Earticle

This paper reviews genealogical federations in Japan – household federations that mutually recognize the relationship among the original house, the branch (branch of kin), and separate houses (branches of non-kin), and have various livelihood associations. Mitsui, a large merchant family in recent times, is the target of discussion. The point of discussion is whether non-kin households can be included in Mitsui’s genealogical federations. “Separation of genealogical federations from management” has been progressing the most in the case of Mitsui, compared with merchant families in recent times, and whether non-kin households are included as genealogical federations has been vague. In conclusion, Mitsui and non-kin households mutually recognize the relationship between the original house and the separate house and also have the relationship between households and households in relation to livelihood; therefore it was suggested that non-kin households were also units of genealogical federations. This conclusion is meaningful because large merchant families different from small and medium merchant families are positioned in the theory of merchant families and genealogical federations.

世阿弥作として知られている能「綾の鼓」と三島由起夫(以下三島)の劇曲であ る「綾の鼓」の舞台空間と登場人物の考察によって三島の能作品の劇曲への受容 について考察してみた。三島は女主人公華子と言う二重性を持つ人物と空間の設 定を通じて能「綾の鼓」が描いていた純粋な情念の世界を近代と言う世界の中で 再創造した。またこのように変化された設定をもって自分の作品を貫通するモー チフの一つであったロマン主義的アイロニ一拒否が確実である憧憬一を極大化さ せたと言えよう。「あたくしにもきこえたのに、あと一つ打ちさへすれば」と言 う華子のセリフから分かるように聞えられないことに気づいてもひたすら鼓を打 つ亡靈のアイロニはこのセリフによって愛情と言う情念に敗北される、すなわち 拒否されるしかないのであった。亡靈岩吉の華子に対する愛情と言う憧憬はその 情念の淨濟で恋愛の敗北と言うアイロニに變容されていた。

In this paper, let us look carefully at the definition of <fatherland> depicted in Kim Hakyoung’s novels. First of all, in the novel “Frozen Lips” Mr. Kim portrays a young ethnic Korean living in Japan who puts the value of his own entity before anything else. Even before his identity as an ethnic Korean. Mr. Kim acknowledged how unreliable it is for political forces to integrate compatriots under the flag of patriotism by sharing the sense of belonging as an ethnic group; national identity with fellow Koreans living in Japan. The concept <fatherland> witnessed in the novel “Frozen Lips” corresponds to Chosen. In detail, this Chosen connotes the meaning “South Korea” that needs to exclude North Korea and rebels led by North. The fuzzy image of the concept <fatherland> which have been resting inside the mind of the main character begins to crystallize in Mr. Kim’s another novel “Confession”. The novel illustrates a new movement for unification in the perspective of one ethnic Korean living in Japan and repatriation of his sisters to North Korea. However, in this novel, we can tell that the presence of South Korea has increased meanwhile; the confidence of North Korea has decreased. This is significant change because in Mr. Kim’s prior works, North Korea has been illustrated as a key player of bringing unification to the Korean Peninsula. Another element worth focusing in the novel is how he portrayed a burdensome life of the father of the main character. He has done this by comparing the life of the main character who continuously suffers from family trouble, with that of his father. The main character in the novel “The Light of winter” develops speaking disorder due to mental wounds caused by domestic violence from his father. In here, <fatherland> is dubbed with a poignant phrase that says, “A country where I have never been to”. By this, what the author meant was <fatherland> is a concept, like brotherhood, which self.consciousness is demanded by the outer world. In this novel, the presence of the Korean Society increases even greater than his previous works. “After nostalgia, we are” is a novel about an actual historic event where North Korean spies smuggled into South Korea. The novel eloquently depicts how one ethnic Korean’s nostalgia for his homeland is misused by propagandas carefully planned by North Korea and at the end how brutally his heart is crushed by North Korea. The agony he felt in the novel is used again in Mr. Kim’s later novel, “A Sense of Emptiness at a Riverside in on Afternoon”. However, clear sense of resentment toward North Korea added to the pain. Through the novel, “After nostalgia, we are” we can tell that for ethnic Koreans <fatherland> no longer simply means the Korean Peninsula but something which can utilize them to be as used as a tool for propagandas . The identity of ethnic Korean living in Japan is changing before an actual unification of Korean even takes place, owing of development of South Korea, success of Korean popular culture, distribution of the Korean language education and studies on Korea and so on. The advent of multicultural era eventually drew down the curtain of modern literature which is closely connected to a nation‐state. This trend might make us forget about the works done by Kim Hakyoung saying, “His works are too obvious”. This indeed may be true for the fact that Mr. Kim takes the fictitious side of <fatherland> seriously. However, we can say Mr. Kim’s perception on <fatherland> or national consciousness is still valid today. That is why it is necessary for us to give another close look into Kim Hakyong’s work today.

In around 1900, naturalism literature was introduced to Japan by Western literature and again this naturalism literature was introduced to Korea, Joseon at that time, via Japan. However, the naturalism literatures in France, Japan and Korea were not developed at a uniform shape but showed characteristics and aspects different from each other. This was a refraction phenomenon of moving literary trend and the way of expression had to be different in accordance with each region's historical and social climate. In this paper, an analyse was made how the flow of naturalism literature transferred to Joseon via Japan had been developed. And this paper tried to provide a basis of reassessment on Japanese naturalism literature out of the Joseon's situation and its effect that were different from Japanese. Up to now the major subject of comparison for the researches on Japanese literature has been the West and they have mainly dealt the subjects how western literature was introduced to Japan. But this paper averted the eyes from this subjects and approached to the substantiality and the relation between Joseon literature and Japanese literature by identifying the Japanese literature as a transit or departure point rather than as a destination.

1920年代は日本において変化に富んでいる時期である。日常生活の近代化、都市 化、消費化が進んでいて、当時の文学作品にその様子がうかがえる。消費は単なる行 為ではなく、文化という概念が付け加え、新しい新文化の誕生にいたることになる。 作家達は消費者と消費行為、消費空間などの消費文化を作品の主題として、あるいは 背景の空間として描いている。その中で梶井基次郎は1920年代の近代大都市を経験 し、そこから生まれた感性をあますところなく作品に残している。例えば、当時の若 者達が消費文化を楽しむ様子、恐ろしい速度感で変わって行く都市に対する敏感な感 性などがそれである。しかし近代化が進めば進むほどそこから生まれた消費は次第に 階層化され、消費者も消費の空間も差別化が余儀なくされる。その差別化は知性と楽 しみの消費空間さえ気詰りで、疎外の空間として感じさせ、都市人の感性も歪んでい る都市の美を描くことになる。1920年代の消費文化から現代人の原風景が読み取られ る分かる。

The most distinctive feature to determine the gender difference in modern Japanese is shown in the final word of a sentence by the style. Women have a tendency to attach a postposition to the conclusive auxiliary verb「ダ」in order to represent feminine expression rather than「だ」which can have too conclusive connotation. The purpose of this study is to examine and analyze the expression shown in『Ukiyoburo』and『Umekoyomi』to find out the gender difference in conclusive expression used in the late Bakuhu through the Meiji. Even though it is somewhat difficult to generalize the usages shown in each work, this study can conclude as follows: 1. There is no gender difference in works in Edo language but in the late Bakuhu the male language had a distinctive tendency to use「ダ＋Ø」form and the female language did「ダ＋ postposition」form. 2.「ダゼ(daze」and「ダゾ(dazo)」were the male language in modern Japanese. In 『浮世風呂(Ukiyoburo), however, they were used in the lower female class in the Edo and then disappeared in the late Bakuhu through the Meiji. 3. To attach「ダネ(dane)・ダヨ(dayo)」to a noun is for the male language in modern language, but it was the usage irrespective of sex in the period. Moreover, according to the speaker-hearer relation, it is supposed that「ダネ(dane)・ダヨ(day o)」would be used to represent the affection between the higher class and the lower class rather than to employ rough language. 4. The number of usage「ダノ(dano)」found in works in the Edo gradually decreased with the changes of the times and the usage was not found among young people without distinction of age or sex. 5. The usage with the distinctive pronunciation「ダワ(dawa)」began to appear in the works of Meiji 20's. It is supposed that the conclusive expression「ダワ(dawa)」 was used for female use only.

本稿では、一般的に言われている韓国と韓国人、日本と日本人、そしてそれぞ れの国の人が持っているお互いのイメージに焦点をあてて、両国のイメージがどの ような変遷を経て今日に至り、またどのような様相を呈しているのかを考察した。 両国の現在に至るまでのイメージの変遷の要因と、その時代背景を探るため、鄭大 均の『韓国のイメージ』と『日本のイメージ』をメインテキストとして使用し、こ こで分類されている時期区分を骨組みとして考察することにした。 鄭は日本人の韓国に対するイメージの変化を三期に分けて分類した。第一期は 日本の朝鮮統合が終焉した1945年から日韓基本条約が調印される1965年までの20年 間であり、第二期は1965年の国交正常化から1983年のほぼ二十年間、第３期は韓国 ブーム（1984󰠏88年）からの期間と定義している。第一期の日本人の朝鮮人観は極 めて否定的なものであり、朝鮮半島に対する眺めに特徴的なのは、一貫として無関 心と避関心の態度を見せていた断絶の時代であった。第二期は、日本の韓国への政 治的関心が一気に高まった時期であると同時に、日本人が韓国を一つの異文化とし て眺め始めた前段階であり、第三期に待ち受けている変化への胎動の時期であり、 そのような新しい流れが日本から一方的に韓国へ流れた言わば一方通行の時代で あった。第三期は、文化的関心の時期であり、相互交流の時代であった。次に、第 四期の位置付けの基準として筆者は、1998年から始まった韓国の日本大衆文化開放 を一つの大きな節目として注目し、これを前に述べた第三期に続く第四期の始まり と位置付け分類した。第四期における、日本国内の韓国に対するイメージは日本大 衆文化開放という新しく大きな気流が韓日両国に流れ始め、ワールド․カップ共同 開催、そして韓流ブームへと続く形で、次第に変化し形成されていった。この時期 は両国の文化がお互いに行き来する、クロス․カルチャーの時代であり、再発見と 知識増大の時期と定義することができた。