Earticle

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.

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 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.”

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.

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.

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 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.