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Chunwon Kwang-su Lee's 『Heartless』 and Soseki Natsume's 『The Poppy』 have been studied in attempt to find influential correlation between the two. First of all, the two writers, Chunwon and Soseki, are showing resemblance in their attitude as writers focusing more on common good of the society or the country they belong to than on their literary work itself. 『Heartless』 was to be a wake-up call for the conscious "I" to sublimate into nationalism ideology based on civilization, and 『The Poppy』criticized indiscreet accommodation on Western civilization that took place after collapse of obstinacy. The reason the novels differ in central idea, the theme, is because of the difference between their contemporary circumstances; the blooming modernization of the Korean society and the peak-reaching status of the Japanese Meiji society. One of the evidences is their spatial backgrounds. Just like 『The Poppy』 whose story takes place in the old city of Kyoto and the new city, Tokyo, 『Heartless』 chooses Pyeongyang and Seoul as its stage. Another is the types of characters that appear in the novels. The main characters are intellectual-class men and women in their 20's and friends to one another, and each work has characters divided into either meditative and idealistic or realistic and pro-action characteristics. Third, there is an obvious similarity in story development. Other than the fact that each story includes a love triangle, the main male characters teach English getting to forget about their ladies of past and approach new women. After all, Chunwon can be regarded he adopted Soseki's way that had adopted writing style of full-length novels from his experience gained in England studying abroad.

The purpose of this report is to investigate the use actual situation of the shading off expression in youth words by analyzing the lines of the TV drama by expression. The shading off expression in youth words can classify a method to shade off utterance content and the utterance main constituent roughly into a method to shade off. I analyzed shading off expression [toka] which use to abbreviate it without identifying others, [shi] which put a connective particle in the end of a sentence, [kei] a type and shade it off, [teiuka] beginning of a sentence and words of the end of a sentence. I also shading off expression to shade off a remark by making oneself the third person like [mitaina], [kamo] which remark by making oneself the third person and [teki] which put a first person pronoun, and [hito] which make oneself objectivity. I also collected [kana] form of the self-questioning. The shading off expression of youth words is used as a consideration-shaped strategy to self-defense type strategy, and it's used to avoid Face Threatening Act.

This study aims to present an appropriate and correct usage of address terms considering the recent fact that even native Korean speakers have difficulty in using them as well as foreigners living in Korea. This study resulted with the following conclusions through an analysis of a survey conducted with female staff working in regular restaurants divided into two groups of ages from 20∼30 and 40∼50. They were asked which kind of terms they were addressed by, and which they preferred with the reasons as well. 1) Female staff working in restaurants aging from 20∼30 were mostly called by ‘yeogiyo/jeogiyo’ due to the lack of a specific address term, and employees in their 40∼50s were called as ‘emo, ahjoomma, yeogiyo/jeogiyo, and ahjoomuhni’ because of the closeness it fosters. 2) Address terms preferred by female staff in their 20∼30s were ‘yeogiyo/jeogiyo’ which is a place calling type ‘because it is casual’, and women in their 40∼50s mostly preferred ‘sajangnim’, ‘because they feel respected’.

In an information-based society, effective knowledge organization and retrieval are important parts in many areas of academic research. The primary purpose of a thesaurus is for information retrieval, but it is also a crucial function for a thesaurus to help people understand meanings and concepts of a lexicon by providing semantic maps. Particularly, a visual thesaurus can show interrelations among terms in a specific lexicon which can facilitate linguistic researches. In this paper, we provide a basis for constructing a visual thesaurus for aesthetic words for the Tale of Genji. By looking at two specific chapters of the Tale of Genji, namely Utsusemi and Hananoen, which provide a variety of types of ancient Japanese aesthetic words, we found that some aesthetic words show peculiar synonym lexical relations. Most notably in Utsusemi, ayashi, okashi, turenashi, wabishi, rautashi, and aekanari show such synonym relations. Also, in Hananoen, we observe close synonym relations for en, aigyauduku, and okashi. Further studies with more terms included will enable us to establish commonality among various aesthetic words for ancient Japanese language. In such studies, a visual thesaurus can be a very useful and valuable instruments for constructing meaningful relations for a wide range of aesthetic words that are interrelated in their meanings.

This study discusses the meaning transcriptions of one Chinese character with two distinct sounds in Ancient Japanese, showing that there are two types--i.e. nigō-kanji of same morpheme (Type A) and that of different morpheme (Type B). Type B is more sophisticated than Type A: The use of 'nominal connective particle + god-name suffix' tend to be limited to //tuti(土․椎) tumi(積)// and //nagi(蕩) nami(並)// because such word formation rules were not fully developed at that time. This study also reveals that Type A and Type B are preferred in different genres of texts: Both Type A and Type B are found in Manyōshū while only Type A in Sekichō. The contrasting preferences of the two types reflect the different characteristics of the two texts. Manyōshū is an anthology so that it has sophisticated expressions like Type B while Sekichō is an official document that was made to help with personnel mobilization and imposition of tax so that it has never such expressions. Unlike the meaning transcriptions of one Chinese character with one sound, which are similar regardless of genres of texts as argued in Choi (2012), the meaning transcriptions of one Chinese character with two distinct sounds show different preferences of the two types depending on genres of texts. This difference of the meaning transcriptions of one character-one sound and one character-two sounds is claimed to result from the fact that the former was used for fixed everyday expressions while the latter was for tentative and provisional expressions.

The purpose of this study is to explore the honorific forms of the modern times Japanese especially in Korinsuchi. Korinsuchi is Korean-Japanese dictionary which is Japanese translated with the Korean original. According to Korinsuchi published 1881 year, honorific verb is ‘agaru, imasareru, imasu, oidenasareru, ooserareru, gozanasa(re)ru, kudasaru, goroujiru, nasaru’ and honorific auxiliary verb is ‘sya(re)ru, (ra)reru’ and additional honorific form is ‘o~ nasa(re)ru, o~kudasaru’. Honorific verb is higher rank than honorific auxiliary verb and additional honorific form in Korinsuchi published 1881 year. Sya(re)ru is reduced 95 to 38, and (ra)reru is increased 13 to 180 from Korinsuchi collection of Kyoto univ. to Korinsuchi published 1881 year. This means (ra)reru is replaced ‘sya(re)ru in modern times.

Taira no Kagekiyo(平景清) was a samurai of the Taira clan who took part in the Genpei War of Japan, against the Minamoto clan. He was captured at the battle of Dan-no-ura in 1185. In 1196, Kagekiyo then allowed himself to starve to death at the new capital of Kamakura. Kagekiyo is perhaps most famous for his appearance in the eleventh chapter of the fictionalized epic The Tale of Heike, in the section called The Dropped Bow(弓流). Kagekiyo starred a warrior in the The Tale of the Heike. But through Yōkyoku in the The Kagekiyo, Daibutu-Kuyou, Japanese Traditional Music(幸若舞) Kagekiyo, the character, Kagekiyo was getting enlarged and grown in Japanese classical puppet play Career Kagekiyo, written by Chikamatsu Monzaemon. Japanese Traditional Music Kagekiyo can be called the best dramatic work in the middle era. This paper shows the clue to the background why Kagekiyo starred an essential character in Heike focusing on many articles dealing with the legend Kyongchung．This paper will suggest not whether the legend was a true but what aspects will ne appeared according to the the each period.

We could say that the reason why there are relatively much articles related to 『Sanshiro』 among lots of achievements based upon so-called early trilogy of Natsume Soseki is that the episodes occurred to Sanshiro, a village youth from the time he got on the train does not ends as a mere story of suffering a village youth experienced in big city. It is also because that the events and happenings Sanshiro experienced while facing plunging world were telling the look of Japan as it has been then. It will be the share of readers to choose read this book in which the spirit of Sanshiro grows up, modernity and pre-modernity coexist in the code of lovelornness or read as a course of growing pain. However, if we read again this book focusing on Mineko and Mr. Hirota, two decisive characters to Sanshiro, and assuming that we are not afraid to be cajoled by thoroughgoing strategy of storyteller, we can newly construe this book with the concepts of Sanshiro captivated by himself, Mineko objectificated by Mr. Hirota not Sanshiro and the position of Mr. Hirota critically managed in downright concealment. This is the power of Soseki’s literature and at the same time, the possibility of 『Sanshiro』.

Noriko Ibaragi pursued poetic sentiment climbing over a border with interest that I arrived around from early lyric poetry. I took up de-border like poetic sentiment from a main book of verse of Noriko Ibaragi in this article and took her thought characteristics seriously. The poetry of Noriko Ibaragi puts a root for the everyday life throughout. And she lets the human being beauty become exalted, and it is a person. She pursued healthy critical mind and bitterly cold social awareness through poetry without cease. She criticized it through poetry literature about tormenting a human being strictly. In that way Noriko Ibaragi let thought characteristics unite with lyrism and became a rebellious spirit poet. For a concrete example she connected it with war responsibility in poetry and criticized the Japanese Emperor and denied Kimigayo again. Noriko Ibaragi promoted reflection about the Japanese who did not get away from the restraint of the modern Emperor system of Japan. From poetic sentiment of Noriko Ibaragi denying criticism and Kimigayo of the Emperor, you may name her it as a trans-boundary poet. Noriko Ibaragi fought against power to suppress a human being as poetry to people and found human beauty. A lot of <Choseon> appears in the poetry of Noriko Ibaraki. It has many cases that she expresses respect and an admiration for culture historically. In her having written it in the same way about other countries, a meaning of respect and the respect is included in there. Poetry of Noriko Ibaraki who is a Trans-Boundary poet is full of the love about the human being.

Masuji Ibuse’s 『Break Time』 was an early work among the original 「Waseda series」 known for its youthful vibrancy. The stage of 「Break Time」 is set at the Literature Department of Waseda Univeristy, Ibuse’s alma mater. Presented are healthy and youthful students in their 20s of 「the 7th literature class」 enjoying a 「40minutes」 break resembling the era of lbuse's time there. A large portion of the scenes of students spending their break time depicts cultural sharing time. Students’ portrayed writing English poetry and Tanka exemplify the author’s depiction of his college life filled with passion for literature. The fact that they chose the duration to be only 「40 minutes」 explains how our youth is indeed short. Furthermore, it symbolizes that our 「break time」 passes before our eyes and hints how it does not have to be serious or heavy-hearted like during a lecture. Overall, if our class time can be compared to the realistic time of our daily life, the breaktime correlates to youth. Consequently, the youthful image of the young students whose thoughts and actions are unimpeded is marked individuality with great passion. Through the eyes of students, they highlight the sense of justice and defiance of authority and violence in the youthful heart. It is signified that the ultimate desire of youth should be 「life’s exploration for happiness」 regardless of one’s appearance. It further draws the dignity and pride of youths who refuse to allow materialism to invade their character. In his short story the author not only hints that it is a period of narcissism but also depicts the futility of life as youth passes us by. While Ibuse portrays the unique characteristic of the youthful heart in its fullness, he suggests the youth to live more courageously. The author makes an additional remark that it only becomes one’s 「happy memories」. Although the author had to leave school due to difficulty in respecting his professor’s authority, by the time he writes the 「break time」, he contemplates the significance of his youth after he has overcome his own trials.

Siga has obvious Oedipus Complex aspects compared to the other writers because of his special growth. For such srason, Siga-Naoya‘ work reflects his ‘Family Romance’. Siga' primary works described the defiance and growth for his father. And the meaning of ‘Family Romance’ explains correlations between him and his father. It is because the basic concept of the ‘Family Romance’ is Oedipus complex. In particular, those aspects are evident across his early works, and expecting a new interpretations for the defiance to his father or the growth of himself through identifying Siga' self-awareness. Siga's father was on the opposite opinions of his creations. Siga made a choice of creations with establishing self-awareness method. And he was on the basis of Refinement for his independence that was the other way comparing with father's ‘success in life’ values. It influenced his creations have the aspects of art's for art's sake. 「Sebe and a small gourd」is one of his major works, describing constructing a new world of himself on defiance for his father. Siga established identity through these processes. But the way is not reflect reality, so it is ‘Foundling Novel’. This is the artist's inexperience reflecting to the reality. But it shows the growth of his wish to build a new world belong to himself, which is different from other main characters who picked up passive problem-solving approach. Such terms, 「Sebe and a small gourd」is thought to be a great work and can verify a process of identifying Siga's independence.

This study examined a money matter on Soseki's literary works by focusing on his capitalistic perception. Without exception, there were money matters entwined between the characters' relationships. Also, he raised a question about the dominance on money and negotiability which is one of the importance aspects in a capitalistic society. Especially I will study an aspect of his perception about capitalism by examining 『Mich Kusa』 which dealt a money matter in Soseki's personal life. In 『Mich Kusa』, Soseki was continuously drawing a drama which his money matter was entwined with Kenjo's past and his relationships. As around 10 years passed, it is confirmed that Soseki's reflective feelings were turned into negative perspectives about money through Kenjo, the main character. What Soseki wrote in 『Mich Kusa』 didn't investigate the structure which the privileged class exploited other classes. He also didn't write about human's behavior that a person does something evil because of lack of money. Soseki wrote about the reality how humans degrade themselves as they arouse desires for money. Soseki assumed that a person who degrades his dignity by being tempted by money (especially Simada) cannot be refined through education or courtesy since that is the person's nature. Soseki is thought that he wrote 『Mich Kusa』 to reflect his past. While he was writing, he realized he could not mention about his past not mentioning about relationships entwined with money. In addition, he depicted the reality that the dominance on money can affect a person's live. It was his intention to reveal the reality of human's life. In his work said Kenjo "Everyone wants money and no one wants anything else except money.” Soseki expressed his strong discontent in Kenjo's statement that a human who wants money more than spirit but stolen without anything spiritually. This is nothing but he perceived the dominance on money and negotiability which is one of the characteristics of capitalism.

South Korea and Japan have interacted with each other in the field of animation on the equal footing since the late 20th century. It seems that the word Animation, internationally standardized, provides common ground for their cultural interaction. This paper notes that the term Animation is not only a genre name but also a view that plays a role in solidifying the existing thoughts Korean and Japanese society have designed. The intention of this study is to make clear how the term has been settled and functioned in both countries. The conclusions are summarized as follows. (1) In the late 20th century, South Korea adopted the word Animation consciously and substituted it for MANHWA-YONGHWA which meant a moving cartoon in Korean language. This change implies, in Korea, the independence from Japanese imperialism. (2) The term Animation, a substitute for MANGA-EIGA which meant a moving cartoon in Japanese, has settled as a genre name against Hollywood commercial cartoons in Japan. (3) Anime, an abbreviation of Animation, connotes Japanese nationalism. Also, the compound noun Korean Animation involves cultural nationalism, too. (4) The word Animation has established itself as a kind of ideological device to structure their own independent culture in Korea and Japan on the different historical background respectively.

As the post-war of Japan began with the series of progress, which is the acceptance of Potsdam Declaration – unconditional surrender – occupation of Allied forces(American), the post-war of Okinawa began with the special situation, wartime occupation, also called ‘Occupation during the battle.’This distinction between Okinawa and Mainland Japan’s post-war vividly shown from the ‘Memory’ or the ‘Memorial’ surrounding ‘8․15’ as well. This notion was noted in this thesis to observe what ‘8․15’ means to Okinawans, who were placed in the mainland’s ‘change’ either by geographically or historically, over the history of being discriminated that Okinawans are not Japanese. Though it may not be hard to imagine that ‘collective memory’ of post-war Japan, that ‘8․15’ is the End of war, was established by forcing and excluding the memories of colonists under Empire, it is meaningful to observe how that is remembered and commemorated by the suppressed ones who were driven out to outskirts of the ‘collective memory’. As absurd remarks from Prime Minister Abe and politicians with far-right tendencies seem to precipitate the conflict, which is also being amplified, between the Nations of South-east Asia over the historic awareness. In this rightist turned history awareness, there is no doubt that foundation lies in the stubbornly formed idea, ‘8․15=End of War’, that is structured firmly and denying the historical fact, ‘The Day of Loss from War of Invasion’. This structure, ‘8․15=postwar’, which was systemized national level, could be established by concealing and eliminating the numerous historical ‘cracks’ from each of the South-East nations. Not only should Okinawa’s Memorial days, beginning with ‘6・23’, satisfied in dealing with mainland’s ‘8․15’, but the need for more complex reasoning in close relations with South-East Asian nations in right here.

This study aims to describe in detail the formation mechanism of Japanese university students' image of Koreans and to reveal how Korean language learning influences that image. In order to systematically examine the factors related to the image of Koreans, two questionnaire surveys were conducted in two phases at five Japanese universities. A model for the formation of five Korean images ― to include “a friendly neighbor,” “passionate depicter,” “person who has strong feelings,” “person who has anti-Japanese sentiment,” and “person who is competent and diligent” ―　was derived from a factor analysis and regression analysis of the data. The findings are as follows: (1) the images of a “person who has anti-Japanese sentiment” and a “person who is competent and diligent” are socially shared; (2) the images of “a friendly neighbor” and “passionate depicter” illustrate the characteristics of communication behavior among Koreans; (3) the effect of Korean language learning on the image of Koreans is indirect ― for example, improvement in one's Korean language ability promotes direct experience such as contact with Koreans or visiting Korea, as well as the diversification of the information source and, consequently, influences the image of Koreans; and (4) while Korean language learning contributes to the decrease of stereotypes and prejudice against Koreans, it produces other preconceptions about them.

This review paper examines the unique production styles of <Noh>, a traditional Japanese play in detail. First, the individuality of each character in <Noh> is respected unlike other Japanese plays where the unity in performance is more prioritized. Another unique production style found in <Noh> includes both its structured time flow and the existence of two places in every performance. Third, the stage of <Noh> is regarded as not only the place for actor’s performance but also the divine place where performance is staged in collaboration with the audience. Next, an important symbol of <Noh> is <Noh-Myen>, a mask. <Noh-Myen> is considered as the tool for performers’ transformation over time and place beyond the one covering an actor’s facial expression. In a similar vein, music and costume in <Noh> are interpreted as the symbols for the amity between human and nature. These spiritual and mysterious production styles of <Noh> are the artistic assets inherited from the past and continued in the future. In this sense, <Kogaki>, a production note of <Noh>, is important because it plays the role of the channel through which tradition of <Noh> has been kept but, at the same time, due to which another creative and new form of <Noh> has been possible. Lastly, even though the production style of <Noh> is far away from the modern style of Japanese play production, the style has the shared messages in every play of <Noh> - freedom from formality and responsibility for tradition.

Minamoto no Yoshitsune(1159-1189) is a medieval Japanese commander who was responsible for the three victories that helped the Minamoto clan(also known as the Genji) defeat the Taira clan(also known as the Heike) during the Genpei War. He has long been a popular figure in Japanese literature and culture due to his tragic life. And his life coined a new expression still used in Japan―Hogan-biiki(sympathy for Hogan; by extension, sympathy for the underdog)―meaning “sympathy, admiration, respect for a tragic hero.” It was responsible for the growth of the Yoshitsune legend and the idealization of its protagonist. The story of Yoshitsune has been fictionalized, romanticized, mythologized in a number of plays and novels. Many of the literary pieces that Yoshitsune appears in are legend rather than historical fact. It includes plenty of apocryphal episodes, especially about Yoshitsune’s early childhood and last years of his life. Folk literature and storytellers over the centuries have portrayed Yoshitsune’s life story, with Noh plays seem to be based on quotations from various medieval sources. The playwrights of Noh adapted a rich legacy of source materials for their own purposes. In this paper, in order to see how they transformed the historical imagination into legendary heroes, I reviewed the characters and their traits in 〈Shozon〉 with the theatrical side of Noh.

The 1st year of king Gongmin(1352) of Koryo(高麗) dynasty was the confusion period of East Asia when the many political and social revolutions were proceeding. In China there were many revolts by the revolution forces and in Japan, the political upheaval ‘Kannonojyoran(観応の擾乱)’ which had begun 2 years ago, came to the climax. That was the same year when Asikaga Tadayoshi(足利直義) was venenated by his elder brother, Asikaga takauji(足利尊氏), the Seiidaishyougun(征夷大将軍) of Muromachi-Bakuhu(室町幕府). In this year, king Gongmin came to throne. Koryo dynasty was required to go through the political and social reforms and the Waegu started to invade in full force near Kaesung(開城), the capital of Koryo. At this time, ‘Japan’ had sent the messages as follows: the korean thieves were plundering while they are drifting on a sea. But the truth of ‘Japan’ was syouni yorihisa(少弐賴尙) whom I had ihdicated as the mastermind of waegu.

This study reviews the record about the King Keitai that appeared in the ancient japanese literature, and searches whether there was any relationship between Echizen that is able to be seen as a base for the King Keitai and East Sea based on classic literature and archaeology. The King Keitai is very special in ancient japan and he had unique career in literature. In ‘Kojiki’ and ‘Nihonshoki’, that represents ancient japanese literature, his stronghold was in Echizen, and his force grew up in the region of western japan equivalent to korea of the east sea. After this King’s period, in 6th century, Japan has developed lapidly and became a member of East Asian cultures and faced the new globalization. In this period, Japan had the turning point that lay the fountain of unified royal state. So, the record of King Keitai is the important research subject in ancient Korea-Japan relationship through the ancient history of Japan, in addition to the history of interchange of ancient east asia culture. Meanwhile, the result of excavation of archaeological relic equivalent to the period of ancient burial moundsin in 4-6th century in ancient ‘Echizen’ area known as base of King Keitai in the literature highly changes the knowledge about ancient history and east coast area beyond the literature’s limit. And lately continuously developing archaeological result sets up a chance to rediscover the image of King Keitai that could be passed carelessly if we only see the poor analysis of literature.