著者

藤井 仁奈

出版者

文教大学

雑誌

言語文化研究科紀要 = Bulletin of The Bunkyo University Graduate School of Language and Culture (ISSN:21892709)

巻号頁・発行日

vol.2, pp.69-92, 2016-03-16

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In the famous novel called “Bruges-la-Morte” by Georges Rodenbach, the name of Ophelia is used for the depiction of the city of Bruges. It is described as a dead woman, just like the wife of the main character Hugues. Ophelia, the dead wife and the city Bruges are all described as dead women. On the other hand, Hugues is alive of course, and the contrast is quite clear.◆However, in the essay called “Bruges”,which was written before the novel, we cannot regard Ophelia as the same dead woman in the novel. In the essay, Rodenbach describes Bruges as the dethroned queen who is dying, but not completely dead. When the narrator is surrounded by silence, he imagines that he can hear the voices of the things around him, which say he cannot live any longer. A visage of Ophelia appears in this imagination. She is the person whose soul is salvaged by the water from her agony.◆These descriptions of Ophelia are in contrast with each other. In the novel, Hugues realizes he is alive in the dead city when he thinks of his dead wife just as Ophelia. In the essay, the narrator perceives Ophelia’s soul in the dying city when he has a consciousness of the order of the things, which means all things are going to be dead and mortal. Both of them are described with the scenery of the water of the canals, but they are quite different.◆In this paper, I want to analyze the essay in detail and compare it with the description of Ophelia of the novel.

著者

金 瑋婷 劉 田田

出版者

文教大学

雑誌

言語文化研究科紀要 = Bulletin of The Bunkyo University Graduate School of Language and Culture (ISSN:21892709)

巻号頁・発行日

vol.4, pp.31-53, 2018-03-16

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本文考察在面向20多岁女性的时尚杂志中做使用的日语的特征,主要着眼于以助词(除终助词外)结尾的句子。本文以同在2016年11月发行的两本时尚杂志为调查对象,并收集了其中以助词结尾的句子。本文将助词分为“格助词”“并列助词”“副助词”“系助词”“接续助词”这五大类进行了数据统计。结果显示,格助词“に”(39.3%),格助词“を”(8.8%),格助词“が”(7.4%),系助词“も”(10.0%),系助词“は”(7.8%),以及接续助词“て”(12.3%)为使用最多的6种助词。◆ 本文结合实际例句,分别对这6个助词的用法以及特点进行了详细的分析,并得出以下结论。①以格助词“に”结尾的句子表达更为简洁。②以格助词“を”结尾的句子能够增加读者的想象空间。③以格助词“が”结尾的句子能简明地向读者提示未知的主体以及话题。④以系助词“も”结尾的句子起到强调话题内容的作用。⑤以系助词“は”结尾的句子能够简洁地提示话题。⑥接续助词“で”结尾的句子通过说明事项来吸引读者的视线,引起读者的兴趣。

著者

宮武 利江

出版者

文教大学

雑誌

言語文化研究科紀要 = Bulletin of the Bunkyo University Graduate School of Language and Culture (ISSN:21892709)

巻号頁・発行日

vol.1, pp.43-60, 2015-03-01

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The writers perform a collaborative investigation of onomatopoeia with Chinese characters continuing on from last year. It compares the fixed situation and the phonetic and semantic changes in both the Japanese and Korean languages that received Chinese vocabulary. The purpose is to mention the differences of both, and to finally gather up as a contrast dictionary of Japan, China and South Korea. This report extracts examples of onomatopoeia with Chinese characters collected in“the Chinese word onomatopoeia”of“the Japanese onomatopoeia dictionary” from the documents recorded in“the complete series of Shinnihon classical literature”,and then takes up some interesting words in comparison with use in Japanese in the present age and mentioned in the entry of “Nippojisho”(Japanese-Portuguese dictionary) and Waeigorinshusei (Japanese-Englidictionary).This is the interim report of the study. A Japanese sentence of the Heian era has few onomatopoeia with Chinese characters. We could confirm that the same kind of usage was being used in a war chronicle, and a lot of onomatopoeia with Chinese characters were used in Noh songs and in Edo literature such as the work of Chikamatsu. For example, [滔滔 (Tōtō)/蕩蕩 (Tōtō)],is illustrated in the “Japanese onomatopoeia dictionary” as a word with different meanings. However,“蕩蕩”in a Japanese sentence has no precedent, and the use that is synonymous with“滔滔”in a Japanese sentence in the Japan Chinese poetry sentence is seen in the Edo era. [蕩蕩]is not firmly established in Japanese, and[滔滔]is a word to express water flowing like a brick formerly, but in the Edo era it begins to be used for a description of the state in which a person speaks without stagnancy figuratively, and it is thought to be a word recognized as onomatopoeia by the present age.

著者

柯 愛霞

出版者

文教大学大学院言語文化研究科

雑誌

言語文化研究科紀要 = Bulletin of the Bunkyo University Graduate School of Language and Culture (ISSN:21892709)

巻号頁・発行日

no.2, pp.25-50, 2016

著者

芦田川 祐子

出版者

文教大学

雑誌

言語文化研究科紀要 = Bulletin of the Bunkyo University Graduate School of Language and Culture (ISSN:21892709)

巻号頁・発行日

vol.1, no.1, pp.1-18, 2015

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This paper attempts to examine Lewis Carroll's Sylvie and Bruno in relation to the tradition of fairy tales to see what can or cannot be original about the work. There are three main points for analysis: the depiction of fairies, the view about different worlds, and the notion of childhood. These all show how Sylvie and Bruno is both conventional and innovative. The fairies, Sylvie and Bruno, are based on the traditional fairies who teach children right from wrong, but they are themselves children and sometimes need to be taught. While the fairy world is both distinguished from and mixed with the human world in a unique way, the idealised children are not much different from those of other Victorian fairy tales. However, what is noteworthy is that the whole story is told by the narrator as an old man, who is also one of the main characters. The novel can be described as the narrator's attempt to catch something fairyish, constituting a fairy tale about the elusiveness of such things as fairy tales, dreams, and childhood.