This study aims to consider the historical process of establishing of Manga by focusing on Comic Book Sections in Japanese bookstores from the early 1970s to 1980s. Prior studies on Manga tend to focus on trades outside of regular distribution channels to emphasize peculiar characteristics of the emerging media. Consequently, the social process during the 1970s and 1980s to pervade Manga almost all of the retail bookstores through wholesalers has not been clarified. The article shows how Manga to be recognized as one of the established genre in bookstores by concentrating on the particular standard of shinshoban (pocket paperback edition) comics which became one of the best sellers in retail bookstores after the 1970s. The early spread of permanent section of shinshoban comics during the 1970s can be understood as a conflict between Manga and other genre of books, mostly literal arts, and through industrial change surrounding book business as a background. In the late 1970s, sale structure of the small and medium-sized retail bookstores became more dependent on the shinshoban comics. The situation forced booksellers to redefine the identity of their bookstore represented in the composition of sections. Accordingly, most booksellers decided to redefine the identity of their bookstores as a space for consumption from a space of cultural excellence. Booksellers defined Manga merely as a commodity and accepted shinshoban comics to make up a permanent section in their bookstores to compromise their ideals. However, constructing Manga sections in bookstores was nothing less than legitimizing Manga as one of the established genres of printed books. Therefore, the establishment of Manga in the 1970s and 1980s can be seen as a process of reconsidering the publication culture for the Japanese publication industry in a transitional period.

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<行く><来る><いる>の尊敬語形式について,東京都,神奈川県,千葉県,埼玉県に生育し居住する20歳以上の146人を対象にしたアンケート調査と,東京出身作家76人(76冊)の小説を用いた調査を行い,「イラッシャル」は,表すとされてきた<行く><来る><いる>それぞれの意味で用いられるのではなく,<来る><いる>としては使用され続けているが,<行く>には用いられなくなりつつあることを明らかにした。この変化の主な要因としては,「イラッシャル」は敬意によって動作主の移動の方向を中和するよりも,話し手が自身の関わる移動を,優先して表すようになったことにあるとした。そのために,「イラッシャル」が表す移動は,話し手(の視点)の位置が動作主の到達点となる<来る>になり,移動を表すことを同じくしながら,話し手の関わりが大きくない<行く>は,「イラッシャル」の意味領域から排除されることになった。

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This study aims to reexamine the historical perceptions of the Japanese comic book medium, particularly the "magazine culture" which began in the late I960s, by tracing the historical process of creating "Shinshoban comics" during the 1960s and 1970s. Prior historical studies of postwar manga have not fully examined manga comic magazines, and manga has usually been defined as one type of comic magazine, not as its own independent form of media. Accordingly, in this article, I focus on the "Shinshoban comics" that predated present-day manga comics in order to understand the transformations in the comic industry during the late 1960s and early 1970s. Unlike the manga comics of today, due to the lack of modern industry and marketing systems, Shinshoban comics were very marginalized and crossed over various manga publishing borders. However, as series of Shinshoban comics based on particular comic magazines became the dominant publication style of manga comics, they were gradually perceived to be one type of comic magazine in the comic industry. Moreover, in the political and cultural climate of that time, the publication of some Shinshoban comics was delayed while others were screened out. Some of the works filtered out of the major public companies were published by small publishers as well as Kashihon publishers, which published for book-lending shops. As a result, though Shinshoban comics were subsumed by the comic publishing industry as a part of magazine culture, they were also relatively independent and established themselves as an original publishing medium. Therefore, an investigation of the historical process of creating Shinshoban comics clarifies that the industrialization centering around comic magazines produced by the major publishers beginning in the late 1960s contained within it a complexity that gave rise to an "independent" or "derivative" media culture.

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本稿では主に中国語母語話者日本語学習者の「で」と「を」の誤用を手掛かりに、場所名詞をマークする「で」と「を」の選択条件と学習者の誤用要因を検討してみた。結果は以下のようになる。①移動動作が場所名詞の示す空間の中で行われる場合のみ、場所名詞は「を」と「で」の両方でマークできる。②主体の動作を前景化し、場所名詞が示す空間は動作が行われる場所であることを強調する場合、「で」をとる。主体の移動を前景化し、場所名詞が示す空間内での移動を強調する場合、「を」をとる。③学習者の誤用要因は主に母語の干渉により、場所名詞を「で」でマークするという過剰般化であると考えられる。

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