101 research outputs found
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è¡šçŸã«çµã³ã€ãèªïŒãã挢èªç³»ãªããããã§è£ã£ãããšã挢èªç³»ãªããããã®äžã§ãæ¢ã«åºãçšããããŠãããã®ãäžå¿ã«ãèšæäžèŽæã«åãå
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ã«é¢ããŠã¯ãåèªç³»ãªããããã«ãããŠã现ããæå³ã䜿ãåããåããããåãæªçºéã§ããããšããªããããºã®çš®é¡èªäœããŸã å°ãªãããšãããã®é å ãšãªã£ãŠãããåèªç³»ãªãããããçºéãããŸã§ã®éã挢èªç³»ã®ãã®ã䜿ãããã§ãããããšãèãããããThis paper attempts to discuss how onomatopoeias of Japanese origin are related with those of Chinese origin in the first half Meiji era. In this study five stories including "UKIGUMO" written in the styles of unificated spoken and written language were investigated as well as other eight stories which were published before "UKIGUMO" and writen in another older language style. The results showed three points as follows ; (1) Compared to onomatopoeias of Japanese origin, those of Chinese origin can express some expressions, particularly concerning emotion, because those of Japanese origin lack their variations in such areas. (2) Because of such features mentioned above, the writers prefered to use onomatopoeias of Chinese origin rather than those of Japanese origin , until they came to possess sufficient kinds and variations. (3) In addition, the writers who promoted the unification of spoken and written language tended to use easily adoptable onomatopoeias of Chinese origin as well as the Japanese colloquial words
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¥ããããããã«ãªã£ãããšã窺ãããããŸãã挢èªç³»ã®ãªãããããšããŠã®æèã«ã€ããŠãåèªç³»ã«æŒ¢èªç³»ã察å¿ãããå®ãŠåã®é¢ãããç¹ã«å€ãèŠãããããããã®ãªããããã®åãäžå¿ã«èãããåèªç³»ã«å®ãŠåãããŠãã挢èªç³»ã¯ãåèªç³»ãç¬ç«ãããšãäžè¬èªåœãšããŠããªãããããæ§ã倱ã£ãããé³æ§æãåèªç³»ã®ãã®ãšåããïŒã
ãåã¯ãéãããæèã§å€çšããããã®ãé³ã®ã€ã¡ãŒãžãé£æ³ãããããã«ãªããããªããããããšããŠæããããããã«ãªããšæããããThis paper attempts to discuss how onomatopoeias originated from Japanese are related with those from Chinese in the second half of the Meiji era. For this purpose twenty stories were investigated in the study. In the second half of the Meiji era, a large proportion of onomatopoeias became Japanese origin, and they were used independently without the assistance of substitute character. It means that Japanese originated ones were used more positively even in the novels, although they were considered as slung in those days. Regarding the Chinese originated onomatopoeias, it is neccessary to examine the relations with kana written at the right side of kanji which was those of Japanese-origin, and the main types of onomatopoeias. The onomatopoeias of Chinese origin which were used as substitute character for those of Japanese origin, came to lose the features as onomatopoeias. But one type, which was the same sound type of Japanese origin, obtained the sound image and was possibly recognized as onomatopoeias
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æ¯æåã«ãããŠãããªãããããå€çšããŠå·§ã¿ã«è¡šçŸããŠããããšãèŠãŠåãããIt was examined with comparing it with âArajyotaiâ, Shimazaki Tosonâs âIeïŒ the first halfïŒ\u27 and Tayama Kataiâs âSei\u27 about the characteristics of the onomatopoeia seen in âAsiatoâ and âKabiâ of Tokuda syusei. Onomatopoeia was extracted from each novel, and an examination was added from the following five viewpoints. ïŒïŒthe expressin of feeling,ãïŒïŒlaugh,ãïŒïŒâact to see and lookâ, ïŒïŒâhumidity", ïŒïŒothers. Other onomatopoeia was examined from the next four points.Those are the onomatopoeia which shows stillness, the onomatopoeia of seeing by chance, the onomatopoeia of aimless walking and heroineâs unique onomatopoeia. Onomatopoeia had commonness about the heroineâs description and the scene description in âAsiato\u27 and âKabi\u27. Investigating three novels of âAsiatoâ, âKabi\u27 and âArajyotaiâ, it was found that Syusei used onomatopoeia skillfully in description of a character and scene description
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ãè¡šçŸããŠãããæ¬é³èªã«ã工倫ãèŠãããããŸãã幎代ãäžãã«é£ããŠäžäžè»èšç©èªã«èŠããããªãããããå°ãªããªããåœä»£ã®ãªããããã®äœ¿çšãç®ç«ã£ãŠãããæèäŒã¯ãæžãéšåã§æŒæã®æ瀺ã鳎ãç©ã»å¹æé³ãªã©ã®æ瀺ãšããŠåºå®åãããªããããã䜿ãããŠãããå°è©ã«ã¯å€ãã®äœ¿çšãèŠãããããã§ã¯ãªããåœä»£ã®æ¥åžžèªçãªãªããããã䜿ãããŠãããOnomatopoeias used in JORURI and in KABUKI in Edo period were examined about following four points; imitative words, emotional onomatopoeias, mimetic words and elements of medieval war tales. On JORURI, emotional onomatopoeias and mimetic words, which reflect attitudes in narratives onomatopoeias, were used for emotional expressions. And many kinds of imitative words were also found. As time passed colloquial onomatopoeias of those days increased while onomatopoeias derived from medieval war tales decreased in JORURI plays. As for KABUKI, onomatopoeias were used for directions of actor\u27s performance, musical instruments and stage effects in parts of stage direction. For that reason, the onomatopoeias were typical and definitive. In lines, there were not so many onomatopoeias, but there were various kinds of colloquial onomatopoeias of those days
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èªã®å称ãç·ç§°ãšå称ãšã«åããŠæŽçãïŒå称ã®å€é·ã®æ§çžã蟿ã£ãããã®äžã§ïŒçŸåšäžè¬çã«äœ¿çšãããŠããå称ã®åŠ¥åœæ§ã«ã€ããŠèãããAs for "Giongo" and "Gitaigo", it has been proceeding with the research as a word group which is characteristic of Japanese since the old days. The various names of this word group were devised by many researchers after Meiji term, and it was proposed. "Giongo" "Gitaigo" is general as each name at present. "Giseigo" was being used before "Giongo" "Gitaigo" spread out. Though a generic name was taken, "Giseigo" was being used. But, the name of "the onomatopoeia" is taking root as a generic name at present. The name of the onomatopoeia proposed after Meiji term was divided into each name with the generic name, and put in order, and it followed the aspect of the change in the name in this paper. Then, it thought about the validity of the name generally being used at present
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ä¿æè¡·æãšã¯ç°ãªãä¿®èŸã®å€çšã§ãã£ããšæãããThis paper attempts to discuss how Ozaki Koyo made his unique style in the unification of spoken and written language. For this purpose, "Tajo takon" and four additional stories were studied in the following three respects.: 1) the expression of the end of sentences, 2) letters and words, 3) rhetoric. Koyo made the colloquial written style based on the spoken language, but it was distinguished from the spoken one. To make this colloquial written style into the figurative style, he added some elements, for example, putting Chinese characters as substituted characters to onomatopoeia, a kind of slung, and using some rhetorics which were not used in his literary style
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ãšãããçŸä»£åºãæå³é åãæã£ãŠãããçŸä»£èªã®ããã«æå³ãçž®å°ãããèæ¯ã«ã¯ãâ é¡çŸ©èªãã©ãã©ãããšã®é¢é£ã«ããæå³ãéå®ããããšãâ¡ãã€ãã¹ã®ææ
ãè¡šããªãããããå€ãããšã«ãããã©ã¹æ¹åãžæå³ãåŸããŠãã£ãããšãâ¢èº«äœçæå³ããããªããªãã«è²ããããªããªããšã¯ç°ãªããã©ã¹ã®æ¹åã®ç²Ÿç¥çæå³ã«éå®ããããšããèãããããI examined how meanings of onomatopoeia have reduced. An actual case of word "wakuwaku" has been analyzed its synonyms and emotional meanings. Today, "wakuwaku" means positive emotion for future happenings, but in the Meiji and Taisyo period it meant more widely and used for the expression of various kinds of felling when ones felt unsettled not only for future things but also for past things. There were following three main factors on reduction of the meanings in "wakuwaku". 1 ) "Wakuwaku" limited its meaning due to a synonym of "dokidoki". 2 ) "Wakuwaku"\u27s tended to mean a positive emotion, because many other onomatopoeias exist for negative emotion. 3 ) "Wakuwaku" limited its usage for emotion, as contrasted with "wanawana" which limited to physical meaning
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ãå€çŸ©æ§ã®è§£æ¶ã«é¢é£ãããšæããããThe polysemy of onomatopoeia was described in this paper, which was different from that of non-onomatopoetic words. I examined how some of the onomatopoeia obtained multiple meanings and adapted to one by analyzing the actual cases. At first, following six features were described, regarding the relations among the meanings of polysemous onomatopoeia; (1) similarity of the imitative and mimetic meanings, (2) similarity of movement of words, (3) similarity of feelings, (4) relation to nononomatopoetic words, (5) relation to adjacent onomatopoeia, and (6) similarity of sounds. Secondly I examined the meanings of "majimaji", which were changed from Edo to Taisyo periods as an example of polysemous onomatopoeia. "Majimaji" originally implied blinking-eye movement and such action. And then its meaning was distinguished into multiple meanings such as , , and -leaded discrepancy and confusion among them. At last "majimaji" meant and lost the sound symbolism of blinking. On the other hand, the meaning of was completely transferred to similar sounded onomatopoeia, as "mojimoji", another meaning of was transferred to "manjiri" which was derived from "majimaji". These transformations lead the reduction of olysemy. Appearance of the related onomatopoetic words to share the meanings of polysemy was considered ro facilitate the reduction of polysemy
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¥ãããããã®ãšæŒ¢èªãšããŠçšæ³ãéãããŠãããã®ãšã«åãããããšãèŠããI studied the relation between onomatopoeias of Japanese origin and those of Chinese origin by the examination of the onomatopoeias of Shinto, Shinshin and Hissori expressing quietness, and those of Muttsuri and Mokunen expressing silence. First I showed origins of each onomatopoeia discussed in this paper. This is the important examination because there is contradiction quietness and silence mean soundless conditions but onomatopoeia in itself is the sound symbolism. I showed following four points; Shinshin and Shinto derive from onomatopoeias of Chinese origin; Hissori derives from other Japanese words like Hisoka and Hisomu; Muttsuri is a mimetic word; Mokunen is an onomatopoeia of Chinese origin. Secondly I examined the coexistence and the change in the onomatopoeias of quietness and those of silence based on many examples seen in Edo, Meiji and Taisyo period. Shinshin limited the meaning. Shinto and Hissori have coexisted Shinto focused on soundless condition while Hissori focused on emptiness. Mokunen replaced with Muttsuri which expresses sedateness in manner besides silence in the middle Meiji period. I showed onomatopoeias of Chinese origin have two patterns through the detailed research. One is treated as Japanese onomatopoeia and the other is just a Japanese word of Chinese origin
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