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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。

This paper discusses the recent use of the foreign origin adverb “wan-chan”. The origin of “wan-chan” is assumed to be the English “one chance”. The adverb “wan-chan” roughly　means “unlikely, but possible”. Although “wan-chan” has a similar meaning to “hyotto-shitara”, “hyotto-shite”　 perhaps, etc., it tends to co-occur less frequently with interrogative forms and marked modality forms such as “kamo-shirenai” and shows relatively free behavior compared to these adverbial phrases. In Japanese, it is rare for a foreign origin word (“gairaigo”)to become an adverb, and in particular, it is extremely rare for a foreign word to appear as an adverb of probability.　The reason for this special situation is the lexical situation of presentday Japanese, in which there is no other adverbial of an inherent word that expresses low probability and is within four mora of an easily usable word.

As Edogawa Ranpo’s work was published in the application year as a creative novel, 1923 is remembered as an indispensable year in the history of Japanese creative mystery novels. It is no exaggeration to say that there were mystery novels in popular literature magazines, but in most cases, there were many works that were read and discarded because the composition of the works was crude, the characters were sparse, and the sanctions were so popular. In such a situation, the appearance of Ranpo would have served as a refreshing agent like rain in a drought. At that time, at a relatively late age, Edogawa Ranpo appeared like a comet under the pen name of a pun and published many hot topics, but over time, the early witty and challenging fresh materials were depleted faster than expected, and by the time he reached an age of doubt, he was branded as a representative writer of Eroticism and Grotesquery. Perhaps it is related to the dreamy, erotic material and gothic atmosphere, which are somewhat different from the early styles, but considering the impact of his works on general popular culture in the process of being consumed as media content such as movies, TV, and radio, I think Ranpo’s achievement is somewhat negative. Moreover, it should not be overlooked that his mystery novel has a unique location and historical achievement that divides Japanese mystery paragraphs before and after Ranpo, and is still loved by the general public to the extent that it is constantly reproduced and reinterpreted through video media as well as general research. Therefore, I would like to analyze the works of the early Ranpo period, which received enthusiastic support and support from mystery writers and readers, focusing on “Exploration of Human Psychology”, “Intellectual Play”, and “The Pursuit of Honkaku Detective Story”, which he was very interested in and played a decisive role in the early works. Specifically, this study tried to find out the unique value of Ranpo’s detective story ｢Dzakanosatsujinjiken｣, ｢Shinrishiken｣, and ｢Yanenouranosanposya｣ in the early days of Ranpo’s works.

江戸川乱歩は1923年デビュー以来、次々と話題作を発表し日本の探偵小説文壇の 新たな地平を拓いた作家である。当時としはわりと遅いデビューだった乱歩は日本探 偵小説界に新しい山脈を形成しながら旺盛に執筆活動したが、時間が経つにつれ初期 の才気に満ち、挑戦的だった新鮮な素材は思ったより早く枯渇していった。乱歩が40 歳を越えた頃には純文学作家たちから猛烈な批難とともにエロ･グロ作家の第一人者 として烙印されてしまう羽目にもなった。 おそらく、初期の作品とはうって変わった夢幻的でエロチックな作風とゴシック な雰囲気に深く関わってくると思われるが、乱歩の作品が映画やテレビなど映像メ ディア･コンテンツとして消費される過程において一般大衆文化に及ぼした影響をも 考慮にいれれば乱歩が成し遂げた成果が多少期待に及ばぬ評価に留まるのは非常に残 念であり、再考の余地も充分あると思う。 さらに、彼のミステリー小説は日本のミステリー文壇を乱歩以前と以後とに分け るほど不動の位置と歴史的業績を有していて今までも一般研究は勿論のこと、映像コ ンテンツを介して途絶えることなく再生産、再解釈されているほど一般大衆から愛さ れ続けていることを看過してはいけない。 そこで、本稿では、推理文壇と読者から熱烈な声援と支持を受け続いてきた乱歩 の初期作品を対象にし、彼が並ならぬ熱情をもち、また初期作品の随所に創作の理由 と方法として決定的な機能を果たした<心理的に人の心の奥底を見抜く探偵法>と <知的遊戯>、そして<本格探偵小説の追求>に重点を置いて分析してみた。 具体的には、デビュー早々の｢二銭銅貨｣、｢D坂の殺人事件｣、｢心理試験｣、｢屋根 の裏の散歩者｣など、4作品を取り上げ、各作品ごとに内在している<本格探偵小説> の用件を充足する周到綿密な戦略とともに執拗なまで日本独特の<本格探偵小説>に 拘った乱歩の探偵小説作法への模索を考察することで乱歩が辿り着いた探偵小説の不 思議な世界を探ってみた。

Since the sale of Pokemon GO in 2016, there has been a craze around the world for Pokemon. Although various media outlets have been competitive in analyzing the causes of popularity, most of them point to technical factors such as AR technology and simple way of game play. This paper reveals the background of Pokemon contents in Japanese classical literature. Pokémon’s original source of media mix, which is utilized in games, comics, animation and character industries, can find its roots in the publishing and theater fields of the Edo era. The steady expansion of the game world was also seen in Japan’s classic literary creation process, Sekai(or story-world) and Shuko(or idea). Its characteristics are world’s expansion, and various characters and order (an opposing plot) are considered as factors of expansion. Also, collection and training, one of Pokemon’s biggest characteristics, can be seen in Edo era. There are Fair Fever and Barneske(or poster). As such, the traditional culture was based on, Pokemon was able to succeed.

全世界の人々は、2016年に発表されたポケモンGOに熱狂した。マスコミと学界は、その人気の理由を分析した。しかしそのほとんどは、AR技術と単純なゲーム操作方法という技術的な理由を指摘するにとどまっている。本研究は、ポケモンというコンテンツが生まれた背景として古典文学を提示している。ゲームと漫画、アニメイションとキャラクター産業で活用されているポケモンのOne Source　Multi-Useの方法は、江戸時代の出版、演劇産業においてもその類似点が見える。また持続的にゲームの世界が拡張するというポケモンの特徴は、古典の世界に当代の趣向を混ぜて新しい作品を作り続けた江戸文学の創作過程と似ている。またポケモンの特色と言えるモンスターの｢収集･育成｣という要素が生まれた背景には、江戸時代の博覧会と百科事典刊行ブームから、｢対決｣はあらゆる番付の人気があったと思われる。

This paper looks at how Japanese novels where dialects are used have been translated into Korean. Dialects are researched mostly on the phonological aspects within the realm of dialect geology, with the horizon widening on the sociolinguistic front, but hardly so in translation studies. Most researches on the translation of dialects tend to describe the ways regional dialects and social dialects are translated in British and American literature. Worse yet, for Japanese novels that surely take up the large st portion of foreign books translated in Korea, there are not anyway near enough researches on their translations. Therefore, this paper aims to discuss if social dialects aside from regional dialects are also present in Japan as in the case of other countries and to analyze what effects and functions dialects have in real works, thereby making sure that the authors’intentions with such effects and functions are respected in the translated versions. As three novels are selected for their dependence on dialects and analyzed under this research, it turns out that dialects are used for the effect of revealing the characters or for the sake of distinction: to indicate a positive or negative feeling toward a standard language user or a functional switch where a dialect user speaks a standard language under the circumstances. As such, a single work may present both the effective and functional side of dialects, and thus a thorough analysis of the scenes where dialects appear is needed to ensure that their effects and functions are not misunderstood, toned down, or lost. For that matter, translators must check in advance the image a certain dialect brings about in the original text, search for any special intention of using it in the overall context, and try to render a translation that serves to the best of its effect and functionality.

本論文は、方言が用いられた日本小説が韓国語でどのように翻訳されているかを考察する。方言に関する先行研究としては、音声学を中心とした方言地理学的研究と70年代以降の社会言語学研究等が行われている。しかし、翻訳に関連しては研究数が少なく、あるとしても英米文学の研究が主となる。韓国の出版業界で日本小説が占める割合は最も高く、日韓の方言翻訳の研究も必要である。従って、本論文では、日本の地域方言と社会方言を紹介し、日本の社会方言についての筆者の意見をも述べることにする。また、実際に、作品の中で方言が特別な効果と機能を果たしている分析結果を示すことで、方言翻訳の重要性を訴える。 本研究で選定した小説３編は、方言が作品の中で重要な役割を占めている。まず、原作を分析した結果、方言を使うことで独特の雰囲気を醸し出す効果や、キャラクターを作り出す効果などがあることがわかった。一方で、方言話者が標準語話者をあこがれることや、方言と共通語が両方使うことのできる人物が、場面によって方言と共通語を使い分けることから、方言が特別な機能を持っていることもわかった。このように、一つの作品の中でも方言の効果と機能が両方表れるという結果が出た。 本研究を通じて筆者は、日本の方言が文学的効果以外にも、多様な機能を持っていることがわかった。ということから、日本小説の中で方言は、色んな意味と目的を持つ可能性がある。結論として、日本の方言を翻訳する際には、まず現地のイメージを徹底して調査することが重要であることが言える。韓国の地域方言に対応させる際にはそのイメージを多角な面で比較することが必要である。特に、方言話者が標準語を使う場合には、より慎重に接近し、その効果と機能を考慮したストラテジーを立てるべきである。

This study systematically examines the fictive use of the Japanese kinship terms onee-san(“older sister”) and onii-san(“older brother”). These kinship terms function as linguistic tools that extend beyond their literal meanings, adjusting the relationship between the speaker and listener and assigning social roles. Based on Suzuki’s(1973) classification, this study categorizes fictive kinship usage into two types: the first type, where the speaker constructs a hypothetical kinship relationship with the listener from their own perspective, and the second type, where the speaker adopts the perspective of the listener or a third party to use kinship terms. Furthermore, this study introduces a new perspective, the transformation of fictive kinship usage, to explore patterns of kinship term usage that cannot be fully explained by existing frameworks. By applying frame theory, this study demonstrates how kinship terms contribute to the adjustment of interpersonal relationships and the formation of social roles. Through this research, it has been shown that the use of kinship terms in Japanese is not merely an expression of blood relations but is deeply connected to social and cultural contexts.

The writing of Japanese in Korean is an important element influencing the provision of information and study of Japanese. The writing of カ行, タ行, バ行, and special phonemes in Korean causes the loss of the words’ discriminating functions, thus needing improvement. In the writing of か行 in Korean, the beginning is ‘ㄱ’, and the middle and end are ‘ㅋ,’ and it fails to show the differences between カ行 and ガ行. As a result, ‘ㅋ’ should come in the beginning, and ‘ㄲ’ in the middle and end. In the writing of タ行(タテト) in Korean, the beginning is ‘ㄷ’, and the middle and end are ‘ㅌ.’ This shows no differences between タ行(タテト) and ダ行(ダデド). It is thus needed to have ‘ㅌ’ for the beginning and ‘ㄸ’ for the middle and end. In the writing of チ in Korean, the beginning is ‘지’, and the middle and end are ‘치.’ The beginning should be ‘치’, and the middle and end should be ‘찌.’ In addition, ツ should be written as ‘쯔’ instead of ‘쓰’ in Korean. パ行 is written in ‘ㅍ’ in Korean, but its beginning should be ‘ㅍ’, and its middle and end should be ‘ㅃ.’ Prolonged sounds of Japanese are completely different from those of Korean, which calls for different marks. When consonant signs are not allowed in the management of Korean to write Japanese words in Korean, vowels should be introduced. In the case of 促音 (ツ), it should be written in Korean as‘ㄱ’ before ‘カ’行, ‘ㅅ’ before ‘サ,タ’行 and ‘ㅂ’ before ‘パ行 instead of ‘ㅅ’ all the time. The writing of 撥音(ン) should not be ‘ㄴ’ all the time. It should be written in ‘ㅇ’ before ‘カ,ガ,ハ’行, ‘ㄴ’ before ‘サ,ザ,タ,ダ,ナ,ラ’行, ‘ㅁ’ before ‘バ,パ,マ’行, and ‘ㅇ’ before vowels or at the end of a word. The writing of Japanese in Korean should be revised to have discrimination and reflect the original pronunciation of Japanese. In many parts, current Japanese can be written correctly in Korean, which raises a need for an urgent revision. Once revised, the writing of Japanese in Korean will contribute to the provision of information about Japan as well as the study of the Japanese language.

日本語の韓国語表記は情報伝達及び日本語の学習に影響を及ぼす重要な要素であ る。か行、た行、ば行及び特殊音の韓国語表記は言葉の識別機能を失いつつあり、改 善すべきである。 か行の韓国語表記は語頭が‘ㄱ’、語中･語尾が‘ㅋ’になっているが、が行との違いも 考慮し、語頭が‘ㅋ’、語中･語尾は‘ㄲ’にすべきであろう。 た行(たてと)の韓国語表記は語頭が‘ㄷ’、語中･語尾が‘ㅌ’になっているが、だ行と の違いも考慮し、語頭が‘ㅌ’、語中･語尾は‘ㄸ’にすべきであろう。 ちの韓国語表記は語頭が‘지’、語中･語尾が‘치’になっているが、語頭は‘치’、語中･ 語尾は‘찌’にし、つの韓国語表記は‘쓰’になっているが、‘쯔’にすべきであろう。 ぱ行の韓国語表記は‘ㅍ’になっているが、語頭が‘ㅍ’、語中･語尾は‘ㅃ’にすべきで あろう。 日本語の長音は韓国語と全然異なり表記しなければならないものである。韓国語 の運用に長音符合の使用が不可能ならば母音を入れて表記する。 促音は‘ㅅ’になっているが、‘か’行の前は‘ㄱ’、‘さ/た’行の前は‘ㅅ’、‘ぱ’行の前は‘ㅂ’ で表記する。 撥音は‘ㄴ’になっているが、‘か/が/は’行の前は‘ㅇ’、‘さ/ざ/た/だ/な/ら’行の前は ‘ㄴ’、‘ば/ぱ/ま’行の前は‘ㅁ’、母音の前や語末は‘ㅇ’で表記する。 日本語の韓国語表記は原音も反映し、弁別力も揃えたものに改訂しなければなら ない。日本語の韓国語表記は多くの部分が韓国語に正しく表記し直せるもので、それ だけに早急に改訂し、日本語の学習のみならず、日本に関する情報提供にも役立てる ものにしなければならない。

The 155th Akutagawa prize for literature goes to 36-year-old Sayaka Murata. Her novel is called “Konbini Ningen,” which means “Convenience Store People.” For that the media latched onto the author’s background rather than the novel itself. Murata continues to work part-time as a convenience store clerk, and gains inspiration for characters and plots from her work environment. The novel itself is really about how extraordinary people have to become average in order to survive. The protagonist, Keiko Furukura, has always been viewed as “strange” by others, including her family, who once thought she required treatment. She doesn’t react to circumstances the way “normal” people do, but she recognizes her differences and tries her best to fit in. In order to become a “regular person,” she begins working at a convenience store. There, she studies and copies other people. Convenience stores are the perfect place for this sort of project because they are run according to a job manual issued by management. Working there, she feels she has “become part of the machine of the world.” In truth, she is still the same person, but now “disguised as a member of society.” The protagonist, Furukura’s final choice to become ‘manualized human being’ rather than an individual human being leaves us to think about an Ethical problem in contemporary Japanese literature and its surrounding.

村田沙耶香の｢コンビニ人間｣が第155回芥川賞を受賞することになった。韓国や日本での本作への関心は作家本人が約18年間コンビニアルバイトと続けており、受賞した当初もバイトを続けているという作家の得意な履歴へと向かわれた。特に韓国での関心は本作が｢コンビニエンスストア｣を題材にしていることが浮彫りになって注目されている節がある。一方日本での反響は作品から読み取られるリアリティへの共感を高く評価した書評と主人公の造形が非現実的であり、｢自意識｣を欠落している主人公に対する否定的な評価に二分される。 しかし、何よりもこの作品が日本で大きな反響を呼んだのは、得意な主人公の人物造形にあるだろう。主人公古倉恵子は、既存の日本近代文学には描かれたことのない、｢近代的自我｣が欠落している人物であり、彼女によって日本近代文学が深化してきた｢近代的自我｣は一つの終焉を向かえ、歴史的事象となってしまった。社会という共同体と対地する地点を見出せる｢内面｣或は｢近代的自我｣を持ち得ない共同体その自体を一つの｢虚構｣にしてしまい、このような作品からは以後日本社会が進むべき道は見えてこないのである。