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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 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.

This study analyzes errors in the use of benefactive expressions by Korean learners of Japanese. In particular, it focuses on the expressions -te ageru, -te kureru, and -te morau, which are used to express benefactive actions. A questionnaire survey on benefactive expressions was conducted among Korean learners of Japanese, and the results are as follows. First, no significant differences were found in the number of errors in benefactive expressions with respect to Japanese language proficiency level or length of residence in Japan. Second, while understanding the speaker’s perspective proved to be very difficult for the learners, they were found to understand the direction of benefaction. In other words, it was reaffirmed that the speaker’s perspective is the most influential factor contributing to errors in the use of benefactive expressions by Korean learners of Japanese.

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。

This paper is focused be used to understand the linguistic diversity of South Koreaand Japan through the language landscape survey, analyzing the misuse cases. Asa result of the analysis, the following became clear . Currently, multilingual service is growing from the side of the linguistic diversityof the both countries. Moreover, language service is user-centric. In Korea, that thelanguage services for foreign workers has been provided by a construction site andwas found especially. In addition, in the multi- language notation to increase therole of illustrations and pictograms is larger. Notation to represent it was differentcountry, region, by individuals even with the same facility. Misuse of multilingual notation is also increasing as the diversity of languagesincreases. When you classify misuse, to classify simple and misuse representationby automatic translation, unnatural expression misuse context, to misuserepresentation due to the influence of the mother tongue. If there are certain misuserepresentation, you should consider whenever you develop a language policy withoutleave it. Moreover, for smooth communication, it is necessary to analyze the misuse,consider their solutions. Future research on tactual landscape and soundscape is alsoneeded.

This paper focused on the single verbs and the compound verbs: “oshi-” which can be replace by each other, and compared the meanings of these words according to the types of meanings of the preceding verb “osu.” I clarified there are three major types of meanings of the preceding verb “osu”: (1) apply force that moves the target away from subject of action, (2) hold down (3) give a feeling of pressure or intimidation. As type of (1), I considered “mawasu, oshi-mawasu,” “wataru, oshi-wataru,” “hirogeru, oshi-hirogeru,” “hiromeru, oshi-hiromeru,” “itadaku, oshi-itadaku,” and “agaru, oshi-agaru.” As a result, it became clear that the addition of the preceding verb “osu” adds the meaning of “to apply force that moves the target away from subject of action” or as type of (2), “to hold down.” As type of (2), I considered “korosu, oshi-korosu,” “kakusu, oshi-kakusu,” “koraeru, oshi-koraeru,” and “damaru, oshi-damaru.” As a result, it became clear that the addition of the preceding verb “osu” adds the meaning of “to hold down.” As type of (3), we considered “tsutsumu, oshi-tsutsumu,” “yoseru, oshi-yoseru” and “semaru, oshi-semaru.” As a result, it became clear that the addition of the preceding verb “osu” adds the meaning of “to give a feeling of pressure or intimidation” or as type of (1), “to apply force that moves the target away from subject of action.”

In this paper, an analysis was conducted on advertising expression techniques, advertising elements, advertising delivery patterns, discourse strategies, and discourse structures based on commercials and popular products in 1989~2019. It can be observed that various expressions such as repetition, emphasis, metaphor, question form, and analogy were used as advertising expression techniques during this era. Additionally, common elements in delivering the message of a product through the perspectives of visual and auditory senses were identified. Furthermore, the use of famous models in most beverage advertisements can also be considered a characteristic. On the other hand, while there were many popular carbonated beverages in 1989~2003, there was a shift towards popular health drinks in the later period. It is believed that the advertisements were designed to meet consumer desires for health and beauty by incorporating changes in the composition, functionality, and packaging of beverages. There were also advertising elements that challenged conventional notions related to work-life and food compatibility. This can be seen as a reflection of the increasing societal interest in health and the changing times, as well as attempts to incorporate various changes in beverages. Additionally, there were changes in discourse strategies and structures in product advertisements, adopting a persuasive form that induces empathy towards health-oriented goals.

本稿では、1989~2019年にヒットしたCMやヒット商品の広告を対象に、キャッチ コピーと広告フレーズにおける広告表現手法や広告表現要素、広告伝達パターン、談 話戦略および談話構造について分析･考察した。 1989~2019年における広告表現手法に共通する特徴は、繰り返し、強調、比喩表 現、擬人法などの多様な表現が使われたという点と購買者の視覚と聴覚を通じて製品 のメッセージを伝達する広告表現要素を使用したという共通点を把握することができ る。そして、ほとんどの飲料類の広告で有名モデルの起用が行われたという点も特徴 と見られる。視覚と聴覚に働きかける表現である。 1989~2003年(前期)には清涼飲料のヒット商品が多かったが、中盤以降は健康飲料 のヒット商品への変化が現れた。飲料の成分と機能、そして商品のパッケージ変化す べてが健康と美容に対する消費者の欲求に合う広告を制作したと考えられる。また、 職場生活および食べ物の相性と関連した既存の固定観念を破る広告要素があった。こ れは健康に対する関心度が高まる社会現象と時代の変化に合わせて飲み物の多様な変 化の試みを反映したものと見られる。また、商品広告には健康志向の共感誘発と説得 形態を取った談話戦略および構造への変化も現れた。 本研究では、飲料類の広告に限定して分析考察を行ったが、今後は平成における 飲料類以外の商品に関する広告表現の様相及び特徴についても考察していきたい。

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。

In this paper, I examine adverbs used in the form “X wa,” collecting actual examples and analyzing their formal characteristics with particular attention to their semantic functions. From the perspective of the independent use of “X,” the occurrences of “X wa” can be broadly classified into three types: ＜X / X wa＞, ＜X’ ni / X’ wa＞, and ＜X’ wa＞. The grammatical features of each type are then discussed in detail. The findings can be summarized as follows: In the case of ＜X / X wa＞, two major functions can be distinguished: the expression of a viewpoint and the expression of disclosure. The former includes adverbs such as ‘gutaitekini wa’ (“specifically”) and ‘tadashiku wa’ (“correctly”), which originally denote aspects or perspectives but, when used in the form “X wa,” regulate the content of the sentence while simultaneously influencing its mode of expression. The latter is exemplified by ‘hontō wa’ (“in fact”), which derives from adverbs indicating an extreme degree and functions as a declarative adverb revealing the speaker’s true intention. The adverb ‘jitsu wa’ (“actually”) takes the form ＜X’ wa＞ and conveys the meaning of disclosure, but with the distinctive feature of expressing the speaker’s subjective attitude in revealing something unexpected. Meanwhile, adverbs such as ‘arui wa’ (“or”) and ‘moshiku wa’ (“alternatively”), which denote indeterminacy, as well as ‘yō wa’ (“in short”), which denotes summarization, derive their semantic functions directly from the inherent lexical meanings of “X’.”

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。