Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.211
Buil HONG
Conscripted as a student soldier and deployed to the Burma front, Lee Ga-hyung is a distinctive writer who literalizes the memory of the Asia-Pacific War outside of the national political logic. The narrator of the autobiographical novel River of Fury, written simultaneously in Korean and Japanese, positions himself as the ugliest soldier on the Burmese battlefield. And it is only through the eyes of this loser that the anti-imperialist soldier, comfort women, and guards of POW could be captured, which were not captured in the pre-existing war memoirs. In River of Fury, Lee continues to call out the names of those who were sacrificed for no reason during the war. He attempts to transcend national and ethnic boundaries with these calling. The exclamation of “don’t die” and “come back alive” comfort all the victims, criticize the war and empire, and elevate River of Fury into a complete literary work.
李佳亨作为学生兵被征召到缅甸前线，是在国家政治逻辑之外，将亚太战争记忆文学化的独特作家。自传体小说《复仇河》(River of Fury</i>)的叙述者将自己定位为缅甸战场上最丑陋的士兵，该小说同时用韩语和日语写成。只有通过这个失败者的眼睛，才能捕捉到反帝国主义士兵、慰安妇、战俘守卫等在以前的战争回忆录中没有捕捉到的东西。在《复仇河》(River of fury>)中，李继续呼喊着那些在战争中毫无理由地被牺牲的人的名字。他试图用这些呼召超越国家和种族的界限。“不死”和“活着回来”的感叹安慰了所有的受害者，批判了战争和帝国，提升了《复仇河》</i>成为一部完整的文学作品。
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Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.77
Yuki KASHIMOTO
The Haiku anthology Shina Jihen Sanzen Ku is the culmination of the tradition of war Haiku that flourished during the Second Sino-Japanese War. This anthology includes more than 3,000 haikus, with an almost equal number of Haiku from the front line and home front, two sites which therefore intersect in this anthology.This feature Previous studies on Haiku have focused only on the outstanding work of Haiku poets rather than paying attention to such anthologies of war Haiku.This paper focuses on the representation of the war dead in this anthology’s Haiku, and the way these texts are organized.It contributes to current research on the perspective on and the intimacy with the dead that characterizes war Haiku. It also proposes an undeveloped approach to studying Haiku anthologies such as Shina Jihen Sanzen Ku, which can expand the scope of research on Haiku expressiveness.
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Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.97
Tianci CAO
Tōka no Kiku, published by MishimaYukio in 1961, is considered the second play of his “Trilogy on the February 26 Incident”. It is loosely based on a specific element of the assassination of Makino Nobuaki, and highlights the non-violent instincts of the young Imperial Japanese Army officers who organized the attack. On the other hand, the image of the surviving soldier in this play, created by Mishima, who attempted to represent the historical continuity of the Shôwa era, is a device that expresses the twin, contradictory aspects of the Asia– Pacific War. The image accentuates the resistance against the imperialism that was led by Europe and the United States, while concealing the aggressiveness of the war against Asian colonies, and it ultimately dissolves The Empire of Japan’s responsibility for the Asia–Pacific War.
<i>Tōka no Kiku</i>于1961年由三岛之纪夫出版，被认为是他的“二二六事变三部曲”的第二部作品。影片大致取材于刺杀牧野信明(Makino Nobuaki)的特定元素，突出了组织这次袭击的年轻日本帝国陆军军官的非暴力本能。另一方面，三岛在剧中塑造的生还士兵形象，试图表现Shôwa时代的历史延续性，是一种表达亚太战争双生矛盾方面的手段。这一形象强调了对以欧洲和美国为首的帝国主义的抵抗，同时掩盖了对亚洲殖民地战争的侵略性，最终消解了日本帝国对亚太战争的责任。
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Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.191
Yan LIANG
From the 1910s to the early 1920s Xu Zhuodai translated many fairy tales from around the world and Western novels into Chinese, via Japanese translations. His “World Fairy Tales” series, based on the “Otogibanashi” series by Iwaya Sazanami, were integral to the development of the Zhonghua Book Company, and represented an important milestone in China’s initial evolution of children’s literature. His translations of Western prose texts, including short stories by world-renowned authors such as Tolstoy, Maupassant, and Mark Twain, as well as long detective novels by the popular French writers Maurice Leblanc and Fortuné du Boisgobey, were based on Japanese translations such as those in “Various Comic Novels” by Sasaki Kuni. These translations of fairy tales and other texts reflect Xu Zhuodai’s concern for education and his love of humorous literature. How the translation of foreign literature influenced Xu Zhuodai’s literary output is a topic worth exploring in the future.
{"title":"Retranslations of World Fairy Tales and Western Novels by XU Zhuodai","authors":"Yan LIANG","doi":"10.22628/bcjjl.2023.16.1.191","DOIUrl":"https://doi.org/10.22628/bcjjl.2023.16.1.191","url":null,"abstract":"From the 1910s to the early 1920s Xu Zhuodai translated many fairy tales from around the world and Western novels into Chinese, via Japanese translations. His “World Fairy Tales” series, based on the “Otogibanashi” series by Iwaya Sazanami, were integral to the development of the Zhonghua Book Company, and represented an important milestone in China’s initial evolution of children’s literature. His translations of Western prose texts, including short stories by world-renowned authors such as Tolstoy, Maupassant, and Mark Twain, as well as long detective novels by the popular French writers Maurice Leblanc and Fortuné du Boisgobey, were based on Japanese translations such as those in “Various Comic Novels” by Sasaki Kuni. These translations of fairy tales and other texts reflect Xu Zhuodai’s concern for education and his love of humorous literature. How the translation of foreign literature influenced Xu Zhuodai’s literary output is a topic worth exploring in the future.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135360138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.173
Yoomin NAM
To this point, research on web novels has centered on male-oriented works, with the result that the analysis of a small number of works has been applied to all such novels. With this in mind, this study examines the sub-genre of Japanese female-oriented web novels and the role of the ‘Villainess’ by employing text mining, a digital analysis technique. The Villainess is a character who opposes a female protagonist in an ‘Otome game’ or a ‘Shojo Manga’. A Villainess plot involves a narrative that makes the Villainess, who is originally a supporting character in the story, the main character. The villainous girl protagonist originally lives in modern Japan, enters the world of games or cartoons through the same process involved in her previous life, and is reborn as a high-status villain character. This new world is one that the main character has already experienced through game play or reading in the previous world. Originally, the villainous young lady is a character who torments the heroine, so she is inevitably given a tragic fate according to the logic of evil and punishment. The main character, who is reborn as a villain, changes her fate based on the world of the original game or manga she knows, in order to escape from this unfortunate fate. By transforming the narratives of games and cartoons in this way, the villainous heroine affirms women who live their lives faithfully and independently without attaching importance to dating, and foregrounds the narratives of such women. In this dimension of transformation, we can read the desire of modern Japanese female readers who are often seen as afficianadoes of villainous characters.
{"title":"A Study on ‘Villainess’ Japanese Web Novels Using Textmining Method","authors":"Yoomin NAM","doi":"10.22628/bcjjl.2023.16.1.173","DOIUrl":"https://doi.org/10.22628/bcjjl.2023.16.1.173","url":null,"abstract":"To this point, research on web novels has centered on male-oriented works, with the result that the analysis of a small number of works has been applied to all such novels. With this in mind, this study examines the sub-genre of Japanese female-oriented web novels and the role of the ‘Villainess’ by employing text mining, a digital analysis technique. The Villainess is a character who opposes a female protagonist in an ‘Otome game’ or a ‘Shojo Manga’. A Villainess plot involves a narrative that makes the Villainess, who is originally a supporting character in the story, the main character. The villainous girl protagonist originally lives in modern Japan, enters the world of games or cartoons through the same process involved in her previous life, and is reborn as a high-status villain character. This new world is one that the main character has already experienced through game play or reading in the previous world. Originally, the villainous young lady is a character who torments the heroine, so she is inevitably given a tragic fate according to the logic of evil and punishment. The main character, who is reborn as a villain, changes her fate based on the world of the original game or manga she knows, in order to escape from this unfortunate fate. By transforming the narratives of games and cartoons in this way, the villainous heroine affirms women who live their lives faithfully and independently without attaching importance to dating, and foregrounds the narratives of such women. In this dimension of transformation, we can read the desire of modern Japanese female readers who are often seen as afficianadoes of villainous characters.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135359099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.37
Ya ZHANG
In the 1940s, several Japanese women writers took up French Indochina as their stage, for example Hasegawa Haruko’s Minami no shojochi (Virgin Soil of the South, Kōanihonsha, 1940), Mori Michiyo’s Harewataru Futsin (Clouds Roll Away Over French Indochina, Muroto shobō, 1942), Kimura Ayako’s Futsu·Tai·Inshōki (Impressions of French Indochina and Thailand, Aidokusha, 1943), and Yoshiya Nobuko’s “Tsuki kara kita otoko” (“The Man from the Moon,” Shufu no Tomo, Shufu no Tomosha, 1942.5-1943.7). In this paper, I will elucidate the major differences and points of commonality between these works. In these texts, these writers express the relationality between Japan and France before and after the joint defence agreement. Hasegawa Haruko and Kimura Ayako, who visited before the joint defence arrangement was concluded, wrote that the French treated them warily, while Yoshiya Nobuko and Mori Michiyo, who visited after “Franco-Japanese Cooperation” had been established, found themselves in friendly French society. After the Japanese occupation began, they also elucidated the disappearance of Parisian colour from French Indochina and the gradual change into a Japanese landscape. These women writers became the best choice for the empire to argue that Japanese culture was superior to French culture without exchanging live fire.
以及信子吉也的《来自月球的人》(<i>Shufu no Tomo</i>， Shufu no Tomosha, 1942.5-1943.7)。在本文中，我将阐明这些作品之间的主要区别和共同点。在这些文本中，这些作者表达了日本和法国在共同防卫协议之前和之后的关系。长谷川晴子和木村绫子在共同防御协议达成之前访问了法国，他们写道，法国人对他们很谨慎，而在“法日合作”建立之后访问的信子义屋和森美智友发现，他们身处友好的法国社会。这些女作家成为了日本帝国在没有交火的情况下主张日本文化优于法国文化的最佳选择。
{"title":"French Indochina as Seen from the Representations of Women Writers in the 1940s ：Focusing on the Cooperative Relations between the Empire of France and Japan","authors":"Ya ZHANG","doi":"10.22628/bcjjl.2023.16.1.37","DOIUrl":"https://doi.org/10.22628/bcjjl.2023.16.1.37","url":null,"abstract":"In the 1940s, several Japanese women writers took up French Indochina as their stage, for example Hasegawa Haruko’s <i>Minami no shojochi (Virgin Soil of the South</i>, Kōanihonsha, 1940), Mori Michiyo’s <i>Harewataru Futsin (Clouds Roll Away Over French Indochina</i>, Muroto shobō, 1942), Kimura Ayako’s <i>Futsu·Tai·Inshōki (Impressions of French Indochina and Thailand</i>, Aidokusha, 1943), and Yoshiya Nobuko’s “Tsuki kara kita otoko” (“The Man from the Moon,” <i>Shufu no Tomo</i>, Shufu no Tomosha, 1942.5-1943.7). In this paper, I will elucidate the major differences and points of commonality between these works. In these texts, these writers express the relationality between Japan and France before and after the joint defence agreement. Hasegawa Haruko and Kimura Ayako, who visited before the joint defence arrangement was concluded, wrote that the French treated them warily, while Yoshiya Nobuko and Mori Michiyo, who visited after “Franco-Japanese Cooperation” had been established, found themselves in friendly French society. After the Japanese occupation began, they also elucidated the disappearance of Parisian colour from French Indochina and the gradual change into a Japanese landscape. These women writers became the best choice for the empire to argue that Japanese culture was superior to French culture without exchanging live fire.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135360137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.204
Sanghyuk LEE
The goal of this paper is to examine the dynamic multi-layeredness within the idea of “Imperial Japan” through the study of Indonesian bilingual literature under the imperial Japanese occupation. Until now, research on Japanese occupation literature in Indonesia and Southeast Asia has been conducted mainly in Japanese, and there is a limit to the parameters of research which has been centered on the history of Japanese literature as well as on the linguistic centrality of Japanese. To overcome these limitations, texts written in local languages as well as those in Japanese must be included as research subjects, and literature and discourse related to the various spaces (e.g., colonial Joseon) of Imperial Japan must be compared with one another. Only through this work will the multi-layered dynamics of Imperial Japan, the characteristics of the literary discourse in Southeast Asia, and the various literary desires within the colonies become more clear, and in this way the various dynamics of “Empire” will reveal themselves.
{"title":"A Study on Bilingual Literature in Indonesia during Japanese Occpupation ：‘Nanyo’ Literature Overcomes Unilateralism","authors":"Sanghyuk LEE","doi":"10.22628/bcjjl.2023.16.1.204","DOIUrl":"https://doi.org/10.22628/bcjjl.2023.16.1.204","url":null,"abstract":"The goal of this paper is to examine the dynamic multi-layeredness within the idea of “Imperial Japan” through the study of Indonesian bilingual literature under the imperial Japanese occupation. Until now, research on Japanese occupation literature in Indonesia and Southeast Asia has been conducted mainly in Japanese, and there is a limit to the parameters of research which has been centered on the history of Japanese literature as well as on the linguistic centrality of Japanese. To overcome these limitations, texts written in local languages as well as those in Japanese must be included as research subjects, and literature and discourse related to the various spaces (e.g., colonial Joseon) of Imperial Japan must be compared with one another. Only through this work will the multi-layered dynamics of Imperial Japan, the characteristics of the literary discourse in Southeast Asia, and the various literary desires within the colonies become more clear, and in this way the various dynamics of “Empire” will reveal themselves.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135360139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.4
Norio AKASAKA
Sorrow secretly harbors laughter. In the Japanese literary tradition, there was an indispensable and invisible manner that connects sadness and laughter. There, the experiences of cruelty and resentment or ressentiment seldom gave birth directly to the literature of grief. It is necessary to observe the fate of the weak closely.Kadokawa Genyoshi’s “The emergence of tragic literature (Higeki Bungaku no Hassei)” is a pioneering study about the occurrence of tragedy in Japanese literature. Although Orikuchi Shinobu had a great influence on this work, it was the originality of Genyoshi himself, and the archetype of the storyteller as the bearer of the literature of sorrow was told. The losers and their clans who were burdened with grief brought out laughter from others by telling comically their histories as losers.The literature of laughter and the literature of tragedy arose together hand in hand. There, a man who willingly tries to play a role that will be laughed at, Houkan, appears. He brought out the repose of souls and purification through laughter. So, there was a melancholy in this laugh.We must strain our eyes on the cruelty and loneliness that laughter hides.
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Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.135
Nagomi YAMAZAKI
This paper re-examines the critical importance of Yuhi by Yangji Lee (1955-1992). It examines how this text, as a story of “words”, acquired much critical attention in its own era.First, the paper points out that Yuhi is structured in such a way that it is expected to be read as “Zainichi Korean Literature”, but that it refuses to be read as such by having the Korean “I” speak about the absent party without letting the party concerned, Yuhi, speak about her inner life.Next, it confirms that the narrative of Yuhi was triggered by the “memoir” left by Yuhi, and points out that “I” found meaning in the materiality of the written word. This allows us to reconsider the fact that Yuhi is a story of “words” that deals with universal problems in language.Finally, the paper reviews the contemporaneous circumstances in which Yuhi was published. Its publication took place at a time when the internationalization of the Japanese language was being promoted, which resonated with the “I” in Yuhi. In the era of this internationalization, the figure of “I” can be understood as showing the importance of dialogue that transcendeds language barriers. I argue that Yuhi was a critical text on language at a time when the meaning of “Japanese” for the Japanese was being called into question.
本文重新审视了<i>Yuhi</i>作者:李杨吉(1955-1992)。它考察了这个文本，作为一个“词”的故事，如何在自己的时代获得了许多批评的关注。首先，本文指出<i>Yuhi</i>它的结构是这样的，即它被解读为“在日韩国文学”，但它拒绝被这样解读，因为它让韩国的“我”谈论缺席的一方，而不让有关的一方，Yuhi</ I >谈论她的内心生活。其次，它证实了《宇希</i>》由Yuhi</i>留下的“回忆录”引发，并指出“我”在书面文字的物质性中找到了意义。这使我们能够重新考虑这样一个事实:<i>这是一个关于“词”的故事，涉及语言中的普遍问题。最后，本文回顾了<i>Yuhi</i>出版了。它的出版正值日语的国际化正在推进的时期，这与<i>Yuhi</i>中的“I”产生了共鸣。在这个国际化的时代，“我”的形象可以理解为超越语言障碍的对话的重要性。我认为< I >Yuhi</ I >是一本关于语言的重要著作，当时“日语”对日本人的意义正受到质疑。
{"title":"The Meaning of the “Words” of Others ：The Theoretical Underpinnings of <i>Yuhi</i> by Yangji Lee","authors":"Nagomi YAMAZAKI","doi":"10.22628/bcjjl.2023.16.1.135","DOIUrl":"https://doi.org/10.22628/bcjjl.2023.16.1.135","url":null,"abstract":"This paper re-examines the critical importance of <i>Yuhi</i> by Yangji Lee (1955-1992). It examines how this text, as a story of “words”, acquired much critical attention in its own era.First, the paper points out that <i>Yuhi</i> is structured in such a way that it is expected to be read as “Zainichi Korean Literature”, but that it refuses to be read as such by having the Korean “I” speak about the absent party without letting the party concerned, <i>Yuhi</i>, speak about her inner life.Next, it confirms that the narrative of <i>Yuhi</i> was triggered by the “memoir” left by <i>Yuhi</i>, and points out that “I” found meaning in the materiality of the written word. This allows us to reconsider the fact that <i>Yuhi</i> is a story of “words” that deals with universal problems in language.Finally, the paper reviews the contemporaneous circumstances in which <i>Yuhi</i> was published. Its publication took place at a time when the internationalization of the Japanese language was being promoted, which resonated with the “I” in <i>Yuhi</i>. In the era of this internationalization, the figure of “I” can be understood as showing the importance of dialogue that transcendeds language barriers. I argue that <i>Yuhi</i> was a critical text on language at a time when the meaning of “Japanese” for the Japanese was being called into question.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135360136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-28DOI: 10.22628/bcjjl.2023.16.1.13
Makoto MASUI
Iwaya Sazanami(1870-1933) was a prominent figure in modern Japanese children’s literature. He traveled to the colonial Sakhalin one time in his life, the main purpose of this journey being to give oral presentations of fairy tales to children in Sakhalin. He energetically traveled the colony, including Toyohara (currently Yuzhno-Sakhalinsk), Ōdomari (Korsakov), Shirutoru (Makarov), Noda (Chekhov) and Maoka (Kholmsk).However, regarding Sazanami’s visit to Sakhalin, as far as I know, there is no previous research. Therefore, the purpose of this paper is to clarify what kind of experience Sazanami had in Sakhalin under Japanese rule, and the essence of the literature(Haiku), political ideology(His view of Sakhalin and the Ainu people) he formed there.In conclusion, Sazanami was a hardcore imperialist, colonialist and nationalist who was delighted to have won the territorial struggle with Russia, the enemy country, and made Sakhalin his own. And he strongly hoped that Sakhalin and the Ainu would be included and integrated as part of the Japanese nation and people, and that Sakhalin would achieve further civilizational development in the future.
{"title":"A Journey through Colonial Sakhalin ：Iwaya Sazanami’s Experience in Sakhalin","authors":"Makoto MASUI","doi":"10.22628/bcjjl.2023.16.1.13","DOIUrl":"https://doi.org/10.22628/bcjjl.2023.16.1.13","url":null,"abstract":"Iwaya Sazanami(1870-1933) was a prominent figure in modern Japanese children’s literature. He traveled to the colonial Sakhalin one time in his life, the main purpose of this journey being to give oral presentations of fairy tales to children in Sakhalin. He energetically traveled the colony, including Toyohara (currently Yuzhno-Sakhalinsk), Ōdomari (Korsakov), Shirutoru (Makarov), Noda (Chekhov) and Maoka (Kholmsk).However, regarding Sazanami’s visit to Sakhalin, as far as I know, there is no previous research. Therefore, the purpose of this paper is to clarify what kind of experience Sazanami had in Sakhalin under Japanese rule, and the essence of the literature(Haiku), political ideology(His view of Sakhalin and the Ainu people) he formed there.In conclusion, Sazanami was a hardcore imperialist, colonialist and nationalist who was delighted to have won the territorial struggle with Russia, the enemy country, and made Sakhalin his own. And he strongly hoped that Sakhalin and the Ainu would be included and integrated as part of the Japanese nation and people, and that Sakhalin would achieve further civilizational development in the future.","PeriodicalId":33066,"journal":{"name":"Gwagyeong Ilboneo Munhak Yeongu","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135360134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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