Skypeを使ったアカデミック日本語授業の試み -日韓協定校の事例-

斎藤麻子,大塚薫,若月祥子,林翠芳 한국일본언어문화학회 2013 일본언어문화 Vol.25 No.-

This study focuses on connecting professors and students between sisteruniversities using remote technology. For this study, a readily available method,Skype technology, was used to communicate. In addition, this study used TeamViewer (PC remote control software) and showed a Japanese instructor on the screenat the front of the class. The students in the 'Japanese Communication 1' class, upper-intermediate levelJapanese major class, were to carry out seven different video calls on differentsubjects with counterparts including professors of a sister university in Japan,exchange students living in Japan, and local residents in Japan. Before and aftereach of the video calls, students were taught how to ask and answer in moreappropriate Japanese from the class instructor. By joining this class with the videocall, using Skype, with the sister University in Japan, it was found that it is possibleto import and share the knowledge and experience of domestic classes with a sisteruniversity abroad. In this experiment, four advantages were confirmed. 1) Real-time communication with Japanese learners not only in Japan but alsoin other countries. 2) Close communication with people not only in universities but also people inthe local communities. 3) Communication with staff in sister universities to get information prior to thedeparture of leaving a country for the exchange programs. 4) Getting information on the level of classes that are currently taught in thesister universities in Japan. From the above findings, using Internet communication technology enhances theacademic activities regarding Japanese education between sister universities.

情報を伝えることを意識した プロジェクトワークの試み

斎藤麻子,若月祥子 한국일본언어문화학회 2014 일본언어문화 Vol.28 No.-

This project work is aimed to encourage Japanese learners to be conscious of their audience in order to convey their message effectively. In this project, each group of 2-3 Japanese learners created a video on ‘The Image of Korea that I Want to Convey’. By uploading the videos on Google drive and allowing students and acquaintances in Japan to watch it, the learners were able to receive comments and share opinions through Skype. Compared to face to face conversations, through the video exercise, the Japanese learners could assess their own Japanese objectively and had to put in more effort since they could not simply read through the manuscripts. There were several reasons why the theme of ‘The Image of Korea that I Want to Convey’ was chosen. It allowed the learners not only to be able to actually produce videos but also to have easy access to the materials and references needed. Moreover, it permitted them to learn the relativization of values and information of their own country. Audiences were limited to specific groups because if the learners knew the audience in advance, they might have been conscious of the audience while they developed the video. In addition, more effective learning resulted since the learners had opportunities to ask questions and receive more specific comments. Some elements of the learners’ satisfaction on the project were the independent nature of choosing specific themes and specific comments received from the audiences. However, there are further elements, such as refining pronunciation and specifying the roles throughout the project, which should be considered in the future project work.

‘와카(和歌)’를 통해서 보는 전통과 현대

斎藤麻子 강남대학교 인문과학연구소 2012 인문과학논집 Vol.23 No.-

‘와카’는 오래전부터 일본인의 심정을 표현하는 정형시(詩)로 고대부터 계승되어온 일본문화의 핵심이라고 할 수 있다. 와카의 창작이란 문예적 창작이며 개인 심정의 표출임에도 불구하고, 이것이 향수되는 장소나 방식은 위정자(為政者)와의 관계를 끊을 수 없었다.9세기에 궁정에서 천황에 의해 개최된 ‘우타 아와세(歌合)’는 와카의 창작이 집단적으로 행해졌고 또 그 와카의 우열(優劣)을 승부하는 시합 형식으로 오락성을 겸한 행사였다. 천황이 왕비의 외가세력에 대항하기위해 ‘우타 아와세(歌合)’를 열고 칙찬집(勅選集)의 편찬으로 이어지기도 했다. 12세기 후 ‘우타 아와세(歌合)’에 종교적인 색채가 더해져 와카 계의 뛰어난 가선(歌仙)들의 공양이라는 ‘에이구(影供) 우타 아와세(歌合)’가 탄생하였고, 이는 절이나 신사(神社)에서도 열렸는데, 그 배경에는 ‘언령신앙(言霊信仰)’이 있었다. 또 이 시대에 새롭게 정권을 장악한 무사계급에게 전통성을 가진 와카는 자기 정당성을 구현하기에 중요한 역할을 했었다. 17세기 포르투갈의 카드로부터 전래되어 형성된 ‘햐쿠닌잇슈 가루타(百人一首カルタ)’가 성행하고, 메이지(明治) 시기에 들어와 그 방식이 획일화됨으로써 근대국가의 정신적 통제 수단의 역할을 완수하기에 이르렀다.집단적으로 와카를 향수하는 ‘우타 아와세(歌合)’, ‘에이구(影供)’, ‘햐쿠닌잇슈 가루타(百人一首カルタ)’는 와카의 계승에 큰 역할을 했는데 그 전통성 유지에 있어서는 정치적요소도 배제할 수 없다. Waka, a fixed form of Japanese poetry expressing emotion, developed since ancient times and became the core of Japanese culture. However, the traditionality of waka is deeply related to where and how it has been enjoyed.Uta-awase, has entertainment elements to distinguish the superiority of waka through group competition since the ninth century. However, the function of the Waka(uta-awase) has been evolved indifferent ways. It was used as emperor to confront the relatives of the queen, Buddhist to show their offerings to great kasen(歌仙: master of waka), with the notion of “faith in word spirit(言霊信仰)”, warriors to express their legitimacy and traditionality, andcontrol the minds of Japanese people in modern times.Waka has seen continual success with the constant creation of new venues for it to be composed and enjoyed as a group. Japan's governing class has also helped this form of poetry by recognizing it as a tool for justifying themselves and expressing their legitimacy.

桜児と蘰児の生と死

斎藤麻子 한국일본학회 2014 日本學報 Vol.101 No.-

‘만엽집’ 16권 모두(서두)에는 사쿠라코와 가쓰라코라는 여성을 주인공으로 하는 전설(傳說)과 노래가 다루어지고 있다. 두 여성 이름에 [코(児)]자가 부여되어 있는 것은 그들이 아직 부모의 보호를 받아야 하는 연약한 존재라는 것을 인식시키지 위해서이며 [코(児)]는 여럿 명의 남성부터 사랑을 받게 되어 마지막에는 결국 죽음을 선택해야 만 하는 비극적인 운명이 약속되어있는 여성임을 암시하고 있다. 두 여성은 사랑과 질투투쟁에 서게 된다. 그 결과 여성들은 자신의 존재에 대해 깊이 생각하고 현실 타개 수단으로 자살을 선택한다. 사쿠라코은 사랑하는 남자를 살리기 위해 목을 매달고, 가쓰라코는 삶이란 초로 같이 덧없다고 비탄하여 투신자살을 택했다. 두 여성들이 이와 같은 결단을 선택하게 된 배경에는 율령제도 확립에 따른 자신의 사회적 입장의 객관화와 죽음을 선택할 만큼의 열애에 대한 동경심이 바탕이 된다. 즉, 사쿠라코와 가쓰라코의 ‘운명에 대결하려는 강한 의지의 표출’ 인 죽음은 비극(悲劇)으로 새 탄생하는 것이다. The first part of the 16th‘Manyeopjip’seriescontainsalegend(伝説) and songs about two females named Sakurako(桜児) and Katsurako(蘰児). The word [Ko (児)] is assigned to both of these two females, as part of their names, to show and represent their status as weak ones and ‘not to have reached adulthood yet’. This is because the word [Ko (児)] generates the impression that they require the presence of their parents to protect them. Moreover, their weak status that signifies the need for protection is further emphasized by the fact that [Ko (児)] implies an unfortunate promise that a beautiful woman, whose name contains the word [Ko (児)], would face the tragic fate of having to choose death by receiving love from several men. The two women in this story also struggled with the feelings of love and jealousy in their situation. As a result, the women began to think deeply about their own lives, which they chose to take as a means to escape the reality they faced. Sakurako(桜児) hung herself to save her lover’s life and Katsurako(蘰児) committed suicide by drowning with grief, thinking of life as fleeting as the dew on the grass. These final decisions of the females to choose suicide as a means to overcome their situation are based on the idea of objectifying their status in a society in which the establishment of a legal system only happened in the 18thcentury. Moreover, these females were also motivated to make these decisions by the deadly longing for love that even led them to take their own lives. All in all, in the story, the death of Sakurako and Katsurako, as ‘an expression of the strong will to fight the destiny’, is re-created as a new tragedy (悲劇).

日韓古代文學における老嫗像の考察

斎藤麻子 한양대학교 일본학국제비교연구소 2000 비교일본학 Vol.8 No.-

『万葉集』巻二「相聞」歌小考 ー天武天皇皇子․皇女の窃かな恋を中心にー

斎藤麻子 한국일본학회 2003 日本學報 Vol.56 No.-

자연가를 통해서 본 오토모노 사카노우에노 이라쓰메(大伴坂上郎女)시가의 독자성

사이토 아사코(斎藤麻子) 동아시아고대학회 2008 동아시아고대학 Vol.18 No.-

본고에서는 만엽집(万葉集)를 대표하는 여성가인 오토모노 사카노우에노 이라쓰메(이하 ‘이라쓰메’로 함) 작품 중에서, 특히 자연물(自然物)을 읊은 노래(본고에서는 이것을 ‘자연가’로 함)를 중심으로, 이라쓰메가 어떠한 자연물을 작품 속에 인용하고, 또 그것을 어떤 식으로 표현하고 있는지를 밝히고자한다. 이라쓰메의 자연가는 만엽 제 1‧2기부터 만가에 도입된 「구름」을 답습하면서, 병행하여 「눈물」이라는 단어를 사용했는데, 이것은 다른 여성가인에게는 볼 수 없는 한시문(漢詩文)의 영향이다. 또 그녀의 자연가는 타지에 체재했을 때나 연회에 참석했을 때 부른 노래가 많다. 이러한 점은 시대를 대변하는 여성가인 이라쓰메의 면모를 여실히 드러내 준다고 할 수 있다. 상문(相聞, 연가)에서는 사호강(佐保川)과 물새(水鳥), 그리고 검은말(黒馬)이라는 경물(景物)이 도입되며, 강은 「물가의 사랑(水辺の恋)」이라는 모티브가 그 근저에 깔려있다. 특히 「새(鳥)」는 동떨어진 공간적인 간극을 극복하는 존재로서 의식되었다. 또 그녀는 「여름(夏)」 노래에 「青」과 「白」, 「青」과 「紅」이라는 선명한 색채를 조합하여, 이들을 「미소(咲み)」와 「사랑의 괴로움(苦しさ)」으로 표현하고 있다. 일반적으로 봄은 도래하는 것이고, 경축할 만한 계절로 노래되어 지고 있지만, 이라쓰메는 「봄 안개(春霞)」를 「답답함(こころぐきもの)」으로 노래하고 있다. 겨울 매화는 당대 가인에 있어서는 매우 인상적인 것이었으나, 이라쓰메는 매화가 「떨어지는(散る)」 모습으로 표현하여, 그녀만의 독특한 감수성을 드러내고자 하였다. 이와 같이, 이라쓰메의 자연가는 동시대 가인들과는 다른 새로운 노래의 세계를 구축했던 것이다. This study strives to clarify what natural objects Iratume cite to the works, and how she expresses them focusing on the songs written about natural objects among the works of the woman poet representing <Manyosyu>, Otomoto Sakanoueno Iratume. Iratume's natural songs following <cloud> introduced at elegy from the 1st and 2nd term of Manyosyu, used the word of <tears>, which is influenced by a Chinese poetry and prose we have not seen from other poets. Also her poetry on nature includes many songs sung during staying at other place, or participating at a party. This aspect can be said to maintain the phase of Irasseume as a women poet representing the times. In songs of love(Somon), scenery and natural objects appear, for example, Saho River, water bird, and black horse, where the river is based on agony of love in the waterside. Especially <bird> was recognized as a being to get over a spatial gap. Also she combined clear colors of <blue> and <white>, <blue> and <red> and expressed them as <smile> and <agony of love>. In general, spring will come, and it was sung as a celebratory season, but Iratume sings <spring mist> as <stuffiness>. Winter flower of plum was greatly impressive for the poet at the time. Iratume tried to reveal her peculiar sentiment expressing the flower of plum as a shape of <falling>. Like this, the nature song of Iratume built a new world of her own.

OPIのロールプレイに見る韓国人日本語学習者の断り方

櫻井恵子,斎藤麻子 한국일본학회 2007 日本學報 Vol.72 No.-