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「ったら」に関する考察

A study about ttara

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주제분류일본어와문학

초록

From its usage as a topic marker to its usage as a sentence-ending particle, I described how the various uses of the postpositional particle “ttara” overlap and expand. First of all, I showed that “ttara” went from being the contracted form of “toittara”, to acquiring an independent meaning that cannot be expressed by “toittara” and, doing so, started to be used as a topic marker, which is its main usage. Furthermore, I showed that, while conserving its evaluative properties, alongside the loss of the predicate, it is being used to “present” or “call again”, and through this is in the process of turning into a sentence-ending particle. Regarding its usage as a sentence-ending particle, adding to its usage as a “re-presentative”, which has already been described in the past, another usage as a marker of “intensity” is also presented in this manuscript. The topic marker “ttara” can be understood in two different ways. On one hand, it is a “re-presentative”, on the other hand, I shed light upon its continuity in relation to “intensity”.

Abstract

From its usage as a topic marker to its usage as a sentence-ending particle, I described how the various uses of the postpositional particle “ttara” overlap and expand. First of all, I showed that “ttara” went from being the contracted form of “toittara”, to acquiring an independent meaning that cannot be expressed by “toittara” and, doing so, started to be used as a topic marker, which is its main usage. Furthermore, I showed that, while conserving its evaluative properties, alongside the loss of the predicate, it is being used to “present” or “call again”, and through this is in the process of turning into a sentence-ending particle. Regarding its usage as a sentence-ending particle, adding to its usage as a “re-presentative”, which has already been described in the past, another usage as a marker of “intensity” is also presented in this manuscript. The topic marker “ttara” can be understood in two different ways. On one hand, it is a “re-presentative”, on the other hand, I shed light upon its continuity in relation to “intensity”.

참고문헌 (19)

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  12. 銀色夏生, "夕方らせん" (2001), 新潮文庫
  13. 曽野綾子, "ぜったい多数" (1996), 文藝春秋
  14. 高橋留美子, "高橋留美子短編集 1orW" (1995), 小学館
  15. 林真理子, "ミスキャスト" (2003), 講談社
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  17. 宮部みゆき, "人質カノン" (2001), 文藝春秋
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  19. "我らが隣人の犯罪" (1993)[URL]

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