KJC Korea
Journal Central

This article examines the use of double honorifics based on the data of the Diet Record. The results of the survey can be summarized as follows. 1) The most frequently used form of double honorifics in the data of the National Diet is OSSYA-RARERU, and it is predominant compared to other types. The double honorifics of “respect specific type + respect general type” are only identified with very limited cases of use. 2) The pattern of change varies depending on the respective verb in the temporal trend. Although the use of double honorifics has often increased since the 1990s, it seems to have recently turned toward a decline. However, there is also a form that clearly shows a tendency for use to continue to increase, such as ONAKUNARININA-RARERU. 3) In the sample survey of the Budget Committee, the use of OSSYA-RARERU seems to have continuously increased, but dividing the survey period by smaller intervals shows that it keeps increasing and decreasing actively. It was also found that the presence of a specific speaker who actively uses the double honorific form affects the results.

This study examined the process of dimensional adjectives extending their meaning from “space” to “time.” Among dimensional adjectives, “nagai” and “tooi” are the only ones in which mapping between the domains of “space” and “time” has been identified. If we look up the meanings of these two adjectives related to “time” in the dictionary, it says “a big time distance.” Thus, we cannot distinguish the difference in meaning. Therefore, this study aimed to analyze the polysemous structure of “nagai” and reveal to which the semantic difference of these two adjectives in “time” is attributed. This study has found that “nagai” has been extending its meaning from the prototype meaning of “very distant physically and continuously from beginning to end” metaphorically to the meaning of “time” through a schema of “very distant continuously.” This author compared “nagai” and “tooi” in terms of “time” semantically based on the results and learned there was difference in the semantic features of “Vektor" and “linearity” between the two adjectives. It can be said that in the process, “Vektor” and “linearity” extending from “space” to “time,” a semantic difference occurred between “continuous time” in “nagai” and “a specific point of time” in “tooi.”

This article surveyed different of Chinese character reading in place names of Wamyosyo, which differ from those in Manyosyu and so on. I examined examples of common uses of Chinese character reading among them. There were many accompanying examples about ｢シ(si)→ス(su)｣ ｢ヌ(nu)→ノ(no)｣ ｢ミ(mi)→ム(mu)｣ ｢モ(mo)→ム(mu)｣. In case of ｢ヌ(nu)→ノ(no)｣, the letter ｢ヌ(nu)｣ in Manyo was recorded as ｢乃(ノ乙 sort)｣ in Chinese character readings of Wamyosyo without exception. It is thought that the letter ｢ヌ(nu)｣ in Manyo was recorded as ｢乃｣ without distinction between 甲 sort and ノ乙 sort, since Wamyosyo was created, in the middle age of Heian. There were numerous accompanying examples of マ line, ｢ミ→ム(上・神・忌)｣, and ｢モ→ム(下・諸・桃)｣. There was no regularity in the common use of ミ甲・乙 sort and ム in Wamyosyo. Moreover, イ-Euphonic changes and Kana Ligatures are other examples of common uses in place names’ reading in Wamyosyo.

Yokomitsu Riichi’s “Chimwon” is a full-length novel published in 1930 during the Showa Depression. This novel deals with the unfortunate love of ‘Kaji’ and ‘Nanae’, who work in the textile industry and the shooting accident where Nanae injure husband ‘Niwa’ after Kaji’s bankruptcy. Particularly noteworthy in this novel is the fact that all characters are engaged in the textile industry; moreover, the occurrence of the stock collapse determines the flow of the novel. All of these textile manufacturers pursue the hobby of shooting. During a social gathering at the shooting range run by the ‘Okura Gun Shop’ under the OkuraGumi, which has dominated the textile industry through a textile cartel since around 1930, the scene depicts textile manufacturers seeking to eliminate individual capitalists like Kaji and pursue stock investment and price fixing using capital from the Japanese government. As part of the Japanese military’s invasion of the continent, the process of transforming Japan’s textile industry into a military industry is revealed through the shooting of textile manufacturers, a character riding an armored vehicle ‘Crossley’ to the shooting range, and a description of the production of new uniforms. Through social gatherings of textile manufacturers held at the shooting range, Yokomitsu shows readers the tone of the Japanese industry, which strengthens the national monopoly capital, while also illustrating the military expanding its invasion of the continent after the Manchurian Incident.

This study focuses on Hikarugenji’s consciousness in relation to entering Buddhist priesthood and its inner reality. Moreover, it sheds light on Genjimonogatari from the point of view of realization of reality. Regarding Hikarugenji’s entry into Buddhist priesthood, many discussions have focused on the issue related to the theme of the original Genjimonogatari. However, I do not feel that the value judgment on Hikarugenji entering Buddhist priesthood is a decisive factor in interpreting the work. Rather, it is noteworthy that the rumors he puts forward as an excuse for avoiding entering the Buddhist priesthood, that is, the attitude of being conscious of others, reflect the realistic life of the Heian period aristocrats as social beings. In addition, the fact that the desire to share the same fate by carrying on his obsession with Murasakinoue to the afterlife becomes the driving force behind Hikarugenji’s ascetic practices, reveals the limits of human beings who cannot escape their obsession. In my opinion, this guarantees the reality of the classic novel, Genjimonogatari.

In 1944, the <Battleship-Dedicated Imperial Art Academy Art Exhibition> and the <Army-Dedicated Imperial Art Academy Art Exhibition> held at the Tokyo Imperial Household Museum suggested that the museum performed the function of a war propaganda institution. In 1938, after the main building of the Tokyo Imperial Household Museum had been built and opened, what was formerly a history museum changed to an art museum, and gradually began to take on the color of the situation at the time, finally serving as a war propaganda institution. The fact that the department store was affected by the shortage of materials and its function as a war propaganda agency was damaged, the deterioration of the war situation seem to have worked. However, in terms of the above situation, it is impossible to rule out the potential involvement of the active intention of the Tokyo Imperial Household Museum, whose function had deteriorated due to the perception of being an unnecessary institution, with a decreasing audience number.

Before the Bunka period, the typical expressions used in paintings were similar to those of Utamaro and Toyokuni. Moreover, one can easily witness the unique characteristics of Kunisada, such as the dynamic posture and the tension in the Bunsei-era Kunisada. In particular, the emergence of Mira-motive is indispensable for the development of Okubi-e. If Utamro was a bijin okubi that alluded to a mirror using kira (雲母) on the 大首絵, then Kunisada’s was an epoch-making one that meant the reflection of a beautiful woman in a mirror that has no substance (or exists outside the screen). I created a “modern makeup mirror - combined mirror” in collaboration with Hirosige, a popular landscape painter. She focused on expressing the rich facial expressions and natural proportions of women, to show that women are a part of nature. The lively and dynamic facial and physical expressions of the women depicted in Kunisada Bijinga were later sublimated by Kuniyosi in the late- Edo period, and by his disciples in the Meiji period.

In the year 1380, Agibaldo appeared at the mouth of Geom river on the Korean Peninsula, with 500 ships. They met with Lee sung-gye’s troops and fought them. This battle is referred to as the Battle of Hwangsan. In my thesis, I asserted that the identity of the Waegoo lay with the people living in coastal areas in Takagi of Nagasaki-ken and Amakusa of Kumamoto-ken, under the influence of the Southern Dynasties of the Period of the North and South Dynasties. As an extension of this argument, I studied the Battle of Hwangsan militarily and historical-geographically. The tactic employed by Agibaldo at the Battle of Hwangsan was the “Jowoon jin”, which derived from the ancient Chinese military code book, 六韜. The Kikuchi clan had their own defensive tactics-the “Doho jin”. The latter was very similar to “Jowoon jin”, and was unique to other armed forces during the Northern and Southern Dynasties. The tactics of Doho jin and Jowoon jin utilized at the Battle of Hwangsan were very similar in terrms of the terrain conditions of the camp, place of operation, time of the battle, and method of attack used against the enemy. Furthermore, the area around Waihu Castle, the home of the Kikuchi clan, also had a geographical location which was deemed perfect according to the Doho jin tactic.

“Wintry Days” is an ink painting by Kim Jeonhui (1786-1856), created in 1844. In order to clarify exactly how Fujitsuka Chikashi (1879-1948) handed over “Wintry Days” to Son Jaehyung (1903-1981) in 1944, this paper examines documents written by people who actually met Son Jaehyung. The research targets are six documents from scholars including Oh Sechang (1949), Heo Younghwan (1978), Lee Gyeomro (1987), and Jang Woosung (2003), all of whom are Korean. The common feature of these documents is their feeling that the pain of those who were ruled by the Japanese Empire and the joy of Korea's return are expressed in “Wintry Days.” In addition, the works contain many obvious errors. At the same time, Son Jaehyung was overly-dramatized as a “hero” who brought back “Wintry Days” from Japan. Among these causes, the absence of Fujitsuka Chikashi is considered the biggest reason. This is due to the fact that the source of all these documents is Son Jaehyung, and it was not until after Fujitsuka's death in December 1948 that he publicly released “Wintry Days” in Korea and began to talk about the process. In the future, I would like to ascertain the nature of materials on Fujitsuka’s side and clarify the points that have not been addressed.

This study focused on the representation of “Japanese Military Sexual Slavery” by Japanese national cartoonist Shigeru Mizuki in his work and examined the possibility of its representation and memory succession. This already presupposes a clear limitation that the person describing and representing wartime sexual violence against women is a former Japanese soldier. However, the reason why “Japanese Military Sexual Slavery” as a war memory was not inherited as a history of “father” in Japanese society after the defeat is not only because the subject of the memory succession is a “daughter” = woman. Gender does intervene in the impossibility of memory succession surrounding the “Japanese Military Sexual Slavery,” but that is not all. The “Japanese Military Sexual Slavery” is a scar = crime left in the history of a proud father who fought the war bravely and sacrificially, with this scar being a factor that can threaten not only the war but also the national identity of the Japanese.