글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

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 : 91권 0호 (2020)
5,600
초록보기
This paper intends to Japanese novels that have been overlooked and missing from the Japanese Literature Research Category during the Japanese colonial period, Reexamine the Japanese novels that appeared as a result of the translation, I would like to reveal the errors of Chosun novel representative works, a problematic publication published in the same period. Particular attention is paid to the writings of the original Korean writers who began to recognize this as copyright infringement. In addition, the related aspects of Korean-issued magazines will be considered. Through this, we will look into the two-sidedness of the status of “literary exchanges” that increased rapidly between Korea and Japan at the end of the Japanese colonial period. And, the goal of this paper is to understand the case of Chosun novel representative works, a translation example of chosun literature published in Japan. In addition to that By grasping Understand its progress or error process. Through this, Allegedly infringing publications translated without the author's consent and review, and Infringing publications made by translators' ignorance or indifference. The purpose of this article is to suggest the need for reexamination of copyright infringing publications.

제3기 『보통학교국어독본(普通學校國語讀本)』을 통해 본 색의(色衣)장려

박제홍 ( Park Je Hong )
한국일본어교육학회|일본어교육  91권 0호, 2020 pp. 155-165 ( 총 11 pages)
5,100
초록보기
In this research, I will consider mainly the illustrations recorded in textbooks about the color competition encouragement movement that I tried at an elementary school where colonized Korean children attended in the Japanese empire era. It is said that having the education to encourage color clothing in the textbooks of elementary schools where the governor general is the public education institution has a totally different meaning from the workshops and the like held for general adults. In a nutshell, the empire's subjectiveization education of the Japanese empire was to abandon the colonial Korea's identity and make it Japan. Both colonial Koreans and their intention to highlight the shortcomings and to ensure the justification of unjust governance are inherent. It also assimilates colonial children through the cherry blossoms symbolizing the Japanese Empire and the chrysanthemum symbolizing the Emperor. In the textbook before the revision of the textbook, the flags fluttered, but after the revision all changed to Hinomaru. In order to make colonial children recognize the meanings represented by cherry blossoms, chrysanthemums, and hinomaru, the Japanese empire intentionally put in color inserts. In this way, it was confirmed that the items of the era at that time were reflected as it was in the illustrations which colonial Koreans learned. In the end, the Japanese empire was able to confirm the fact that the textbook was amended and compiled in order to encourage colored clothing wearing college Korean children through school textbooks.

식민지 조선의 일본 예능 공연 ― 극단과 작품의 특징 ―

편용우 ( Pyun Yongwoo )
한국일본어교육학회|일본어교육  91권 0호, 2020 pp. 167-177 ( 총 11 pages)
5,100
초록보기
This study clarifies the characteristics of Kabuki and Simpa(新派) performed in Korea during the Imperial Japanese colonial era, and the characteristics of the actors who performed them. Most of the Kabuki actors who visited Korea in the 1910s were so-called Tabiyakusya(旅役者, travel performers) performing in small theaters. For example, Fukuen Nakamura and Shimanosuke Kataoka were actors performing local performances at Konpira Kabukiza Theater in Shikoku, mainly in Osaka. Tabiyakusya frequently performed Joruri, taking into account the tastes of the locals. The performance in Korea was the same. Simpa actors, such as Fumio Ito, were also small-scale troupes, mainly for local performances. They performed in all genres, including adaptation plays, enlightening Soshi-sibai, and Kabuki.It seems that there was also the intention of the Japanese governor's office to educate the Korean people

正当化の観点から見るストラテジーの日韓比較 ― #MeTooに関するYouTubeのコメントを中心に ―

하시타니모에카 ( Hashitani Moeka )
한국일본어교육학회|일본어교육  91권 0호, 2020 pp. 179-198 ( 총 20 pages)
6,000
초록보기
This article clarifies what kind of legitimation strategies are used by Japanese and Korean people in YouTube comments regarding the #MeToo movement and gender awareness in Japan and Korea. Legitimation is based on several constructs: authorization, emotion, evaluation, speculation and estimation, quotation, definition, classification, comparison, and cooperation. This study reveals that evaluation, quotation, and classification strategies were used the most in both countries. However, several discrepancies were found in the results. First, in the case of evaluation, Japanese people tended to use only negative expressions, whereas Korean people tended to use both positive and negative ones. Moreover, in the case of quotation, Japanese people mostly referred to events relayed by the media, whereas Korean people also shared their own experiences. Interestingly, in the case of classification, Japanese people drew a clear distinction between a younger and an older generation, assessing the latter one negatively. Also, Japanese people’s lack of awareness about social issues was emphasized when compared to North American people. In opposition, Korean people distinguished victims from assailants, and victims expressed empathy by telling their own stories and regarding them as inner and outer. Lastly, Korean people were more prone to express their emotions compared to Japanese people. In conclusion, many negative aspects of the #MeToo movement were mentioned by Japanese people, however, there were not only negative one but also positive one which Korean people told their own experiences and show empathy despite the rate of using strategies was almost close. The reason of the result can be the huge influence of Japanese and Korean history, culture, and media.

미야자키 하야오(宮崎駿)의 『이웃집 도토로』(となりのトトロ)에 나타난 가족관

히로세에이코 ( Hirose Eiko ) , 권해주 ( Gwon Hae-ju )
한국일본어교육학회|일본어교육  91권 0호, 2020 pp. 199-217 ( 총 19 pages)
5,900
초록보기
The objective of research is to study the view of family in Miyazaki Hayao's “My Neighbour TOTORO”. This movie has been released in 1988, when the destruction of nature and the personalization of families progressed at the forerunner of the bubble economy. And it's based on the rural landscape of Japan in 1955, when rapid economic growth and nuclear family became a part of Japan. Satsuki, the main character, had to act as her mother at the age of 10 because her mother was hospitalized for spinal caries. Satsuki, who was only a good child as an adult child, was converted when his sister Mei got lost. She reached her limit, cried loudly in front of Kanta's grandmother living in the next house, and asked the ghost Totoro for help. As a result of the research, the theme of this movie was “to be a child”. It means to be a child who recognizes and expresses his feelings and ideas as it is. Sometimes they need the courage to take to someone into their confidence and ask for help. In order to present such a message, Miyazaki removed her mother from Satsuki's family who could suppress childhood and impose adult common sense. In order to satisfy Satsuki's feeling without her mother, Kanta and her grandmother in the next house and Totoro, a symbol of motherhood in nature, were placed near her. Here, it was considered that a view of de-family based on pseudo-family and motherhood of nature appeared.
<< 1 2