Earticle

In modern Japanese, the total number of two character Chinese verbs in forms such as “reluctantly” and “drinking” exceeds 10000 words, but the research results on the grammatical properties and functions of these Chinese verbs are far from comparable to Japanese verbs. The most important characteristic of Chinese verbs in terms of word formation is the separability between their stem and tail, which has led to issues such as the strength of separability between stem and tail, and the insert ability of case particles, which have not yet been fully resolved. This article takes the Chinese verb in the form of “V+N する” as the main research object, and explores the issue of the insertion of case particles between its stem and end. Through analysis, it is found that the factors affecting the insertion of case particles include the saturation of the stem, which is positively correlated. After forming the form of “V+N+case particles+する”, its syntactic function also presents characteristics different from ordinary Chinese verbs

This paper analyzes and describes the correlation between the specificity of the action and the scene by examining the sentence in which the source of the situation among the various causative sentences found in modern Japanese and Korean. Summarize the main points of contention as follows. First, in the case of Korean, it was possible to detect the aspect of involvement through morphological characteristics first. In the case of Japanese, only the morphological characteristics of the causative predicate did not capture the action, and they could be confirmed mainly from a semantic perspective. Based on these differences, as a result of focusing on the specifics of the causer’s action to establish the situation, it was confirmed that it was classified as the viewpoint of ≪Instructor≫, ≪Actor≫, ≪Responsible person≫ Second, as a result of analyzing the correlation with the scene of how the above-described action appears in specific scenes, it was considered that in the case of Korean language, which corresponds to its form and meaning, there are some examples that have to be explained from a scene analysis perspective rather than a constant one. In the case of Japanese, it was confirmed that it was necessary to specify the situation in which the operator was placed in a discourse background in order to distinguish the action against the establishment of the situation.

The aim of this study is to analyze the emotional expression tendencies in Japanese and Korean, focusing specifically on bird-related vocabulary, and to compare and contrast the expressive features of both languages. Based on prior study, birds that frequently appear in emotional expressions in both Japanese and Korean were selected, namely: ‘crow’, ‘hawk’, ‘swallow’, ‘crane’, and ‘pigeon’. This study examined how these bird-related words are associated with particular emotional tendencies in linguistic expressions across both languages. As a result, in the case of the ‘crow’ Japanese expressions frequently used it to convey both unpleasant and positive emotions, while Korean expressions often associated it with unpleasant and fearful emotions. The ‘hawk’ was associated in Japanese expressions with fear and a sense of tension or urgency, whereas in Korean expressions, it was mainly used to convey fear. As for the ‘swallow’ in Japanese expressions, unpleasant emotions were overwhelmingly dominant, while in Korean expressions, it was mainly linked to positive and sorrowful or pitiful emotions. The ‘crane’ was mostly associated with positive emotions and a sense of tension or urgency in Japanese expressions, while in Korean expressions, it was overwhelmingly linked to positive emotions. Lastly, the ‘pigeon’ was commonly associated in Japanese expressions with surprise and positive feelings, and in Korean expressions, it appeared frequently across a wide range of emotions including sadness, positive feelings, unpleasant feelings, and a sense of comfort or peace. Notably, in Japanese emotional expressions, ‘crow’ showed a unique tendency by also conveying positive emotions, which is relatively uncommon in other linguistic contexts. Upon examining the reason behind this, it is assumed that the image of the crow has been positively shaped in Japanese culture due to the mythological figure ‘Yatagarasu’, a sacred crow that appears in Japanese mythology, as well as the nurturing behavior observed in real-life crows. Analyzing the choice of animal-related vocabulary in emotional expression across languages, along with the underlying causes of these emotional associations, can significantly aid foreign language learners in understanding such expressions more deeply. This study aims to contribute to the diversification of vocabulary research within the field of emotional expression.

The present study aims to compare the translation quality of human translation and AI translation-specifically neural machine translation (NMT) and large language model (LLM)-based translation—in the context of Korean–Japanese translation. The source texts comprised informative texts (news articles) and expressive texts (columns), while the target texts included professional human translations as well as AI translations generated by Google, Papago, DeepL, and ChatGPT in 2023 and 2025. Translation quality was assessed using BLEU and TER metrics computed with SacreBLEU to ensure reproducibility, and complemented by a qualitative analysis employing Molina & Hurtado Albir’s(2002)translation techniques at the sentence level. The results revealed that DeepL achieved the highest BLEU and TER scores, whereas ChatGPT employed a broader range of techniques and produced translations most comparable to human translations. These findings highlight the limitations of automatic metrics and demonstrate the importance of combining quantitative metrics with qualitative and human evaluation to achieve a more comprehensive understanding of AI translation performance.

本稿は、バーネットの『Little Lord Fauntleroy』の日本初訳である若松賤子の『小公 子』(1892)を中心に、後代の川端をはじめとするいくつかの翻訳物に見られる否定表 現の翻訳様相について比較･対照考察したものである。方法としては、英語では ‘no/not/never’ を含む文、日本語では終止に ‘〜ない/〜ず/〜ぬ’ をとる文を否定形と みなし、原文第1章･第4章を中心に例文単位で対照した。 検討の結果、原文の否定表現が訳文でも否定として維持される場合と、肯定表現 へと転換される場合がともに観察された。また、原文に否定がない箇所で訳文に否定 が導入される事例も確認した。さらに、相違点に着目し、時代的推移に伴う表現傾向 や、日本語訳と韓国語訳という目標言語の違いが選択に影響しうることも指摘した。 否定表現は文脈や談話機能により多様な効果を生む。翻訳者はまず原文の意図と 用法を把握し、その上で目標言語に適した翻訳戦略を選択･運用する必要がある。必 要に応じて文構造を調整し本稿は、バーネットの『Little Lord Fauntleroy』の日本初訳である若松賤子の『小公 子』(1892)を中心に、後代の川端をはじめとするいくつかの翻訳物に見られる否定表 現の翻訳様相について比較･対照考察したものである。方法としては、英語では ‘no/not/never’ を含む文、日本語では終止に ‘〜ない/〜ず/〜ぬ’ をとる文を否定形と みなし、原文第1章･第4章を中心に例文単位で対照した。 検討の結果、原文の否定表現が訳文でも否定として維持される場合と、肯定表現 へと転換される場合がともに観察された。また、原文に否定がない箇所で訳文に否定 が導入される事例も確認した。さらに、相違点に着目し、時代的推移に伴う表現傾向 や、日本語訳と韓国語訳という目標言語の違いが選択に影響しうることも指摘した。 否定表現は文脈や談話機能により多様な効果を生む。翻訳者はまず原文の意図と 用法を把握し、その上で目標言語に適した翻訳戦略を選択･運用する必要がある。必 要に応じて文構造を調整し、否定を自然に組み込む、あるいは意味･効果の等価を保 つ語彙に言い換えるといった手続きが有効となる。 本稿で取り上げた例からも、訳者ごとの語彙選択や表現上の戦略が異なるかたち で機能していることがうかがえる。ここでは、そうした選択を史的な流れと対照の枠 組みから概観し、否定表現の翻訳が形式面(否定/肯定の維持･転換)と機能面(強調･婉 曲･推量･拒否など)の相互調整として現れることを示した。今後は資料拡充とコーパ ス化による検証を課題とする。、否定を自然に組み込む、あるいは意味･効果の等価を保 つ語彙に言い換えるといった手続きが有効となる。 本稿で取り上げた例からも、訳者ごとの語彙選択や表現上の戦略が異なるかたち で機能していることがうかがえる。ここでは、そうした選択を史的な流れと対照の枠 組みから概観し、否定表現の翻訳が形式面(否定/肯定の維持･転換)と機能面(強調･婉 曲･推量･拒否など)の相互調整として現れることを示した。今後は資料拡充とコーパ ス化による検証を課題とする。

This study compares and contrasts the translation tendencies of “negative expressions” observed in Wakamatsu’s Shoukoushi, a Japanese translation of Burnett’s Little Lord Fauntleroy, with those found in translations by Kawabata and later translators. The analysis reveals three distinct patterns: cases where the “negative expressions” in the original text are directly rendered as such in the translations, cases where they are not, and instances where “negative expressions” appear in the translations despite their absence in the original text. The differences among these translations highlight not only the shifts in the Japanese language over time but also variations in translation tendencies depending on whether the target language is Japanese or Korean. Since “negative expressions” serve diverse functions depending on context, translators must first accurately grasp the intent and nuances of the source text. Based on this understanding, they should select appropriate translation strategies tailored to the target language. Each language has its unique ways of expressing negation, which may necessitate adjustments in sentence structure to naturally incorporate negation or the use of vocabulary that conveys the nuances of the original. The case studies examined in this paper demonstrate diverse choices of vocabulary and style among translators.

This study examines the intersection of hōraku waka (ritual poems offered as entertainment to deities and buddhas) and hōnō waka (dedicatory poems) through a comparative analysis of the Hosshin Wakashū compiled by Princess Senshi and the Shūgyokushū compiled by Jien. While the Hosshin Wakashū primarily reflects personal religious aspiration, positioning waka as an alternative form of Buddhist practice equivalent to scripture recitation, it does not yet assume the communal and performative dimensions of ritual entertainment. By contrast, the Shūgyokushū’s “Hie Hyakushu” explicitly situates waka within the framework of hōraku, aligning poetic composition with musical performance (kagura) in the ritual space of Hie Shrine. Through this transformation, waka emerges not only as an individual expression of faith but also as a medium that integrates the gods themselves into Buddhist soteriology, guiding them toward enlightenment. This comparative study highlights the dynamic shift whereby waka developed from private devotional practice to a communal ritual act that mediated between human, divine, and Buddhist realms. Ultimately, it demonstrates the multifaceted functions of waka in medieval Japan as both a literary and a religious performance.

Yokomitsu Riichi stood at the forefront of Japanese Modernist literature, specifically the Shinkankakuha, with the launch of Bungei Jidai in 1924. The depiction of women forms the core of his his aesthetic and expressive world. In the early 1920s, the female characters in Yokomitsu’s narratives were portrayed as ambiguous and conceptual beings shaped under the influence of European literature, seen through the introspective gaze of male consciousness. These figures were interpreted as objects of both the male protagonist’s yearning and suspicion, and as a metaphor for Western culture, rooted in the Western economic system that Japan (represented by the male figure) felt compelled to adopt. However, as social pressures intensified during the 1930s due to the global Great Depression, Yokomitsu’s portrayal of women entered a new phase. He introduced female characters who actively sought self-determination while grappling with realistic challenges such as marriage, divorce, and the succession of family headship (kadoku keishō). Consequently, the perspective on women shifted from a unilateral male fantasy to a relational and dialogical existence. Furthermore, the imagery of women, which had previously functioned as the metaphor for Western civilization, was occasionally replaced by dangerous and violent male imagery. This transformation reveals Yokomitsu’s evolving perspective on gender, culture, and the dynamics of modern Japanese identity, all examined within the framework of his Modernist aesthetics.

This paper clarifies the potential of The Country Teacher (Inaka Kyōshi) as a social novel by analyzing the protagonist’s inner conflict and anguish accompanying modernization and war, as well as the dual meanings and narrative effects of the term “Banzai”, which repeatedly appears as a wartime expression during the Russo-Japanese War. At the same time, The Country Teacher depicts how a national event such as war reorganizes the life of a local village and a young man within it. In doing so, it realistically portrays a young man who wanders between ideals and reality, tradition and change, amid the upheavals of modernization and war—thus granting the work significance as a social novel. Such narrative characteristics demonstrate that the novel functions not merely as a work that praises or records the grand discourse of the Russo-Japanese War, but rather as a literary device that prompts reflection on human dignity and the meaning of existence. Moreover, through the dual expression of “Banzai”, the novel employs a device that further accentuates the protagonist’s tragic fate.

This paper critically examines the animated film In This Corner of the World (2016), analyzing why it was acclaimed in Japan as a new anti-war narrative yet criticized from a post-colonial perspective for evading perpetrator responsibility. The analysis is framed by historian Ryūichi Narita’s concept of the ‘age of memory’. The film employs a meticulous realism focused on daily life, a technique characteristic of the ‘age of memory’ designed to foster empathy in generations without direct experience of war. This paper argues, however, that this microscopic focus paradoxically de-politicizes history. By immersing the audience in a personal perspective, it erases the macro-historical context of Japanese imperialism, exemplified by the absence of Korean forced laborers. The film’s evasion of responsibility is most evident in the modification of a key scene from the original manga. A moment of political awakening, where the protagonist questions the violent nature of the Japanese state, is altered into a depoliticized reflection on food and sustenance, thus intentionally avoiding a direct confrontation with Japan’s wartime aggression. This paper identifies this change as a form of “directorial self-censorship” that reveals the film’s fundamental limitation. In conclusion, this paper asserts that In This Corner of the World, despite its appearance as a sophisticated historical narrative of the ‘age of memory’, ultimately serves as an effective mechanism for concealing perpetrator responsibility. By excluding the perspective of the ‘other’—the colonial subjects—the film demonstrates the ethical pitfalls of a “succession of memory” that lacks critical self-reflection on a nation’s history of violence.

本稿は、片渕須直監督のアニメーション映画＜この世界の片隅に＞を対象に、現 代日本の大衆文化における戦争の記憶と再現の問題を批判的に考察する。本作は日本 で新たな反戦映画として高く評価された一方、ポストコロニアルの視点からは加害責 任を回避しているとの批判も受けた。本稿では、歴史学者･成田龍一の｢記憶の時代｣ という時代区分を分析の枠組みとして用い、この評価の分岐がなぜ生じるのかを明ら かにする。 本作の最大の特徴は、緻密な時代考証に基づくリアリズムを通じて、戦争を知ら ない世代の共感を促す点にある。これは｢証言の時代｣の作品が戦争の悲惨さを直接的 に告発したのとは対照的な、｢記憶の時代｣特有の語り口である。しかし本稿は、この ミクロな日常描写への没入が、逆説的に歴史を脱政治化する装置として機能している と指摘する。主人公すずの視点に観客を寄り添わせることで、植民地からの収奪や朝 鮮人強制労働者の存在といった、帝国日本の構造的暴力というマクロな歴史的文脈は 不可視化されてしまう。 この問題点は、終戦直後の場面に加えられた原作からの変更に最も鋭く現れてい る。原作漫画で主人公すずが｢この国の正体｣を問い、日本の暴力性に対する政治的覚 醒の瞬間を迎えるのに対し、アニメ版ではこの内省が｢食べ物｣をめぐる脱政治的なも のへと変更された。これは、日本の加害責任との直面を意図的に回避した｢演出上の 自己検閲｣であり、本作の根源的な限界を示すものである。 結論として、本作は｢記憶の時代｣の精巧な歴史物語でありながら、植民地の被害 者という｢他者｣の視点を排除することによって、結果的に加害の責任を隠蔽する役割 を果たしたと論じる。自国の加害の歴史に対する自己省察を欠いた｢記憶の継承｣が陥 る倫理的な問題を、本作が逆説的に示しているのである。

This study examines the emergence of menstrual leave for female factory workers in Japan between the 1910s and 1954, focusing on the interplay of literature, labor unions, administrative policies, and medical discourse. By analyzing sources such as Jokō Aishi (1925), union documents (1927–1928), government surveys, and wartime medical texts, the research highlights how menstrual leave was framed through medicalization, maternalist ideology, institutional codification, and eventual appropriation by women themselves. The findings show that humanitarian narratives of sacrifice were translated into union demands, while administrative and medical texts reinforced the rhetoric of “protection” tied to national efficiency. Yet, women workers also appropriated this discourse, using it strategically to justify absences and negotiate working conditions. This dual process positioned female workers both as objects of regulation and as agents who redefined official language for their own purposes. Rather than a linear trajectory from medicalization to legalization, menstrual leave discourse reveals a cyclical structure of emotional mobilization, institutionalization, and appropriation. The study concludes that menstrual leave functioned not only as a labor-rights issue but also as a symbolic medium of collective emotions, shaping the boundary subjectivity of female workers in modern Japan.

本研究は、1910年代から1954年にかけての日本社会を対象に、女工の生理休暇言 説がどのように形成され、流通し、制度化へと至ったのかを検討する試みである。従 来の研究が｢医療化｣や｢母性イデオロギー｣の起源、労働基準法を軸とする制度史的展 開に焦点を当ててきたのに対し、本稿は文学･労働運動･行政政策･医学的言説といっ た複数の層位の交錯に注目し、その過程で生じた意味の変容を明らかにすることを目 的とした。分析の過程では、文芸作品や新聞記事が女工の身体を｢破壊された母体｣と して描き、人道主義的感情を喚起したことが確認された。こうした叙述は労働組合文 書の権利要求へと翻訳され、制度的正当化の基盤となった。また行政･医学の資料で は｢母性保護｣と｢能率維持｣が同時に語られ、女性労働者は権利主体であると同時に国 家的管理の対象として位置づけられていた。さらに、当事者である女工たちはこうし た言説を受容するにとどまらず、欠勤の正当化や労務交渉の場面で戦略的に利用して いた可能性がある。したがって生理休暇は、抑圧的な管理装置であると同時に部分的 な主体性の回復を可能にする資源としても機能したと考えられる。以上の考察から、 生理休暇は単なる労働制度の一事例にとどまらず、近代日本における境界的主体性を めぐる複合的言説装置として再定位できる可能性が示唆される。すなわち、それは権 利要求の言語でありながら同時に管理の論理でもあり、さらに当事者による転用を通 じて部分的な行為性の再獲得を促す装置として作用した。こうした両義的構造を視野 に入れることで、生理休暇は｢女性労働の保護制度｣という枠を超え、感情政治や社会 的記号体系と結びついた歴史的現象として再解釈され得る。結果として、女工は｢被 害者｣や｢母性の担い手｣といった固定的表象を超えて、社会的感情と制度的枠組みの 交錯点に立つ境界的主体として浮かび上がる可能性をもっていたといえる。