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This paper focused on the single verbs and the prefix-type compound verbs: “hiki-” which can be replace by each other, and compared the meanings of these words according to the types of meanings of the preceding verb “hiku.” I clarified there are three major types of meanings of the preceding verb “hiku”: 1) grab part of the object and move it toward the subject of the action, 2) move forward with it, 3) contract (it) from the inside. As type of 1), I considered “hagasu, hiki-hagasu.” As a result, it became clear that the addition of the preceding verb “hiku” adds the meaning of “to grab part of the object and move it towards the subject of the action”. As type of 2), I considered “watasu, hiki-watasu”, “tsugu, hiki-tsugu”, “okosu, hiki-okosu” and “tsuzuku, hiki-tsuzuku”. As a result, it became clear that the addition of the preceding verb “hiku” adds the meaning of “to move forward together”. As type of 3), we considered “shiboru, hiki-shiboru”, “shimeru, hiki-shimeru”, and “shimaru, hiki-shimaru.” As a result, it became clear that the addition of the preceding verb “hiku” adds the meaning of “to contract (it) from the inside”, or as type of 1), “to grab part of the object and move it towards the subject of the action”.

This paper analyzes the Japanese particle “o” used with Japanese intransitive verbs of the “tatakau” type. As a result of the analysis, it was observed that these “o”case noun phrases can be divided into two types (the event type and the duration type), and that the particle “o” marking each type of noun is functionally differentiated. Specifically, the “o” case noun phrases of the event type are connected to intransitive verbs of the “tatakau” type through a transitive relationship, and they grammatically behave like objects. On the other hand, it was found that the “o” marking duration-type nouns serves an adverbial function and can be used freely under certain conditions. From the fact that the particle “o” with two functions is used in intransitive verbs of the “tatakau” type, it can be seen that the particle “o” has a variety of meanings and usages. This study is significant in that, through such an analysis, it enables the discovery of a wider variety of combinations between unergative verbs and the particle “o,” as well as the analysis of those usages.

In this paper, I have tried to explore the types of foreign vocabulary that flowed into Korea through the headwords in “THE NEW DICTIONARY OF FOREIGN WORDS IN MODERN KOREAN” especially technical terms, and their relationship with Japanese. The “Dictionary” section of “THE NEW DICTIONARY OF FOREIGN WORDS IN MODERN KOREAN” contains 13,289 headwords, of which 1,530 technical terms (11.51%) were collected from the 28 fields of expertise listed in the “Explanation”. English accounts for the majority of the vocabulary, with 1,375 words, followed by Italian, German, French, and others, providing a glimpse into the reorganized international situation. In addition, the Japanese pronunciation and writing style are naturally reflected in the Hangul writing of foreign words in “THE NEW DICTIONARY OF FOREIGN WORDS IN MODERN KOREAN” and the author’s view of foreign words, which treats languages other than Korean and Japanese as a single language group, is clearly expressed. However, there are many words in which the rich pronunciation of the original language is reproduced through the rich vowels of Hangul. Through this “THE NEW DICTIONARY OF FOREIGN WORDS IN MODERN KOREAN” can be said to be a linguistic resource that allows one to observe the various confusions and ambiguities of Hangul writing at the time.

This study focuses on the age group of readers who subscribe to women’s magazines and examines the use of sentence-ending types cosmetic advertisements in women’s magazines in Japan and Korea from two perspectives: speech levels and expression forms. The results are summarized as follows: Firstly, regarding the usage patterns of speech levels in cosmetic advertisements, it was found that in both countries, incomplete sentence is overwhelmingly used in women’s magazines aimed at both younger and middle-aged to older readers, followed by the plain form and the polite form. This preference for incomplete sentence can be interpreted as being favored because it does not directly convey a respectful attitude, due to the indirect nature of communication with an unspecified, large audience. Moreover, since the plain form is used more frequently than the polite form in both countries, it suggests an emphasis on objective information delivery over politeness to readers. Next, regarding the usage patterns of ending forms in incomplete sentence, in both countries, the noun form is most commonly used in women’s magazines for both younger and middle-aged to older readers. Ending with a noun form is presumed to give a concise and assertive impression, which is effective in capturing readers’ interest. Additionally, in Japan, the noun form is relatively more used in women’s magazines for younger readers, while the case/auxiliary particle form is more common in magazines for middle-aged to older women, indicating a difference in usage trends based on age group of readers. Finally, concerning the usage patterns of expression forms in cosmetic advertisements, in both countries, the declarative form is overwhelmingly used in women’s magazines for both younger and middle-aged to older readers. This suggests that advertisements focus more on one-sided information provision rather than active interaction with readers.

This study analyzes and examines advertisements for non-ordinary Korean products broadcast in Japan between 2021 and 2023, categorizing them primarily into mobile-related advertisements and automobile advertisements. The results are summarized as follows: Commonalities between mobile and automobile advertisements include the following: First, both types enhance advertising effectiveness through visual imagery and soothing music. Second, subtitles are utilized to present new information straightforwardly, making it memorable for consumers. Third, sentence-final expressions adopt a noun-based perfect form, delivering messages concisely and clearly. Fourth, in terms of storytelling (discourse structure), product names are presented in the introductory section, descriptions of the products in the central section, and the product or brand names in the conclusion, thereby imprinting the brand in consumers’ minds. Fifth, overall, advertising visuals employ bright colors and rapid motion, drawing consumer attention and predominantly utilizing hard sell advertising strategies. In terms of differences, most mobile advertisements employ celebrity models to enhance product recognition, whereas automobile advertisements favor foreign models to convey the message of being a global brand. Additionally, mobile advertisements deploy a storytelling discourse structure that facilitates communication and sharing of new information with consumers, aiming for a positive advertising effect. In contrast, automobile advertisements emphasize product names and features rather than various expression methods, thereby enhancing credibility through video storytelling strategies aimed at increasing advertising effectiveness.

日本で2021~2023年に放送された韓国の非日常的な製品を、大きくはモバイル関連 広告と自動車広告に区分して分析･考察し、次のような結果を得た。 モバイル広告と自動車広告の共通点は第一に、視覚的な映像と甘美な音楽で広告 効果を高めている点である。 第二に、字幕を利用して新しい情報をストレート技法 で提示し、消費者の記憶に残るようにしている点。第三に、文末表現が名詞形の中途 完了形態をとり、簡潔かつ明確にメッセージを伝えている点である。第四のストー リーテリング(談話構造)では、前半部で製品名が提示され、中間部では製品に関する 説明、終結部では商品名やブランド名を提示してブランドのイメージを刻み付ける。 第五に、全般的に広告映像は色を明るくし、流れは速くして消費者の視線を引く、 Hard Sellの広告戦略が主に使用されている点である。 相違点としては、モバイル広告のほとんどで有名人モデルを起用し製品の認知度 を高める戦略を取るが、自動車広告では有名人モデルより外国人モデルを起用して世 界的なブランドであることをアピールする戦略を取っている点である。また、モバイ ル広告においては新情報を消費者と共有し、談話構造ストーリーテリングで肯定的な 広告効果を狙う。その一方、自動車広告では多様な表現法により製品名と機能を強調 し、信頼度を高める映像ストーリーテリングで広告効果を高めているということがよ く分かった。

This paper explores how Yamakawa Soji, a prolific artist known for his adventure books, reconstructed the “Western” genre and represented “Indians” in the work Ghost Ranch, serialized in Shonen from 1950 to 1952. The Western genre, including cowboy films, was very popular in post-war Japan and influenced Japanese children’s culture, especially during the Occupation period. This paper focuses on analyzing Ghost Ranch, a unique Western work that portrays Native Americans not only as wild adversaries but also as victims of Western expansion. While traditional Western narratives glorified Anglo-Saxon dominance and the conquest of the frontier, this work subverts these tropes by placing Native Americans at the center of the story as complex characters with layers of identity beyond mere antagonists. It examines how Ghost Ranch represents the history of the Western frontier and the conflict between white settlers and Native Americans as an example of the acceptance of Americanism in post-war Japan, revealing a dual perspective of empathy toward Native Americans while perpetuating a sense of superiority and colonial attitudes inherited from prewar imperialism.

This paper is a structural analysis of the mysteriousness of ‘Nageki no mon’. This work has a pattern of repeating the exercise of first presenting a ‘mystery’ to attract the reader’s interest and then solving that ‘mystery’, but between the presentation of the mystery and the solving of the mystery, the story is developed in a way that it is ‘drawn out’ for as long as possible. The reader is thus left with the story being stretched out without being told how to resolve the interest in the ‘mystery’. The effect of this is that the mystery is enhanced by the fact that the reader is left with a sense of dread after the mystery has been presented, without being told how to solve it.By the way, such a technique was used not only by Tanizaki Junichiro, but also by Sato Haruo ‘Shimon’ and Akutagawa Ryunosuke ‘Yoba’ around 1918 or 1919. However, the characteristic of ‘Shimon’ is that it gradually becomes a fantasy novel in which the distinction between the reality and delusion of the protagonist is blurred as the story is stretched out. In the case of ‘Yoba’, the story is developed by stretching it out with bizarre episodes, thereby providing it with the characteristics of a bizarre novel. In contrast, Tanizaki Junichiro’s ‘Nageki no mon’ is characterised in that, while stretching the story, it weaves the images of ‘ruin’ and ‘decadence’ associated with the title ‘Grief’s Gate’ into the story like a ‘縁語’. The three leading figures in the world of mystery fiction of the Taisho period drew their works at the same time and in a similar manner, indicating a relationship of mutual influence.

Among the series of works in the Genealogy of intermarriage of a different kind, this paper focuses on “Hideriame-kitsuneno-yomeiri” by Tsusyo(①) and “Hideriamekitsuneno- yomeiri” by SomahitoI(⑮), while also taking up various other works, I have attempted to discuss the styles of both writers, focusing on their works. As a result, I was able to reinforce the previous research that ① and ⑮, which have the same reading of the book title, have no relation to adaptation Also, for the first time, I was able to show that ⑮ was the work of Somahito. As a basis for this, by taking up the bibliography, the content of the text, and the style of the text, I have determined that although it is conceivable that the name of book ⑮ may have been inspired by Tsusho ①, the content was not referenced, and that ① and ⑮ are two different works with no influence relationship. Specifically, Tsusyo devotes a lot of space to developing scenes unrelated to the wedding ceremony. Therefore, the style is novel or abrupt. However, the style of Somahito has become a rut by placing more emphasis on traditional rituals. It is presumed that this is the result of the 26 years and the difference in the author’s intentions between the early yomeirimono kibyoshi and the later yomeirimono kibyoshi where the style was established.

Japanese scholar Hideki Takata took the study of The Travels of Marco Polo as his lifework, bridging the gap between academic circles, providing important reference for Marco Polo researchers at home and abroad, and also providing effective reference for the history of communication between the East and the West, especially for the history of Sino-foreign communication, the history of Central Asia, the history of Mongolia and the Yuan Dynasty and other fields. Through the research synthesis method, this paper collects and collates Takata’s documents and materials related to The Travels of Marco Polo, and summarizes the shortcomings such as lax adherence to academic standards, limited citations of Chinese texts, and uneven research distribution. However, despite these shortcomings, his academic contribution is irreplaceable, receiving high praise not only in Japan but also overseas, which is of great help to Marco Polo researchers.

In order to understand the discourse on Yi Sun-sin in Japan in the 1930s, we must understand the London Naval Conference held in 1930. As a result of the London Naval Conference, the Japanese Navy, which was in a situation where it had to implement disarmament, used the media to conduct propaganda activities to overcome this, and as a result, it eventually withdrew from the disarmament system in 1936. However, in many publications related to the Navy published during this period, Yi Sun-sin’s activities during the Imjin War were frequently mentioned. The Navy had to emphasize the importance of naval power in order to oppose disarmament, and cited various historical cases where naval power was weak and failed in war. At this time, the most frequently mentioned case in Japanese history was that of Yi Sun-sin. Yi Sun-sin’s case, which turned the unfavorable war situation into favor situation through naval power, was the case in Japanese history that could show the public the importance of naval power that the Japanese Navy wanted.

1930年代日本の李舜臣談論を理解するためには、1930年に開催されたロンドン軍 縮会議を理解する必要がある。ロンドン軍縮会議の結果として軍備縮小を実行しなけ ればならない状況に置かれた日本海軍は、これを打破するためにメディアを活用した 宣伝活動を繰り広げ、その結果、結局1936年軍縮体制から離脱することになった。と ころがこの過程で出版された多数の海軍関連出版物で、壬辰倭乱での李舜臣の活躍が よく書かれた現象が見える。海軍は軍備縮小反対のために海軍力の重要性を強調し、 海軍力が弱くて戦争で失敗した様々な歴史の事例を引用した。この中で日本歴史の事 例として最も頻繁に書かれたのが李舜臣の事例であった。不利であった戦争を海軍の 力で変えた李舜臣の事例は、日本海軍が望んでいた、国民に海軍力の重要性を見せら れる｢日本歴史の事例｣であった。

Tayama Katai is the leading author of Japanese naturalist literature, which combined the Western naturalist theory with the influence of traditional Japanese literature and built his own literary world. In his works, nature appears as an important element closely related to human emotions and lives beyond simple backgrounds. His masterpiece, ‘The Last of the Zuemon’, is a mixture of naturalistic elements and traditional Japanese travelogues, showing an attempt to explore the relationship between nature and humans. In particular, in ‘The Rural Teacher’, nature that reflects the life and pain of the protagonist appears, suggesting his frustration and death through natural descriptions. In addition, travelogues such as ‘ManSeon HaengRak’, awe of nature and other people’s eyes on colonial Choseon are mixed and depicted. While accepting Western naturalist theories, Katai’s literature inherited the view of nature of traditional Japanese literature and formed an independent art world that expresses the fusion of nature and humans. In particular, his later works explore the view of nature in which humans and nature converge through “I and Nature-convergence” based on Buddhist ideas, and his literary world occupies an important place in the history of Japanese literature that deserves re-examination.

田山花袋は日本自然主義文学の代表的な作家で、西洋自然主義理論と日本伝統文 学の影響を結合して独自の文学世界を構築した。彼の作品で自然は単純な背景を越 え、人間の感情と人生と密接に関連した重要な要素として登場する。代表作である ｢重右衛門の最後｣は自然主義的要素と日本伝統紀行文的要素が混在した作品で、自然 と人間の関係を探求する試みを見せてくれる。特に｢田舎教師｣では主人公の人生と苦 痛を反映する自然が登場し、自然描写を通じて主人公の挫折と死を暗示する。また、 『滿鮮行楽』のような紀行文では自然に対する畏敬の念と植民地朝鮮に対する他者の視 線が混在して描写される。 花袋の文学は西欧自然主義理論を受容しながらも、日本伝統文学の自然観を継承 し、自然と人間の融合を表現する独自の芸術世界を形成した。 特に彼の晩年作品で は仏教的思想に基づいた｢自他融合｣を通じて人間と自然が一つに融合する自然観を探 求し、彼の文学的な世界は日本文学史で再照明される価値のある重要な位置を占める のである。

This paper analyzes the representation of the Korean War in Shimomura Chiaki’s “Heart Break Highway.” Through the perspective of the protagonist, who has endured Japan’s modern wars and its defeat, the author recounts the personal and familial misfortunes of a character named “Aigo.” In doing so, the work reveals that for those burdened with the internalized trauma of accumulated war experiences, war becomes an arbitrary and unpredictable form of cataclysmic violence, serving as an object of terror and delusion that looms with the constant threat of recurrence. Through Aigo’s relentless flight, even after losing an eye and becoming partially paralyzed, the author amplifies the sense of dread and revulsion towards war. His fear serves to heighten the narrative’s portrayal of war not as a distant, abstract event occurring across the sea, but as an imminent and palpable threat that could, at any moment, traverse the “Heart Break Highway” and engulf Japan in its devastating wake. The discourse on the Korean War within Korea has primarily been understood as a subject of divided or national literature. Writers have engaged in writing that resists violence, and readers have empathized with and inherited the pain and misery of historical reality. However, the perception of the Korean War from this close perspective is somewhat limited by being confined within the ‘Korean boundary’ of being Korean or part of the Korean nation, making it insufficient to universalize the experience. Thus, I sought to contemplate it from a broader perspective by examining the Korean War as depicted in Japanese literature. Thus, through this work, we are able to examine the Korean War from an external perspective, despite it being the same subject. Through this oscillation between internal and external perspectives, the overall image of the Korean War takes on a more comprehensive and complex form, expanding its scope and deepening in significance.

本稿は下村千秋の『痛恨街道』をテキストとして、作品に表れる朝鮮戦争の表象に ついて分析を行ったものである。作家は、日本の近代戦争と敗戦を経験した｢私｣の視 点を通して、｢愛吾｣という人物の個人史的、家族史的な不幸の記憶を語りながら、蓄 積された戦争経験を内傷として抱えつつ生きる人々にとって、戦争は偶発的で不確実 なものでありながら、いつ起こるか分からない巨大な暴力であり、恐怖と妄想の対象 となっていることを暴露している。 ｢愛吾｣は混血で、しかも母親が朝鮮人であるという身分的差別と、密輸商業者 や、くず拾いとしての社会的差別という、重層的な差別にさらされた人物であり、日 本にも朝鮮にも定住できず、流浪の生活を送りながら、絶対的な困窮と極限の生存条 件、精神的パニック状態を無差別に経験する戦争の犠牲者として表象されている。 片目を失い半身不随になりながらも逃げることをやめない彼の恐怖を通して、作 家は戦争に対する嫌悪と恐怖を最大限強調している。それは、漠然と海の向こうで起 こった他人事ではなく、いつ｢痛恨街道｣を渡って、日本を襲うかもしれない危機とし て想定されている。 朝鮮戦争という磁場の中で、我々韓国人は常に参加者として、内部者として存在 している。しかし、同じテーマでありながら、この作品を通して我々は外部から朝鮮 戦争を眺めることができる。そうした内外の往来により、朝鮮戦争という全体像はよ り包括的で複雑な様相を呈し、その外延が拡大し、深みが増していくことを感じられ る 。