuteru’ and ‘nagameru, uchinagameru’, and revealed ‘uchi’ means “to release” or “strongly”. ‘Uchi’ sometimes weakens the latter verb, such as “leaving it alone without properly disposing of it” or “staring blankly into the distance” but sometimes strengthens the latter verb, such as “to strongly decide to cut off one’s interest in the object” or “to observe thoroughly”. As for type (4), I considerer ‘shizumu, uchisizumu’ and ‘furueru, uchifurueru’, and clarified ‘uchi’ means “suffered a strong psychological shock”.

This paper investigated the perceptions of Korean universities, focusing on the 11 items from three perspectives of Japan’s “reasonable accommodation.” The survey participants in this study were a visually impaired student J, three student volunteers, two students who attended classes, and two teachers. The research method was an interview using a checklist of 11 items from three perspectives. The checks on each list were coded and analyzed. As a result of the survey, it was found that visually impaired student J did not receive sufficient explanations, especially in liberal arts subjects, regarding <Aspect 1>, ｢learning content｣ Regarding ｢teaching methods｣, sufficient support was obtained from teachers. In addition, almost all participants provided ｢psychological/health｣ support. Next, regarding <Perspective 2>, the ｢support system｣， it was found that only the faculty of the major course provided specialized support. However, there was no collaboration with the local community and no support system in the event of a disaster. The last aspect, <Aspect 3>, ｢Facilities/Equipment｣ had the lowest check rate. First, we need to put in place support measures for barrier-free access.

This study attempts to present a new framework by grasping the expression of invitation more broadly. If you grasp the meaning of superficial characters, there are expressions that cannot be said to be invitation. However, in actual communication, it functions as a invitation. Through this discourse, we analyzed what factors made ‘making into invitation’. As a result, ‘Asking about the listener’s situation’, ‘Asking listeners for their hopes and preferences’, ‘the communication of the speaker’s opinion’, ‘the communication of the speaker’s hopes and preferences’,‘the communication of the situation around you’five elements appeared. Through the same consciousness, the listener can grasp the meaning of the invitation hidden in the speaker’s speech. The reason why ‘making invitation’ is established is that they have the same consciousness. Through the same consciousness, the listener can grasp the meaning of the invitation hidden in the speaker’s speech.

This study introduces a teaching model that utilizes Japanese creative stories in class. It aims to verify whether the model can help students with different Japanese abilities focus and be motivated in class, and whether it can lead to sufficient learning. This type of teaching model requires a significant amount of time and effort from the instructor to achieve the desired results, but it allows students to learn at their own pace and produce high-quality results on their own even with only school classes. In addition, it is a comprehensive language learning method that can cover the areas of reading, grammar, writing, and translation through the content of the story, and it is thought to have sufficient potential for classes for college students. In addition to designing a writing class using stories, this study also actively adopted educational technology tools such as Padlet, Google Jamboard, and Miri Canvas, and made efforts to allow students to learn outside of class through quick feedback and feedback, and to receive help from instructors anywhere. This opens up the possibility of research on the use of educational technology tools in the future. It is thought that classes using stories can be utilized in various areas of Japanese learning other than writing classes, and various studies are needed on this. In addition, we plan to continue to explore stories that can be applied according to the needs of students, and to develop diversified evaluation methods to solve the problem of decreased learning motivation due to prejudice against stories, and to make the feedback and feedback of instructors more smooth.

この研究では、日本語創作童話を授業に活用する授業モデルを紹介し、実際に活 用して、さまざまな日本語能力を持つ学生の授業への集中力とモチベーションに役立 ち、十分な学習が起こるかどうかを確認することを目的としました。このような形の 授業モデルは、目標とする結果に到達するためには時間と教員の努力がかなり必要で すが、学生一人一人の能力に合わせた学習が可能であり、学校の授業だけでも学生自 身が高い完成度の成果物を導き出すことができます。また、これは童話を利用して授 業を行うことで、童話の内容を通じて読解、文法、作文、翻訳の領域までを網羅でき る総合的な言語学習法として、大学生を対象とした授業では十分な可能性があると考 えています。また、本研究では、童話を活用した作文授業の設計にとどまらず、パド レット(padlet)、Google Jamboard、ミりキャンバスなどのエデュテックツ-ルを積極 的に採用し、迅速な添削とフィードバックにより、授業外でも学習が起こり、どこか らでも教員の助けを得られるよう努め、将来のエデュテックツールの使用についても 研究の可能性を開きつつあります。童話を活用した授業は、作文授業以外にもさまざ まな日本語学習領域で活用できると考えられており、そのためにはさまざまな研究が 必要になると考えています。また、アンケートを通じて確認された童話に対する先入 観による学習動機の低下の問題を解決する方法と、学生のニーズに合わせて適用可能 な童話を継続的に発掘し、教員のフィードバックと添削、フィードバックをより円滑 にする方法と、評価の公正性を解決するための評価方法の多様化を達成する試みは、 今後の課題としたいと考えます。

The purpose of this paper is to propose useful teaching method and tips for Japanese accent instruction in high school of South Korea. We propose four tips for Japanese accent instruction. One is developing teaching method for Japanese accent by each teacher, excepting two teaching methods, using flash cards and VT(Verbo-Tonal) method are proposed by us. Another is marking pitch accent in textbooks and providing flash cards and mp3 files. The others are providing conversation having high authenticity, and instructing accent with mora and voiced sounds.

本稿では、2022改訂教育課程における日本語アクセント指導について、｢教材開発｣ と｢教授法｣の2つに焦点を当てて論じた。2015改訂教育課程にも、2022改訂教育過程 にも高校課程の｢日本語｣にアクセントに関する指導は皆無である。そこで、本稿では 教材分析を通し、｢フラッシュカード･VT法の活用｣、｢それぞれの現場でのアクセン ト教授法の開発｣、｢教材へのアクセントの明記とフラッシュカード･音声ファイルの 提供｣、｢真正性の高い会話文の確保｣、｢アクセントと拍･清濁などの並行指導｣を提言 した。

This article examines the development of Akutagawa’s literature from the middle to the end of his life, based on “Shinkiro(蜃気楼)” (first published in Fujin Koron(婦人 公論), 1927).As is well known, Akutagawa’s later years of his literary career were marked by an inclination toward the realm of the unconscious and, at the same time, by a sense of “unknowable anxiety” that welled up from within the unconscious. Yoshio Shiozaki calls such a phenomenon “forced thinking,” and the protagonist (myself) of Akutagawa’s later years of literature also feels as if I am a puppet being moved by “someone else’s existence” beyond my own will. It can also be said that Akutagawa’s style in his later years depicts the world of “vague anxiety” of the puppet “I”. “Shinkiro(蜃気楼)”, the subject of this article, is also characterized in this way.Nothing dramatic happens to the main character, “I,” but the mirage he goes to see is overlaid with an eerie image of a new era of melancholy and gloom. The protagonist’s “me” is not a dramatic event, but an image of “something” coming from the other side of the sea toward this side.In the end, however, nothing happens in this work, and only an eerie mental image is left as an aftertaste. This paper examines the method of constructing the world of “Shinkiro(蜃気楼)” with its “vague uneasiness” through the rhetoric of this work, and analyzes it by delving into one aspect of the methodology of Akutagawa’s “novel without a story” of his later years.

In order to investigate the daily life of playful children, I mainly taken up Kibyosi and Ukiyoe. In the Kibyosi, I used as texts (1) “Syotozan-tenaraizyo” and (2) “Kodomosyu-chyusingura”, both of which have the theme of children’s games. In particular, focusing on Syotozan-tenaraizyo, whose theme is Tenjin-sama’s unexpected educational policy for awakening rebellious children who hate studying, it shows an educational view that candy, not whip, is effective for problem children. Among the ukiyoe, the main texts were “Syogei-keiko-zue” (1) “Utai,” (2) “Tenarai” (3) “Yomimono,” painted by Hiroshige Utagawa, which captures scenes of mischievous children in classroom. I confirmed that these were drawn along the flow of the preceding paintings. In particular, (3) “Yomimono” depicted the same world as the custom paintings by hand “Sodan” by Kim Hong-do of the Joseon period, and it was interesting to see the same perspective of artists who lived in the same period.

Kenji’s fairy tale, “Porcelain berry and the Rainbow”, was adapted into “Marie Bron and the Girl”. This study focuses on the death of her younger sister Toshiko, which is considered one of the causes of the adaptation, and the differences between the two works. I would also like to pursue the changes in Kenji’s mental world that appear in these two works. “Porcelain berry and the Rainbow” was written in 1921, and “Marie Bron and the Girl” was adapted in 1926. Although the two works have largely the same content, the reason for revising and rewriting it is based on its connection to the death of her younger sister Toshiko in 1922 and examines the circumstances surrounding it. Kenji speaks of coexistence not only in the tangible natural world but also in the intangible world through the characters. In “Porcelain berry and the Rainbow”, he places importance on the recognition of the value of existence of everything, and in “Marie Bron and the Girl”, he pursues the value of a different way of life. Through the two works, Kenji’s mental world and its changes are explored through the characters’ language and the flow of the story. Kenji’s fairy tales cannot be explained through theory, but they use rich expressions that convey the author’s emotions to the readers. Among the works, Kenji’s view of the universe, which cannot be fully explained by modern science or physics, is depicted. This study found that the abstract claim in “Porcelain berry and Rainbow” that existence itself has absolute value is in line with the concept of the Pure Land Buddhism believed in by Kenji’s family. Meanwhile, in “Marie Bronn and the Girl”, which places value on the missionary work carried out by the girl, the importance of effort is shown metaphorically. The relevance of the adaptation was analyzed by pursuing Kenji’s inner world, outlook on life, and values that were changed by Toshiko’s death. In his first written work, “Marie Bron and the Girl”, which was adapted into “Porcelain berry and the Rainbow”, Kenji tried to express his feelings by writing about the changes in his spirit and the growth of his heart due to Toshiko’s death. Among the repeated lines of the characters in the work, there is a desire for an ideal in which all beings can coexist symbiotically. And the study focused on Kenji’s view of nature, which combines the truth of the universe and life energy.

In this paper, we focus on the juho(呪宝) in the “Konjaku Monogatarishu” Honcho department. The 8 stories were classified into each type. Then, I considered the description aspects of juho in the development of the story. In the Honcho department of “Konjaku Monogatarishu”, juho are depicted as symbols representing the merits and miraculous powers of the gods and Buddha, as a means of explaining the efficacy of Buddhist faith. In “Konjaku Monogatarishu” Volume 16, Episode 30, a character based on worldly gain is portrayed, who is dissatisfied after obtaining a magical treasure that is different from his expectations, but even the rawness of such a person turns into an interesting read. we can get a glimpse of the editor and author’s preferences from the fact that he does so. Furthermore, the magical treasures, which do not have a temporary effect but repeatedly bring good luck without restrictions or provide an endless supply of rice and gold, function as dramatic elements in the development of the tale. By adding a permanent and infinite motif to the treasure, it emphasizes the great miraculous power of the gods and Buddha. By doing so, reverence for the gods and Buddha will be further aroused.

This study focused on analyzing the popular drama of Kabuki and Joruri, and clarified the changes in the perception of Joseon during the Edo period. Japanese people during the Edo period often confused the images of Joseon and China, as the image of Watonai’s tiger hunting in “Kokusennya Gassen” overlaps with the image of Kato Kiyomasa’s tiger hunting in the Bunroku Keicho role. Furthermore, guides to Joseon such as “Joseon-raityo-monogatari” and entertainment works such as “Tojinn-gorosi” show that Empress Jingu’s conquest of the Three Koreas and Toyotomi Hideyoshi’s invasion of Korea were recognized as wars won by Japan. The procession of envoys was recognized as tribute. This is the result of the so-called “Japanese-style Huayi thought” This can be seen in the late Edo period Kabuki play “Sitennno-Ubuyuno-Tamagawa” in which a Chinese envoy comes to pay tribute to a Japanese military commander.

本研究は、歌舞伎と浄瑠璃という大衆演劇を中心に分析し、江戸時代の朝鮮認識 の変化を明らかにした。『国姓爺合戦』における和藤内の虎狩が文禄慶長の役における 加藤清正の虎狩のイメージと重なることなどから、江戸時代の日本人は朝鮮と中国の イメージを混同することがしばしばあった。そして『朝鮮人来朝物語』のような朝鮮案 内記、｢唐人殺し｣のような芸能作品からは神功皇后の三韓征伐と豊臣秀吉の朝鮮侵略 を日本が勝利した戦争として認識していたことが伺える。そして通信使の行列を朝貢 として認識していた。これはいわゆる｢日本式華夷思想｣が表れた結果である。これは 江戸後期の歌舞伎作品の『四天王産湯玉川』において日本の武将に朝貢に来る中国の使 節という内容から伺える。