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논문검색은 역시 페이퍼서치

일본어교육검색

Journal of Japanese Language Education Association


  • - 주제 : 어문학분야 > 일어일문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 2005-7016
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 84권 0호 (2018)
5,500
초록보기
The purpose of this study is to review the necessity and possibility of active introduction of media to the development of class design by researching the record of student activity cross-sectionally focusing on the achievement and the practice of class of [Media research] executed for the 2nd grade Korean learners who majored in Japanese in the university. The class with the name of [Media research] was introduced to the course of the second semester of the 2nd grade during 2015~2017 in order to improve the level of Japanese language skill by expanding the interest of students and satisfying the desire for knowledge. As a result, many positive opinions on [Media research] class can be seen. The students who are interested in the contents of media participated in the class even if they feel difficulties due to lack of Japanese expression. They researched and announced their interest autonomously, paid the attention to the contents announced by other students, we can find out the active discussion will result in the improvement of Japanese language skill. Afterward, we will continue the effort for the class utilizing more various media research and the design of the evaluation of method.

어법분석을 통한 유의어 기술의 예 ― 「개선(改善)」과 「개량(改良)」의 경우 ―

강경완 ( Kang Kyung-wan )
한국일본어교육학회|일본어교육  84권 0호, 2018 pp. 17-31 ( 총 15 pages)
5,500
초록보기
In this paper, the difference of “KAIZEN” and “KAIRYO” is analyzed by adopting the method of synonymous description based on the analysis of word usage. Especially, we compared the use of “KAIZEN” and “KAIRYO”, and difference of meaning on the basis of frequency, register and stylistic features, and the tendency of collocation. First, the remarkable frequency difference of the synonyms suggests the generality and standardity of high frequency words. In the case of “KAIZEN” and “KAIRYO”, “KAIZEN” which is used more than three times based on the total frequency is more standard word than “KAIRYO”. Second, “KAIZEN” and “KAIRYO” are mostly used in public scenes and formal written style, but they are not used well in everyday scenes and comfortable conversation. In public scenes and literary works, “KAIZEN” is used more often than “KAIRYO”. Third, we analyzed whether there are any semantic differences between the subjects of “KAIRYO”, “KAIZEN”. In the case of “KAIRYO”, ①the management, ②the daily life, the health, the environment, ③the structure and the system, and ④the meaning field such as the situation, condition and relationship. On the other hand, in the case of “KAIZEN”, meaning fields such as ①civil engineering work, architecture, ②enrichment industry, ③management tend to be targeted. In the Japanese language class, “KAIRYO” with high standard level should be taught and learned firstly, and compared with “KAIZEN” in accordance with the increase of the learning level in the future. At this time, concrete and effective guidance on vocabulary grammatical collocation should be made along with the specific use area centered on the official scene of “KAIZEN” and “KAIRYO” and the formalized writing.
5,600
초록보기
Since the 1980s, Nosaka's works have presented acrimonious criticism of the Japanese Emperor and the imperial system. Nosaka's view on the emperor, as observed in his work, “PersonalPronouns ” (1985), can be organized into three parts. First, the Emperor and the imperial system form the core of nationalism and subsume the people as corporeal entities, objectifying them and grouping them as “the other.” The second part is tied to militarism, and serves as a means to ease the people’s fear, for patriotism is merely a euphemism for “death.” Third, the Japanese people have an unhealthy dependence on the Emperor and imperial system; such a dependence should be regarded as an illness akin to alcoholism. Nosaka defines the Japanese people's voluntarism and collaboration, with respect to the Emperor and imperial system, through the use of “masturbation” as a light motif. This sentiment is similar to the “America trauma” that was prevalent in his previous works in that both stem from experiences of war, but his gaze is now shifting inward and toward his own country and people, a noteworthy change that must be addressed. In other words, he begins to express his concern with the resurgence of Japanese militarism as his country moves past the post-war era and enters the post-post-war era after its great post-war economic takeoff. He places himself within Japan and makes a solemn attempt at introspection, using the anti-American sentiment he has previously used as a basis. His anti-war, pacifist view assumes a newfound objectivity as he breaks away from the role of a victim and takes on the stance of an aggressor, which spawns many questions regarding the direction he would take after the 1990s.

오가와 미메이(小川未明)의 ‘어린이관’ 고찰

전은영 ( Jeon Eun-young )
한국일본어교육학회|일본어교육  84권 0호, 2018 pp. 49-64 ( 총 16 pages)
5,600
초록보기
The purpose of this study is to focus on the role of Mimei who emerged as the founder of modern children's literature, having published Japan's first creative collection of fairy tales entitled Red Ship. The study will also focus on the dissertation of his view of children through the lives of children expressed through his earlier works. He suffered from the experience of being a foster child during his early childhood and subsequent maladaptation to school during his adolescence. Later in life, he also suffered greatly during his married life due to the tragic loss of his two children due to poverty. Such a sense of self denial and overwhelming guilt resulting from his children's respective deaths as head of household led him to concentrate on the weak and powerless members of society. Therefore, he truggled for change in society, appointing himself as an advocate for the weak through his fairy tales. As he lived through turbulent times, he suffered from substantial ideological changes in Socialism internally and in Democracy after the war. In spite of the blot in terms of war cooperation which is unable to be rationalized, we can not ultimately deny that there is hum being in the center of his literature.
5,800
초록보기
The purpose of the study is to investigate the characteristics in the NHK historical dramas, Yae no Sakura(八重の櫻) (2013), and Hana Moyu (花燃ゆ) (2015) that put women in front, and the narrated roles of women in the turbulent era, the early period of Meiji Restoration and Bakumatsu. In addition, the study intends to illuminate the ideal figure of the new era that the public demands from the dramas through historical perspective as well. Both of these dramas emphasize women's education by showing that women overcame hardship and opened up a new era through their power in the course of the establishment of Japan in the turbulent era. Those also use narrative techniques not to close up the life of the males, the main characters of history, but to close up the females'. In 2013, NHK has given the Japanese people the keyword, "frustration and regeneration" through the life of Yae in the drama, after the Great East Japan Earthquake. In addition, in 2015, the drama emphasizes the importance of overcoming the pain of losing family in the spiral of history and also developing the power to live through education in a new era from the viewpoint of Yoshida Shoin's sister, Yoshida Humi. The two dramas emphasized the importance of female power to plant seeds that became the foundation of the country, and especially likened them to cherry blossoms and flowers. In order to harmonize and stabilize the family and the environment, the role models of wise women are suggested as emphasizing women's education and illuminated as human images of a new era.

일본 히키후다(引き札)에 있어서 二宮金次郞 삽화의 상징성 연구

김우봉 ( Kim Woo Bong )
한국일본어교육학회|일본어교육  84권 0호, 2018 pp. 83-100 ( 총 18 pages)
5,800
초록보기
This study aims at clarifying features of Ninomiya Kinzirou's illustrations in Hikihuda and the national edification function of Ninomiya Kinzirou's Hikihuda as well as showing the development process of Hikihuda in Japan. Unlike general Hikihuda that stimulates purchasing needs about products and advertises shops, there are some characteristics in Ninomiya's illustrations in Hikihuda. First, Ninomiya's illustrations in Hikihuda always show Ninomiya as his childhood figure. It bases on stories of the period called Ninomiya Kinzirou in 『Houtokuki』 and accords with the reason that Ninomiya is described as his childhood figure in Syuusin-kyoukasyo(a moral textbook of modern times in Japan) of elementary schools. Second, among Ninomiya's illustrations in Hikihuda the one that he walks reading a book shows a formulaic pattern in which he is carrying firewood on his back while reading. This type accords with a formulaic type of Ninomiya Kinzirou statue set up at the ground of every elementary school. In this case, Ninomiya's Hikihuda and statues represent the symbolic meaning of “reading a book while walking and carrying firewood on his back” in different spaces: one is the space of real life; the other is the space of education. Third, in addition to his images carrying firewood on his back while reading, Ninomiya's Hikihuda shows illustrations of Ninomiya who was introduced in ethics textbook(Syuusin-kyoukasyo) of modern Japan or Ninomiya's shrine as background pictures. In conclusion, Ninomiya's illustrations in Hikihuda represented the symbolic meaning of Ninomiya's thrift and labor thought and showed some factors plainly that used Ninomiya as a national role model of modern times in Japan, describing Ninomiya as the best model in Syuusin-kyoukasyo of elementary schools, setting up his bronze statues all over the country, and deifying him in his shrine. Ninomiya in leaflets called Hikihuda functioned as a vehicle to carry out edification function which the country would like beyond a simply function of leaflets that advertises products of shops.

일본 상징천황제와 전후민주주의의 딜레마 ― 생전퇴위문제와 관련하여 ―

원지연 ( Won Jiyeon )
한국일본어교육학회|일본어교육  84권 0호, 2018 pp. 101-112 ( 총 12 pages)
5,200
초록보기
The Emperor of Symbolic System of Japan strictly restricts on the role of Tennou. Gaps between provision and reality are revealed when current Tennou who had played a role of national unification asked abdication insisting hard work. The rightists who had objected consistently to the Tennou’s activity for the protection of the weak and the responsibility of the war opposed to the abdication and out of provided activities. The liberals, on the contrary, highly appraised Tennou’s out of constitutional role as a keeper of postwar democracy. These strange context arises from the weakness of Japanese democracy that does not have political bodies any more which had achieved liberal democracy.

이마무라 쇼헤이(今村昌平)의 《복수는 나의 것(復讐するは我にあり)》

유재연 ( Ryu Jaeyeon )
한국일본어교육학회|일본어교육  84권 0호, 2018 pp. 113-128 ( 총 16 pages)
5,600
초록보기
Director, Shohei Imamur’s movie, Vengeance Is Mine is made a film of Ryuzo Saki’s same title novel. This novel describes 5 people’s sequence of murder case taking place as the center of Kyusyu in 1963 in the form of documentary The movie is composed of two axes. The one is that Iwao’s wife, Kazko is getting tangled in the conflicts between the protagonist, Iwao Enokizu and his father, Shizuo, and this symbolizes the confrontations and pressures between the pacific postwar generations in Japan. The other is a tangled episode among the three people, Iwao Enokizu, Ashano’s Haru Ashano of Hamamatsu’s Ryokan, and her mother, Hishano, and this reveals the lives in the slum of Japanese society and those naked desires through three people’s emotional confrontations and conflicts. Meanwhile, in the movie the problem of the former ends unsolved because of Iwao’s death penalty, and the latter also ends tragically when mother and daughter are murdered by Iwao. So this movie deals with criminals, but it has psychodrama or socio-drama characteristics, which handles the dark side of modern society at the back of criminals. Director, Shohei Imamur recreated totally different characteristics from the original novel in order to present his theme of human being’s original desires and social networks.
5,600
초록보기
Prior studies about ‘benshi’ during the Japanese colonial rule have a tendency to either focus on the status of benshi in the film industry and culture, or to concentrate on the regulation of colonial power over benshi. As these studies were mostly based on the press and media by the Joseon people, it was difficult to grasp the recognition of benshi by the Japanese settlers living in the colonial Joseon and the perspective of the Japanese government-general towards the regulation of benshi. There is little discussion on how the Japanese government-general ‘utilized’ the use of benshi, who was the key element to box office success, as a tool of political propaganda. In this paper, I will review the film policy of the Ministry of Education in Japan which utilized the box office success factor ‘benshi’ for social reform and education. Then I will discuss how this movie policy of the Ministry of Education reflected upon that of the colonial Joseon, focusing on the articles of “Chosen Koron”, the magazine issued by the Japanese settlers in Joseon.
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