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An example of corpus phraseology: the difference between TOTEMO and HIJONI, TIHEN This paper analyzed the difference between TOTEMO and HIJONI, TIHEN using Japanese balanced corpus, BCCWJ as follows. (1) In frequency, It is used that TOTEMO(45.7%)>HIJONI(39.1%)>TIHEN(15.2%) in order. TOTEM and HIJONI was increasing slowly until the '80s and was increasing rapidly through the '90s and the '2000s diachronically. on the other hand TIHEN was increasing very slowly through the '70s and the '2000s. (2) In media and genre, TOTEMO is used most often in books, magazines, newspapers, PR brochures, Yahoo! Chiebukuro, and Yahoo! blog. While HIJONI is used most often in a white paper, textbooks, national assembly records. In case of TIHEN is showing relatively high (low) frequency. (3) TOTEMO and HIJONI, TIHEN mainly modify Adjective, nominal adjective, and verb. The type of collocations in each part of speech is below. Please refer to body contents about the list of collocations. ① the case of using all of TOTEMO, HIJONI, TIHEN as a modifier② the case of using TOTEMO and HIJONI as a modifier③ the case of using TOTEMO and TIHEN as a modifier④ the case of using HIJONI and TIHEN as a modifier⑤ the case of using TOTEMO as a modifier⑥ the case of using HIJONI as a modifier⑦ the case of using TIHEN as a modifier

This paper investigates the reality of liberal education for basic Japanese, examines how students evaluate their Japanese classes, and devises how to achieve expertism and diversity for Japanese classes that are required for globalized world. Specifically speaking, checking students of basic (Japanese 1 and 2) Japanese classes at Kyunbgpook National University, this study examines the effects of the classes on the students of each specialization, the relationship between their classes and specializations, the degree of reflection of students’ needs, and the usefulness of classes. In addition, this paper stresses the necessity of stepwise need-based Japanese education and provides the method of how to improve our teaching. For this, we offered a course, Japanese for Science and Engineering Students, in the spring semester of 2011 at Kyungpook National University, which focuses on Japanese education for students of science and engineering. In this course, we used a textbook, Japanese for Science and Engineering Students, prepared for need-based Japanese education. Throughout a series of research results, it served as a momentum for ascertaining the fact that Japanese language learners acutely feel the necessity of education for Personalized Japanese, which is differentiated and specialized. It is needed to vitalize the phase in chances for the development of teaching materials, Personalized Japanese, such as Japanese for Social Science Students, and Japanese for Human Science Students after improving the latest material, Japanese for Science and Engineering Students by reflecting the learners’ valuation and collecting the experts’ opinion.

In this study, 2-character Sino-Japanese verb, [Sino-Japanese+suru], was investigated by corresponding Chinese. Two methodologies were involved for illumination. From meaning, synonym and near-synonym were used to explain. Meaning of near-synonym may deviate generally. When there are no well-matched homologous words, variant characters can be alternative as expected. Most of synonym has corresponding homologous Sino-Japanese word followed by suffix. Even some elegant spirit may come with homographs. In the aspect of grammar, locational part of speech for Sino-Japanese in bilingual sentences was investigated. Even though Chinese characters have no transformers, they can function as noun, verb, or noun and verb based on locations in a sentence. Chinese word that can function as noun and verb or only verb can be presented by [Sino- Japanese+suru] where Sino-Japanese is same to the Chinese character. While Sino-Japanese is noun, it corresponds to homologous character. When Chinese word is noun, [Sino- Japanese+suru] have 3 forms as below. 1)[Sino-Japanese+suru] indicates [verb+Sino- Japanese character], where [suru] functions like [zuo] (progressive tense) commonly. Other similar verb character are [fa], [chuan], and [zheng] etc. 2)Japanese [Sino- Japanese+suru] corresponds to near-synonym. 3)[Sino-Japanese+suru] corresponds to [sentence of expressio

This paper analyses the situation of language contact between Japanese and Portuguese and between Japanese and Spanish adopting a dynamic approach. The analysis considers the historical and social background of the speakers. It aims to show the particularities of language contact of Japanese immigrant communities in South America and highlights the first generation who immigrated in an early age and also the Okinawan immigrants. Concerning the subjects’ language awareness of Japanese and the local language, the analysis was divided into three parts: spoken language (including listening skill) and written language (reading and writing skills). Concerning the Okinawan community’s spoken language, the object of analysis included the language competence in Japanese as well as in Okinawan dialect and in the local language. The analysis made clear the following points. First, “family immigration” and the great number of first generation speakers who immigrated in an early age are the main features of Japanese immigration in South America. For this reason, 1.5 generation immigrants must be considered the “typical bilingual speakers” and not the second generation as it has been said throughout the years. Second, the Okinawan immigrant community has always been considered as part of the Japanese immigration, and researchers have studied it in a situation of language contact between two languages. However, the mother language of Okinawan immigrants is the Okinawan dialect and, for instance, the language contact occurs among three languages, Okinawan dialect, Japanese and the local language. The characteristics of language contact and language change in this community are different from those of the Japanese immigrant community.

A literary magazine 『Jindallae』 appeared again in front of us in 2008 has an important significance in taking a view of the literary history in Japan. Since, as one of magazine media in Japan, it was a place for In-Japan discourse and poetry creation merging the 1st and 2nd generations of Koreans in Japan, succeeding in incorporating an archetype of In-Japan awareness of ‘In-Japan’ and the ‘second generation’ going through a friction around literature and politics. 『Jindallae』 made ‘In-Japan awareness’ sprout most radically at the point of the periodic inflection in 1950s, taking its role faithfully as an arena of the public opinion in terms of such issues. In a situation that divided nation came to be actualized and the space of Japan came to be recognized as an object of settlement after liberation, as for an unanswerable question about ‘homeland as an idea’ or ‘In-Japan as the reality’ Korean residents in Japan had to face, 『Jindallae』 tried to find out an answer through serious discussions on poetry creation. In contrast to the destiny of 『Jindallae』 that was discontinued with the final issue No. 20, 1958, A task 『Jindallae』 suggested, in other words, still remaining suffering of Korean residents in Japan who had to grope for the existence fiercely facing the unilateral logic of politics may be said to prove the value of 『Jindallae』 in the literary history in Japan. In addition, it is regarded that a literary magazine 『Jindallae』 has clues for various problems penetrating the past and present of Korean residents in Japan. So, hereafter it is required to conduct studies continually related to this issue.

This article aims to study on an editorial officer, Ashida Enoske, who compiled the Japanese language textbook Primary School Reading Book of the second Government General of Chosun and his adaptation of the children’s stories of Chosun. Given that the studies on the textbook compiled by the Government General of Chosun is continuing recently, it is required to study on the children’s stories empirically on the basis of the editorial officer’s explanation. Ashida was born in 1873,and in Hyogo. He became a teacher in a primary school affiliated to Tokyo higher normal school. He participated in the compilation of the government-published textbooks authorized by the Ministry of Education in 1917. In recognition of his services, He was named an editorial officer of the Japanese Government-General of Chosun. He served as an editorial officer in the education and management bureau of the Government-General from 1921 to 1924. Ashida reading book contains dozen of Chosun tales, among those, 7 tales are duplicated in Chosun children’s stories published by the Japanese Government-General of Chosun. Especially, in respect that all of Ashida’s adaptations are contained in Chosun children’s stories, it is certain that he had great influence with coming generations.The original text of “Mansoo” and “an ungrateful tiger” is verified in the 1971’s magazine and the concrete aspects of adaptation are confirmable. Unable to verify the original text in that magazine, the rest of the common tales in two books are “the dried persimmon scarier than a tiger”, “three treasures”, “an ambassador turtle”, “footsie brothers” and “peach”. In this article, I studied concrete aspects of the modification adapted in the 1920’sThe comparative analysis results shows that Chosun’s first collection of fairy tales, Danaka’s Chosun children’s stories was in reference to Chosun’s tales sumiited to the education and management bureau in 1910s and modified the originals to the cautionary tales for the juvenile story education. In comparison, Ashida who compiled Japanese language textbook of the Japanese Government-General of Chosun converted the contents of the tales to teaching materials, particularly in the lower grades’ textbooks, omitting the first half or the second of the original stories, adopting or rejecting requirable motif and revising “the lying part”, etc.

As we know, the Stepchild bullying story is concern with 『Ochikubo-Monogatari』 『Sumiyoshi-Monogatari』 in middle age and 14 works which consist of 『Huseyano- Monogatari』, 『Bijinkurabe』 of Otogizoushi etc after middle age. However I just consider Stepchild bullying story Otogizoushi that there is high possiblity to be influenced of not only 『Sumiyoshi-Monogatari』 but also『Kowatanosigure』, 『Sayogoromo』, 『Mugura』, 『Shiratsuyu』 and 『Matsukagechunagon』 which 5 works being studied lively in these days. The Stepchild bullying story Otogizoushi in my studying object are 『Huseyano-Monogatari』, 『Bijinkurabe』, 『Akitsuki-Monogatari』 and 『Iwayanosoushi』 which 4 works have a great influence by 『Sumiyoshi-Monogatari』. In order to clear this point , I considered the role as intermediation theme of Medieval Dynasty Monogatari that included role of real daughter, reunion and meeting of title roles and their worship in temple at 3 those points. In role of real daughter, the daughter which there was not existence brfore talked to her husband to find his adopted daughter in 『Kowatanosigure』 and she tried to make meeting between her husband and adopted daughter positively in 『Akitsuki-Monogatar』. In reunion and meeting of title roles, it was similar between reunion scene in 『Kowatanosigure』 and meeting scene in 『Iwayanosoushi』. And it was also similar title roles meeting during looking around after medical treatment by falling horse then the lady’s meeting on the rock with bright firelight at that time. In worship of title roles in temple, there is scene in 『Mugura』 that the title role of man went to temple for worship to find out missing title role of woman and then he got prediction where she is on 7th day. It can be influenced by 『Sumiyoshi-Monogatari』. But there is possiblity that 『Mugura』 might influence on 『Huseyano-Monogatari』, 『Bijinkurabe』, and 『Akitsuki-Monogatari』 because of scenes those title role of man was singing with missing her, temple for praying, preparing trip and he was happy that the title role of woman was still alive.

The Image of the Train in Modern Japanese Literature: A Study on Yumeno-kyusaku’s ‘Sudama’　Yumeno Kyusaku’s Sudama was published in the mystery magazine Profile, in May 1934. Train and railways played important roles in this novel as the main character killed himself by walking along the railways and hit by train. Train was often regarded as a symbol of modern technology in many contexts. This paper attempts to explicate the various images of trains described in Japanese modern novels of 1920-1930’s and to focus on the meaning of the train in Sudama related to the suicide of the main character. In many of Japanese modern novels, Train is either subject to be criticized as a symbol of civilization, or described as running technology which divides the inner space of the train from the scenery of outside. Sometimes train becomes idealistic place which brings passengers to the outer space of fantasy like Miyazawa Kenji’s Night on the Galactic Railroad. In Sudama, the characters exist outside of train, not like other novels, and railways functionalized as metaphor of efficiency of the modern society. Yumeno Kyusaku wrote many novels about trains, and in Senro of 1926, the main character also commit suicide by walking along the railroad. The motif of suicide on the railways was repeated in his novels, and the collision with the train implicates the crush between human and modern civilization. In Sudama, hitting by train was regarded as the only way that he could be free and resists to the reality.

This paper analyses the message of the new life in a “Syuppatu” described at Toson’s 4th collection of short stories “Bihuu”. First, it explores about the meaning of the wall clock described in that work, It turned out that it is functioning as a metaphor which is the representation of the past married life since it says that it is a wife’s keepsake in which it passed away, and symbolizes an uncle’s present life. Moreover, it can be interpreted as the start having multistory implications a new start called marriage of Osetsu, and an uncle’s new start in a novel “Syuppatu”. Although the “Syuppatu” escapes the restraint called ‘Ice of Life’ and suggests the new way of self-help, there, it traced that the posture as an observer who has bound himself for a long time was thrown away, and the writer who tried to find out a hope of new life was reflected. It should be observed that the “Bihuu” is the collection of short stories announced at the time which Toson who faced the life crisis what is called of ‘The Incident of the New Life’ chose the escape journey to France. Especially, it seems that “Syuppatu” is a work of representing “Bihuu”. At the same time, it has a point of contact in a various field with works which announced almost simultaneously, such as “Ie”, “Shinsei”, “Umie”, and “Arashi”.

Goto Shinpei is so important for the development of the modern city in Japan that he has been called ‘the father of Japanese modern urban planning’. This article is to examine his notion of the city and urban planning in relation to the development of modern urban planning in Japan, and understand their natures. Above all, Goto’s notion of city and urban planning was founded upon the biological rules and the principles of autonomy. While this greatly attributed to his career’s uniqueness that his social life had begin with as a doctor, it was markedly distinguished from other modern urban planners who accentuated the efficiency and the functionality in their view of city. However his biological rules were basically built on the evolutionist thought of natural selection, and so the unconditional substitution of it to society led to the colonialist thought logically. Consequently, his recognition of class distinction within the human nature had been laid out as his view of colonial management, as it was confirmed evidently in his government policies on Taiwan. Also, Goto’s urban planning was focused on the improvement of infrastructure as its implementation. In this respect, he had shared basically the design of modern urban planning that emphasized on the efficiency and the functionality as welll, even though he showed the different features from his contemporary planners in his biological rules.

Sumo(相撲) is a Japanese national sport. It is generally considered to be a Japanese traditional culture. Japanese Manga has a lot of Sumo Manga. Among them, <Oh, Harimanada> is a very extraordinary Sumo Manga. This study is an analysis of the dual character in <Oh, Harimanada>. The hero of the <Oh, Harimanada> is Harimanada. Harimanada is described as a dual character in <Oh, Harimanada>. First, He is a trickster in the Japan Sumo Association(日本相撲協会). The Japan Sumo Association is the body that operates and controls professional sumo in Japan under the jurisdiction of the Japanese Ministry of Education, Culture, Sports, Science and Technology. Harimanaada as a trickster is a destroyer of the traditional Sumo society. He destroys the traditional order in Sumo society. On the other hand, He is the Protector of traditional Sumo society. When faced with a crisis from the outside in Japanese Sumo, Harimanada protects Japanese Sumo as a protector of traditional order. However, there is sanctuary of two kinds in <Oh, Harimanada>. First, Just there is the presence of the Emperor(天皇). Historically, Japanese Sumo is closely related to the Emperor. Nevertheless, The author does not mention anything about the Sumo and the Emperor. Second, Japanese Sumo is closely related to Shinto(神道), Shinto is the indigenous religion of Japan. Since the modern, Japanese Sumo is growed with a close relationship to Shinto. But The author does not mention anything about the Sumo and the Shinto. As a result, <Oh, Harimanaada> can be said to a certain limit.

South Korea has re-recognized Japan positively since 1990s through popular culture, such as Manga and Anime. The positive impression of Japan has been built by the Korean new generation who was born in 1960～70s. This younger generation played a leading role for the discourse on popular culture in 1990s. They transformed the negative impression of Japan to positive one as below. First, they clearly recognized the facts that Korean had plagiarized Japanese popular culture. When they faced the facts, the moral relationship between Korea and Japan overturned in the field of popular culture. Secondly, the younger Korean generation who was born in 1960～70s acknowledged the generation of All-Campus Joint Struggle League who led a movement for democracy in Japan in the late 1960s as a NEW Japanese. The former identified with the latter in political, cultural and ethical aspects. In fact, Both pursued common value such as democracy, minority, and creativity. Most of all, the generation of All-Campus Joint Struggle League developed contemporary Japanese sub culture which became a worldwide hit in 1990s and was recognized positively by the younger Korean generation with this kind of identification and empathy. Therefore, the positive impression of Japan has been formed on the basis of evolving democratic environment which Korea and Japan shared. Thirdly, the Korean younger generation considered Japan as a market to which they could penetrate with their superior digital technologies. Japan was the first target to enlarge their cultural industries and build a global success. Since 1990s, Diversity, usualness, and creativity have been very highly regarded and deemed attached to Japanese sub culture. The positive recognition of Japan in Korea was one of the signals that a new generation who is free from colonial trauma appeared and Korean society started new steps.

In court ritual of Nara period, embellishing headdress that made with the plant, was an magical act what accept of the vitality of plants, and had an function which to share the spirit of the event and to distinguish between participants as the event marker. However, as the Heian period, headdress is fixed as a ritual props, and is had the function as the marker indicating the position or identity of the people who attended the event. In Hananoen, Prince gaving a headdress to Hikarugenji, maybe means to pray magical or to reproduce using props, but I think it was meant to be clarify the identity and status of Hikarugenji. And, Tenno grant the cloth his wore, is an political action expressing the personal solidarity. It means the seeking of political relations and moral solidarity with servants, that tenno deign his worn cloth to him. So prince grant his cloth to Tonotyuzyo, is an political action to bilt the personal solidarity with him. It is contrast to giving an headdress to Hikarugenji and to identity of their relationship clearly. So we can see that the prince has an imagination to make Tonotyuzyo his confidant, and to excluse Hikarugenji in his reign, from the difference between the two Tamamono.

In this article, I analyze the changes of Twitter from entertainment tool to information media in terms of the 3.11 East Japan Great Earthquake, including its influences on the anti-nuclear movements. After the start of its service in 2008, Twitter has increased its influence in Japanese society as one of the powerful social media, characterized as interactive and real-time media, . It is 3.11 East Japan Great Earthquake, however, that Twitter has been reevaluated as highly useful information media through active co-operation with mass media by Twitter users and the emergence of new user groups such as mothers searching for more accurate and reliable information. While severely criticized on the spread of false information and rumors and ‘slacktivism,’ users’ dependence on SNS without substantial efforts for helping earthquake victims the one hand, Twitter has successfully worked as a ‘new public sphericule’ (Glitin 2002) especially in terms of anti-nuclear movements. This function of Twitter as a ‘new public sphericule’ can be exemplified in three ways: 1) the active usage of Togetter, the Japanese curation service of Twitter, 2) the emergence of unofficial Twitter accounts of nuclear plants and their anti-nuclear activity such as monjukun_bot and plutokun_bot, and 3) the creation of network for anti-nuclear movements on Twitter. These cases still show the potentials of twitter, which has been functioning as a grassroot media for sending messages of anti-nuclear movements. But at the same time, the political potentials of Twitter has not studied in Japanese academia yet, which probably reflects Japanese people’s weak perception on political participation through SNS. As conclusion, twitter is expected to function as reflecting the interaction between internet and politics since 3.11.

Through the Edo period, Noh was not only the entertainment but also the culture of the samurai. But Noh was forced to the verge of fatal collapse by the Meiji Restoration. The result that Edo Bakufu was dismantled by Meiji new government, Noh was fallen into a state of layoff. They had no more patrons, financial support, the stages they could play. But fortunately Noh had played a revival again as “the state entertainment” with the strong assistance of the state power. Noh was reborn as the performing arts to honor the national prestige of the Imperial Japan. On the other hand, Utai=Yokyoku is more personal oriented entertainment to sing the vocal part of the script of the Noh play. Utai was prevalent among the upper class and middle class in Japan and other her colonies. In Seoul, before Japan annexed Korea by force in 1910, several utai-kai was established by Japanese residents. To Japanese people, Utai was the symbol of their social status and only high society people could enjoy that. But to almost all Korean people, Utai was an queer performing arts they could not understand at all. In such a situation, especially in case of Dong-wan KIM, Utai was the cultural device to promote the position of his hierarchy. Under the Japanese colonies, to become a bureaucracy to serve Japanese colonial power, it meant that socially they could stand on top of the Korean society as a power enforcer. And by mastering the Utai, when their ability of Utai exceeds the Japanese, they could stand on top of the most Japanese people culturally and mentally. As a symbol of hierarchy, Noh and Utai had functioned as an effective device for cross-border. Here is the reason why we should pay attention to the cultural power to investigate what was the Noh and Utai under the Japanese colonial society.

This paper analyzes the relation of Japan's identity construction and sports culture after the war. The rhetoric which treats especially a Korean pro wrestler Rikidozan's body as representation of Japan was observed. This is performed in order to restore the masculinity lost by the America. However, it is inconsistency to build an identity of Japan through a Korean wrestler's body, and it is fabrication. The place where Japan can enjoy Rikidozan’s body was only a made-up stage called a ring. Japan considered that the game of Rikidozan is the representation of Japan-America waging war. It was considered that Japan was a victory of Japan about the victory of Rikidozan failing in accepting it. However, recovery and a victory of such the body are only the fabrication performed on the ring. And the fact that Rikidozan was a Korean was a taboo while Rikidozan was valid. It is because a symbol of Japan will also collapse after the war if the fact is clarified.　It was his postmortem that the life of Rikidozan began to become clear. Rikidozan was called after the war for Japan's identity construction, and actually produced the effect. But it was realized, after carrying a made-up genre called professional wrestling and sealing racial traits. Japan's Rikidozan interpretation tells the identity construction process of the most difficult Japan after the war.