朝鮮総督府刊行『中等教育国文読本』の『源氏物語』 -日本の教科書との比較を中心に-

金孝淑 한국일본언어문화학회 2020 일본언어문화 Vol.53 No.-

Tyûtôkyôikukokubuntokuhon(中等教育国文読本) is a Japanese textbook published by the Governor-General of Korea. The explanation of The Tale of Genji in Tyûtôkyôikukokubuntokuhon is quoted from Kokubungakurekidaisen(国文学歴代 選)” written by Haga Yaichi. Tyûtôkokugotokuhon(中等国語読本) and Syûseisinsenkokugotokuhon(修訂新撰国 語読本) published in Japan at the same time also have quotations from Kokubungakurekidaisen about The Tale of Genji Comparing the textbooks compiled in Japan with the Tyûtôkyôikukokubuntokuhon, we found that there are many differences. For example tyûtôkokugotokuhon contains negative criticisms of the Heian period and The Tale of Genji, but not Tyûtôkyôikukokubuntokuhon. Although it is a quote from the same text of Yaichi HAGA’s Kokubungakurekidaisen, the description of the Tyûtôkyôikukokubuntokuhon and the text edited in Japan are different from each other by omission, excerpt, and editing.

1910年代国語(日本語)教科書についての一考察 -『普通学校国語読本』と『尋常小学読本』を中心に-

朱美宣 한국일본언어문화학회 2017 일본언어문화 Vol.39 No.-

This study compares ‘Futsu-gakko Kokugo Tokuhon’, a Japanese textbook published by the Japanese Government-General of Korea and ‘Jinjo Shogaku Tokuhon’, a national textbook published by the Ministry of Education during the early years of the Japanese occupation, in terms of their nature as language-teaching materials and their mutual influence. In particular, main texts of the two books are compared with a focus on their mutual influence and characteristics of linguistic expressions, without taking into account ideological aspects. The results clearly showed a mutual influence between the two textbooks, considering their order of publication. Although the two textbooks were made for different targets, there seems to be a possibility that they shared the process of revision and overlapped partly. It means that ‘Futsu-gakko Kokugo Tokuhon’ is not an isolated publication, but can be evaluated as one of the achievements that were made during the process of revising and improving teaching materials, and that its value as a textbook can be acknowledged. Additionally, by following changes in linguistic expressions by the time period, we could discuss the development of the Japanese language and its education in greater depth and with a consistent view.

曲亭馬琴の読本と華夷思想 -「異国」琉球と<華夷的世界観>を通して-

金學淳 한국일본언어문화학회 2019 일본언어문화 Vol.46 No.-

Recently, researches that claim that the modern civilization got started from the sea are gaining attention when it comes to the West and East Asia. As such, such researches are actively underway. In particular, study of history is focusing on the view of history centered on sea that considers the sea as the center of start and spread of modern civilization whereas view of history centered on land was commonplace. Likewise, this movement of perceiving the sea as the start of the civilization and its eventual spread is not limited to the study of history. Instead, this view is affecting other fields of humanities as well. This kind of sea centered viewpoint can be applied to literary works as well. In other words, it may be possible to examine new aspect of literary works with the sea centered perception, casting away land centered perception. Even during the Edo era when Japan carried out closed-door policy, there were many works related to ocean. Among these kinds of works that depicted ocean, this paper examined Ryukyu symbol centered on the Chinsetsu Yumiharizuki authored by Kyokutei Bakin. In addition to this work, this study focused on the data such as books on the history of premodern society, literature and ideology related to Ryukyu. Perception on the outside of Japan depicted in the works was examined as well, through the island, Ryukyu that is not the land called Japan. In particular, this study sought to examine how the sea of Japan including Ryukyu during early 19th Century is depicted with which viewpoint and ideology in case of the novels on the premodern society. Ideology of governance for the island that is faraway, Ryukyu shows the Sinocentrism that had become a part of Japan at the time. Sinocentrism that claims that China is the center of the world affected perception of Ryukyu as well. In case of the work, Chinsetsu Yumiharizuki, Japan centered viewpoint leads to the governance of the Genji samurai family on the Ryukyu. Ryukyu’s historical traditional value is denied, and it was being re-created as a different nation of Japan. Likewise, it is possible to know that the China centered perception which is China/barbaric outlander was changed to perception to Japan/nearby ocean and island in case of Japan in the 19th Century.

朝鮮総督府編纂『普通学校国語読本』関する一考察 -巻2から巻4に現れた朝鮮と日本の考察を中心に-

구도 에리코 한국일본어학회 2012 日本語學硏究 Vol.0 No.35

本稿は初等教育機関で使用された朝鮮総督府編纂『普通学校国語読本』に現れた朝鮮、日本の分析を通して、植民地期朝鮮で行われた日本語教育の一端について考察したものである。分析の結果、『第一期読本』では皇室や国家、日本の慣習、日本と朝鮮の関係を描く教材が見られたことから日本人としての知識を初等教育の初期の段階から教育しようとしていたと言える。『第二期読本』になると、皇室や国家に関する語彙は見られなくなり、朝鮮人児童の視点で語られる教材が増える。そこから、まず生活の場を日本語で表現できるようにすることが教育の目的だったと考えられる。『第三期読本』では朝鮮が現れた課の割合が三時代の教科書の中で一番多かった。このことから、朝鮮で日本語を使うことを意識させることが編纂者側の考えとしてあったと言える。また、児童の生活の場に日本を融和させた教材を描き、内鮮融和を実現する国民を初等教育の初期の段階から養成しようとしていたといえる。普通学校の役割は日本語を普及させること、日本語を「国語」と認識させることであった言える。また、普通学校では日本語を「国語」という名称で教育し、教科書の中の朝鮮人児童に日本語で語らせ、朝鮮人児童の生活の場を日本語に置き換えていくことで朝鮮人児童の本来の文化、言語の問題を曖昧にしたと考えられる。

馬琴読本の死の場面と仁義八行 -『俊寛僧都嶋物語』と『頼豪阿闍梨怪鼠伝』を中心に-

洪晟準 단국대학교 일본연구소 2016 일본학연구 Vol.47 No.-

바킨 요미혼은 선인과 악인을 명확히 구별하는 특징을 지니지만, 모든 인물이 선인과 악인으로 확연하게 나뉘는 것은 아니다. 선인과 악인이 얽혀있는 바킨 요미혼의 복잡한 구성을 지탱하는 것은 인의팔행의 덕목이라고 생각된다. 『슌칸소즈시마모노가타리(俊寛僧都嶋物語)』에는 아들에게 인의팔행의 덕목이 결여되어 있기 때문에 죽음을 선택할 수밖에 없는 인물이 그려져 있으며, 이 죽음의 선택이 주인공의 운명이나 이야기 전개에 큰 영향을 미치고 있다. 예를 들어 가메오(亀王)의 아버지인 구로이 사부로(黒居三郎)는 이야기 전개 상 중요한 위치에 있지 않은 인물이지만, 그의 죽음은 그 속에 보여 지는 인의팔행의 덕목에 의하여 이야기 전개에 있어 매우 큰 역할을 하고 있다. 『라이고아자리카이소덴(頼豪阿闍梨怪鼠伝)』에서는 주인공 요시타카(義高)와 충신 유키우지(行氏)가 효에 대하여 논의를 주고받는다. 유키우지는 주군 요시나카(義仲)의 계략을 위하여 스스로를 희생하는데 그는 죽은 후에 요시타카 앞에 나타나 그를 훈계하기 시작한다. 그것은 부모의 명복은 빌지 않고 부모의 원수를 갚기 위한 것에만 집착하는 행위에 대한 훈계라고 볼 수 있다. 결국 요시타카는 원수를 갚지 못하게 되는데, 여기에서 그는 부모에 대한 효심 때문에 원수를 갚으려 했음에도 불구하고 불효자에 불과한 인물이었다는 식으로 그려지고 있다. 이상과 같이 바킨 요미혼에 있어서 인의팔행의 덕목은 특히 주변 인물의 죽음의 장면에서 강조되어 주인공의 운명에 영향을 미친다. 따라서 죽음의 장면은 이야기가 인의팔행을 중심으로 전개되는 계기로서 작용하고 있다고 볼 수 있다. Bakin's Yomihon has feature of distinguishing the good from the bad, but all of characters are not divided into two groups definitely. To support the complex plot of Bakin's Yomihon the good and the bad entangled is the eight virtues of the confucianism. Characters who choose death inevitably because of a lack of the eight virtues of the confucianism to son appear in "Shunkansozushimamonogatari". The choice of death affects the fate of main character or development of a story. For example, Kuroi Saburo who is the father of Kameou was considered unimportant person, but indeed his death is the big role by the eight virtues of the confucianism. Yoshitaka and Yukiuji discuss the filial duty in "Raigouajarikaisoden". Yukiuji sacrifices for Yoshinaka's scheme, and after his death he moralizes Yoshitaka. It seems admonition of obsession of revenge without praying for his father. Finally, Yoshitaka cannot revenge. Even though he had to revenge for his filial duty, he was drawn the only person who is not good with parents. In Bakin's Yomihon, the eight virtues of the confucianism is emphasized in death scenes of extras, and then it effects the destiny of main character. Therefore the story centers on the eight virtues of the confucianism with death scenes.

馬琴史伝物読本の構想 -史伝物模索期の作品を中心に-

洪晟準 단국대학교 일본연구소 2012 일본학연구 Vol.37 No.-

바킨의 요미혼 중에서 역사적 인물의 외전(外伝) 성격을 띠는 작품은 사전물로 분류된다. 사전물 요미혼은 7작품이 있는데, 이들은 성립 시기 순으로 전기와 후기로 나뉘고, 전기는 사전물 모색기라고 불린다. 모색기에 쓰인 사전물 요미혼은 진세쓰유미하리즈키(椿説弓張月), 라이고아자리카이소덴(頼豪阿闍梨怪鼠伝), 슌칸소즈시마모노가타리(俊寛僧都嶋物語) 의 세 작품이다. 바킨은 사전물 요미혼의 첫 작품인 유미하리즈키(弓張月)의 창작을 통하여 중국 연의소설(演義小説)을 따른 바킨류(馬琴流)의 연의체(演義体)를 확립시켰다. 이 연의체의 특징은 시대나 인명 등을 정사(正史) 그대로 작품에 이용한다는 점에 있다. 그리고 바킨은 사실(史実)에 허구(虚構)를 넣을 때에 반드시 근거를 제시하는 집필 태도를 보이고 있다. 유미하리즈키의 다메토모(為朝), 가이소덴(怪鼠伝)의 요시타카(義高), 시마모노가타리(嶋物語)의 슌칸(俊寛) 등 각 작품의 주인공은 `사실은 생존해 있었다'고 하는 허구화에 의하여 그려진다. 이들 인물에게 생존설이 존재한다는 점에서 허구에도 문헌상의 근거가 필요하다고 하는 바킨류의 생각을 엿볼 수 있다. 또한, 주인공의 외면적, 내면적 특징을 나타내는 사료(史料)의 유무에 의하여 인물조형의 방법이 달라지고 있다. 사전물 모색기 세 작품의 사실에 더해지는 허구에는 사료에 보이는 허구와 바킨이 새롭게 창작한 허구가 있다. 시대 배경을 사서(史書) 그대로 두고 사실에 허구를 더하여 역사의 이면(裏面)을 그리는 것이 사전물 요미혼의 방법이다. In Bakin's Yomihon, works which have a lateral biography of a historical person are categorized into Shidenmono. There are seven works in Shidenmono Yomihon. They are divided into the former part and the latter part in order of completion time. And then, the former part is called a seeking period of Shidenmono. There are three works of Shidenmono Yomihon, "Chinsetsuyumiharizuki”, "Raigouajarikaisoden”, "Shunkansozushimamonogatari”. Bakin established his own Engitai following Chinese story for popular reading by creation of "Yumiharizuki”which was his first work of Shidenmono Yomihon. The feature of Engitai is using the real age or name of official history. And Bakin has writing attitude that suggests grounds when he adds fiction to fact. The main character of each work, Tametomo of "Yumiharizuki”, Yoshitaka of "Kaisoden”, Syunkansozu of "Shimamonogatari”, is portrayed by fictionalization which is `actually they were alive'. In that sense, we could find Bakin's idea that needs grounds of precedent literature even in fiction. The way of modeling person also varies by historical sources of external and internal feature of the main character. Three works of a seeking period of Shidenmono have fiction from historical sources and fiction created by Bakin. It could be the way of Shidenmono Yomihon like using history as it is and portraying an inside history.

谷崎潤一郎의 『文章読本』一考察 -비트겐슈타인의 분석철학이론과의 비교를 통해-

김상원 한국일본언어문화학회 2011 일본언어문화 Vol.19 No.-

일제강점기 일본어 교과서 연구 -조선총독부편 『普通学校国語読本』에 수록된 한국설화를 중심으로-

박미경 한국일본언어문화학회 2011 일본언어문화 Vol.18 No.-

曲亭馬琴『括頭巾縮緬紙衣』의 考察 : 『羇旅漫録』『蓑笠雨談』의 椀久 考証 内容의 利用을 中心으로

강성국 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2014 日本硏究 Vol.0 No.59

Kyokutei Bakin went around Nagoya, Kyoto, Osaka and Ise etc. from 9th May to 24th Aug 1802 and during his visits he collected information on the local customs, dialects, historical monuments and personalities which he noted in his works "Kiryomanroku" and "Saritsudan". As a Yomihon writer, gathering facts that may form the basis for his works later, could have been one of the most stimulating aspect to Bakin's visits. Infact, five years later he happens to have revealed the details he collected on "Wankyu" at Osaka in his work "Kukurizukin chirimenkamiko". This paper discusse show Bakin used the information on Wankyu as documented in "Kiryomanroku" and "Saritsudan" and analyze his intentions and technique as to how they are used in his work "Kukurizukin chirimenkamiko". In "Kukurizukin chirimenkamiko", the scene where Jissoji elaborates on the "Tomb of So-Tatsu" and the one where Wankyu meets Matsuyama at a red light district, both of them are inspired by the actual accounts that were noted by Bakin during his travels. Among these, the former scene was written while being conscious of the Intellectual class as its reader and the same can be verified from the relevant context. Just before this scene, the story that unfolds so far is written in "Joruri style" in order to earn appreciation of the "Women and child" readers and at the same time had an encoded message for the readers that of being mocked at by the Intellectual class since there was no special literary style adopted. However, the next scene that follow, consists of an objective writing style where Jissoji lectures on the tomb and can be thought to have been written while being mindful of the Intellectual readers. Regarding the latter scene, the main characters like "Wankyu", "Matsuyama", "Nozaki", "Naoroku" etc., all correspond with the real life personalities and this gives rise to the possibility that Bakin might have set all the characters in this novel based on this theory. Further, changing the first ever scene of meeting between Wankyu and Matsuyama into a scene of their re-union demonstrates the capability of Bakin as an author.

『우게쓰 모노가타리(雨月物語)』 「국화꽃의 약속(菊花の約)」 고찰 : 순환적 구조에 나타난 '경박(輕薄)'과 교훈성을 중심으로

김영호 韓國外國語大學校 外國學綜合硏究센터 日本硏究所 2014 日本硏究 Vol.0 No.59

The research paper concluded that a novel, 'Kikkano Chigiri', selects 'trust' as the theme but above all, it cautions against 'frivolity', as Akinari puts the very important significance on the word, 'frivolity', by delivering, in the premise and conclusion of the story of the novel, a message of caution against familiarity to people with the insincere character in behavioral and mental disciplines. In this regard, this thesis reviewed through 'Contacts with Pomgogyong and Changwonbaek', appearing in "Kaninki" by Ryoi, the meaning of the word, 'frivolity', and then analyzed the insincere characters in the 'Kikkano Chigiri', stated forgoing. Based on the analytic research results, it can be interpreted that Soemon without mental disciplines, who is associated with Samon without behavioral disciplines, drives himself to grave, in the process of too deliberately trying to keep a promise, and after that, Tanji, another character without mental disciplines, is killed by Samon. In the premise, Akinari notes that the novel hints Samon will not die, considering that Changeun, described as a younger brother in the original text, is rendered into a younger sister, in order to make the story briefer. Unlike the original text, 'Kikkano Chigiri' which solely focuses on 'trust', Akinari goes further criticizing and cautioning against familiarity to those with 'frivolous' characters. by referring to the meaning of 'frivolity' mentioned by Ryoi.