Earticle

This study investigates the forms in which the phrase “to omou” (I think) appears at the end of opinion-expressing utterances, depending on the context of the conversation. Five types of conversational contexts were defined: (A) when expressing an opinion for the first time after the topic is introduced, (B) when agreeing with the other person’s opinion, (C) when expressing a view while recognizing that the conversation partner holds the same opinion, (D) when presenting a new perspective, and (E) when disagreeing with the other person’s opinion. The results showed that in (A), “kana to omou” was frequently used, while in (B), the plain form ending with “to omou” was commonly observed. In (C) and (D), “to omou n desu” appeared frequently, and in (E), the plain form combined with “to omou n desu” was often used. These findings reveal that the way opinions are expressed varies depending on the conversational context. Furthermore, it suggests that native speakers of Japanese participate in opinion exchanges while striving to avoid friction with their conversation partners.

This study analyzes the transcription methods used in “comment follow telop” in Japanese variety shows, focusing on how participants’ speech is converted into text. The objective is to identify the unique features of these captions by comparing them with findings from studies on other television genres. Omissions: Common features are the frequent omission of first-person pronouns, a high rate of “ending a sentence with a noun”, and the removal of phrases like “tte” or “tte itte”. Modifications: Over half of all modifications involve “shift to plain form”. Additionally, variety shows exhibit a tendency to leave conversational language mostly unaltered when transcribing it into text. Additions: Compared to other genres, there are more additions of phrases but fewer additions of new information. The overall proportion of additions is low, indicating that variety shows prioritize entertainment over informational accuracy. Lastly, the study explores the use of casual speech in variety shows. It finds that “ending a sentence with a noun” emphasizes keywords to elicit humor, while “shift to plain form” reflects the producers’ intention to create a humorous atmosphere or establish the scene’s mood

In this paper, I examined expressions that are considered challenging for Japanese language learners to produce, specifically the compound verbs of static predicates, “na-adjective de aritsuzukeru” and “na-adjective de itsuzukeru.” First, regarding the earlier expressions “na-adjective de aru” and “na-adjective de iru,” I discussed that the former represents a constant characteristic, while the latter indicates a temporary state. Additionally, I pointed out that “na-adjective de aru” is limited in the types of modality forms it can take, whereas “na-adjective de iru” can appear in various forms. Furthermore, I noted that the former is primarily used in written language, while the latter can be used in both written and spoken contexts. When “~tsuzukeru” is added to these expressions, introducing an aspectual meaning of continuity, the distinctions between the two become less pronounced. Both can co-occur with a wide range of modality forms. However, the actual usage of the two differs. While “na-adjective de aritsuzukeru” is predominantly used as a productive expression in written language, “na-adjective de itsuzukeru” appears in limited contexts, such as on the internet, where it is frequently used with specific adjectives (e.g., “suki de itsuzukeru”). Based on the findings of this study, I propose presenting and teaching “na-adjective de aritsuzukeru” as the representative form for expressing the continuity of na-adjectives in written language.

This paper discusses adverbs used with the copula “da” or “desu” in predicate usage, focusing on their forms of appearance. Specifically, the usage of “adverb+da” is categorized into two main types: “adverb +da” and “adverb+daga”. The following summarizes the grammatical features that can be inferred at this stage: When an adverb is used in the form “adverb+da”, it is often found expressing time, degree, or quantity. In cases where there is a semantic correspondence to its use as a modifier, parts of the predicate may be omitted, and it can sometimes function like an interjection. On the other hand, when no such semantic correspondence with a modifier is observed , the adverb functions like an adjective predicate to express the speaker’s evaluation or emotion. The adverb can also be used in the form “adverb+daga” as an independent expression or modifier.

This study applies the topic modeling technique, a prominent method in text mining, to the field of Japanese studies, aiming to address the challenges posed by the growing volume of textual data. To provide a deeper understanding of Korean interest in Japan, the research focuses on social media data generated by the ordinary users, rather than traditional mass media sources. Specifically, the study collected and constructed a corpus from ten years of Japan-related blog posts on the Korean platform Naver, which was then analyzed using topic modeling. The analysis revealed that these Japan-related blog posts could be broadly categorized into six topics. Based on the frequent keywords associated with each topic, these were identified as "Travel," "Economy," "Learning," "Shopping," "Popular Culture," and "Japanese Cuisine." The findings indicate that Koreans primarily view Japan as a travel destination, followed by its significance as an economic entity in international relations, a subject of study or destination for learning the Japanese language and culture, a shopping destination, a source of popular culture, and a provider of culinary experiences. These patterns demonstrate that topic modeling effectively identifies themes and consumption patterns, reflecting real-world social phenomena. This study underscores the potential of data mining, particularly topic modeling, in Japanese studies by enabling the analysis of large-scale textual data and deriving meaningful insights. However, limitations include the consolidation of data into a single set for analysis and the restriction of data collection to specific periods within each year. Future research should extend the data collection timeframe and incorporate data from other social media platforms to capture evolving trends in Korean interest in Japan over time.

本稿では、増大するテキストデータの効率的な活用を目指し、テキストマイニン グ手法の一つであるトピックモデルを日本学分野に導入した。また、韓国人の日本に 対する関心の様相をより鮮明に解明するため、従来のマスメディアによって生成され たビッグデータではなく、一般大衆によって生成されたソーシャル･ビッグデータを 対象にテキストマイニングを行った。具体的には、10年間にわたる韓国･Naver社の ブログの｢日本｣に関連する投稿テキストを収集し、コーパスを構築した後、これに対 してトピックモデル分析を実施した。 その結果、本研究では、日本に関連するブログ投稿を大きく6つのトピックに分類 することができた。各トピックにグループ化された頻出キーワードに基づき、それぞ れのトピックを｢旅行｣、｢経済｣、｢学習｣、｢買い物｣、｢大衆文化｣、｢和食｣と解釈し た。これにより、韓国人の日本に対する最大の関心は｢旅行｣トピック、すなわち｢旅 行地或いは観光地としての日本｣であり、その次に｢国際関係における経済主体として の日本｣、｢学習の対象または留学先としての日本語および日本｣、｢商品の購入先とし ての日本｣、｢大衆文化の発信地としての日本｣、｢食文化および飲食産業の側面からの 日本｣への関心が続いていることが確認された。また、このような韓国人の｢日本｣に 対する関心と消費の様相は、実際の社会現象を正確に反映していることから、トピッ クモデルの可能性が再確認されたといえる。したがって、日本学分野においても、 データマイニング、特にトピックモデル分析を用いることで、大規模なビッグデータ を処理し、有意義な分析結果を導き出すことが可能であり、今後さらに広く応用され る可能性がある点でも本研究には意義があると考えられる。 しかしながら、本研究では10年間のデータを調査したものの、全てのデータを一 つにまとめて処理し分析を行った点、調査対象期間全体のデータではなく、1年を四 半期に分け、特定の期間に限定して資料を収集した点において、限界があるといえ る。今後の研究では、調査期間を拡大するとともに、他のソーシャルメディアにまで 調査対象を広げることで、データ量を増加させ、時間の経過による韓国人の日本に対 する関心トピックの変化をより深く理解することを目指したい。

In this paper, we considered the misuse of adverbs related to “mada”, which is commonly seen by Korean Japanese learners (hereinafter referred to as learners). In particular, I attempted to approach the background and causes of the misuse of “mada” with the particle “wa” from various perspectives. As a result, the following three points became clear. First, “mada” is an adverb specialized for subjective understanding of the situation, and there is a possibility that a discrepancy in understanding of the situation may occur between the speaker and the listener. Therefore, “mada” is merely an understanding of the situation set by the speaker himself, and it does not guarantee that the speaker will share his/her understanding with the listener. Second, like interrogative words, “mada” cannot be treated with the particle “wa” because it is indefinite. Third, in addition to the above-mentioned grammatical behavior of “mada”, the main cause of learners’ misuse of “mada” is a type of native language interference, that is, the difference between Japanese and Korean. In Korean, even indefinite elements are sometimes accompanied by a particle that corresponds to the particle “wa”, and this may have a considerable influence on the misuse of “mada.”

本稿では、韓国人日本語学習者(以下、学習者)によく見られる副詞の誤用のうち、 ｢まだ｣にまつわる誤用について考察を行った。とりわけ｢まだ｣を助詞の｢は｣で取り立 てる誤用について、その背景および原因について様々な観点からのアプローチを試み た。その結果、次の三点が明らかになった。第一に、｢まだ｣は主観的事態把握に特化 した副詞であり、話し手と聞き手の間で事態把握に対する認識の不一致が起こる可能 性がある。そのため、｢まだ｣はあくまでも話し手自身が設定した事態把握に過ぎず、 聞き手との認識共有までは保証されない。第二に、｢まだ｣は、疑問詞と同様に、不定 のものとして助詞｢は｣をもって取り立てることができない。第三に、学習者の誤用を 生み出す主な原因として、以上のような｢まだ｣の文法的振舞いの他にも、一種の母語 干渉、すなわち、不定を表す言語形式に関する日本語と韓国語の異動が揚げられる。 韓国語の場合、不定の要素でも助詞｢は｣に相当する助詞を伴う時があり、これが｢ま だ｣の誤用に少なからず影響している可能性がある。

Kenji Miyazawa’s works are deeply rooted in Buddhist philosophy, particularly Mahayana and Theravada Buddhism. His fairy tales convey teachings from major Buddhist scriptures, such as the Lotus Sutra, and are often categorized as “Buddhist literature.” Although Kenji was raised in a Pure Land Buddhist family, he later converted to Nichiren Buddhism. This study explores the reasons for his conversion, its impact on his worldview, and the evolution of his literary works. Focusing on 『Porcelain Berry and the Rainbow』 and its later revision, 『Marivron and the Girl』, this study examines their philosophical elements. 『Porcelain Berry and the Rainbow』 highlights the cosmic significance of nature, reflecting Pure Land Buddhism’s focus on self-salvation. In contrast, 『Marivron and the Girl』 shifts to human-centered narratives, emphasizing Nichiren Buddhism’s active teachings on effort and propagation. These revisions align with Kenji’s transformation during his conversion period. By analyzing these two works, this study demonstrates how Kenji’s evolving religious consciousness shaped his artistic expression. The characters embody themes of coexistence, missionary effort, and universal salvation, resonating with Mahayana and Theravada philosophies. Ultimately, Kenji’s works represent a unified vision of achieving enlightenment and true power through both individual and collective action.

The purpose of this paper is to investigate the process by which Noh and Utai, which were mobilized and cooperated in wartime propaganda as the “quintessence of the Japanese spirit” during the war, returned from “Noh of warlike spirit(尚武の能, martial Noh)” to the “Noh of Yugen(幽玄の能, Mysterious Noh)” of today after the defeat of the Asia-Pacific War. First, I thoroughly examined GHQ/SCAP censorship documents to ascertain the evaluation and policies under which Noh survived the period of occupation by GHQ. Nevertheless, from this brief mention, we can see the outline of what kind of informants GHQ obtained information from and what kind of knowledge the censors had. The GHQ/SCAP descriptions of Noh are the kind of content that only someone with considerable specialized knowledge could have written, and are orthodox, like descriptions of the history of Noh. It can be judged that the censors were Japanese with knowledge of Japanese performing arts and literature. n fact, previous research on GHQ censors has confirmed that Japanese censors had considerable academic ability. Based on this judgment, I tried to find out what kind of Japanese censors GHQ obtained information about Noh from, but unfortunately I was unable to find any documents that would provide such information. Noh, which was thus “relatively free” advertised the Tokyo Restoration Noh Theatre about 40 days after the Emperor’s radio broadcast, and Noh performances were held about 50 days later. There are two possible reasons for such a rapid movement towards “restoration.” The first is the “restoration of the arts scene.” It was a new start as an arts house, freed from the control by the authorities that turned to fascism during the war and the resulting mobilization and pandering. The other reason was the issue of the livelihood of Noh performers. As I have already pointed out in my previous article, the Sino-Japanese and Russo-Japanese Wars led to a halt in Noh chanting practice due to the self-restraint of performing arts during the wartime, which led to a sharp decline in the income that Noh performers received from teaching Noh chanting, and the self-restraint of performances meant that Noh performers had fewer opportunities to perform on stage, which put them in a difficult position and made it impossible for them to continue their art. This phenomenon was also true in the Noh world in the colonies. Focusing on the issue of wartime and Noh, I have also pointed out that while Noh declined due to the problem of securing an income, by staying close to those in power, there was a dual structure in which Noh rose to the top of the performing arts reports that contributed to national unity. There is a big difference between Japan’s victories in the Sino-Japanese War and the Russo-Japanese War and its defeat in the Asia-Pacific War, but when considering the issues of Japan’s shrinkage and rise during the “wartime period” and its progress in the “postwar period,” it becomes clear that the practical issue of entertainers’ livelihoods was actually an important factor, contrary to the desire of today’s nation-state system to be a “country with an excellent culture” as in World Cultural Heritage sites. Due to Noh’s contribution as a cultural device for national unity that was useful to the power of the state and the emergency situation of wartime, the ideology of “Noh of warlike spirit” was added to “Noh of Yugen,” and Noh survived the war period. There is a Noh performance that has come a long time. Exploring the significance of the fact that performances began in the ruins of Tokyo just 50 days after Japan’s defeat on August 15, 1945, is an aspect of history that must be clarified when considering the nation-state and Noh, and war and performing arts.

The Smile of Yokomitsu Riichi (1898–1947) was published a year after his death. As his final work, The Smile unfolds as a novel reflecting on the pre-war period, following his earlier work The Shoes of the Night. In The Smile, the original state of Japanese society in chaos after the war can be understood through the characters “Seiho” and “Kaji.” Yokomitsu, who always questioned binary oppositions represented by the principle of the excluded middle(tertium non datur) in his works from Ryoshu to Smile, tried to tell the story of Japan’s way of existence through the character of Seiho, who is divided and destroyed. Like the protagonists of Yokomitsu’s series of novels, Kaji suffers within an irreconcilable binary framework, confronting the harsh reality of war through the character of Seiho. Yokomitsu finds in Seiho’s smile a dream that transcends the contradictions of the excluded middle, encompassing the immorality of war, the desire for Japan’s victory, the hope for the development of new weapons, and the fear of those weapons falling into the hands of other nations. Yokomitsu hoped, as when Kaji first met Seiho, for the day when Japan would return to its true essence, moving away from its war-driven identity.

This paper examines how the relationship between ‘home’ and ‘women’ in Gothic literature is reinterpreted within a Japanese context through Mishima Yukio’s play Tropical Tree (1960). Mishima’s works are heavily influenced by Western Gothic literature, and it is evident that the concept of ‘home’ functions as a symbol of repression and conflict in his writing. In Tropical Tree, Mishima skillfully integrates Gothic literary traditions, depicting repression and destructive conflict within the confined space of the family. Notably, the character of the mother, Ritsuko, plays a central role in the family, highlighting its dark undercurrents through extreme themes of familial collapse and incest. Ritsuko’s multifaceted portrayal reflects the complexity of female characters in Gothic literature, with her dominance and repression of the family reinterpreted within Mishima’s unique context. Furthermore, the ‘home’ depicted in Mishima’s play transcends mere physical space to symbolize oppression and isolation. This depiction reflects post-war Japanese family structures and social repression, illustrating how Mishima adapted Gothic literary elements to a Japanese context. Particularly, Mishima’s work establishes its uniqueness at the intersection of post-war societal conditions and Gothic traditions. Overall, Tropical Tree reconfigures Gothic literary traditions within a Japanese context, offering both literary depth and social critique through its portrayal of repression and conflict within the family. This analysis reveals how Mishima’s literary world connects with and transforms Western Gothic literature in a Japanese context. Mishima’s works provide significant insights into the layered understanding of literature through the intersection of Gothic tradition and Japanese social background.

This paper examines various aspects of Izumo faith as depicted in Izumo’s Noh plays, specifically analyzing the portrayal of Susanowo and how it is transformed in each text. In Izumo Ryujin, the Izumo Taisha Shrine not only clearly enshrines Susanowo but also demonstrates its divine authority as a religious Shrine. In particular, Izumo Taisha Shrine has a connection with the dragon god, who is depicted as a being that presented a small snake to Izumo Taisha Shrine as a guardian deity of the land. In Orochi, Izumo is depicted as the place where Susanowo descended. This is closely related to the fact that, during the Middle Ages, Susanowo replaced the deities of the Izumo Taisha Shrinein the Middle Ages, and Susanowo as the deity of Izumo Taisha Shrine manifested his divine authority as the god of national wealth. In the scene depicting the extermination of the giant serpent, Susanowo was not only a deity who enriched the land but also demonstrated his divine authority as a powerful figure. In Kamiarizuki, Izumo is depicted as a sacred place where the gods of the entire nation convene. Consequently, October is referred to as Kamiarizuki (神有月) in Izumo and Kannazuki (神無月) in other regions, indicating the presence of a religious community centered around Izumo. This is why the Izumo Taisha Shrine is regarded as a significant pilgrimage destination for contemporary worshippers. Furthermore, the deity identifies himself as no Kami, the omnipotent god, who possesses two sacred swords that vanquished a giant serpent and accepted recognized treasures. This acknowledgment is the reason all aspects of Susanowo are celebrated for his virtues. In Misaki, Izumo, the story of Susanowo’s defeat of the serpent, while rooted in Kojiki･Nihon Shoki, portrays Susanowo as a divine figure who safeguards and enriches the land. He is also depicted as a deity who maintains the order of the Imperial Age over which he presides. In the myth of Susanowo’s national salvation, he is represented as the deity of Izumo Taisha, and his third daughter is manifested as Ten Rākṣasīs, establishing Susanowo as the father of the Ten Rākṣasīs. What is common to Izumo’s Noh plays is that the deity of Izumo Taisha Shrine is Susanowo. The transition of the deity from Okuninushi to Susanowo serves as evidence of the high regard for Susanowo’s divine authority. This is reflected in the discourse surrounding Susanowo, who emerged among the Japanese deities as an omnipotent god, embodying and synthesizing the various mythological traditions rooted in the ancient Izumo faith. The existence of a religious community centered on Izumo, along with its unique worldview of Kamiarizuki and Kannazuki, combined with the medieval concept of Honji-Suijaku (which posits that Shinto gods are manifestations of Buddhas), facilitated the active acceptance of this beliefs, leading to various transformations in the deity’s character and divine authority.

This study conducted a comparative analysis of the news broadcasts of NHK and KBS, the public broadcasters representing Japan and South Korea, respectively. By examining the themes and formats of the news covered by both broadcasters, the study explores the differences between Japanese and Korean public broadcasting and identifies the characteristics and direction of news reporting in both countries. In particular, the study compares the content, reporting methods, and attitudes of both countries, focusing on political news. In South Korea, social and political news make up a very large proportion of the coverage, indicating that South Korean broadcasts attract viewers' attention through the emphasis on social issues. While Japan tends to delve deeply into a smaller number of topics, South Korea tends to convey a variety of issues through brief news items. Japan prioritizes the coverage of social issues and international news, whereas South Korea tends to prioritize political news. This can be attributed to the influence of South Korea's political interests on society and the high level of political engagement among its citizens. In political news, South Korea tends to use negative and provocative language in news titles or citations, emphasizing a critical and negative context regarding political situations and issues, and highlighting conflicts and divisions between the ruling and opposition parties. In contrast, Japan tends to use words that emphasize cooperative and achievable positive changes, showing restraint in emotional expression and striving to maintain neutrality. Japan also continuously reports on interviews with the Prime Minister, aiming to objectively convey government policies and official positions.

本研究は韓国と日本を代表する公営放送であるNHKとKBSのニュースを比較分析 した。両国放送が扱うニュースの主題と形式を通じて日韓公営放送間の差を考察し、 これに基づいて両国ニュース報道の特徴と方向を導き出した。特に政治ニュースを中 心に、両国放送の報道内容と方式、そして報道の態度を比較した。 両国はともに社会、政治、国際ニュースを主に扱っているが、特に韓国は社会と 政治ニュースが全体ニュースの67%を占め、非常に大きな比重を示している。これは 韓国の放送が社会的イシューに焦点を合わせて報道しており、このようなイシュー強 調を通じて視聴者の関心を集めていることを示している。日本は相対的に少ない数の 主題を深層的に扱う傾向がある反面、韓国は主に単身報道で多様なイシューを伝達す る傾向がある。日本は社会的イシューと国際ニュースを優先報道する反面、韓国は政 治ニュースを優先報道する傾向があるが、これは韓国の政治的関心が社会に及ぼす影 響力、国民の高い政治的関心度と関連があると言える。 政治ニュースで韓国は否定的で刺激的な単語をニュースタイトルに使用したり引 用したりしながら、政治的状況やイシューに対して批判的で否定的な脈絡を強調し、 与野党間の対立と葛藤を浮き彫りにする傾向がある。日本は協力的で実現可能な肯定 的な変化を強調する単語を使って感情的な表現を自制し中立性を維持しようとする傾 向を見せる。日本はまた、首相のインタビューを持続的に報道し、政府の政策や公式 立場を客観的に伝えようとしている。 韓国の公共放送が正しい方向に進んでいるかを評価するために、日本との比較が より明確な基準を提供できると思う。日本は報道の公正性と信頼性の面で韓国と差別 化された評価を受けており、これは韓国放送の改善方向を模索するのに役立つだろ う。したがって、両国の放送の比較分析は重要な意義を持ち、今後も継続的な研究が 必要であると考える。