Earticle

In this article I dealt with usage of 3 sentence-final particles ne, yo, and yone to give learners more precise guidelines in accordance with their basic meanings commonly known in Japanese Language Education. The conclusions I lead in this article can be summarized as below. 1) Sentence-final particle ne added to the statement unknown to listener expresses the statement has been formed in collaboration, not with the listener, but the information sources available at the time of utterance. 2) The use of sentence-final particle yo is not always optional but mandatory when listeners quick action as a response to the given information is needed urgently. 3) Yone can be used to ask for confirmation or concent from the listener like ne. When you use yone instead of ne, you presuppose that your counterpart has better knowledge about the subject matter. Yone is basically used to make a statement which is supposed to be known by the listener. You can use yone to give information unknown to the listener only when the statement is finished with noda. In this case you can also just use yo instead of yone, omitting the ne part at the end. If you add ne at the end, you express that you are in the process of making a decision considering the information presented using noda.

This paper focused on the single verbs and the compound verbs: “tachi-” which can be replace by each other, and compared the meanings of these words according to the types of meanings of the preceding verb “tatsu.” I clarified there are three major types of meanings of the preceding verb “tatsu”: (1) put oneself in a special place or situation, (2) arise. As type of (1), I considered “yoru, tachi-yoru,” “mukau, tachi-mukau,” “majiru, tachi-majiru,” “modoru, tachi-modoru,” “kaeru, tachi-kaeru,” “masaru, tachi- masaru” and “itaru, tachi-itaru.” As a result, it became clear that the addition of the preceding verb “tatsu” adds the meaning of “to put oneself in a special place or situation.” As type of (2), I considered “noboru, tachi-noboru,” “sawagu, tachi-sawagu.” As a result, it became clear that the addition of the preceding verb “tatsu” adds the meaning of “to arise.”

Many previous studies have taken the view that conditional clauses and cause-reason clauses differ only in whether their propositions are hypothetical or factual, and that they share other characteristics in common. This paper shows that there are differences between the two clauses in terms of clause size, rewriting into two sentences, etc. This difference is not automatically derived from the hypothetical/factual difference between the two clauses, which indicates that the conditional clause and the cause-reason clause are not completely parallel.

This study reexamined Motoori, Norinaga’s discussion of ancient special kana usage in ‘Kana no koto’ from “Kojiki-den(1)”, the earliest known reference to this phonological phenomenon. It assessed Motoori’s contribution to Japanese linguistics through his discovery of kana distinctions in the ancient period and considers his views on the relationship between ‘kana’(仮字, phonetic kana) and ‘karimoji’(借字, borrowed characters), the distinction between ‘オ’(/o/) and ‘ヲ’ (/wo/), and his interpretation of kana involving consonantal elements. It is well known that Motoori identified the kana orthography used in the “Kojiki” as the most accurate, noting distinctions such as between voiced and voiceless sounds, and even among homophones, where the character used varies depending on the word’s meaning. While previous studies have primarily focused on the differentiation of kana, this paper confirms that Motoori also displayed insight in estimating the phonetic values of vowel syllables. Although he inherited Keityu’s kana usage framework, Motoori further independently systematized the phonetic distinction between ‘オ’ and ‘ヲ’ by correcting their placement based on his own reasoning, which is a point Keityu had overlooked. Two issues remain open. First, ‘Kana no koto’ makes no mention of the confusion among the ‘Yotsugana(四つ仮名)’, which arose due to the palatalization of ta/da-row sounds during the Edo period. Second, in the phonology of the ancient period, kō/otsu (甲/乙) distinctions appear in kana rows such as /ki/, /gi/, /bi/, and /mi/, but not in the sa/ta-rows, except in the /-i/ and /-e/ syllables. These points are left as questions for future study.

This study aims to explore the characteristics of communication in Japan and South Korea through an analysis of the live broadcasts of the opening ceremony of the Paris Olympics. Summarizing The findings of this study are summarized briefly as follows., Significant differences were observed in the frequency of speaker alternation during the broadcasts of the Olympic opening ceremonies in both countries. South Korea tended to have a single speaker predominantly responsible for the narration, emphasizing coherence and unity. In contrast, Japan featured more frequent exchanges among multiple speakers, reflecting the Japanese speaking style known as ‘kyōwa(共話)’, characterized by collaborative dialogue. Regarding speech levels at the end of the utterance, Korean broadcasts primarily employed polite forms, whereas Japanese broadcasts utilized a variety of speech levels—including plain and incomplete utterance—to effectively convey emotions and provide information. Concerning contents, Japanese broadcasts relatively prioritized descriptive narration, whereas Korean broadcasts incorporated a greater amount of knowledge sharing, information dissemination, evaluation, and emotional expression. These results suggest that the social and cultural traits of each country are reflected in their respective broadcasting styles.

This paper explores the role and significance of jingika (Shinto-themed poems) in classical Japanese Waka, focusing on how the divine was expressed through poetic forms. While Waka is often seen as a lyrical medium for personal emotions, it originally served ritual and religious functions, as evidenced in the Kokin Wakashū’s final book, which includes songs used in court and religious ceremonies. The study classifies divine-related Waka into two broad categories: “ritual songs” and “personal devotional songs.” It further examines jingika, kami-asobi no uta (songs of divine entertainment), sankei-ka (pilgrimage poems), and hōnō-ka (dedicatory poems) as subcategories. These classifications reflect the dual nature of Waka’s engagement with the sacred: as both a communal ritual utterance and an individual expression of faith. Particular focus is placed on the jingibu (Shinto section) of imperial anthologies, especially the Shinkokin Wakashū, where poems are organized as either jin’ei (divine utterance) or hitoyo (human voice). This distinction underscores Waka’s function not just as literature, but as a religious performance in which language itself becomes a sacred act. Reassessing jingika in this way offers insight into how Waka functioned as a form of poetic imagination and interaction with the divine, expanding our understanding of both religious practice and literary expression in the Japanese tradition.

In this paper, examines the meanings that family, the sparrow, and the gourd seed hold for the “六十斗の女” and the “隣にありける女” in the tale “The Grateful Sparrow(雀報恩事)”(3-16) from the Uji Shui Monogatari. Drawing on annotations from previous studies, it also analyzes the internal states and fundamental conflicts underlying the actions of these two characters. The gourd seed represents a miracle gift=juho(呪宝) from another realm, which brings fortune only to those who deserve it; otherwise, it causes harm. The “六十斗の女” who selflessly cared for the injured sparrow, gained wealth from the seed. In contrast, the “隣にありける女” who abused the sparrow driven by greed, suffered negative consequences. However, the “隣にありける女” acted desperately, driven by a desire to gain her family’s approval, while the “六十斗の女” displayed coldness toward her neighbor, complicating a simple distinction between good and evil. Thus, these two women become fundamentally opposite characters only when viewed through the existence of the sparrow.

This paper is part of a study on the changing aspects of Izumo faith in ancient and medieval literature. It aims to explore various elements of Izumo faith as depicted in Noh plays related to Izumo, with a specific focus on the portrayal of Susanowo in each text. In Kusanagi, Yamato Takeru no Mikoto is regarded as a reincarnation of Susanowo, who embodies the divine authority of protecting life and health, ensuring a safe and long life. Additionally, Yamato Takeru no Mikoto’s identity as the divine spirit of Susanowo is emphasized by his divine authority as the god who protects the sacred sword. In Gendayu, it is believed that Izumo-taisha is the same deity. This belief is supported by the fact that the song of Susanowo is also surrounded by a sacred fence at Atsuta Shrine. Additionally, the deity of Izumo-taisha is identified as Susanowo, and it is further posited that the reincarnation of Susanowo is Yamato Takeru no Mikoto, who is seen as a means to save all sentient beings. The connection between these two deities suggests the development of a belief system that links the East and the West, uniting Atsuta and Izumo as one. In Huru, Susanowo manifested his identity as Amaterasu’s elder brother. However, it is important to note that while Amaterasu is recognized as the first earthly deity, Susanowo is traditionally depicted as her younger brother in the Kojiki and Nihonshoki, became Amaterasu’s elder brother in Huru were important. This distinction is significant due to the prominence of a religious community centered around Izumo at that time, which elevated Susanowo as the possessor of a sacred sword. Furthermore, this sacred sword underwent a divine transformation and was revered as a protector of the nation. As a result, Susanowo became the guardian of this sacred sword, which was enshrined on a stone in the Land of Yamato, ultimately establishing him as the god of national protection. In Totsuka no Tsurugi, it is noted that the sacred sword was the one with which Susanowo sliced open the eight-forked serpent. The sword emerged from the river, wrapped in a woman’s washing cloth, and was enshrined on a stone. Additionally, Susanowo is recognized as the owner of a sacred sword that protects the nation and dispels vengeful enemies. This is why Ishigami Jingu Shrine, which enshrines the sword as its sacred object, is believed to be a source of national protection. In Kusanagi and Gendayu, a common theme emerges: the reincarnation of Susanowo is identified as Yamato Takeru no Mikoto, and in Huru and Totsuka no Tsurugi, the sword enshrined at the Ishigami Shrine and the sword that cut through Susanowo’s giant snake can be regarded as one and the same. Both Susanowo and Yamato Takeru no Mikoto, revered as heroic deities, had a profound connection, particularly concerning the treasured sword of Kusanagi. This relationship reflects the contemporary belief that Yamato Takeru no Mikoto represented the second coming of Susanowo. Furthermore, the sacred sword of Susanowo served dual purposes: it was not only a protective emblem for the nation but also a talisman for national continuity and the expulsion of malevolent adversaries.

This study analyzes the illustrations in the Edomeishozue, published in the mid-19th century, to explore how famous places in late Edo urban space were spatially and temporally reconstructed through repeated practices. These places were not static landscapes but dynamic spaces shaped by rituals, festivals, and seasonal customs. The analysis categorizes the illustrations into three themes―religious, social, and natural―and examines representative cases from each. Chapter 2 discusses the compilation background and conceptual transitions of “meisho” (famous places). Chapter 3 analyzes their ritual function through syncretic religious practices. Chapter 4 explores political and social meanings embedded in their visualizations, while Chapter 5 examines the sensory and seasonal enjoyment that shaped natural spaces as lived experiences. Ultimately, the study reveals that the illustrations in Edomeishozue visually mediated and reconfigured famous places as “practiced spaces” imbued with memory, sensation, and collective actions. By viewing meisho through the lens of “the production of space,” this research offers a new interpretation of their dynamic formation and re-meaning in Edo’s visual culture.

本論文は、19世紀半ばに刊行された󰡔江戸名所図会󰡕の挿絵を分析し、江戸後期の都市空間において名所がいかにして時空間的に再構成されたかを明らかにすることを目的とする。名所は静的な風景ではなく、儀礼･年中行事･季節の風俗など反復的な実践を通じて形成される動的な場であると捉える。 分析にあたっては挿絵を宗教･社会･自然の三つの主題に分類し、代表的な事例を視覚文化の観点から考察した。第2章では󰡔江戸名所図会󰡕の編纂背景と名所概念の変遷を検討し、第3章では神仏習合と祭礼による儀礼空間としての機能を分析した。第4章では名所の視覚化に内在する政治的･社会的意味を論じ、第5章では季節的感覚と遊興が結びつく自然空間の実践的意味を明らかにした。 以上の考察を通して、󰡔江戸名所図会󰡕の挿絵は記憶･感覚･社会的実践が重層的に交差する｢実践された場所｣としての名所を視覚的に媒介･再構成していたことが明らかとなった。本研究は、名所を｢空間の生産｣の観点から能動的に形成･再意味化される時空間的文化実践の場として再評価する新たな視点を提示したものである。

This study critically examines the Cultural Heritage Administration’s projects ―*Cultural Heritage Night Tour* and *Modern Historical and Cultural Space*―focusing on how the preservation and utilization of colonial-era heritage sites have deviated from their original aim of restoring historical identity and authenticity, instead becoming commercialized tourist resources. Using the case of Gunsan, particularly sites like Hirotsu’s House and the Rice Exchange, the study highlights how these symbols of colonial exploitation are decontextualized and romanticized as film locations or cafes. It also notes that younger generations, with no direct experience of colonial rule, consume these spaces with a sense of nostalgia for Japanese culture, thereby diluting their historical meaning. By applying the concept of *dark tourism*, the study emphasizes the need for a more balanced historical narrative that incorporates both oppression and resistance. Furthermore, it reinterprets the proactive economic activities of Korean *gaekju* (traditional merchants) during the colonial period as examples of resilient agency and proposes their inclusion in cultural heritage interpretation. Ultimately, the study argues that the core purpose of heritage preservation lies not merely in economic development or aesthetic conservation, but in fostering historical reflection and transmitting collective memory. It calls for a shift in heritage policy to better align with these goals.

本研究は、韓国文化財庁による｢文化財夜間開放プログラム｣と｢近代歴史文化空間｣事業を批判的に検討し、植民地時代の文化遺産の保存と活用が、本来の目的である歴史的アイデンティティと真正性の回復から逸脱し、観光資源として商品化されている実態を明らかにするものである。特に群山を事例に、広津家住宅(ヒロツ家屋)や米取引所などの植民地的収奪の象徴が、映画のロケ地やカフェとしてロマン化･脱文脈化されている点を指摘する。また、植民地支配の実体験を持たない若年層が、日本文化へのノスタルジーを抱きながらこれらの空間を消費していることが、歴史的意味の希薄化を招いていると論じる。さらに本研究では、｢ダークツーリズム｣の概念を応用し、抑圧と抵抗の両側面を包含したよりバランスの取れた歴史的ナラティブの必要性を強調する。加えて、植民地期における朝鮮人の客主(伝統的商人)たちの能動的な経済活動を抵抗の主体性として再解釈し、その歴史を文化遺産の解説に取り入れることを提案する。最終的に、本研究は文化遺産保存の本質的な目的が、経済的活性化や美的保存にとどまらず、歴史的な省察と記憶の継承にあると主張し、これらの目標に即した文化遺産政策への転換を呼びかけている。

As higher education digitizes, large‑language‑model(LLM) writing aids and automated essay scoring can lighten instructors’ workloads while giving students instant, personalized feedback. Their value, however, remains unclear in humanities courses demanding deep critical inquiry, such as Japanese culture and literature. This study outlines a three‑semester mixed‑methods design integrating LLM tools into an authentic course and testing (1) gains in students’ writing quality, (2) the reliability and acceptance of AI scoring versus human raters, and (3) links between AI‑use intensity and achievement. Roughly 700 undergraduates will be assigned to randomized treatment or control sections each term. Data sources include pre‑/post‑essay scores on a 10‑item rubric, AI‑human concordance indices, Likert surveys on usability and fairness, granular usage logs, and end‑of‑term focus‑group interviews. Interviews capture learners’ experiences, strategies, and concerns about AI adoption, and logs track function choice and revision cycles. Hierarchical linear models, gain‑score ANCOVAs, Cohen’s κ, Bland–Altman plots, and structural equation modeling will analyze nested effects, scoring validity, and attitudinal constructs. Expected results include usage‑dependent improvements in writing, strong AI‑human agreement when explanations are transparent, and positive achievement gains for students who employ AI strategically. By detailing instruments, procedures, and analyses, the study offers a replicable template for evaluating AI as a cognitive partner and instructional aid in humanities settings, informing sustainable AI‑ enhanced teaching, assessment, and curriculum design.