두 여자의 비극 일본의 사회파추리소설 『화차』

권희주 ( Kwon Hee-ju ),김계자 ( Kim Gae-ja ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2018 일본연구 Vol.30 No.-

본 논문은 미야베 미유키의 소설 『화차』가 사회파 추리소설로서 갖는 특징에 대하여 살펴보고, 작자 미야베 미유키의 사회문제를 표현하는 방식에 대하여 고찰한 것이다. 본고에서 강조한 것은 이하의 세 가지이다. 첫째, 범인을 쫓는 혼마 형사의 관찰자적 시점이 중요하다는 점이다. 소설의 시작부터 마지막 장면에 이르기까지 혼마의 시야에 포착된 것과 이를 통한 추리에 의해 내용이 전개되고 있고, 관찰 대상에 대하여 동정은 하지만 그들의 내면이 안이하게 서술되지는 않는다. 범인을 쫓는 관찰자적인 시점은 개별적인 문제를 그리기보다 사회의 문제를 드러내려는 사회파 추리소설의 특징이라고 할 수 있다. 둘째, 혼마 형사가 쫓는 시선에는 교코 한 사람이 아니라 쇼코와 교코 두 여자가 있으며, 이들이 관련되어 범죄가 일어나고 있는 접점이 사회적인 문제가 생기(生起)하는 곳이라는 점이다. 돌고 도는 운명의 불수레인 ‘화차’의 의미도 두 여자의 비극적인 운명이 관련된 속에서 찾을 수 있으며, 이는 구체적인 인물 묘사를 소거함으로써 개별성을 넘어 언제 누구에게 닥칠지 모르는 임의적인 것임을 시사한다. 셋째, 두 여자의 비극이 혼마 형사의 시점과 공간 이동, 그리고 시행착오를 거치는 추리에 의해 점차 드러나는 구조라는 점이다. 혼마 형사의 추리는 범인을 찾는 방법이 아닌, 두 여자가 처해 있는 비극이 어떻게 관련되어 있는지 보여주고 이를 통해 사회 전체적인 문제가 점차 전경화 되는 구조이다. 이는 작중인물들과 다른 층위에서 이들을 통어하는 내레이터의 서술이 아니라, 작중인물을 등신대의 관찰자가 따라다니며 추리해 가기 때문에 얻어진 효과라고 할 수 있다. 미야베 미유키는 마쓰모토 세이초의 사회파 추리소설의 계보를 잇고 있지만, 표현 방법에 있어서 차이를 보인다. 마쓰모토 세이초는 사회의 부정부패나 차별, 빈곤 문제 등의 소위 ‘사회악’을 범죄의 동기로 그림으로써 사회문제를 드러냈다고 한다면, 미야베 미유키는 사회문제가 얽힌 관계 속에서 범죄의 동기를 찾고 있다고 할 수 있다. 따라서 하나의 사건에 얼마나 많은 인물들이 관련되어 있고 또 해결해 가는지 보여주는 장편 구성력이 돋보인다. This paper considers the characteristics of the novel Kasha written by Miyabe Miyuki, and analyzes the method of expression of social problems. The points are summarized as follows. First, it is the importance of the detective Homma’s observational perspective. From the beginning to the last scene, the story develops along Homma’s view and his reasoning around the crime. Although Homma feels sympathy for the characters who is supposed to be the criminal of the case, he does not describe easily to the inner side of the characters. Homma’s observational perspective running after the criminal reveals the social problems rather than individual things, which is the characteristic of ‘social mystery novel’. Secondly, there are two women not one in the end of Homma’s view running after the crime. They are Sekine Shoko and Shinjo Kyoko. The crime rises around the contact point of two. It can be said that social problems have arisen like in this contact points. The meaning of Kasha(火車), the fire wagon of fate carrying the dead, can be found in the revolvement of two women’s tragic fate. Furthermore, we can suppose the case may happen to anyone at any time, for the story ends with not describing about Kyoko concretely. Thirdly, two women’s tragedy comes to the front gradually along Homma’s view and spatial movement. That is to say, Homma’s reasoning is not for pointing out the criminal, rather than for showing how two women’s tragedy is revolved. Homma’s reasoning on the case reveals the process. Miyabe Miyuki’s writings of social mystery novels are evaluated to continue Matsumoto Seicho’s ones. However, Miyabe Miyuki’s writings are different from Matsumoto’s ones. Matsumoto’s novels represent so-called ‘social evil’ like corruption, discrimination, or poverty. On the other hand, Miyabe Miyuki’s ones take out the motive of crimes in the entangled revolvement of the persons. Therefore, Miyabe Miyuki’s novels show that many persons are related in one case, which is her distinctive organizing power of the novel.

대응규칙(對應規則)을 통한 일본한자음(日本漢字音) 지도법(指導法) ㅁ·ㅂ·ㅍ 계열을 중심으로-

하소정 ( Ha So-jung ),이경철 ( Lee Kyong-chul ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2018 일본연구 Vol.30 No.-

본 연구에서는 일본의 常用漢字(2010)에서 音讀을 가진 漢字만을 추출하여 [常用漢字 字音 分析表]를 작성하였다. 이를 바탕으로 韓國漢字音의 子音 [ㅁ · ㅂ · ㅍ]에 대응하는 한자 332字를 추출한 후, 韓國漢字音과 日本漢字音의 대응관계 및 한자의 中古音 聲母와 한자음의 系統에 따른 분석을 실시하였다. 그 결과 韓國漢字音의 子音 [ㅁ]은 マ行(55.64%) · バ行(42.74%)과 가장 많이 대응하고 있었다. 이 때 子音 [ㅁ]에 대응하는 マ行은 대부분 吳音이었으며, バ行은 모두 漢音이었다. 그리고 韓國漢字音의 子音 [ㅂ]은 ハ行(74.73%) · バ行(25.26%)과 대부분 대응하고 있었으며, 韓國漢字音의 子音 [ㅍ]은 ハ行(85.5%) · バ行(14.49%)과 대응하고 있었다. 이 때 韓國漢字音의 子音 [ㅂ · ㅍ]에 대응하는 バ行은 대부분 吳音이었다. 이에 본 연구에서는 韓國漢字音의 子音 [ㅁ · ㅂ · ㅍ]과 日本漢字音 사이의 이러한 규칙적인 대응양상을 [대응규칙]으로 제시하였다. 아울러 이러한 [대응규칙]을 교육에 활용할 수 있도록 [1. 흥미유발], [2. 대응목록 제시], [3. 대응규칙 제시], [4. 연습문제], [5. 다음 대응규칙 제시]라는 5단계의 교수-학습 방안을 제시하였다. In this study, we extracted only Chinese characters with a On’yomi in the Joyokanji Table(2010) and used them as research data. Then, after extracting 332 Chinese characters corresponding to the /m/(ㅁ) · /p/(ㅂ) · /ph/(ㅍ) consonants of Sino-Korean, we analyzed the correspondence relationship between Sino-Korean and Sino-Japanese. And also analysis of Chinese characters was conducted according to the system of Chinese characters and the Ancient Chinese. As a result, the /m/ consonant of Sino-Korean are mostly corresponded to Ma-gyo/m/(55.64%) and Ba-gyo/b/(42.74%) in Sino-Japanes. In this case, except for nine to ten Chinese characters, Ma-gyo/m/(55.64%%) was almost Go’on and Ba-gyo/b/(42.74%%) was all Kan’on. And the /p/(ㅂ) consonant of Sino-Korean are mostly corresponded to Ha-gyo/h/(74.73%) and Ba-gyo/b/(25.26%) in Sino-Japanes, and the /ph/(ㅍ) consonant of Sino-Korean are corresponded to Ha-gyo/h/(85.5%) and Ba-gyo/b/(14.49%) in Sino-Japanes. In this case, the Ba-gyo/b/ corresponding to the /p/(ㅂ) and /ph/(ㅍ) consonants of Sino-Korean were mostly Go’on. Therefore, we suggested ‘correspondence rules’ on the basis of these regular correspondence relationships between /m/(ㅁ) · /p/(ㅂ) · /ph/(ㅍ) consonants of Sino-Korean and Sino-Japanese. In addition, we proposed 5 steps of teaching- learning method in order to utilize these rules in Japanese language education. Step 1 is ‘Provoke interest’. Step 2 is ‘Presentation of the Chinese language list in which the correspondence rule exists’. Step 3 is ‘Presentation of correspondence rule’. Step 4 is ‘Practice correspondence rules through words’. Step 5 is ‘Presentation of next correspondence rules and guide on rules’.

東京大學國語硏究室所藏淸原宣賢の訓点本 『中庸章句』と『經典釋文』の比較硏究 : 音素を中心として

한경호 ( Han Kyung-ho ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2017 일본연구 Vol.27 No.-

本稿の硏究資料である淸原宣賢(1475~1550)の訓点本『中庸章句』は、現在東京大學國語硏究室に所藏(請求記號:21H:11、登錄記號:4803718537)されている日本の戰國時代の文獻である。本文獻の著者は上記の淸原宣賢であるが、表紙にはそれ以外に「兼右卿十三歲御筆」として書寫者が示されている。この「兼右」は吉田家門の養子になって改姓した淸原宣賢の次男である吉田兼右(1516~1573)である。これに依ると、本稿の硏究資料である淸原宣賢の訓点本『中庸章句』は吉田兼右が13歲であった1528年(大永8年)に作られたことを知ることができる。 本稿の硏究資料は今まで出版されていない上、東京大學圖書館サイトにも公開されていないため、これと直接的に連關した硏究は余り見られない。從って、本稿は訓点本に對する硏究の試みとして、淸原宣賢の訓点本『中庸章句』に訓点と一緖に表記された分節音素に準じて音讀みを表わした?名、及び、超分節音素を表わした聲点を中心として、『經典釋文·卷第十四』に現れる『禮記·中庸』に對する音切(直音及び反切)との比較を通じて、日本の訓点本に中國原書の音義が如何に反映されたのかを探求しようとするのである。 本稿で進めてきた淸原宣賢訓点本『中庸章句』と『經典釋文』音切の比較で得られた情報は以下のとおりである。 分節音素と超分節音素の對應は、殆どの例で規則的である。 分節音素では、慣用音として現れた例外以外に目立つ問題はない。 超分節音素としては、沼本克明(1987/2008)と佐?木勇(1988)などで指摘された日本漢字音內部の「去聲→上聲」の變調が幾つが見られたが、數は多くなかった。類推(analogy)に依って現れた聲点もある程度見られた。 無論、今回の硏究では、『經典釋文』のみと比較を進めたため、資料の範圍は充分とは言えない。今後の硏究では『經典釋文』との對應以外の例に對しても整理し、不足部分も補っていきたい。 The research material of this article, a kuntenbon of “Zhongyong Zhangju” edited by Kiyohara Nobukata (1475~1550), is a text from Sengoku period (the Age of Civil War in Japan) currently in the Dept. of Japanese Linguistics, University of Tokyo (Registered as 21H:11, No. 4803718537). As mentioned above, the book was edited by Kiyohara Nobukata, but the cover page also has a sentence “Kanemigi wrote this at thirteen years old”. This name, “Kanemigi”, refers to Yoshida Kanemigi (1516~1573), the second son of Nobukata, who was adopted by Yoshida clan and thus changed his surname. This sentence informs us that the kuntenbon was made in 1528 (Daiei 8) in which Yoshida Kanemigi was 13 years old. As there is no published research material of this book, nor available online from the website of the library of the University of Tokyo, there is not much studies directly referring to this book. Therefore, this study took this book as a test case for study of kuntenbon - especially, kana written parallely to kunten to indicate segmental phonemes, and shoten (tonal points) to indicate suprasegmental phoneme, which are compared to the phonetic notations (직 음and fanqie) for “Liji·Zhongyong” in “Jingdian Shiwen·Vol. 14”. By this comparison, this paper demonstrates how the original readings and meanings of Chinese classics are reflected into kuntenbon of Japan. This study, the comparison of Kiyohara Nobukata`s kuntenbon of “Zhongyong Zhangju” and phonetic notations in “Jingdian Shiwen”, showed the following: First, the reflexes of segmental or suprasegmental phonemes are in regular correspondence mostly. Second, in the segmental phonemes, there is no anomally except some (관용음) idiomatic irregular readings. Third, in the suprasegmental phonemes, it does show some examples of merger of rising tone and departing tone in Sino-Japanese readings (as pointed out by Numoto Katsuaki (1987/2008) and Sasaki Isamu (1988)), but rarely. Fourth, some shoten (tonal markings) shows examples of analogy. Of course, this analysis is based on the comparison with “Jingdian Shiwen” only, so I`m afraid that we need more sources. Further study will aim to complement this paper by making comparison with material other than “Jingdian Shiwen”.

曲亭馬琴の 「懲惡」 と讀本の世界『椿說弓春月』と『南總里見八犬傳』における<惡>の問題

김학순 ( Kim Hark-soon ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2017 일본연구 Vol.27 No.-

本論文では、『椿說弓春月』と『南總里見八犬傳』の長編構成及び構想を「勸善」ではなく、「懲惡」に注目して分析した。「勸善懲惡」を江戶時代を代表する思想の觀点ではなく、一つの構想の要素として捉えたわけである。また、「勸善懲惡」をモチ一フとする小物語の反復と連鎖が『八犬傳』をつらぬく構成原理になっていることについて考察した。江戶後期では、理解水準が低い讀者層のため、物語の單純化、定型化、讀み切りの完結性などが求められた。馬琴の長編讀本は、その完結した小さな筋立てが反復·連鎖することによって長編物となっているが、その完結した小物語のモチ一フとして本作品で注目されるのが「勸善懲惡」のテ一マである。また、その勸善懲惡の「懲惡」に注目し、「惡人」を中心にして考察した。 さらに、絶對的善惡論とは、『弓張月』の物語が內包している話型を構成する二元論的世界觀であった。その世界觀に善惡の價値が結びついていた。それでは、なぜ馬琴は二元論的世界觀に着目したであろうか。本論は、その背景に、馬琴の時代、これまでの傳統的世界觀(中華思想にもとづく華夷的世界觀)に對立するかたちで西洋傳來の地圖的世界觀が現實感をもって台頭してきたことを指摘した。そして世界觀の衝突と對立があり、幷行現象が見られて、<知>の轉換があったことを主張した。多元的世界觀の衝突への驚きが見られ、そのような<知>の擴大が馬琴讀本に多元的世界觀(『弓張月』では二元論的)を意識させていったと考える。<知>の轉換期といわれる時代にあって、この歷史的規定の樺組の中に、關係構造と物語內容の關連があることに着目したのである。 本論文で對象とする『八犬傳』には、多元論的世界觀はもはや見られない。あくまでも南房總安房國という領國を物語世界とする、一元論的世界が樺組をなしている。しかし二元論的世界觀と善惡の結びつきは、實は『八犬傳』の人物造型、すなわち善人と惡人、とりわけ惡人造型に集約されている。『八犬傳』においても、絶對的善惡論に支えられた「勸善懲惡」はつらぬかれているのであって、善人は善人、惡人は惡人として物語構成を分割する。惡人は父子、母娘といった血筋關係の間を、そして惡の靈魂(「玉」)が生まれ代わり死に代わる人物たちの間を遊離、憑着していく。そのような物語構成は、どうあっても二元論的世界觀の縮圖繼承とみてよく、この惡人造型こそが馬琴に獨自なものなのである。 In Bakin`s Yomihon, the view that the logic of the good triumphing over the evil and that what goes around comes around governs the work has been regarded as the common opinion. In addition, the good triumphing over the evil has been analyzed in the viewpoint of ideology of Confucianism in the Edo era. Because the writer Bakin is a writer in the Edo era, Yomihon he wrote as well has been discussed in this viewpoint. Rather than analyses of the contents of the work, antiquated ideological interpretation has been the main. However, although the Edo-era was the premodern society, the society should not be determined as only a simple Confucian society. Of course, the term the good triumphing over the evil can be seen as Confucian ideology for edification. However, it is thought that analysis of the intrinsic characteristics of the evil in the work not through such Confucian ideas is also an important job. Nakamura Yukihiko indicates that the charm of Bakin`s Yomihon is the description of evil. The writer also thinks that the evil in Bakin`s Yomihon has large width which cannot be easily understood only with Confucian ideas. Namely, it can be seen that the evil of Bakin is closely related with the context of non-Confucian society. Based on such critical mind, this thesis analyzed the world of Yumiharizuki and Hakkenden in the viewpoint of evil not in the viewpoint of good. The description of evil of Yumiharizuki has an influence on the formation of the ideology of the good triumphing over the evil. By tracing such a process, the problem of evil in the work was contemplated. The good triumphing over the evil shown in the work Hakkenden was not regarded as the purpose of edification in the Confucian society. The fact that the absolute good and evil theory governs the work was discovered by analyzing many villains who appear in the work. Especially, under the good triumphing over the evil that supports the absolute good and evil theory, the story that virtuous men were thoroughly virtuous men, and the wicked are thoroughly the wicked is composed. The wicked are in blood relationship between father and son, or between mother and daughter or spirit of evil resurrects to become the wicked. The fact that such shaping of the wicked was the characteristics of Bakin`s Yomihon was analyzed. Like the above, this thesis contemplated the good triumphing over the evil of Bakin`s Yomihon with the concept of absolute good and evil not with the traditional ideological viewpoint.

日米共同防衛體制の成立防衛協力小委員會(SDC)における「日米防衛協力のための指針」策定過程を中心として

板山真弓 ( Mayumi Itayama ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2018 일본연구 Vol.29 No.-

本論文は、日米安全保障關係史上、重要な役割を果たしたと考えられる「日米防衛協力のための指針」(1978年)策定過程の中でも、特に防衛協力小委員會(SDC)におけるそれに焦点を當て、その詳細を明らかにするものである。具體的には、新史料により裏付ける形で、旣存硏究では示されていない日本側のイニシアチブの詳細、すなわち、日本側がSDCにおける協議項目や作業部會の設置を提案し、「指針」の基礎となった「日本防衛のための基本的考え方」文書、そして「SDC 作業部會の權限」文書を提出したことが示される。また、この「SDC 作業部會の權限」文書の內容を明らかにすることにより、旣存硏究では共同計畵策定に從事すると考えられていた作業部會が、實際には共同計畵そのものではなく、共同計畵策定のために「指針」を作成する段階で、SDCの要請に應じて硏究·協議を行うための組織として設置されたことを示す。さらに、核攻擊への對處や指揮權の問題等、敏感な問題についてどのような議論が行われたかについても明らかにする。また、本論文では、以上に加えて、出來上がった「指針」がどのような文書であったのか、また、關係者は「指針」をどのように評價していたのかという点についても議論する。これらを通じて1978年に「指針」が策定された時点で日米共同防衛體制がどの程度成立していたのかということが明らかになろう。 This thesis deals with the formulation process behind the “Guidelines for Defense Cooperation between the U.S. and Japan” (1978), which has played an important role in the history of Japan-U.S. security relations. It focuses on the processes within the Subcommittee for Defense Cooperation (SDC), specifically, the details of the Japanese initiative, based on recently discovered primary sources. The Japanese side not only proposed agendas for discussion within the SDC and the establishment of working groups under the SDC, but also drafted such documents as “Basic Ideas for the Defense of Japan” (which became the basis of the Guidelines) and “Authority of the SDC Working Groups.” The latter led to the establishment of the working groups, whose purpose was not to engage in formulating a contingency plan (as existing research insists) but was to conduct research and consultation for formulating the Guidelines in response to the SDC’s request. This thesis also clarifies the discussions surrounding sensitive issues such as how to cope with nuclear attacks and what command relationship should be established between the Japan Self-Defense Forces and U.S. forces. The contents of the Guidelines are also examined and the policymakers’ evaluation of them is discussed. My analysis reveals the extent to which the U.S.-Japan joint defense arrangement was developed at the time of the Guidelines’ formulation in 1978.

三島文學における自己改造と女性像『美德のよろめき』論

이가현 ( Lee Ka-hyun ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2017 일본연구 Vol.28 No.-

本論文は、『美德のよろめき』を自己改造に着目して、節子の愛し方による精神改造と性交涉や中絶による肉體改造を通して表れる節子の自己形成過程を分析し、三島がいかに女性人物を通して自主的な人間を描いているのかについての檢討をおこなう。 1950年前後、自由な戀愛の定着にともなって文學界においては女性向けを中心とする中間小說が流行していた。こうした中間小說という作品群は男女の戀愛を主なテ一マとしており、文芸誌に發表された作品とは違って學問的な關心が向けられることがほとんどなかった。にもかかわらず、誰よりも熱心に『婦人公論』、『マドモアゼル』、『婦人朝日』など多くの女性誌に作品を發表した作家が三島由紀夫である。 1952年、三島は世界一周を契機に「自己改造」を試み、その一環として1955年から本格的な肉體鍛?、ボディビルをはじめる。三島が「自己改造」を揭げて肉體の改造に着目したのは、自分に欠如した肉體と過剩である精神のバランスを取るためであって、三島は肉體改造を通して精神と肉體の照應を目的とした自己を形成していく。本論文で注目したいのはこうした三島の自己改造、特に肉體改造が、彼の文學世界における登場人物の自己形成の過程と類似していることである。現實の三島が肉體改造の過程において得た「生きている人間」という感覺が、作品において登場人物が自己を探し求めていく過程で感じる人間としての主體性と重なるのである。 こうした三島の自己改造の過程にあったのが當時の社會的論点であるボディビルと中絶であり、三島は『美德のよろめき』においてそれらを用いて個人の自己形成過程を顯著に示し、作品の核として女性像を描いている。この觀点から分析をおこなうことで、節子の自己改造が、作家三島が描いている主體的な人間像とどのような關係にあるのかを明確にする。 This paper investigates Mishima Yukio’s novel Bitoku no Yoromeki (Misstepping of Virtue, 1957) focusing on the female protagonist Setsuko and her self-transformation. By analyzing how she transforms spiritually through love and physically through sexual intercourse and abortion, we examine how important female characters were to Mishima in his depictions of strong, independent people. Around 1950, with open acknowledgement of free love and extramarital and pre-marital affairs, Middlebrow Novel centering on women became prevalent in literary circles. These Middlebrow Novel mainly focused on romances between men and women, and, unlike works published in literary magazines, making it a hitherto largely unexplored. Nevertheless, Mishima Yukio enthusiastically published works in many women's magazines. In 1952, Mishima attempted “self-transformation,” triggered by the round of the world, and, as part of it, tried full-scale physical exercise and bodybuilding from 1955. Mishima focused on the remodeling of the body with “self-transformation” to balance the missing body and excessive spirit. Mishima started to set out to create a new self for mental and physical anaphora by transforming himself physically. In this paper, I would like to direct attention to the self-transformation of Mishima, especially physical remodeling, which is similar to the process of self-formation of characters in his literary world. The feeling of becoming "a living human being" in reality Mishima obtained through the process of physical remodeling, and this physical reality overlapped with the subjectivity of the human being who the character feels he is in the process of searching for himself in his work. Bodybuilding and abortion, two hotly debated social issues at the time, were key in this process of self-transformation. In Bitoku no Yoromeki, too, Mishima makes remarkable use of these two concepts to present the transformation of an individual. Moreover, it is the woman who occupies a central position in this work. By approaching the novel from this angle, we can clarify how Setsuko’s self-transformation is related to Mishima’s depictions of independent human beings.

「オタク川柳」 に見る語彙表現と心象風景の一斷面

伊藤貴雄 ( Ito Takao ) 고려대학교 글로벌일본연구원 (구 고려대학교 일본연구센터) 2017 일본연구 Vol.27 No.-

「オタク」とは「ある趣味などに凝っていて、他の物事に無關心な若者をいう俗語」とされ、80年代初頭から使われ始また用語である。以後「おたく」は「社會的ステレオタイプの一つ」として、ネガティブなイメ一ジで語られることが多かったが、現在では「日本のサブカルチャ一を代表するキ一ワ一ド」として廣く知られるようになった。 學術の領域においても、96年に東京大學で「オタク學講座」が開講されたのをはじめ、社會學や心理學、日本語敎育學の分野でも硏究對象となっている。 オタクの言語表現の場は、電子揭示板やSNSなど、ネット上の空間である。そこでは、キ一ボ一ド入力特有の誤變換の意圖的な使用など、樣?なネットスラングが多用される。誰でもアクセスできるという点ではオ一プンな場であるが、一般の人?には理解しづらい內容という点では閉鎖的な場とも言えよう。 しかし、近年では、電子揭示板やSNSでの隱語が、他のサイトやメディア等でも使用される場合が見受けられる。その意味で、言語表現という領域においても、オタクは獨特な文化を生み出すと同時に、現代日本語にも一定の影響を及ぼしている。 ただし、電子揭示板の言說は膨大な量であり、前後の文脈を見なければ理解しづらいものも多い。そこで本硏究では、形式が五·七·五に統一され、前後の文脈を知らずとも讀み解くことが可能な「オタク川柳」を對象として分析し、オタク文化の表出としての語彙表現と、そこから浮かび上がる彼らの心象風景の一斷面を分析し、その特徵を探ろうとした。 その結果、一見すると、ただ多樣な川柳の作品が幷んでいるように思えるが、その語彙や主題には、一定の傾向性が見られることが明らかとなった。まず語彙表現という側面では、アニメやアイドル、インタ一ネットなど、「オタク」の關心對象となる樣?な分野の用語が使用されているほか、顔文字やインタ一ネットスラングや、旣存の語彙に異なる意味が託されて隱語として使われるなど、それぞれの分野に關する背景知識がなければ讀み解くことが困難な事例も見られた。 一方、主題という面では、オタクの日常生活や戀愛觀、一般の人?の視線を氣にする樣子など、普段は明かされることの少ない赤裸?な姿や、心象風景の一斷面が、從來の川柳の範疇に收まらない樣?な表現方法で、生き生きと描き出されていた。 Otaku is a slang term for a young man who is deeply consumed by a hobby and has become indifferent to other things. It has been used since late 1980s. Since then, otaku has become a social stereotype and has been frequently mentioned negatively. Today however, otaku has become famous as a main keyword to represent Japanese subculture. As a field of academic study, otaku studies was established at Tokyo University in 1996. The field is also being studied in sociology, psychology, and Japanese language education. Primarily, the otaku people`s lingual expression stage is internet boards like `2 channel,` Social network services, and other internet spaces. These spaces have various and specialized internet slang terms and are open to everyone. However, they are not spaces that everyone can understand. Recently, however, you can find cases where the words used in internet bulletin boards or SNS are used in other spaces or media. In this sense, otaku people are creating a unique culture in the area of language expression, as well as having a certain influence on modern Japanese language. However, the amount of words recorded on the internet is quite enormous, and often difficult to understand without context. Therefore, in this study, I will analyze otaku senryu, which is unified with 5-7-5 syllables and can be read without context. With this, I will try to analyze and characterize the vocabulary expressions of otaku culture as well as their imagery. As a result, at a first glance, it seems that senryu works are just being displayed, but there are some common tendencies in their vocabulary and titles. In the aspect of vocabulary expressions, subjects in which otaku people are interested, such as animation and idol girls, were used often. Likewise, emoticons and internet slang were observed in this space. Additionally, there was patter that already existed, but with new meanings that would be difficult to understand without prior knowledge. On the other hand, in the aspect of titles of the works, there were various ways of expression that cannot be captured by the existing senryu categories such as their everyday lives, their perspectives on love, and the way they pay attention to other people`s eyes.