KUFS-IR Kyoto University of Foreign Studies Repository / 京都外国語大学機関リポジトリ
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A obra “Inocência” e a introdução da literatura brasileira na Era Meiji do Japão
Get PDF1908 年に第一回ブラジル日本移民が移民船「笠戸丸」でブラジルに渡った当時、日本人はまだブラジルについてほとんど何も知らなかったと言っても過言ではない。しかしながら、19 世紀末にはすでに、‘Kawana Kwandzo’ や‘T. Uchida’ なる日本人文学者たちが、アルフレッド・デスクラノレ・トゥネイ、通称トゥネイ子爵 (1843-1899) が1872年に著したロマン主義時代における地方主義文学『イノセンシア』(Inocência) を翻訳し、日本で紹介していたのであった。本稿の目的は、主に当時の一次史料―とりわけ雑誌『太陽』―を援用し、19 世紀末の明治期日本においてブラジル文学を紹介したとされる彼ら日本人文学者、とりわけ前者の実像を解明しようとするとともに、『イノセンシア』を中心としたブラジル文学が明治時代にどのように認識されていたかについて提示することにある。本論を通じて、第一回移民が渡伯する以前における日伯関係の文化的側面に関して新たな知見を提供することができるものと期待される
日本語運用力を測るプレースメントテスト作成の試み
Get PDFIt is important for a language student to be placed in a class that is appropriate for their level. This is an interim report on the approaches used to revise the conventional placement test conducted in the Japanese Studies Center for International Students at Kyoto University of Foreign Studies. Two problems were previously identified with this test: 1. an imbalance in the level of difficulty, 2. advantages for some students from countries that use Chinese characters (kanji) in their L1. These problems caused some students to be placed in classes that were not suitable for their level. In revising the test, the authors reduced the use of kanji, added description-type questions, designed conversational and long-passage style grammar questions, and added two composition questions. As a result, there was a reduction in the imbalance of difficulty concerning students who use kanji in their L1, the ability to clarify students’ proficiency in composition, and an understanding of multilateral evaluation criteria in the grammar section. Also, it was found that taking into account the difficulty level of the questions as well as the total scores accurately placed students into level-appropriate classes. The further improvement of the grammar section and efficiency of the test will be issues to address in the future
「来る」の仮定形「これば」に関する使用実態調査 : 大阪南部を中心に
Get PDFIn this paper, I shall analyze we use “Kureba” or “Koreba”for hypothetical form of Ka-line modification verb “if you come” in the southern Osaka. I conduct of that for people who live in the southern Osaka or from the southern Osaka, from 10s to 50s using questionnaire.
Result of investigation, I found that there is a difference between age what we use hypothetical form of “come”
二つのエディプスコンプレックス読解 : 超自我と〈父の名〉をめぐって
Get PDFIn Totem and Taboo (1913), Freud presented the hypothesis of killing of the original father and argued that sons’ remorse for the killing of their father was the origin of human law. The mental class that bears this law is in 1923 named the “superego”. The superego is organized by the identification with the father in the collapse of the Oedipus complex.
The French psychoanalyst Lacan proposed “Name of the Father” as a signifier of law after the collapse of the Oedipus complex.
The purpose of this paper is to highlight the difference between the superego and “Name of the Father”. In the 1930s Freud developed the hypothesis of the murder of the original father to the idea of the murder of Moses by the Jews. Such Freud`s logical development is a conduct that keeps the murdered father alive as the superego.
Lacan gives the “Name of the Father” a redemptive function similar to that of the Christian God. In the Oedipal situation, the child is at the mercy of the random absence and presence of the mother, and it is the signifier “Name of the Father” that gives symbolic order to the mother’s absence and presence
レオパルディの初期カンツォーネの韻律 : レオパルディはイタリア抒情詩の規範といかに対峙したか
Get PDFGiacomo Leopardi（1798-1837）, one of the greatest poets of modern Italy, is well known for his innovative use of metric. However, “canzone libera”, the poetic form which represents Leopardi’s outstanding creativity, is based on the most traditional form of Italian lyric “canzone”. Furthermore, Leopardi had previously composed 12 canzoni and published 10 of them.
The composition of these 12 poems, in fact, was an attempt for Leopardi to confront the long tradition of Italian lyric and the poetical archetype created by Francesco Petrarca. Through a detailed analysis of each of the 12 canzoni, I will try to show in this paper how this process really took place
