Hong, Eun-jin. 2004. An Analysis of Vocabulary Errors by Japanese Learners of the Korean Language. The Sociolinguistic Journal of Korea, 12(1). This paper examines vocabulary errors, especially focusing on replacement errors in writing, of Japanese who learn the Korean language. Through the analysis of these vocabulary errors in writing, it was found that the important causes of the errors are native language influence, target language influence, and educational curricula, etc,. This study attempts to explain the errors through a contrastive analysis of Korean and Japanese. The results of the analysis are presented with the error list, the error correction list, and the study list for objective research. The findings of this research can be summarized as follows: First, errors with nouns that aren’t used in the target language are caused by the transfer of the native language. Second, errors with adverbs occurred in relation to sentence meaning rather than word meaning itself. Third, errors with number adjectives appeared in the combinations of ‘native Korean numeral + Chinese-origin noun’, or ‘Chineseorigin numeral + Chinese-origin noun’. The teaching of combination rules about these sequences will help Japanese learners of Korean to decrease these errors. Fourth, many errors with verbs and adjectives were found to come from meaning similarity that exists between the native and target languages. Fifth, errors with collocations were due to the transfer of Japanese to the target language and also to similarities in meaning.

Hong, MinPyo. 2004. A Contrastive Study of Korean, Japanese, and Australian University Students’ Strategies for Expressing Complaints. The Sociolinguistic Journal of Korea, 12(1). This contrastive study aims at inquiring how South Korean, Japanese, and Australian University students express their complaints in a given situation. The research was performed from May to September, 2002. The number of students who participated in the research was 417: Korean males-60 and females-119, Japanese males-56 and females-119, Australian males-44 and females-68. The results are summarized below. In general, Koreans tend to express their complaints directly, but Japanese do that indirectly, whereas, Australians tend not to express their complaints at all. Most Japanese and Australians do not complain if a senior classmate is late for an appointment. Concerning age differences and seniority Koreans tend to express themselves more clearly than the other two groups. They want him/her to do something for them as a kind of compensation for waiting, like paying for a cup of coffee. When getting lower than expected grades in a class, on the other hand, most of the Koreans and Australians directly express their complaints to their teachers, but the Japanese just accept the result and do not express any kind of complaints. All three groups expressed themselves immediately and directly, when it came to individual inconveniences, such as the radio being too loud in a taxi, feeling pressure from a sales person to purchase something, or a book they ordered not arriving on the exact date without a notification in advance.

중국, 일본, 한국인의 3개국의 소비자들을 대상으로 버섯의 소비형태를 조사하였다. 버섯의 주된 구입장소는 중국인은 시장, 일본인과 한국인은 마트였으며 버섯의 이용정도는 한국인보다는 중국인과 일본인이 더 자주 이용하는 것으로 나타났다. 버섯을 구입할때 모양과 가격을 가장 먼저 보는 것으로 조사되었으며 버섯가공품에 대한 인지도는 한국인(45.1%)에 비하여 중국인(68.3%)과 일본인 (62.4%)이 높았으며 주로 구입해본 가공품으로는 중국인과 일본인 조사 대상자들은 버섯절임류(특히, 일본-병조림)가 가장 많았으며 한국인 조사 대상자들은 버섯차를 가장 많이 구입해 본 것으로 나타났다. 식용버섯(느타리, 큰느타리, 표고버섯)의 구입 형태를 조사한 결과 느타리버섯과 큰느타리버섯의 경우는 생것을 선호하였으며, 표고버섯은 건조품을 많이 이용하였고 주된 요리방법은 볶음이었다. 느타리버섯의 경우 갓의 크기에 따른 선호도를 조사한 결과 중국인과 한국인들은 각각 47.9%와 71.2% 갓의 크기가 2-5cm인 버섯을 선택하는 반면 일본인들은 50.6%가 갓이 2cm이하인 것을 가장 선호하는 것으로 나타났다.

Yeats held a life-long interest in Japanese culture, and employed the images, knowledge and inspiration he gained from Japan in many of his literary works. On the whole, it was the Japanese literary form that was most significant in his development as a writer. It was through the translations of Ezra Pound and Ernest Fenollosa that Yeats became acquainted with Noh, the medieval Japanese drama. It is generally agreed that Yeats’s encounter with Noh marked a turning point in his career as a dramatist. The Noh led him to create “a form of drama, distinguished, indirect and symbolic...an aristocratic form.” In “Note to At the Hawk’s Well,” Yeats writes: I have found my first model—and in literature, if we would not be parvenus, we must have a model—in the ‘Noh’ stage of aristocratic Japan. From this statement, we can see how significant the Noh-form was to Yeats in his development as a playwright. When Yeats was first introduced to Noh, he immediately perceived affinities with Irish legends and beliefs. The Noh was not something completely new or alien to Yeats. It was the discovery of an ideal, an ideal form for him to express his perennial themes of the tension between the physical and spiritual worlds. Yeats’s Noh-inspired plays are often categorized as “dance plays” and we can see that “dance” was an important symbol which Yeats developed through his experience with Noh. Yeats wrote in his “Introduction” to Certain Noble Plays of Japan that it was a Japanese dancer, Ito Michio, who inspired him to write his new play, At the Hawk’s Well (1916). In Noh, the dance which is usually danced by a supernatural figure, is placed at the centre. Here, the supernatural dominates the stage and the action develops toward a moment of enlightenment. Yeats precisely points out this fact and writes that in his new play, instead of “the players working themselves into a violence of passion...the music, beauty of form and voice all come to climax in pantomimic dance.” However, since Yeats intended Cuchulain as the central figure of At the Hawk’s Well, the theatrical effect of the dance had to differ from that of Noh. Another characteristic of this play is that it dramatizes the ‘transformation’ of the Guardian of the Well, the role which Ito Michio played, through spirit possession. This change in personality is conveyed by means of a change in costume(she throws off her cloak to reveal a dress suggesting a hawk). This is a method resembling ‘monogi(物着),’ one of the most important dramatic conventions of Noh. Yeats explores this device again, in The Only Jealousy of Emer(1919), another dance play modeled on Noh, but this time using different masks to show the change in personality. Yeats’s interest in this motif of spirit possession eventually led him to write The Words Upon the Window-Pane(1930), a play where he dramatizes a seancē. Here, the dramatic tension is concentrated mainly on a supernatural manifestation through the ‘protagonist’ who is a professional spiritual medium. In this paper, I have discussed Yeats’s relationship with Noh through a detailed analysis of At the Hawk’s Well. In this play, we can see many aspects of Noh. The simplified stage, the musicians, the mask, the dance, the use of a square blue cloth to represent a well; these are characteristics reminiscent of Noh. However, we must note that this play was not merely an imitation of Noh but a completely new form of creative writing. Richard Taylor indicates the influence of Yoro, a felicitous Waki-noh, or God Play on this play. A comparison of these two plays reveal that Yeats had no intention of following the Noh paradigms faithfully. However, the inspiration he gained from Noh opened a wide range of dramatic experiments enabling him to write a sequence of dance plays. In later plays such as The Words Upon the Window-Pane and Purgatory, Yeats succeeded in achieving a dramatic effect closer to that of Noh.

21세기에는 본격적인 노인시대가 열릴 전망으로, 인구학적 변화에 따른 보건복지 국가정책방향에 대한 노인 작업치료의 효율적인 준비가 절대적으로 필요하다. 먼저 고령화 사회로 진입한 일본에서의 작업치료가 국가의 복지서비스방향에 따라서 변화하고 발전해온 것을 참고하기 위하여 우리나라와 일본의 보건의료복지서비스 정책, 작업치료사의 연도별 추이, 취업 현황, 교육 상황을 비교 하여서 노인작업치료의 발전방향과 준비를 위한 기초 자료를 제시하고자 하였다.앞으로 우리나라의 노인보건의료정책이 급속한 고령화에 따른 제반문제에 효율적, 합리적으로 대처해 나가길 바라며, 노인작업치료가 이러한 사회적 변화를 주도해 나가기 위한 더 많은 연구가 진행되기를 바란다.

In this paper, the differences between Korean and Japanese ways of seasonings are studied. The main results are summarized as follows: (1) Shouyu and Miso which are Japanese equivalents of soy sauce and bean paste of Korean foods are used in variety of different seasonings with some other ingredients while Korean counter parts are used only to add salty tastes. (2) Shouyu and Miso lose their flavors after considerable time of heating, while Korean soy sauce and bean pastes increase their tastes after heating. (3) Mirin adds sweety taste and glaze and Sake makes food soft or hard according to the moment of being added during cooking. (4) In Korean foods soy sauce, bean paste and red pepper paste are on the basis of tastes, Dashi is used in almost every Japanese food. (5) Seasoned vegetables of Korean food are prepared only with spices of green onion, garlic and sesame oil while seasoned fishes or vegetables are mixed with Shoyu or salt and vinegar in Japanese food. (6) In making Zorim, Korean traditional sauces are added from the beginning of heating. But in making Nimono, sugar, salt, vinegar, Shoyu and artificial taste are added in order during heating. (7) In grilling, main food for grilling in Korea is meat, which is prepared with a variety of spices such as soy sauce or/and red pepper pastes, garlic, green onion, sesame oil, sesame powder, pepper and sugar while mainly fishes are grilled with salt, occasionally with Shoyu or Miso in Japanese food. (8) Pan frying fishes are taken with soy sauce with vinegar in Korea but Tepura are eaten with Tentsuyu in Japan.