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ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซ้–ขใ™ใ‚‹่€ƒๅฏŸ
โ€”โ€”ๆ„ๅ‘ณใ‚’ไธญๅฟƒใซ
Considerations on "Direction Noun + wo + Miru" - Centered on meaning

่ฆๆ—จ Abstract

ๆœฌใƒฌใƒใƒผใƒˆใฏใ€ๆ—ฅๆœฌ่ชžใฎใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ๆง‹ๆ–‡ใฎๆ„ๅ‘ณ็š„็‰นๅพดใ‚’ไธญๅฟƒ ใซ่€ƒๅฏŸใ‚’่กŒใ†ใ€‚ใพใšใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใŒใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ ใ‚‹ใ€ใจ็•ฐใชใ‚‹็‚นใ‚’ๆ˜Žใ‚‰ใ‹ใซใ—ใ€ใ“ใฎๆง‹ๆ–‡ใŒ่ฆ–็ทšใฎๆ–นๅ‘ใ‚’็คบใ—ใ€่ฆ–่ฆšๆƒ…ๅ ฑใ‚’ๅพ— ใ‚‹ๆ„ๅ›ณใŒ่–„ใ„ใ“ใจใ‚’ๆŒ‡ๆ‘˜ใ™ใ‚‹ใ€‚ๆฌกใซใ€ไธ–็•Œใฎไป–่จ€่ชžใจๆฏ”่ผƒใ—ใ€ๆ—ฅๆœฌ่ชžใซใŠใ‘ ใ‚‹ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ–‡ๆณ•็š„็‰นๆฎŠๆ€งใ‚’ๅˆ†ๆžใ™ใ‚‹ใ€‚ใ•ใ‚‰ใซใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใจใ„ ใ†ๅ‹•่ฉžใฎไบ‹่ฑก่ค‡ๅˆๆ€งใ€็žฌ้–“ๆ€งใจ็ถ™็ถšๆ€งใ€ใใ—ใฆ็งปๅ‹•ๅ‹•่ฉžใธใฎ็งป่กŒๆ€งใซใคใ„ใฆ่ฉณ่ฟฐใ™ใ‚‹ใ“ใจใงใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆง‹้€ ใซใŠใ‘ใ‚‹ๆ„ๅ‘ณ็š„็‹ฌ่‡ชๆ€งใ‚’็คบ ใ™ใ€‚
This report focuses on the semantic characteristics of the Japanese construction "direction noun + wo + miru." First, it clarifies the differences in meaning between "direction noun + wo + miru" and "common noun + wo + miru," pointing out that this construction indicates the direction of gaze and has a weak intention of obtaining visual information. Next, it analyzes the grammatical specificity of "direction noun + wo + miru" in Japanese by comparing it with other languages around the world. Furthermore, by detailing the event complexity of the verb "miru," its momentariness and continuity, and its transition to motion verbs, it demonstrates the semantic uniqueness within the structure of "direction noun + wo + miru."
ใ‚ญใƒผใƒฏใƒผใƒ‰๏ผšๆ–นๅ‘ๅ่ฉž๏ผ›่ฆ‹ใ‚‹๏ผ›ๆ„ๅ‘ณ๏ผ›ๆ–‡ๆณ•๏ผ›่ชž็”จ Keywords: directional nouns; see; meaning; grammar; pragmatics

ไธ€ใ€ๆ—ฅๆœฌ่ชžใซใŠใ‘ใ‚‹ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’ๅ่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณ็š„็‰นๆฎŠๆ€ง
1. The semantic specificity of "direction noun + wo ju miru" in Japanese

ๆ—ฅๆœฌ่ชžใซใŠใ‘ใ‚‹ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใฏใ€ใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ ใจใฏ็•ฐใชใ‚‹ใ€‚ใใฎๆ„ๅ‘ณใฎ็‰นๆฎŠๆ€งใ‚’ๆคœ่จผใ™ใ‚‹ใŸใ‚ใซใ€ใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใฎใปใ†ใ€ใ‚’ๆ–นๅ‘ๅ่ฉžๅŒ–ใฎๆ‰‹็ถšใใจใ—ใฆ๏ผˆๆœฌใƒฌใƒใƒผใƒˆใงใฏใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใฎใปใ†ใ€ใ‚’ๆ–นๅ‘ๅ่ฉž ใจ่ฆ‹ใชใ™๏ผ‰ใ€ใ€Œไธ€่ˆฌๅ่ฉž + ใฎใปใ† +ใ‚’ + ่ฆ‹ใ‚‹ใ€ใจใ€Œไธ€่ˆฌๅ่ฉž + ใ‚’ + ่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใ‚’ๆฏ”่ผƒใ™ใ‚‹ใ€‚
The meaning of "direction noun + wo + miru" in Japanese is different from "common noun + wo + miru." To examine the specificity of that meaning, I will consider "common noun + no hou" as a process of direction noun formation (in this report, "common noun + no hou" is regarded as a direction noun) and compare the meanings of "common noun + no hou + wo + miru" and "common noun + wo + miru."

๏ผˆ1๏ผ‰a ๆ˜Ÿใ‚’ใฟใŸใ‘ใฉใ€ใฟใˆใชใ‹ใฃใŸใ€‚ I saw a star, but I couldn't see it.
๏ผˆ1๏ผ‰bๆ˜Ÿใฎใปใ†ใ‚’ใฟใŸใ‘ใฉใ€ใฟใˆใชใ‹ใฃใŸใ€‚ I looked at planet b, but I couldn't see it.
ไธŠ่จ˜ใฎไบŒใคใฎๆ–‡ใฏใ€ๆ–‡ๆณ•็š„ใซใฉใกใ‚‰ใ‚‚ๆˆ็ซ‹ใ™ใ‚‹ใŒใ€(1)a ใฏ็‰นๅฎšใฎๆกไปถใ‚„ๆ–‡่„ˆใ‚’้™คใ„ใฆใ€ๆ„ๅ‘ณ็š„ใซ็Ÿ›็›พใŒใ‚ใ‚‹ใ€‚๏ผˆ1๏ผ‰aใซใŠใ„ใฆใ€ใ€Œๆ˜Ÿใ‚’่ฆ‹ใŸใ€ใจใ„ใ†่กŒ็‚บ ใŒๅฎŒไบ†ใ—ใฆใ„ใ‚‹ใฎใซๅฏพใ—ใ€ใ€Œ่ฆ‹ใˆใชใ‹ใคใŸใ€ใจใ„ใ†็ตๆžœใŒ็Ÿ›็›พใ—ใฆใ„ใ‚‹ใŸ ใ‚ใ€้€šๅธธใฎๆ–‡่„ˆใงใฏๆ„ๅ‘ณใŒ้€šใ‚Šใซใใ„ใ€‚็‰นๅฎšใฎๆกไปถใ‚„ๆ–‡่„ˆใจใ„ใ†ใจใ€ไพ‹ใˆ ใฐใ€่ฆ–่ฆš้šœๅฎณ่€…ใŒๅคฉไฝ“่ฆณๆธฌใ‚’่ฉฆใฟใ‚‹ๅ ดๅˆใซใ€Œ่ฆ‹ใŸใ€ใจใ„ใ†่กŒ็‚บ่‡ชไฝ“ใ‚’่ฉฆใฟใŸ ใŒใ€Œ่ฆ‹ใˆใชใ‹ใฃใŸใ€ใจใ„ใ†็ตๆžœใ‚’่กจใ™ใ“ใจใŒใ‚ใ‚‹ใ€‚ใคใพใ‚Šใ€ใ€Œไธ€่ˆฌๅ่ฉžๅใ‚’ๅ่ฆ‹ใ‚‹ใ€ใฏใ€ๅฏพ่ฑก็‰ฉใ‚’่ฆ‹ใ‚‹ใ“ใจ่‡ชไฝ“ใŒ็›ฎ็š„ใงใ‚ใ‚Šใ€่ฆ–่ฆšๆƒ…ๅ ฑใ‚’ๅพ—ใ‚‹ๆ„ๅ›ณใŒๅผท ใใ€ๅ…ทไฝ“็š„ใชๅฏพ่ฑกใ‚’่ฆ‹ใ‚‹ใ“ใจใ‚’ๅ‰ๆใจใ—ใฆใ„ใ‚‹ใ€‚
The two sentences above are both grammatically valid, but (1)a has a semantic contradiction except under specific conditions or contexts. In (1)a, the act of "seeing the stars" is completed, while the result of "not being able to see" is contradictory, making it difficult to understand in a normal context. Specific conditions or contexts might include, for example, a visually impaired person attempting to observe celestial bodies, where the act of "seeing" itself is attempted but the result is "not being able to see." In other words, "seeing a general noun" implies that the act of seeing the object itself is the goal, with a strong intention to obtain visual information, and it assumes the viewing of a specific object.
ใใ‚Œใซๅฏพใ—ใฆใ€๏ผˆ1๏ผ‰b ใฏๆ–‡ๆณ•็š„ใซใ‚‚ๆ„ๅ‘ณ็š„ใซใ‚‚ๆˆ็ซ‹ใ™ใ‚‹ใ€‚ๅณใกใ€่ฆ–็ทšใ‚’ๆ˜Ÿใฎๆ–นๅ‘ใซๅ‘ใ‘ใŸใŒใ€้šœๅฎณ็‰ฉใ‚„ๅคฉๅ€™ใชใฉใฎ็†็”ฑใงใ€ๅฎŸ้š›ใซใฏๆ˜ŸใŒ่ฆ–็•Œใซๅ…ฅใ‚‰ใชใ‹ ใฃใŸใ“ใจใ‚’ๆ„ๅ‘ณใ™ใ‚‹ใ€‚ใคใพใ‚Šใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฏใ€ๆ–นๅ‘ใ‚’่ฆ‹ใ‚‹ใ“ใจ
In contrast, (1) b is valid both grammatically and semantically. That is, it means that the gaze was directed towards the star, but due to obstacles or weather conditions, the star was not actually in sight. In other words, "direction noun + ใ‚’ + see" refers to looking in the direction.
ใ‚’ๅ‰ๆใจใ—ใฆใ€่ฆ–็ทšใฎๆ–นๅ‘ใ‚’็คบใ™ใ‚‚ใฎใงใ‚ใ‚Šใ€่ฆ–่ฆšๆƒ…ๅ ฑใ‚’ๅพ—ใ‚‹ๆ„ๅ›ณใŒ่–„ ใ„ใ€‚
Based on this premise, it indicates the direction of gaze and has little intention of obtaining visual information.
ไปฅไธŠใฎใ‚ˆใ†ใซใ€ๆ—ฅๆœฌ่ชžใซใŠใ„ใฆใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใฏใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใจใฏ็•ฐใชใ‚‹ใ€‚ๆฌกใซใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ„ใฆๆ„ๅ‘ณ ใฎ็‰นๆฎŠๆ€งใ‚’ๅฎŸ็พใ™ใ‚‹ๆ–‡ๆณ•ไธŠใฎ็‰นๅพดใซใคใ„ใฆ่€ƒๅฏŸใ™ใ‚‹ใ€‚
As mentioned above, in Japanese, the meaning of "direction noun + wo + miru" is different from "common noun + wo + miru." Next, I will consider the grammatical features that realize the specificity of meaning in "direction noun + wo + miru."

ไบŒใ€ไธ–็•Œ่จ€่ชžใซใŠใ‘ใ‚‹ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ–‡ๆณ•็š„็‰นๆฎŠ
2. The grammatical peculiarities of "direction noun + wo + miru" in world languages

ๆ€ง

ไธ–็•Œ่จ€่ชžใซใŠใ„ใฆใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฏไปฅไธ‹ใฎใ‚ˆใ†ใซๆ–‡ๆณ•็š„ใช็‰นๆฎŠๆ€ง ใ‚’ๆŒใฃใฆใ„ใ‚‹ใ€‚
In world languages, "direction noun + wo + see" has the following grammatical peculiarities.

2.1ๆ—ฅๆœฌ่ชž 2.1 Japanese

๏ผˆ2๏ผ‰a-1 ๆŽใ•ใ‚“ใŒๅผตใ•ใ‚“ใ‚’่ฆ‹ใŸใ€‚ Mr. Li saw Mr. Zhang.
๏ผˆ2๏ผ‰b-1 ๆŽใ•ใ‚“ใŒๅผตใ•ใ‚“ใฎใปใ†ใ‚’่ฆ‹ใŸใ€‚ Mr. Li looked towards Mr. Zhang.
ๆ—ฅๆœฌ่ชžใงใฏใ€ๅ‹•่ฉžใจๅŠฉ่ฉžใซๅค‰ๅŒ–ใŒใชใใ€ไธ€่ˆฌๅ่ฉžใฎๅพŒใซๅฝขๅผๅ่ฉžใ€Œใปใ†ใ€ ใ‚’ๅŠ ใˆใฆๆ–นๅ‘ๅ่ฉžๅŒ–ใฎๆ‰‹็ถšใใ‚’ใ™ใ‚‹ใ“ใจใงใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใŒๅค‰ๅŒ–ใ—ใ€่ฆ–่ฆšๆ„ๅ›ณใ‚’ๅผท่ชฟใ›ใšใซๅ‹•ไฝœใฎๆ–นๅ‘ใ‚’็คบใ™ใ‚ˆใ†ใซใชใ‚‹ใ€‚
In Japanese, when there are no changes in verbs and particles, adding the formal noun "hou" after a common noun undergoes the process of directional noun formation, changing the meaning of "directional noun + wo + miru" to indicate the direction of the action without emphasizing the visual intention.

2.2 ไธญๅ›ฝ่ชž 2.2 Chinese

๏ผˆ2๏ผ‰a-2 ๅฐๆŽ็œ‹่งไบ†ๅฐๅผ ใ€‚ Little Li saw Little Zhang.
๏ผˆ2๏ผ‰b-2 ๅฐๆŽ็œ‹ๅ‘ไบ†ๅฐๅผ ใ€‚ Little Li looked at Little Zhang.
ไธญๅ›ฝ่ชžใงใฏใ€ๅ‹•่ฉž "็œ‹"ใฏๅค‰ใ‚ใ‚‰ใชใ„ใŒใ€ๅ‹•่ฉžๅฅใŒ "็œ‹่ง"ใจใ„ใ†ใ€Œๅ‹•่ฉžๅ่ฃœ่ชžใ€ใ‹ใ‚‰ "็œ‹ๅ‘"ใจใ„ใ†ใ€Œๅ‹•่ฉž๏ผ‹ๅ‰็ฝฎ่ฉžใ€ใซๅค‰ๅŒ–ใ™ใ‚‹ใ€‚
In Chinese, the verb "็œ‹" remains unchanged, but the verb phrase changes from "็œ‹่ง," which is a "verb plus complement," to "็œ‹ๅ‘," which is a "verb plus preposition."

2. 3 ่‹ฑ่ชž 2. 3 English

๏ผˆ2๏ผ‰a-3 Li saw Zhang. (2) a-3 Li saw Zhang.
(2) b-3 Li looked at Zhang.
Li looked at Zhang.
่‹ฑ่ชžใงใฏใ€"looked"ใจ"saw"ใฏใใ‚Œใžใ‚Œ"look"ใจ"see"ใซๅฏพๅฟœใ™ใ‚‹็•ฐใชใ‚‹ๅ‹•่ฉžใง ใ‚ใ‚Šใ€"looked at"ใฏๅ‹•ไฝœใฎๆ–นๅ‘ใ‚’็คบใ™ใŸใ‚ใซๅ‰็ฝฎ่ฉž"at"ใ‚’ๅฟ…่ฆใจใ™ใ‚‹ใ€‚
In English, "looked" and "saw" are different verbs corresponding to "look" and "see," respectively, and "looked at" requires the preposition "at" to indicate the direction of the action.

2.4 ใ‚ฆใ‚ฏใƒฉใ‚คใƒŠ่ชž 2.4 Ukrainian

(2) ะฐ-4 ะงะถะฐะฝ ะฟะพะฑะฐั‡ะธะฒ ะ›ั–.
(2) a-4 Zhang saw Li.

(2) b-4 ะงะถะฐะฝ ะฟะพะดะธะฒะธะฒัั ะฝะฐ ะ›ั–.
(2) b-4 Zhang looked at Li.
ใ‚ฆใ‚ฏใƒฉใ‚คใƒŠ่ชžใงใฏใ€โ€œะฟะพะดะธะฒะธะฒัั"ใจ"ะฟะพะฑะฐั‡ะธะฒ"ใฏใใ‚Œใžใ‚Œ"ะดะธะฒะธั‚ัŒััโ€ ใจ"ะฑะฐั‡ะธั‚ัŒ"ใซๅฏพๅฟœใ™ใ‚‹็•ฐใชใ‚‹ๅ‹•่ฉžใงใ‚ใ‚Šใ€โ€œะฟะพะดะธะฒะธะฒัั ะฝะฐ"ใฏๅ‹•ไฝœใฎๆ–นๅ‘ใ‚’็คบใ™ใŸใ‚ใซๅ‰็ฝฎ่ฉž"ะฝะฐโ€ ใ‚’ๅฟ…่ฆใจใ™ใ‚‹ใ€‚
In Ukrainian, "ะฟะพะดะธะฒะธะฒัั" and "ะฟะพะฑะฐั‡ะธะฒ" are different verbs corresponding to "ะดะธะฒะธั‚ัŒัั" and "ะฑะฐั‡ะธั‚ัŒ," respectively, and "ะฟะพะดะธะฒะธะฒัั ะฝะฐ" requires the preposition "ะฝะฐ" to indicate the direction of the action.

2.5 ใƒ‰ใ‚คใƒ„่ชž 2.5 German

(2) a-5 Li sah Zhang.
(2) b-5 Li sah Zhang an.
ใƒ‰ใ‚คใƒ„่ชžใงใฏใ€ๅ‹•่ฉž,sah"่‡ชไฝ“ใฏๅค‰ใ‚ใ‚‰ใชใ„ใŒใ€ๅ‹•ไฝœใฎๆ–นๅ‘ใ‚’็คบใ™ใŸใ‚ใซๅพŒ็ฝฎ่ฉž๏ผŒan"ใ‚’่ฟฝๅŠ ใ™ใ‚‹ๅฟ…่ฆใŒใ‚ใ‚‹ใ€‚
In German, the verb "sah" itself does not change, but it is necessary to add the postposition "an" to indicate the direction of the action.
ไปฅไธŠใฎไพ‹ใ‹ใ‚‰ใ‚ใ‹ใ‚‹ใ‚ˆใ†ใซใ€ๅคšใใฎ่จ€่ชžใงใฏๅ‹•ไฝœใฎๆ–นๅ‘ๆ€งใ‚’ๅผท่ชฟใ™ใ‚‹ใŸใ‚ ใซๅ‹•่ฉžใใฎใ‚‚ใฎใŒๅค‰ๅŒ–ใ™ใ‚‹ใ“ใจใŒใ‚ใ‚‹ใ€‚ๆ—ฅๆœฌ่ชžไปฅๅค–ใฎ่จ€่ชžใงใฏใ€ใŸใจใˆๅ‹•่ฉž่‡ชไฝ“ใŒๅค‰ใ‚ใ‚‰ใชใใฆใ‚‚ใ€ไธญๅ›ฝ่ชžใฎ"ๅ‘"ใ€่‹ฑ่ชžใฎ"at"ใ€ใ‚ฆใ‚ฏใƒฉใ‚คใƒŠ่ชžใฎ"ะฝะฐ"ใ€ ใƒ‰ใ‚คใƒ„่ชžใฎ,an"ใฎใ‚ˆใ†ใซใ€ๅ‰็ฝฎ่ฉžใ‚„ๅพŒ็ฝฎ่ฉžใ‚’่ฟฝๅŠ ใ—ใฆๅ‹•ไฝœใฎๆ–นๅ‘ๆ€งใ‚’็คบใ™ๅฟ…่ฆใŒใ‚ใ‚Šใ€ๅ‹•่ฉžๅฅใŒๅค‰ๅŒ–ใ™ใ‚‹ใ€‚ไธ€ๆ–นใ€ๆ—ฅๆœฌ่ชžใงใฏใ€ๅฝขๅผๅ่ฉžใ€Œใฎใปใ†ใ€ใ‚’่ฟฝๅŠ ใ™ใ‚‹ใ“ใจใงใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใŒๅค‰ใ‚ใ‚Šใ€ๅ‹•ไฝœใฎ่ฆ–่ฆšๆ„ๅ›ณใ‚’ๅผท่ชฟใ›ใšใซๅ‹•ไฝœใฎๆ–นๅ‘ๆ€งใ‚’ๅซใ‚€ใ‚ˆใ†ใซใชใ‚‹ใŒใ€ๅŠฉ่ฉžใฏๅค‰ๅŒ–ใ—ใชใ„ใ€‚ใคใพใ‚Šใ€ๆ—ฅๆœฌ่ชžใซใŠใ„ใฆใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ๆง‹้€ ใฏใ€็ฌฌไธ€้ƒจใง่ฟฐในใŸๆ„ๅ‘ณใฎ็‰นๆฎŠๆ€ง ใ‚’ๅฎŸ็พใ™ใ‚‹้š›ใ€ๆ–‡ๆณ•็š„ใซใฏๅ‹•่ฉžๅฅใŒๅค‰ใ‚ใ‚‰ใšใ€ๅ่ฉžๅฅใŒๅค‰ๅŒ–ใ™ใ‚‹ใ€‚
As can be seen from the above examples, in many languages, the verb itself may change to emphasize the direction of the action. In languages other than Japanese, even if the verb itself does not change, it is necessary to add prepositions or postpositions, such as "ๅ‘" in Chinese, "at" in English, "ะฝะฐ" in Ukrainian, and "an" in German, to indicate the direction of the action, resulting in changes to the verb phrase. On the other hand, in Japanese, by adding the formal noun "ใฎใปใ†," the meaning of "direction noun + ใ‚’ + ่ฆ‹ใ‚‹" changes, including the direction of the action without emphasizing the visual intention of the action, while the particles do not change. In other words, in Japanese, the structure "direction noun + ใ‚’ + ่ฆ‹ใ‚‹" realizes the specificity of meaning mentioned in the first part, where grammatically the verb phrase does not change, but the noun phrase does.
ใงใฏใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ„ใฆใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฏใฉใฎใ‚ˆใ†ใชๆ„ๅ‘ณ็š„็‰นๅพดใ‚’ๆŒใคใฎใ‹ใ€‚ใใฎใŸใ‚ใ€ๆฌกใซใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎ็‰นๅพดใ‚’ๆ„ๅ‘ณใ‚’ไธญๅฟƒใซ่€ƒๅฏŸใ—ใฆใ„ใใ€‚
Now, what semantic characteristics does "่ฆ‹ใ‚‹" have in "direction noun + ใ‚’ + ่ฆ‹ใ‚‹"? Therefore, next, I will examine the characteristics of "่ฆ‹ใ‚‹" in "direction noun + ใ‚’ + ่ฆ‹ใ‚‹" focusing on its meaning.

ไธ‰ใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณ็‰นๅพต
3. The meaning characteristics of "่ฆ‹ใ‚‹" in "direction noun + ใ‚’ + ่ฆ‹ใ‚‹"

3.1 ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎไบ‹่ฑก่ค‡ๅˆๆ€ง
3.1 The event complexity of "่ฆ‹ใ‚‹" in "direction noun + ใ‚’ + ่ฆ‹ใ‚‹"

ไธŠ่จ˜ใฎไพ‹ใ‹ใ‚‰ใ‚ใ‹ใ‚‹ใ‚ˆใ†ใซใ€่‹ฑ่ชžใงใฏใ€ใ€ŒSee ใฏๅฏพ่ฑกใฎๆ˜ ๅƒใ‚’ๆ—ขใซๆ‰ใˆใฆใ— ใพใฃใŸ็Šถๆ…‹ใ‚’ๆŒ‡ใ™ใ€‚ไธ€ๆ–นใ€look ใฏๅฏพ่ฑกใฎๆ˜ ๅƒใ‚’ๆ‰ใˆใ‚ˆใ†ใจใ™ใ‚‹ๅŠชๅŠ›ใ‚’ๆŒ‡ใ™ใ€ใ€‚ใใ‚Œใซๅฏพใ—ใฆใ€ๆ—ฅๆœฌ่ชžใงใฏใ“ใฎใ‚ˆใ†ใชๅŒบๅˆฅใฏใชใใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฏ๏ผˆ2๏ผ‰a-1 ใฎใ‚ˆ ใ†ใซๅ˜ใซใ€Œๅฏพ่ฑกใฎๆ˜ ๅƒใ‚’ๆ—ขใซๆ‰ใˆใฆใ—ใพใฃใŸ็Šถๆ…‹ใ€ใ‚’ๆŒ‡ใ™ๅ ดๅˆใ‚‚ใ‚ใ‚Œใฐใ€ ๏ผˆ2๏ผ‰a-2 ใฎใ‚ˆใ†ใซใ€ใใ‚Œใซใ€Œๅฏพ่ฑกใฎๆ–นๅ‘ใพใง่ฆ–็ทšใ‚’็งปๅ‹•ใ™ใ‚‹ใ€ใฎๆ„ๅ‘ณใŒๅŠ ใ‚ใ‚‹ๅ ดๅˆใ‚‚ใ‚ใ‚‹ใ€‚ใ€Œๅฏพ่ฑกใฎๆ˜ ๅƒใ‚’ๆ‰ใˆใ‚ˆใ†ใจใ™ใ‚‹ๅŠชๅŠ›ใ€ใจใ„ใ†่กจ็พใ‚’ไฝฟ็”จใ—ใชใ„็†็”ฑใฏใ€ไธŠ่จ˜ใง่ฟฐในใ‚‰ใ‚ŒใŸใ‚ˆใ†ใซใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฏใ€ๆ–นๅ‘ใ‚’่ฆ‹ใ‚‹ใ“ใจ ใ‚’ๅ‰ๆใจใ—ใฆใ€่ฆ–็ทšใฎๆ–นๅ‘ใ‚’็คบใ™ใ‚‚ใฎใงใ‚ใ‚Šใ€่ฆ–่ฆšๆƒ…ๅ ฑใ‚’ๅพ—ใ‚‹ๆ„ๅ›ณใŒ่–„ใ„ใ€‚
As can be seen from the example above, in English, "see" refers to a state where the visual target has already been captured. On the other hand, "look" refers to the effort to capture the visual target. In contrast, in Japanese, there is no such distinction; "miru" can simply refer to a state where the visual target has already been captured, as in (2)a-1, or it can also include the meaning of "moving one's gaze towards the target," as in (2)a-2. The reason for not using the expression "the effort to capture the visual target" is that, as mentioned above, "direction noun + wo + miru" presupposes looking in a direction and indicates the direction of the gaze, with a weak intention of obtaining visual information.
ใ€Žใƒ‡ใ‚ธใ‚ฟใƒซๅคง่พžๆณ‰ใ€ใซใ‚ˆใ‚‹ใจใ€ๅ‹•่ฉžใ€Œ่ฆ‹ใ‚‹ใ€ใซใฏไปฅไธ‹ใฎ 12 ใฎๅฎš็พฉใŒใ‚ใ‚‹ใ€‚
According to the "Digital Daijisen," the verb "to see" has the following 12 definitions.

(1) ็›ฎใงไบ‹็‰ฉใฎๅญ˜ๅœจใชใฉใ‚’ใจใ‚‰ใˆใ‚‹ใ€‚่ฆ–่ฆšใซๅ…ฅใ‚Œใ‚‹ใ€‚็œบใ‚ใ‚‹ใ€‚ใ€Œๆ˜Ÿ็ฉบใ‚’ใฟใ‚‹ใ€
(1) To perceive the existence of things with the eyes. To take in visually. To gaze at. "To look at the starry sky."

(2) ่ฆ‹็‰ฉ โ€ข ่ฆ‹ๅญฆใ™ใ‚‹ใ€‚ใ€Œๆ˜ ็”ปใ‚’ใฟใ‚‹ใ€ (2) Sightseeing โ€ข To observe. "To watch a movie."
(3) ใใฎใ“ใจใซๅฝ“ใŸใ‚‹ใ€‚ๅ–ใ‚Šๆ‰ฑใ†ใ€‚ไธ–่ฉฑใ‚’ใ™ใ‚‹ใ€‚ใ€Œๅญไพ›ใฎใ‚ใ‚“ใฉใ†ใ‚’ใฟใ‚‹ใ€
(3) To deal with that. To handle. To take care of. "To look after children."

(4) ่ชฟในใ‚‹ใ€‚ใŸใ—ใ‹ใ‚ใ‚‹ใ€‚ใ€Œ็ญ”ๆกˆใ‚’ใฟใ‚‹ใ€ (4) To investigate. To confirm. "To look at the answers."
๏ผˆ5๏ผ‰ใ“ใ“ใ‚ใฟใ‚‹ใ€‚ใŸใ‚ใ™ใ€‚ใ€Œๅˆ‡ใ‚Œๅ‘ณใ‚’ใฟใ‚‹ใ€ (5) To try. To test. "To check the sharpness."
(6) ่ฆณๅฏŸใ—ใ€ๅˆคๆ–ญใ™ใ‚‹ใ€‚ใพใŸใ€ใ†ใ‚‰ใชใ†ใ€‚่ฉ•ไพกใ™ใ‚‹ใ€‚ใ€Œไบบใ‚’ใฟใ‚‹็›ฎใŒใชใ„ใ€
(6) Observe, judge. Also, predict. Evaluate. "Lack the ability to see people."
โ‘ฆ่จบๆ–ญใ™ใ‚‹ใ€‚ใ€Œ่„ˆใ‚’ใฟใ‚‹ใ€ 7. Diagnose. "Check the pulse."
(8) ่ชญใ‚“ใง็Ÿฅใ‚‹ใ€‚ใ€Œๆ–ฐ่žใงใฟใŸใ€ (8) Read and know. "I saw it in the newspaper."
๏ผˆ9๏ผ‰่บซใซๅ—ใ‘ใ‚‹ใ€‚็ตŒ้จ“ใ™ใ‚‹ใ€‚ใ€Œ็—›ใ„็›ฎใ‚’ใฟใ‚‹ใ€ (9) To experience. "To have a painful experience."
(10) ่ฆ‹ๅฝ“ใ‚’ใคใ‘ใ‚‹ใ€‚ใใฎใ‚ˆใ†ใซ่€ƒใˆใ‚‹ใ€‚็†่งฃใ™ใ‚‹ใ€‚ใ€Œ้ญ้›ฃใ—ใŸใ‚‚ใฎใจใฟใ‚‰ใ‚Œใ‚‹ใ€
(10) Make a guess. Think that way. Understand. "Believed to be lost."

(11) ๅคซๅฉฆใซใชใ‚‹ใ€‚้€ฃใ‚Œๆทปใ†ใ€‚ใ€Œใ•ใ‚„ใ†ใชใ‚‰ใ‚€ไบบใ‚’ใ“ใใฟใ‚ใ€
(11) To become a couple. To accompany each other. "I want to see the person I will part with."

(12)๏ผˆ่ฃœๅŠฉๅ‹•่ฉž๏ผ‰ๅ‹•่ฉžใฎ้€ฃ็”จๅฝขใซใ€Œใฆใ€ใ‚’ๆทปใˆใŸๅฝขใซไป˜ใใ€‚
(12) (Auxiliary verb) It attaches to the continuative form of a verb with "te" added.

(B)ใ€Œใฆใฟใ‚‹ใ€ใฎๅฝขใงใ€ใŸใ‚ใ—ใซโ€ฆใ™ใ‚‹ใ€ใจใซใ‹ใใใฎใ“ใจใ‚’ใ™ใ‚‹ๆ„ใ‚’่กจ ใ™ใ€‚ใ€Œไธ€ๅฃใ€ๅ‘ณใ‚ใฃใฆใฟใ‚‹ใ€
In the form of "te miru," it expresses the intention to try doing something... "Take a bite and try tasting it."

โ‘ ใ€Œใฆใฟใ‚‹ใจใ€ใ€ŒใฆใฟใŸใ‚‰ใ€ใ€Œใฆใฟใ‚Œใฐใ€ใชใฉใฎๅฝขใงใ€ใใฎ็ตๆžœใ€ใ‚ใ‚‹ไบ‹ๅฎŸใซๆฐ—ใฅใ„ใŸใ‚Šใ€ใใฎๆกไปถ โ€ข ็ซ‹ๅ ดใŒ่ชใ‚ใ‚‰ใ‚ŒใŸใ‚Šใ™ใ‚‹ใ“ใจใ‚’่กจใ™ใ€‚ใ€Œ่ธใฟ ใ“ใ‚“ใงใฟใ‚‹ใจใ‚‚ใฌใ‘ใฎใ‹ใ‚‰ใ ใฃใŸใ€
In forms like "temiru," "temitara," and "temireba," it expresses the result of realizing a certain fact or recognizing a condition or position. "When I stepped in, it was completely empty."

ใ“ใฎไธญใงใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใซ่ฉฒๅฝ“ใ™ใ‚‹ใฎใฏๅฎš็พฉ๏ผˆ1๏ผ‰ ใงใ‚ใ‚Šใ€ใ™ใชใ‚ใกใ€Œ็›ฎใงไบ‹็‰ฉใฎๅญ˜ๅœจใชใฉใ‚’ใจใ‚‰ใˆใ‚‹ใ€‚่ฆ–่ฆšใซๅ…ฅใ‚Œใ‚‹ใ€‚็œบใ‚ ใ‚‹ใ€ใงใ‚ใ‚‹ใ€‚ใ“ใฎ่ชฌๆ˜Žใซใ‚ใ‚‹ใ€Œใจใ‚‰ใˆใ‚‹ใ€ใ€Œๅ…ฅใ‚Œใ‚‹ใ€ใฎไบŒ่ชžใฏใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใŒ่ฆ–่ฆšไบ‹่ฑกใ ใ‘ใงใชใใ€ใ€Œ่ฆ‹ใˆใ‚‹ใ€ใซ่‡ณใ‚‹ใพใงใฎๅ‹•็š„้Ž็จ‹ๆ€งใ‚’ๅผท่ชฟใ—ใฆใ„ใ‚‹ใ“ใจใ‚’ๆ„ๅ‘ณใ—ใฆใ„ใ‚‹ใ€‚ใ“ใฎ้Ž็จ‹ใซใฏ่ฆ–็ทšใ‚„่บซไฝ“ใฎ็งปๅ‹•ใŒๅซใพใ‚Œใฆใ„ใ‚‹ใŸใ‚ใ€ไบ‹่ฑกใฎ่ค‡ๅˆๆ€งใŒ่ฆ‹ใ‚‰ใ‚Œใ‚‹ใ€‚ไปฅไธ‹ใฎ BCCWJ ใ‹ใ‚‰ๆŠฝๅ‡บใ•ใ‚ŒใŸ่ชžไพ‹๏ผˆ3๏ผ‰a ใฎใ‚ˆใ†ใซใ€ใ€ŒๅพŒใ‚ ใ‚’่ฆ‹ใ‚‹ใ€ใซใฏ่ฆ–่ฆšไบ‹่ฑกใจใจใ‚‚ใซใ€่บซไฝ“ใ€้ ญ้ƒจใ€่ฆ–็ทšใฎๅพŒใ‚ใธใฎ็งปๅ‹•ใ‚’ๅซใ‚€ใ“ ใจใŒใงใใ€๏ผˆ3๏ผ‰bใซ็ฝฎใๆ›ใˆใ‚‹ใ“ใจใŒใงใใ‚‹ใ€‚
In this context, the "่ฆ‹ใ‚‹" corresponding to "direction noun + ใ‚’ + ่ฆ‹ใ‚‹" is defined as (1), which means "to perceive the existence of things with the eyes; to take in visually; to gaze." The two words "ใจใ‚‰ใˆใ‚‹" and "ๅ…ฅใ‚Œใ‚‹" in this explanation emphasize that "่ฆ‹ใ‚‹" involves a dynamic process leading up to "่ฆ‹ใˆใ‚‹," not just visual phenomena. This process includes the movement of gaze and body, indicating the complexity of the events. As seen in the example extracted from BCCWJ (3)a, "to look behind" can include the movement of the body, head, and gaze towards the back, and can be replaced with (3)b.

๏ผˆ3๏ผ‰a ใ‚ญใƒณใ‚ฐใ‚นใƒฌใ‚ฌใƒชใ‚ขใฏๆ‰‹ใ”ใŸใˆ่‰ฏใ•ใใ†ใซ่ฆ‹ใˆใŸใ‘ใฉใ€ใ‚ขใƒณใ‚ซใƒ„ใฏใƒใƒฉ ใƒƒใจๅพŒใ‚ใ‚’่ฆ‹ใ‚‹ใ€‚
(3) Kingโ€™s Regalia looked like it had a good feel, but Ankatsu glanced back briefly.

๏ผˆ3๏ผ‰bใ‚ญใƒณใ‚ฐใ‚นใƒฌใ‚ฌใƒชใ‚ขใฏๆ‰‹ใ”ใŸใˆ่‰ฏใ•ใใ†ใซ่ฆ‹ใˆใŸใ‘ใฉใ€ใ‚ขใƒณใ‚ซใƒ„ใฏใƒใƒฉ ใƒƒใจๆŒฏใ‚Š่ฟ”ใฃใฆ่ฆ‹ใ‚‹ใ€‚
(3) Kingโ€™s Regalia seemed to have a good feel, but Ankatsu glanced back to take a look.

๏ผˆ3๏ผ‰ใฎไบŒใคใฎไพ‹ๆ–‡ใ‹ใ‚‰ใ‚ใ‹ใ‚‹ใ‚ˆใ†ใซใ€ใ€ŒๅพŒใ‚ใ‚’่ฆ‹ใ‚‹ใ€ใฏใ€ŒๆŒฏใ‚Š่ฟ”ใฃใฆ่ฆ‹ใ‚‹ใ€ ใจๅŒ็ญ‰ใงใ‚ใ‚Šใ€ใ€ŒๅพŒใ‚ใ‚’่ฆ‹ใ‚‹ใ€ใซใฏใ€ŒๅพŒใ‚ใ‚’ๅ‘ใใ€ใจใ€Œ่ฆ‹ใ‚‹ใ€ใฎไบŒใคใฎๅ‹•ไฝœใŒๅซใพใ‚Œใฆใ„ใ‚‹ใ€‚ใพใŸใ€ไพ‹ๆ–‡๏ผˆ3๏ผ‰ใฎใ€Œใƒใƒฉใƒƒใจใ€ใฏๅ‹•ไฝœ้Ž็จ‹ใ‚’ไฟฎ้ฃพใ™ใ‚‹ๅ‰ฏ่ฉžใงใ‚ ใ‚Šใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใจใฎ็ต„ใฟๅˆใ‚ใ›ใงใ€Œไธ€็žฅใ€ใซใ‚ˆใ‚‹่ฆ–็ทšใ‚„่บซไฝ“ๅ‹•ไฝœใฎ็งปๅ‹•ๆ€งใ‚’ๅผท่ชฟ ใ—ใฆใ„ใ‚‹ใ€‚ไปฅไธŠใฎใ€Œ่ฆ‹ใ‚‹ใ€ใฎ่พžๆ›ธ็š„ๆ„ๅ‘ณใ€ๅฎŸ้š›ใฎ็”จไพ‹ๅˆ†ๆžใ€ใŠใ‚ˆใณๅ‰ฏ่ฉžใฎ็ต„ ใฟๅˆใ‚ใ›ใ‹ใ‚‰ใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใซใฏไบ‹่ฑก่ค‡ๅˆๆ€งใ€ใ™ ใชใ‚ใกใ€Œ่ฆ–่ฆšไบ‹่ฑกใ€ใจๆ˜ ๅƒใŒๆ‰ใˆใ‚‰ใ‚Œใ‚‹ใพใงใฎใ€Œ็งปๅ‹•ไบ‹่ฑกใ€ใŒใ‚ใ‚‹ใ“ใจใŒใ‚ ใ‹ใ‚‹ใ€‚ใ‚‚ใกใ‚ใ‚“ใ€(1)bใฎใ‚ˆใ†ใซใ€ใ“ใ“ใงใฎใ€Œๆ˜ ๅƒใ€ใฏ้›ฒใ‚„็ฉบใชใฉใ€ๅฟ…ใšใ—ใ‚‚่ฆ‹ใŸใ‹ใฃใŸๅฏพ่ฑกใฎๆ˜ ๅƒใงใฏใชใ„ใŒใ€ๅฏพ่ฑกใฎๆ–นๅ‘ใพใง่ฆ–็ทšใ‚’็งปๅ‹•ใ—ใฆไฝ•ใ‚‰ใ‹ใฎใ€Œๆ˜ ๅƒใ€ใŒ่ฆ–่ฆšใซๆ˜ ใ‚Šใ€่ฆ–่ฆšไบ‹่ฑกใ‚‚็”Ÿใ˜ใ‚‹ใ€‚
As can be seen from the two example sentences in (3), "looking back" is equivalent to "turning around to look," and "looking back" includes the two actions of "turning around" and "looking." Additionally, the adverb "glancing" in example sentence (3) modifies the process of the action and emphasizes the mobility of the gaze and bodily movement through its combination with "looking." From the above dictionary meaning of "looking," the analysis of actual usage, and the combination with the adverb, it can be understood that "looking" in "direction noun + wo + looking" has event complexity, namely, the "visual event" and the "movement event" until the image is captured. Of course, as in (1)b, the "image" here is not necessarily the image of the object one wanted to see, such as clouds or the sky, but the gaze moves towards the direction of the object, and some "image" is reflected in the visual field, resulting in a visual event.

3.2 ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎ็žฌ้–“ๆ€งใจ็ถ™็ถšๆ€ง
3.2 The momentary and continuous nature of "to see" in "direction noun + wo + see"

ใ€Œ่ฆ‹ใ‚‹ใ€ใฏใ€Œ้Ž็จ‹ๆ€งใฎใ‚ใ‚‹ๆดปๅ‹•ๅ‹•่ฉžใ€ยฒใงใ‚ใ‚‹ใ€‚ใ€Œใ€Ž่ฆ‹ใ‚‹ใ€ใจใ„ใ†ๅ‹•่ฉžใฏๅ‹•ไฝœ ใฎๅง‹ใพใ‚Šใ‹ใ‚‰ใ€็ตŒ้Žใ€ๆœ€ๅพŒใฎ็ตๆžœใฎๆฎต้šŽใพใงๅ†…ๅŒ…ใ—ใ€ๅฟƒ็š„็„ฆ็‚นใฎใŠใ‹ใ‚Œๆ–นใซ ใ‚ˆใฃใฆใ‚ขใ‚นใƒšใ‚ฏใƒˆใฎใ‚†ใ‚ŒใŒ็”Ÿใ˜ใ‚‹ใฎใงใ‚ใ‚‹ใ€‚ใ€ 3 3 ^(3){ }^{3}
"Seeing" is a "processual activity verb." "The verb 'to see' encompasses the beginning of the action, the progression, and the final result stage, and the fluctuation of aspect occurs depending on the placement of the mental focus."
ไธŠ่จ˜ใฎไพ‹ๆ–‡ใ‚’ๅซใ‚ใฆใ€ไธ‹่จ˜ใฎไพ‹ๆ–‡๏ผˆ4๏ผ‰ใซใŠใ‘ใ‚‹ๅฎŒๆˆ็›ธใฎใ€Œ่ฆ‹ใŸใ€ใฏใ€่ค‡ๅˆไบ‹่ฑกใฎ็žฌ้–“้Ž็จ‹ใ‚’ใชใ™ๅง‹็™บใฎๅฑ€้ขใซ็„ฆ็‚นใ‚’ๅฝ“ใฆใฆใŠใ‚Šใ€็žฌ้–“ๆ€งใ‚’็คบใ—ใฆใ„ใ‚‹ใ€‚ ๏ผˆ3๏ผ‰ c * ใ‚ญใƒณใ‚ฐใ‚นใƒฌใ‚ฌใƒชใ‚ขใฏๆ‰‹ใ”ใŸใˆ่‰ฏใ•ใใ†ใซ่ฆ‹ใˆใŸใ‘ใฉใ€ใ‚ขใƒณใ‚ซใƒ„ใฏใ‚†ใฃ ใใ‚ŠใจๅพŒใ‚ใ‚’่ฆ‹ใ‚‹ใ€‚
In the above example, the perfect aspect "saw" in the following example (4) focuses on the initial phase that constitutes the momentary process of a complex event, indicating momentariness. (3) c * The King's regalia looked like it had a good feel, but Ankatsu slowly looked back.

๏ผˆ4๏ผ‰a ใƒ™ใƒฉใƒณใƒ€ใงๆด—ๆฟฏ็‰ฉใ‚’ๅนฒใ—ใฆใ„ใŸใจใ“ใ‚ใ€ใตใจ่ฆ–็ทšใซๆฐ—ใŒใคใ„ใฆไธ‹ใ‚’่ฆ‹ ใŸใ‚“ใงใ™ใ€‚
While I was hanging laundry on the balcony, I suddenly noticed a gaze and looked down.

๏ผˆ4๏ผ‰b ใƒ™ใƒฉใƒณใƒ€ใงๆด—ๆฟฏ็‰ฉใ‚’ๅนฒใ—ใฆใ„ใŸใจใ“ใ‚ใ€ใตใจ่ฆ–็ทšใซๆฐ—ใŒใคใ„ใฆใกใ‚‰ใฃ ใจไธ‹ใ‚’่ฆ‹ใŸใ‚“ใงใ™ใ€‚
While I was hanging laundry on the balcony, I suddenly noticed a gaze and glanced down.

๏ผˆ4๏ผ‰ C โˆ— C โˆ— C**\mathrm{C} * ใƒ™ใƒฉใƒณใƒ€ใงๆด—ๆฟฏ็‰ฉใ‚’ๅนฒใ—ใฆใ„ใŸใจใ“ใ‚ใ€ใตใจ่ฆ–็ทšใซๆฐ—ใŒใคใ„ใฆใ‚†ใฃใ ใ‚Šใจไธ‹ใ‚’่ฆ‹ใŸใ‚“ใงใ™ใ€‚
While I was hanging laundry on the balcony, I suddenly noticed a gaze and slowly looked down.

ไธŠ่ฟฐใฎ BCCWJ ใ‹ใ‚‰ๆŠฝๅ‡บใ•ใ‚ŒใŸไพ‹ๆ–‡๏ผˆ3๏ผ‰a ใจ๏ผˆ4๏ผ‰a ใฎใ‚ˆใ†ใซใ€ใ€ŒๅพŒใ‚ใ‚’่ฆ‹ใ‚‹ใ€ใ€Œไธ‹ ใ‚’่ฆ‹ใŸใ€ใฏใ€Œใกใ‚‰ใคใจใ€ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ใ“ใจใŒใงใใ‚‹ใŒใ€(3)c ใจ๏ผˆ4๏ผ‰cใฎใ‚ˆใ† ใซใ€Œใ‚†ใฃใใ‚Šใจใ€ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ใ“ใจใฏใงใใชใ„ใ€‚๏ผˆ3๏ผ‰a ใจ๏ผˆ4๏ผ‰aใฎไพ‹ๆ–‡ใซใŠใ‘ ใ‚‹ๅ‹•่ฉžใ€Œ่ฆ‹ใ‚‹ใ€ใจใ€Œ่ฆ‹ใŸใ€ใฏๆ™‚ๅˆถใŒ็•ฐใชใ‚‹ใŒใ€ใ„ใšใ‚Œใ‚‚ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๅฎŒๆˆ็›ธใง ใ‚ใ‚‹ใ€‚
As seen in the example sentences (3)a and (4)a extracted from the above BCCWJ, "look back" and "look down" can be combined with "glance," but they cannot be combined with "slowly" as in (3)c and (4)c. The verbs "look" and "looked" in the example sentences (3)a and (4)a have different tenses, but both are in the perfective aspect of "look."
็ญ†่€…ใŒๆœๆ—ฅๆ–ฐ่žใƒ‡ใƒผใ‚ฟใƒ™ใƒผใ‚นใงใ€Œใ‚†ใฃใใ‚Š่ฆ‹ใ‚‹ใ€ใ‚’ๆคœ็ดขใ—ใฆๅพ—ใ‚‰ใ‚ŒใŸ 124ไปถใฎ็ตๆžœใงใฏใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฏใ™ในใฆใ€Žใƒ‡ใ‚ธใ‚ฟใƒซๅคง่พžๆณ‰ใ€ใฎๅฎš็พฉ(2)ใ€Œ่ฆ‹็‰ฉ โ€ข ่ฆ‹ๅญฆใ™ ใ‚‹ใ€ใฎๆ„ๅ‘ณใงไฝฟ็”จใ•ใ‚Œใฆใ„ใŸใ€‚ใ“ใ‚Œใซใ‚ˆใ‚Šใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๅฎŒๆˆ็›ธใŒๆ„ๅ‘ณโ‘ ใ€Œ็›ฎใงไบ‹็‰ฉใฎๅญ˜ๅœจใชใฉใ‚’ใจใ‚‰ใˆใ‚‹ใ€‚่ฆ–่ฆšใซๅ…ฅใ‚Œใ‚‹ใ€‚็œบใ‚ใ‚‹ใ€ใ‚’่กจใ™ๅ ดๅˆใ€ใ€Œใ‚†ใฃใ ใ‚Šใ€ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ใ“ใจใŒใงใใšใ€็žฌ้–“ๆ€งใ‚’็คบใ™ใ“ใจใŒใ‚ใ‹ใ‚‹ใ€‚
In the 124 results obtained by searching for "yukkuri miru" in the Asahi Shimbun database, "miru" was used in the sense of "to observe โ€ข to visit" as defined in the "Digital Daijisen." This indicates that when "miru" represents the completed aspect of meaning โ‘  "to perceive the existence of things with the eyes; to take in visually; to gaze," it cannot be combined with "yukkuri," showing that it indicates a momentary nature.

๏ผˆ4๏ผ‰a ใซๅฏพใ—ใฆใ€ไธ‹่จ˜ใฎไพ‹ๆ–‡๏ผˆ5๏ผ‰a ใจ๏ผˆ6๏ผ‰a ใซใŠใ‘ใ‚‹็ถ™็ถš็›ธใฎใ€Œ่ฆ‹ใฆใ„ใ‚‹ใ€
Regarding (4) a, the continuous aspect of "seeing" in the following example sentences (5) a and (6) a

ใ€Œ่ฆ‹ใคใฅใ‘ใŸใ€ใฏใ€่ช็Ÿฅ็„ฆ็‚นใŒ่ค‡ๅˆไบ‹่ฑกไธญใฎๅ‹•ไฝœใฎๆŒ็ถš้Ž็จ‹ใซ้›†ไธญใ—ใฆใŠ
"Continued to see" focuses the cognitive spotlight on the ongoing process of action within a complex event

ใ‚Šใ€็ถ™็ถšๆ€งใ‚’็คบใ—ใฆใ„ใ‚‹ใ€‚ It shows continuity.
๏ผˆ5๏ผ‰a ๅฟƒใ‚‚ใกใ‚ขใ‚ดใ‚’ไธŠใ’ใ€ใคใญใซใชใชใ‚ไธŠใ‚’่ฆ‹ใฆใ„ใ‚‹ใ€‚
(5) The heart is raised slightly, always looking up at an angle.

๏ผˆ5๏ผ‰bๅฟƒใ‚‚ใกใ‚ขใ‚ดใ‚’ไธŠใ’ใ€ใกใ‚‰ใคใจใชใชใ‚ไธŠใ‚’่ฆ‹ใฆใ„ใ‚‹ใ€‚
(5) With a slight lift of the chin, they are looking up at an angle.

๏ผˆ6๏ผ‰a ใใ—ใฆใ€ใใฎใพใพใ˜ใฃใจไธŠใ‚’่ฆ‹ใคใฅใ‘ใŸใ€‚ (6) And then, I continued to look up quietly.
๏ผˆ6๏ผ‰b
ใใ—ใฆใ€ใใฎใพใพใกใ‚‰ใคใจไธŠใ‚’่ฆ‹ใคใฅใ‘ใŸใ€‚ (6) b And then, I continued to glance up as it was.
๏ผˆ5๏ผ‰a ใจ๏ผˆ6๏ผ‰a ใซใŠใ„ใฆใ€็ถ™็ถš็›ธใฎใ€Œ่ฆ‹ใฆใ„ใ‚‹ใ€ใจ็ถ™็ถš็›ธ้ŽๅŽปๅฝขใฎใ€Œ่ฆ‹ใคใฅใ‘ ใŸใ€ใฏใ€ใใ‚Œใžใ‚Œใ€Œใคใญใซใ€ใ€ใ€Œใ˜ใฃใจใ€ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ใ“ใจใŒใงใใ‚‹ใ€‚ใ
In (5) a and (6) a, the continuous aspect "seeing" and the continuous past form "continued to see" can each be combined with "always" and "steadily," respectively.
ใ‚Œใซๅฏพใ—ใฆใ€๏ผˆ5๏ผ‰b ใจ๏ผˆ6๏ผ‰b ใซใŠใ‘ใ‚‹็ถ™็ถš็›ธใฎใ€Œ่ฆ‹ใ‚‹ใ€ใ‚’ใ€Œใกใ‚‰ใคใจใ€ใจ็ต„ใฟๅˆ ใ‚ใ›ใ‚‹ใจใ€ๆ–‡ใจใ—ใฆๆˆ็ซ‹ใ—ใชใ„ใ€‚ใ“ใฎๅ ดๅˆใ€๏ผˆ5๏ผ‰aใ€Œๅธธใซๆ–œใ‚ไธŠใ‚’่ฆ‹ใฆใ„ใ‚‹ใ€ ใจ๏ผˆ6๏ผ‰a ใ€Œใ˜ใฃใจไธŠใ‚’่ฆ‹ใคใฅใ‘ใŸใ€ใฎๅ‹•่ฉžใ€Œ่ฆ‹ใ‚‹ใ€ใฏใ€ๆ„ๅ‘ณ็š„ใซใ€่บซไฝ“ใŠใ‚ˆใณ่ฆ–็ทšใฎ็งปๅ‹•ใ‚’ๅผท่ชฟใ—ใฆใŠใ‚‰ใšใ€ๅฏพ่ฑกใฎๆ–นๅ‘ใ‚’็œบใ‚ใฆใ„ใ‚‹็ตŒ้Žใ‚’ๅผท่ชฟใ—ใ€ใ€Œ่ฆ‹ ใ‚‹ใ€ใจใ„ใ†ไบ‹่ฑกใฏ้™ๆญข็Šถๆ…‹ใซใ‚ใ‚‹ใ€‚
In relation to this, combining the continuous aspect of "to see" in (5)b and (6)b with "glance" does not form a valid sentence. In this case, the verbs "to see" in (5)a "is always looking slightly upward" and (6)a "continued to look up intently" do not emphasize the movement of the body or gaze semantically, but rather emphasize the process of looking in the direction of the object, and the event of "seeing" is in a state of rest.
ใ—ใŸใŒใฃใฆใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฏ้Ž็จ‹ๆ€งใฎใ‚ใ‚‹ๅ‹•่ฉž ใงใ‚ใ‚ŠใชใŒใ‚‰ใ€็ถ™็ถšๆ€งใจ็žฌ้–“ๆ€งใฎใฉใกใ‚‰ใ‚’็คบใ™ใ‹ใฏใ€็„ฆ็‚นใฎใŠใ‹ใ‚Œๆ–นใซใ‚ˆใฃ ใฆใ€ใ‚ขใ‚นใƒšใ‚ฏใƒˆใฎใ‚†ใ‚ŒใŒ็”Ÿใ˜ใ‚‹ใ€‚ใใฎๆง‹้€ ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใŒๅฎŒๆˆ็›ธใงใ‚ใ‚‹ๅ ดๅˆใ€่ค‡ๅˆไบ‹่ฑกใซใŠใ‘ใ‚‹็žฌ้–“้Ž็จ‹ใ‚’ใชใ™ๅง‹็™บใฎๅฑ€้ขใ‚’ๅผท่ชฟใ™ใ‚‹ไธ€ๆ–นใ€็ถ™็ถš็›ธใ€Œไธ€ใฆใ„ใ‚‹ใ€ใ€Œไธ€ใคใฅใ‘ใŸใ€ใงใ‚ใ‚‹ๅ ดๅˆใ€่ค‡ๅˆไบ‹่ฑกใซใŠใ‘ใ‚‹ๅ‹•ไฝœๆŒ็ถš้Ž็จ‹ใ‚’ๅผท่ชฟใ™ใ‚‹ใ€‚
Therefore, in "direction noun + ใ‚’ + see," the "see" is a verb with processuality, and whether it indicates continuity or momentariness depends on the focus, resulting in variations in aspect. When "see" in that structure is in the perfective aspect, it emphasizes the initial phase that constitutes a momentary process in a complex event, while when it is in the continuous aspect "ใฆใ„ใ‚‹" or "ใคใฅใ‘ใŸ," it emphasizes the ongoing process of action in a complex event.

3.3ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎ็งปๅ‹•ๅ‹•่ฉžใธใฎ็งป่กŒๆ€ง
3.3 The transition of "่ฆ‹ใ‚‹" to a motion verb in "direction noun + ใ‚’ + ่ฆ‹ใ‚‹"

ใ€Œๆ–นๅ‘ๅ่ฉž +ใ‚’ + ่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฏใ€ใใฎๅ‹•ไฝœใŒ็™บ็”Ÿใ™ใ‚‹้š›ใซใ€ๅ‹•ไฝœไธป่‡ช่บซใซไฝ็ฝฎใฎๅค‰ๅŒ–ใŒ็”Ÿใ˜ใšใ€ใพใŸใใฎๅฏพ่ฑกใซไฝ็ฝฎใฎๅค‰ๅŒ–ใ‚’ไธŽใˆใชใ„ใŸ ใ‚ใ€ๅ…ธๅž‹็š„ใช็งปๅ‹•ๅ‹•่ฉžใงใฏใชใ„ใ€‚ใพใŸใ€ๅ…ˆ่กŒ็ ”็ฉถใซ้–ขใ—ใฆใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใจใ„ใ†ๅ‹•่ฉžใฎๅˆ†้กžใซใคใ„ใฆใฏใ€ใ€Ž่ง’ๅท้กž่ชžๆ–ฐ่พžๅ…ธใ€ใงใฏใ€Œ่กŒๅ‹•๏ผž่ฆ‹่ž๏ผž็›ฎๆ’ƒใ€ใจใ•ใ‚Œใฆ ใŠใ‚Šใ€็งปๅ‹•ๅ‹•่ฉžใซใฏๅˆ†้กžใ•ใ‚Œใฆใ„ใชใ„ใ€‚ๅฅฅ็”ฐ้–้›„ใซใ‚ˆใ‚‹ใจใ€็งปๅ‹•ๆ€งๅ‹•่ฉžใจ็ฉบ้–“ใฎ็ตใณใคใใซใคใ„ใฆไปฅไธ‹ใฎใ‚ˆใ†ใซ่ซ–ใ˜ใฆใ„ใ‚‹ใ€‚ใ€Œใ‹ใ–ใ‚Šใจใชใ‚‹ๅ่ฉžใฏๅ ดๆ‰€ใ‚’ ใ—ใ‚ใ™ใ‚‚ใฎใซ้™ใ‚‰ใ‚Œใ€ใใ†ใงใชใ„ๅ่ฉžใŒ้ฃพใ‚Šใฎไฝ็ฝฎใซใใ‚‹ใจใใฏใ€ใ€Žใ€œใฎใชใ‹ ใ‚’ใ€ใ€Žใ€œใฎใ†ใˆใ‚’ใ€ใ€Žใ€œใฎใ‚ใ„ใ ใ‚’ใ€ใจใ„ใ†ใตใ†ใซใ€ใ„ใกใฉ็ฉบ้–“ๅŒ–ใฎๆ‰‹็ถšใใ‚’ ใ†ใ‘ใชใ‘ใ‚Œใฐใชใ‚‰ใชใ„ใ€‚ใคใพใ‚Šใ€ใ€ŽๆŒ‡ใฎไธŠใ‚’ๆญฉใใ€ใจใ„ใ†้€ฃ่ชžใฏๆˆ็ซ‹ใ—ใฆใ‚‚ใ€ŽๆŒ‡ใ‚’ๆญฉใใ€ใจใ„ใ†้€ฃ่ชžใฏๆˆ็ซ‹ใ—ใชใ„ใฎใงใ‚ใ‚‹ใ€ 4 4 ^(4){ }^{4} ใ€‚ใ“ใฎๅˆคๆ–ญๅŸบๆบ–ใซใ‚ˆใ‚Œใฐใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฏๆ–นๅ‘ใ‚„ไฝ็ฝฎ้–ขไฟ‚ใ‚’็คบใ™ๅ่ฉžไปฅๅค–ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ใ“ใจใŒใงใใ€ใ€Œใ€œใฎ ใปใ†ใ‚’ใ€ใ‚’ไป˜ใ‘ใ‚‹ๅฟ…่ฆใŒใชใ„ใŸใ‚ใ€็ด”็ฒ‘ใช็งปๅ‹•ๅ‹•่ฉžใงใฏใชใ„ใ“ใจใŒใ‚ใ‹ใ‚‹ใ€‚
In the phrase "direction noun + ใ‚’ + ่ฆ‹ใ‚‹," the verb "่ฆ‹ใ‚‹" is not a typical movement verb because the action does not cause a change in position for the subject, nor does it impart a change in position to the object. Furthermore, regarding previous research, the classification of the verb "่ฆ‹ใ‚‹" in the "Kadokawa Thesaurus" is categorized as "action > observation > witnessing," and it is not classified as a movement verb. According to Yasuo Okuda, the connection between movement verbs and space is discussed as follows: "The noun that serves as an ornament is limited to those that indicate a location, and when a noun that does not indicate a location comes in the position of an ornament, it must undergo a process of spatialization, such as 'through ~,' 'above ~,' or 'between ~.' In other words, while the phrase 'walking on a finger' is valid, the phrase 'walking a finger' is not." According to this criterion, it can be understood that "่ฆ‹ใ‚‹" can be combined with nouns that do not indicate direction or positional relationships, and it does not require the addition of "ใ€œใฎใปใ†ใ‚’," thus confirming that it is not a pure movement verb.
ใ—ใ‹ใ—ใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฏ้ž็งปๅ‹•ๅ‹•่ฉžใงใ‚ใ‚ŠใชใŒ ใ‚‰ใ€็งปๅ‹•ๅ‹•่ฉžใฎๆ€ง่ณชใ‚’ๆŒใฃใฆใ„ใ‚‹ใ€‚็ฌฌไธ€ใซใ€ไธŠ่ฟฐใฎใ‚ˆใ†ใซใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใŒๅฎŒๆˆ็›ธใงใ‚ใ‚‹ๅ ดๅˆใ€ใใฎๅ‹•ไฝœใฏ่ฆ–็ทšใ‚„่บซไฝ“ใฎ็งปๅ‹• ใ‚’ๅซใฟใ€้€ฃ็ถš็š„ใช็งปๅ‹•้Ž็จ‹ใ‚„็งปๅ‹•ใฎๆ–นๅ‘ใ‚’ๅผท่ชฟใ—ใ€็งปๅ‹•ๅ‹•่ฉžใฎ็‰นๅพดใ‚’ๆœ‰ใ—ใฆ ใ„ใ‚‹ใ€‚็ฌฌไบŒใซใ€ๆ–นๅ‘ๅ่ฉžใŒใ€Œใ‚’่ฆ‹ใ‚‹ใ€ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ๅ ดๅˆใ€ใ€Œ่ฆ‹ใ‚‹ใ€ๅฏพ่ฑกใฎใ‹ ใ‚ใ‚Šใซใ€ใ€Œ่ฆ‹ใ‚‹ใ€ๆ–นๅ‘ใ‚’็คบใ™ใ“ใจใŒใ€้žๆ–นไฝๅ่ฉžใฎๅพŒใซใ€Œใฎใปใ†ใ€ใ‚’ไป˜ใ‘ใ‚‹ใ“ ใจใง็ขบ่ชใงใใ‚‹ใ€‚
However, while "่ฆ‹ใ‚‹" in "ๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹" is a non-movement verb, it possesses the characteristics of a movement verb. First, as mentioned above, when "่ฆ‹ใ‚‹" in "ๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹" is in the perfective aspect, the action includes the movement of gaze or body, emphasizing a continuous process of movement and the direction of movement, thus exhibiting features of a movement verb. Second, when a directional noun combines with "่ฆ‹ใ‚‹," it can be confirmed by adding "ใฎใปใ†" after a non-directional noun to indicate the direction of "่ฆ‹ใ‚‹" instead of the object of "่ฆ‹ใ‚‹."

๏ผˆ7๏ผ‰a ใ‚ฆใ‚ฃใƒซใฏใ“ใกใ‚‰ใ‚’ๅ‘ใ„ใฆ็งใ‚’่ฆ‹ใŸใ€‚ (7) Will looked at me from here.
๏ผˆ7๏ผ‰b ็งใฏใ‚ฆใ‚ฃใƒซใซ่ฆ‹ใ‚‰ใ‚ŒใŸใ€‚ I was seen by Will.
๏ผˆ8๏ผ‰a ็งใŒใฉใ†ใ™ใ‚‹ใ‹ๆฑบใ‚ใ‹ใญใฆ็ซ‹ใฃใฆใ„ใ‚‹ใจใ€ใƒใƒฃใƒŸใ‚ขใƒณใŒๆŒฏใ‚Š่ฟ”ใฃใฆ็ง ใฎใปใ†ใ‚’่ฆ‹ใŸใ€‚
(8) As I stood there unable to decide what to do, Chamian turned around and looked at me.

๏ผˆ8๏ผ‰b ็งใŒใฉใ†ใ™ใ‚‹ใ‹ๆฑบใ‚ใ‹ใญใฆ็ซ‹ใฃใฆใ„ใ‚‹ใจใ€็งใฎใปใ†ใฏใƒใƒฃใƒŸใ‚ขใƒณใซ่ฆ‹ ใ‚‰ใ‚ŒใŸใ€‚
As I stood there unable to decide what to do, I was looked at by Chamian.

๏ผˆ7๏ผ‰a ใซใŠใ‘ใ‚‹ใ€Œ็งใ‚’่ฆ‹ใŸใ€ใฏใ€ใ‚ฆใ‚ฃใƒซใŒใ€Œ็งใ€ใ‚’่ฆ‹ใŸใ“ใจใ‚’็คบใ—ใ€ใ€Œใ‚’ใ€ ใฏๅฏพๆ ผใ‚’ๆ็คบใ—ใ€ๅ‹•ไฝœใฎๅฏพ่ฑกใŒใ€Œ็งใ€ใงใ‚ใ‚‹ใ“ใจใ‚’ๆ„ๅ‘ณใ—ใ€๏ผˆ7๏ผ‰b ใฎใ‚ˆใ†ใซใ€Œ็งใฏใ‚ฆใ‚ฃใƒซใซ่ฆ‹ใ‚‰ใ‚ŒใŸใ€ใจ็ฝฎใๆ›ใˆใ‚‹ใ“ใจใŒใงใใ‚‹ใ€‚ไธ€ๆ–นใ€(8)aใฎใ€Œ็งใฎ ใปใ†ใ‚’่ฆ‹ใŸใ€ใฏใ€ๅ˜ใซใ€Œ็งใ€ใ‚’่ฆ‹ใ‚‹ใฎใงใฏใชใใ€ใ€Œใฎใปใ†ใ‚’ใ€ใŒ่ฆ–็ทšใฎๆ–นๅ‘ๆ€งใ‚’็คบใ—ใฆใŠใ‚Šใ€๏ผˆ8๏ผ‰bใฎใ‚ˆใ†ใซใ€Œ็งใฎใปใ†ใฏใƒใƒฃใƒŸใ‚ขใƒณใซ่ฆ‹ใ‚‰ใ‚ŒใŸใ€ใจ็ฝฎใๆ›ใˆใ‚‹ใ“ใจใฏใงใใชใ„ใ€‚ใ—ใŸใŒใฃใฆใ€ๆ–นๅ‘ๅ่ฉžใŒใ€Œใ‚’่ฆ‹ใ‚‹ใ€ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ๅ ดๅˆใ€ใ€Œ่ฆ‹ใ‚‹ใ€ๅฏพ่ฑกใฎใ‹ใ‚ใ‚Šใซใ€ใ€Œ่ฆ‹ใ‚‹ใ€ๆ–นๅ‘ใ‚’็คบใ™ใ€‚ใ€Œ่ฆ‹ใ‚‹ใ€ใฏๆ–นๅ‘ใ‚„ไฝ็ฝฎ้–ขไฟ‚ใ‚’็คบใ™ๅ่ฉžไปฅๅค–ใจ็ต„ใฟๅˆใ‚ใ›ใ‚‹ๅ ดๅˆใซใฏใ€ใ€Œใฎใปใ†ใ€ใจใ„ใ†ใ€Œๆ–นๅ‘ๅ่ฉžๅŒ–ใฎๆ‰‹็ถšใใ€ใŒไธ่ฆใงใ‚ใ‚‹ใŒใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ๆง‹้€ ใซใฏๆ„ๅ‘ณ็š„ใŠ ใ‚ˆใณๆ–‡ๆณ•็š„ใชๅทฎ็•ฐใŒๅญ˜ๅœจใ™ใ‚‹ใ€‚ใคใพใ‚Šใ€ไธ€่ˆฌๅ่ฉžใฎๅพŒใซใ€Œใฎใปใ†ใ€ใ‚’ไป˜ใ‘ใฆใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใฎใปใ†๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใ™ใ‚‹ใ“ใจใงใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฎ็งปๅ‹•ๅ‹•่ฉžใธใฎ้Žๆธกๆ€งใŒๆดปๆ€งๅŒ–ใ•ใ‚Œใ‚‹ใ€‚
In (7), "I was seen" indicates that Will saw "me," where "ใ‚’" presents the accusative case, meaning that the object of the action is "me," and it can be replaced with "I was seen by Will" as in (7)b. On the other hand, in (8)a, "looked towards me" does not simply mean to look at "me," but "towards" indicates the direction of the gaze, and it cannot be replaced with "I was seen by Chamiann" as in (8)b. Therefore, when a directional noun combines with "to see," it indicates the direction of "seeing" instead of the object of "seeing." When "to see" combines with nouns other than those indicating direction or positional relationships, the "direction nounization process" of "towards" is unnecessary, but there are semantic and grammatical differences in the structure of "direction noun + ใ‚’ + see." In other words, by adding "towards" after a common noun to form "common noun + towards + ใ‚’ + see," the transitivity of "to see" as a motion verb is activated.
ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ€ง่ณชใฏใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใฎใปใ†๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใจๅŒๆง˜ ใงใ‚ใ‚‹ใŸใ‚ใ€ไธ€่ˆฌๅ่ฉžใฎๅพŒใซใ€Œใฎใปใ†ใ€ใ‚’ไป˜ใ‘ใ‚‹ใ“ใจใงใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใŒใ€Œ่ฆ‹ใ‚‹ใ€ใฎๆ–นๅ‘ๆ€งใ‚’ๅผท่ชฟใ—ใ€ๅ˜ใซใ€Œ่ฆ‹ใ‚‹ใ€ใ ใ‘ใงใชใใ€ๆ–นๅ‘ๅ่ฉžใฎไฝ็ฝฎใ™ใ‚‹ๆ–นๅ‘ใธใฎ้–ขๅฟƒใ‚’็คบใ—ใฆใ„ใ‚‹ใ“ใจใŒใ‚ใ‹ใ‚‹ใ€‚ใ“ใฎๆง‹้€ ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ ใ‚‹ใ€ใฏใ€็งปๅ‹•ๅ‹•่ฉžใธใฎ็งป่กŒๆ€งใ‚’ๆœ‰ใ—ใฆใ„ใ‚‹ใ€‚
The nature of "direction noun + wo + miru" is similar to "general noun + no hou + wo + miru," so by adding "no hou" after a general noun, it becomes clear that "direction noun + wo + miru" emphasizes the directionality of "miru," indicating interest in the direction where the direction noun is located, not just "miru" alone. In this structure, "miru" has the transitivity of a movement verb.

4. ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใŒ็คบใ™ไบ‹่ฑก็ช็™บๆ€ง
4. The suddenness indicated by "่ฆ‹ใ‚‹" in "direction noun + ใ‚’ + ่ฆ‹ใ‚‹"

ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ„ใฆใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฎใ‚ขใ‚นใƒšใ‚ฏใƒˆใซใ‚ˆใ‚Šใ€ใใฎๆง‹้€  ใŒไฝœใ‚Šๅ‡บใ™ๆ–‡่„ˆใ‚‚็•ฐใชใ‚‹ใ€‚3.1ใงใฏใ€ใ“ใฎๆง‹้€ ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใŒ่ค‡ๅˆไบ‹่ฑกใ€ใ™ใชใ‚ใกใ€Œ่ฆ–่ฆšไบ‹่ฑกใ€ใจๆ˜ ๅƒใŒๆ‰ใ‚‰ใˆใ‚‰ใ‚Œใ‚‹ใพใงใฎใ€Œ็งปๅ‹•ไบ‹่ฑกใ€ใ‚’ๅซใ‚€ ใ“ใจใ‚’่ฟฐในใŸใ€‚ใพใŸใ€ 3.3 ใงใฏใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ๆง‹้€ ใŒใ€Œ่ฆ‹ใ‚‹ใ€ใฎๆ–นๅ‘ๆ€งใ‚’ๅผท่ชฟใ—ใ€ๅ˜ใชใ‚‹่ฆ–่ฆš็š„ใช่กŒ็‚บใ ใ‘ใงใชใใ€ๆ–นๅ‘ๅ่ฉžใŒ็คบใ™ๆ–นๅ‘ใฎๅ‹•ๅ‘ ใซๅฏพใ™ใ‚‹้–ขๅฟƒใ‚’็คบใ™ใ“ใจใ‚’่จ˜่ฟฐใ—ใŸใ€‚ไปฅไธŠใฎไบŒ็‚นใซๅŸบใฅใใ€็ญ†่€…ใฏBCCWJ ใ‹ใ‚‰ใ€Œๆ–นๅ‘ๅ่ฉžๅ่ฆ‹ใŸใ€ๆง‹้€ ใฎ็”จไพ‹ใ‚’ๆŠฝๅ‡บใ—ใ€ใใฎๆ–‡่„ˆ็š„็‰นๅพดใ‚’ๅˆ†ๆžใ™ใ‚‹ใ“ ใจใ‚’่ฉฆใฟใŸใ€‚
In the structure of "direction noun + wo + miru," the aspect of "miru" creates different contexts. In section 3.1, it was mentioned that "miru" in this structure includes complex events, namely "visual events" and "movement events" until the image is captured. Furthermore, in section 3.3, it was described that the "direction noun + wo + miru" structure emphasizes the directionality of "miru," indicating not only a mere visual act but also an interest in the trends indicated by the direction noun. Based on these two points, the author attempted to extract examples of the "direction noun + mita" structure from the BCCWJ and analyze its contextual features.

๏ผˆ9๏ผ‰ใ€Œไบบใฎ้ซชใฎๆฏ›ใ ใ‚ˆใ€ๆ™ด่กŒใŒใ€ๅฝผๅฅณใฎ่ถณใ‚‚ใจใ‚’ใฟใคใ‚ใชใŒใ‚‰ๅซใ‚“ใ ใ€‚ใŽใ‚‡ ใฃใจใ—ใฆใ€ๅฝผๅฅณใฏไธ‹ใ‚’่ฆ‹ใŸใ€‚ๆฑกใ‚‰ใ—ใ„ๆฏ›ๅธƒใฎ้–“ใ‹ใ‚‰ใ€้•ทใ„้ซชใŒๆบใ‚Œใ‚‹ ใ‚ˆใ†ใซใ€ใฏใฟๅ‡บใ—ใฆใ„ใ‚‹ใ€‚ใ€Œๆญปไฝ“ใ ใ‚๏ผใ€
"(9) 'It's human hair,' Haruyuki shouted, staring at her feet. Startled, she looked down. From between the filthy blankets, long hair was sticking out, swaying. 'It's a corpse!'"

๏ผˆ10๏ผ‰ใ€Œใ ใ‚ใ ๏ผใ€ใ ใ‚Œใ‹ใŒๅซใ‚“ใ ใ€‚ไธ€ๆ–‰ใซใ‚ชใƒผใƒซใฎๅ‹•ใใŒๆญขใพใฃใŸใ€‚ๅˆใ‚
"No way!" someone shouted. The movement of the oars stopped all at once. At first,
ใฆๅ‰ใ‚’่ฆ‹ใŸใ€‚้ป’ใ„ๅทจไฝ“ใฏๆ‚ ใ€…ใจไนฑๆฐทใฎๅฝผๆ–นใซๆถˆใˆใ‚ˆใ†ใจใ—ใฆใ„ใ‚‹ใ€‚ใ€ŒใŠใ„ใ€ใฉใ“ใธ่กŒใใ‚“ใ ๏ผŸใ€่ตคใƒฉใƒณใƒ—ใ‚’ใคใ‘ใฆใ„ใชใ„ใƒ‘ใƒˆใ‚ซใƒผใ ใฃ ใŸใ€‚ใƒ•ใƒฉใƒณใ‚ฏใฏใ‹ใŒใฟใ“ใ‚“ใงไธญใ‚’่ฆ‹ใŸใ€‚้‹่ปขใ—ใฆใ„ใ‚‹็”ทใซใฏ่ฆ‹ใŠใผใˆ ใŒใชใ„ใ€‚
I looked ahead. The black giant was leisurely disappearing beyond the chaotic ice. "Hey, where are you going?" It was a police car without a red light. Frank crouched down to look inside. He didn't recognize the man driving.

๏ผˆ12๏ผ‰็ฟŒๆœใ€ไบŒไบบใฏๅŒๆ™‚ใซ็›ฎใ‚’็›ฎ่ฆšใพใ—ใŸใ€‚ๆœ€ๅˆใซใƒ”ใ‚ขใƒƒใ‚ฏใŒ่ตทใใ‚ใŒใ‚Šใ€ ใƒ‰ใ‚ขใฎใปใ†ใธ่กŒใใ€ๅค–ใ‚’่ฆ‹ใŸใ€‚ใ€Œ้œงใ ๏ผใ€ใƒ”ใ‚ขใƒƒใ‚ฏใŒ่จ€ใฃใŸใ€‚
(12) The next morning, the two woke up at the same time. Piak was the first to get up, go to the door, and look outside. "It's fog!" Piak said.

ๆ–‡่„ˆ็š„ใช่ฆณ็‚นใ‹ใ‚‰่ฆ‹ใ‚‹ใจใ€ไปฅไธŠใฎ 4 ใคใฎๆ–‡ใฎๅ…ฑ้€š็‚นใฏใ€ใ€Œๆ–นๅ‘ๅ่ฉžๅ่ฆ‹ใŸใ€ ใฎๅ‰ๆ–‡ใซใŠใ„ใฆใ€่กŒๅ‹•่€…ใŒๆ„่ญ˜็š„ใซ่ฆ–็ทšใ‚’็‰นๅฎšใฎๆ–นๅ‘ใซๅ‘ใ‘ใ‚‹ๆ–ฐใŸใชๅฅ‘ๆฉŸใŒๅญ˜ๅœจใ™ใ‚‹ใ“ใจใงใ‚ใ‚‹ใ€‚ใ“ใฎๆ–ฐใŸใชๅฅ‘ๆฉŸใฏใ€๏ผˆ9๏ผ‰๏ผˆ10๏ผ‰๏ผˆ11๏ผ‰ใฎใ‚ˆใ†ใช็ช็™บ็š„ใชๅซใณๅฃฐใ‚„ๅฏพ่ฉฑใฎๅฃฐใงใ‚ใ‚‹ใ“ใจใŒๅคšใ„ใŒใ€(12)ใฎใ‚ˆใ†ใซ็ช็„ถ็›ฎใ‚’่ฆšใพใ™ๅ ดๅˆใ‚‚ๅซใพ ใ‚Œใ‚‹ใ€‚ใ“ใฎๆ–ฐใŸใชๅฅ‘ๆฉŸใซใ‚ˆใฃใฆใ€ๅ‹•ไฝœใฎๅฎŸ่กŒ่€…ใฏใใฎๆ–นๅ‘ใฎๅ‹•ๅ‘ใซ้–ขๅฟƒใ‚’ๆŒ ใคใ‚ˆใ†ใซใชใ‚‹ใ€‚ใใ—ใฆใ€ใ€Œๆ–นๅ‘ๅ่ฉžๅ่ฆ‹ใŸใ€ใฎๅพŒๆ–‡ใฏๅคšใใฎๅ ดๅˆใ€้ฉšใในใๆ–ฐ ใ—ใ„็™บ่ฆ‹ใ‚’็คบใ—ใ€็ช็™บ็š„ใชๅ‡บๆฅไบ‹ใ‚’ๆ˜Žใ‚‰ใ‹ใซใ™ใ‚‹ใ‚‚ใฎใงใ‚ใ‚‹ใ€‚ไพ‹ใˆใฐใ€(9)ใง ใฏไบบใฎ้ซชใฎๆฏ›ใ€๏ผˆ10๏ผ‰ใงใฏ้ป’ใ„ๅทจไฝ“ใ€๏ผˆ11๏ผ‰ใงใฏ่ฆ‹่ฆšใˆใฎใชใ„้‹่ปขๆ‰‹ใ€๏ผˆ12๏ผ‰ใงใฏๅค–ใฎ้œงใชใฉใงใ‚ใ‚‹ใ€‚ใ“ใฎใ‚ˆใ†ใชๆง‹้€ ใฏ็ทŠๅผตๆ„Ÿใ‚„ใ‚ตใ‚นใƒšใƒณใ‚นๆ„Ÿใ‚’้ซ˜ใ‚ใ‚‹ๅŠนๆžœใŒ ใ‚ใ‚‹ใ€‚
From a contextual perspective, the commonality among the four sentences above is that there exists a new opportunity for the actor to consciously direct their gaze in a specific direction before the phrase "direction noun + saw." This new opportunity often comes in the form of sudden shouts or voices in dialogue, as seen in (9), (10), and (11), but can also include instances like (12) where one suddenly wakes up. This new opportunity leads the executor of the action to become interested in the trends in that direction. Furthermore, the subsequent sentences following "direction noun + saw" often indicate surprising new discoveries and reveal sudden events. For example, in (9) it is a person's hair, in (10) a large black figure, in (11) an unfamiliar driver, and in (12) the fog outside. This kind of structure enhances tension and suspense.
ไปฅไธŠใฎใ‚ˆใ†ใซใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฏใ€ใใฎใ‚ขใ‚นใƒšใ‚ฏ ใƒˆใ‚„ๆ–‡่„ˆใซใ‚ˆใฃใฆๅ‡บๆฅไบ‹ใฎ็ช็™บๆ€งใ‚’็คบใ—ใ€่ชญ่€…ใซ็ทŠๅผตๆ„Ÿใ‚„ใ‚ตใ‚นใƒšใƒณใ‚นใ‚’ไธŽใˆ ใ‚‹ๅฝนๅ‰ฒใ‚’ๆžœใŸใ—ใฆใ„ใ‚‹ใจ่จ€ใˆใ‚‹ใ€‚
As mentioned above, in "direction noun + wo + miru," "miru" indicates the suddenness of events depending on its aspect and context, playing a role in providing the reader with tension and suspense.

ๅ››ใ€็ต่ซ– 4. Conclusion

ๆ—ฅๆœฌ่ชžใซใŠใ„ใฆใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’ๅ่ฆ‹ใ‚‹ใ€ใฏใ€Œไธ€่ˆฌๅ่ฉž + ใ‚’ ่ฆ‹ใ‚‹ใ€ใจ็•ฐใช ใ‚‹ๆ„ๅ‘ณ็š„็‰นๆฎŠๆ€งใ‚’ๆŒใฃใฆใ„ใ‚‹ใ€‚ใ€Œไธ€่ˆฌๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฏใ€ๅฏพ่ฑก็‰ฉใ‚’่ฆ‹ใ‚‹ใ“ ใจ่‡ชไฝ“ใŒ็›ฎ็š„ใงใ‚ใ‚Šใ€่ฆ–่ฆšๆƒ…ๅ ฑใ‚’ๅพ—ใ‚‹ๆ„ๅ›ณใŒๅผทใใ€ๅ…ทไฝ“็š„ใชๅฏพ่ฑกใ‚’่ฆ‹ใ‚‹ใ“ใจ ใ‚’ๅ‰ๆใจใ—ใฆใ„ใ‚‹ใ€‚ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฏใ€ๆ–นๅ‘ใ‚’่ฆ‹ใ‚‹ใ“ใจใ‚’ๅ‰ๆใจใ— ใฆใ€่ฆ–็ทšใฎๆ–นๅ‘ใ‚’็คบใ™ใ‚‚ใฎใงใ‚ใ‚Šใ€่ฆ–่ฆšๆƒ…ๅ ฑใ‚’ๅพ—ใ‚‹ๆ„ๅ›ณใŒ่–„ใ„ใ€‚
In Japanese, "direction noun + ใ‚’่ฆ‹ใ‚‹" has a different semantic specificity compared to "general noun + ใ‚’่ฆ‹ใ‚‹." "General noun + ใ‚’่ฆ‹ใ‚‹" is primarily aimed at the act of seeing the object itself, with a strong intention to obtain visual information, and it assumes the viewing of a concrete object. "Direction noun + ใ‚’่ฆ‹ใ‚‹," on the other hand, is based on the premise of looking in a direction, indicating the direction of the gaze, and has a weaker intention to obtain visual information.
ไธ–็•Œใฎ่จ€่ชžใซใŠใ„ใฆใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฏๆ–‡ๆณ•็š„็‰นๆฎŠๆ€งใ‚’ๆŒใฃใฆใ„ ใ‚‹ใ€‚ๅคšใใฎ่จ€่ชžใงใฏใ€ไพ‹ใˆใฐ่‹ฑ่ชžใ‚„ใ‚ฆใ‚ฏใƒฉใ‚คใƒŠ่ชžใงใฏใ€ใ€Œ่ฆ‹ใ‚‹ใ€ๅ‹•ไฝœใฎๆ–นๅ‘ๆ€ง ใ‚’ๅผท่ชฟใ™ใ‚‹ใŸใ‚ใซๅ‹•่ฉž่‡ชไฝ“ใŒๅค‰ๅŒ–ใ™ใ‚‹ใ€‚ใพใŸใ€ๆ—ฅๆœฌ่ชžไปฅๅค–ใฎ่จ€่ชžใงใฏใ€ไธญๅ›ฝ่ชžใฎ"ๅ‘"ใ€่‹ฑ่ชžใฎ"at"ใ€ใ‚ฆใ‚ฏใƒฉใ‚คใƒŠ่ชžใฎ"ะฝะฐ"ใ€ใƒ‰ใ‚คใƒ„่ชžใฎโ€žan"ใฎใ‚ˆใ†ใซใ€ๅ‹•ไฝœใฎๆ–นๅ‘ๆ€งใ‚’็คบใ™ใŸใ‚ใซๅ‰็ฝฎ่ฉžใ‚„ๅพŒ็ฝฎ่ฉžใ‚’่ฟฝๅŠ ใ—ใชใ‘ใ‚Œใฐใชใ‚‰ใšใ€ใใฎ็ตๆžœใ€ๅ‹•่ฉžๅฅใŒๅค‰ๅŒ–ใ™ใ‚‹ใ€‚ไธ€ๆ–นใ€ๆ—ฅๆœฌ่ชžใงใฏใ€ๅฝขๅผๅ่ฉžใ€Œใฎใปใ†ใ€ใ‚’่ฟฝๅŠ ใ™ใ‚‹ ใ“ใจใงๅ่ฉžๅฅใŒๅค‰ๅŒ–ใ—ใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใŒใ€ๅ˜ใชใ‚‹่ฆ–่ฆšๆ„ๅ›ณใฎๅผท่ชฟใ‹ใ‚‰ๅ‹•ไฝœใฎๆ–นๅ‘ๆ€งใ‚’ๅซใ‚€ใ‚‚ใฎใซๅค‰ใ‚ใ‚‹ใŒใ€ๅŠฉ่ฉžใฏๅค‰ใ‚ใ‚‰ใชใ„ใ€‚
In the world's languages, the construction "direction noun + wo + see" has a grammatical peculiarity. In many languages, such as English and Ukrainian, the verb itself changes to emphasize the directionality of the "seeing" action. Additionally, in languages other than Japanese, prepositions or postpositions must be added to indicate the direction of the action, as seen in Chinese "ๅ‘," English "at," Ukrainian "ะฝะฐ," and German "an," resulting in changes to the verb phrase. On the other hand, in Japanese, by adding the formal noun "no hou," the noun phrase changes, and the meaning of "direction noun + wo + see" shifts from merely emphasizing visual intent to including the directionality of the action, while the particle remains unchanged.
ใ€Œๆ–นๅ‘ๅ่ฉž +ใ‚’ + ่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๆ„ๅ‘ณใฏใ€ใ€Œๅฏพ่ฑกใฎๆ˜ ๅƒใ‚’ๆ—ขใซๆ‰ ใˆใฆใ—ใพใฃใŸ็Šถๆ…‹ใ€ใจใ€Œๅฏพ่ฑกใฎๆ–นๅ‘ใพใง่ฆ–็ทšใ‚’็งปๅ‹•ใ™ใ‚‹ใ€ใฎไธกๆ–นใ‚’ๅซใ‚€ใ‚‚ใฎ
The meaning of "่ฆ‹ใ‚‹" in "direction noun + ใ‚’ + ่ฆ‹ใ‚‹" includes both "the state of having already captured the image of the object" and "moving the gaze towards the direction of the object."
ใงใ‚ใ‚‹ใ€‚ใ“ใฎๆ„ๅ‘ณใฏใ€ใ€Žใƒ‡ใ‚ธใ‚ฟใƒซๅคง่พžๆณ‰ใ€ใซใ‚ˆใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๅฎš็พฉ(1)ใ€Œ็›ฎใงไบ‹็‰ฉ ใฎๅญ˜ๅœจใชใฉใ‚’ใจใ‚‰ใˆใ‚‹ใ€‚่ฆ–่ฆšใซๅ…ฅใ‚Œใ‚‹ใ€‚็œบใ‚ใ‚‹ใ€ใซ่ฉฒๅฝ“ใ™ใ‚‹ใ€‚ใ“ใฎๆง‹้€ ใซใŠ ใ„ใฆใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฏไบ‹่ฑก่ค‡ๅˆๆ€งใ€็žฌ้–“ๆ€งใจ็ถ™็ถšๆ€งใ€็งปๅ‹•ๅ‹•่ฉžใธใฎ็งป่กŒๆ€งใ‚’ๆŒใกใ€ไบ‹่ฑก็ช็™บๆ€งใ‚’ๆ˜Žใ‚‰ใ‹ใซใ™ใ‚‹ใ“ใจใŒใงใใ‚‹ใ€‚
This means that it corresponds to the definition of "to see" in the "Digital Daijisen" (1) "to perceive the existence of things with the eyes; to take in visually; to gaze." In this structure, "to see" has the properties of event complexity, momentariness and continuity, and the ability to transition to motion verbs, which can clarify the suddenness of events.
ใ€Œ่ฆ‹ใ‚‹ใ€ใŒๆŒใคไบ‹่ฑก่ค‡ๅˆๆ€งใจใฏใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใŒใ€Œ่ฆ–่ฆšไบ‹่ฑกใ€ใ ใ‘ใงใชใใ€ๆ˜ ๅƒใŒๆ‰ใˆใ‚‰ใ‚Œใ‚‹ใพใงใฎใ€Œ็งปๅ‹•ไบ‹่ฑกใ€ใ‚’ๅซใ‚€ใ“ใจใ‚’ๆ„ๅ‘ณใ™ใ‚‹ใ€‚ใ“ใ‚Œใซใ‚ˆใ‚Šใ€
The complexity of the phenomenon that "seeing" possesses means that "seeing" includes not only "visual phenomena" but also "movement phenomena" until the image is captured. This allows for,

ใ€Œ่ฆ‹ใ‚‹ใ€ใฏใ€Œ่ฆ‹ใˆใ‚‹ใ€ใพใงใฎๅ‹•็š„้Ž็จ‹ใ‚’ๅผท่ชฟใ—ใ€ใ“ใฎ้Ž็จ‹ใซใฏ่ฆ–็ทšใŠใ‚ˆใณ่บซไฝ“ใฎ็งปๅ‹•ใŒๅซใพใ‚Œใ‚‹ใ€‚ใ“ใ‚Œใฏใ€ๅ‹•ไฝœ้Ž็จ‹ใ‚’ไฟฎ้ฃพใ™ใ‚‹ๅ‰ฏ่ฉžใ€Œใกใ‚‰ใฃใจใ€ใ‚’่ฟฝๅŠ  ใ™ใ‚‹ใ“ใจใงๆคœ่จผใ™ใ‚‹ใ“ใจใŒใงใใ‚‹ใ€‚
The verb "to see" emphasizes the dynamic process leading up to "to be visible," which includes the movement of gaze and body. This can be verified by adding the adverb "glance" that modifies the action process.
ใ€Œ่ฆ‹ใ‚‹ใ€่‡ชไฝ“ใฏ้Ž็จ‹ๆ€งใฎใ‚ใ‚‹ๅ‹•่ฉžใงใ‚ใ‚‹ใŒใ€ใใฎ็„ฆ็‚นใฎใŠใ‹ใ‚Œๆ–นใซใ‚ˆใฃ ใฆใ€็žฌ้–“ๆ€งใจ็ถ™็ถšๆ€งใฎใฉใกใ‚‰ใ‚’็คบใ™ใ‹ใ€ใ‚ขใ‚นใƒšใ‚ฏใƒˆใฎๆบใ‚ŒใŒ็”Ÿใ˜ใ‚‹ใ€‚ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’ๅ่ฆ‹ใ‚‹ใ€ใฎใ€Œ่ฆ‹ใ‚‹ใ€ใŒๅฎŒๆˆ็›ธใฎๅ ดๅˆใ€่ค‡ๅˆไบ‹่ฑกใซใŠใ‘ใ‚‹็žฌ้–“็š„้Ž็จ‹ ใฎๅง‹็™บใฎๅฑ€้ขใ‚’ๅผท่ชฟใ—ใ€็žฌ้–“ๆ€งใ‚’็คบใ—ใฆใ„ใ‚‹ใ€‚ไธ€ๆ–นใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใŒ็ถ™็ถš็›ธใ€Œไธ€ใฆใ„ใ‚‹ใ€ใ€Œไธ€ใคใฅใ‘ใŸใ€ใฎๅ ดๅˆใ€่ค‡ๅˆไบ‹่ฑกใซใŠใ‘ใ‚‹ๅ‹•ไฝœใฎๆŒ็ถš้Ž็จ‹ใ‚’ๅผท่ชฟใ—ใ€็ถ™็ถšๆ€งใ‚’็คบใ—ใฆใ„ใ‚‹ใ€‚
The verb "to see" itself is a processual verb, but depending on how the focus is placed, it can indicate either momentariness or continuity, resulting in a fluctuation of aspect. In the case of "to see" in the completed aspect with "direction noun + wo + see," it emphasizes the initial phase of a momentary process in a complex event, indicating momentariness. On the other hand, when "to see" is in the continuous aspect "te iru" or "tsuzukete iru" with "direction noun + wo + see," it emphasizes the ongoing process of the action in a complex event, indicating continuity.
ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๆŒใค็งปๅ‹•ๅ‹•่ฉžใธใฎ็งป่กŒๆ€งใจใฏใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใŒๅ…ธๅž‹็š„ใช็งปๅ‹•ๅ‹•่ฉžใง ใฏใชใ„ใŒใ€ๅŒๆ™‚ใซ็งปๅ‹•ๅ‹•่ฉžใฎๆ€ง่ณชใ‚’ๆŒใคใ“ใจใ‚’ๆ„ๅ‘ณใ™ใ‚‹ใ€‚ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๅ‹•ไฝœใŒ็™บ็”Ÿใ™ใ‚‹้š›ใ€ใใฎๅฎŸ่กŒ่€…่‡ช่บซใซใฏไฝ็ฝฎใฎ็งปๅ‹•ใŒ็”Ÿใ˜ใšใ€ใใฎๅฏพ่ฑกใซใ‚‚ไฝ็ฝฎใฎๅค‰ๅŒ–ใ‚’ไธŽใˆใชใ„ใŸใ‚ใ€ๅ…ธๅž‹็š„ใช็งปๅ‹•ๅ‹•่ฉžใง ใฏใชใ„ใ€‚ใ—ใ‹ใ—ใ€ใ€Œ่ฆ‹ใ‚‹ใ€่‡ชไฝ“ใฏ่ฆ–็ทšใŠใ‚ˆใณ่บซไฝ“ใฎ็งปๅ‹•ใ‚’ๅซใฟใ€้€ฃ็ถšใ—ใŸ็งปๅ‹•้Ž็จ‹ใ‚’ๅผท่ชฟใ—ใ€็งปๅ‹•ใซใฏๆ–นๅ‘ๆ€งใŒใ‚ใ‚‹ใŸใ‚ใ€็งปๅ‹•ๅ‹•่ฉžใฎ็‰นๅพดใ‚’ๆŒใคใ€‚ใพ ใŸใ€ไธ€่ˆฌๅ่ฉžใฎๅพŒใซใ€Œใฎใปใ†ใ€ใ‚’่ฟฝๅŠ ใ™ใ‚‹ใ“ใจใงๆคœ่จผใ™ใ‚‹ใจใ€ๆ–นๅ‘ๅ่ฉžใจ็ต„ ใฟๅˆใ‚ใ›ใŸๅ ดๅˆใ€ๆ–นไฝๅ่ฉžใฏใ€Œ่ฆ‹ใ‚‹ใ€ใฎๅฏพ่ฑกใงใฏใชใใ€ใ€Œ่ฆ‹ใ‚‹ใ€ใฎๆ–นๅ‘ใ‚’ๆŒ‡ ใ™ใ“ใจใŒ็ขบ่ชใงใใ‚‹ใ€‚ใ•ใ‚‰ใซใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ๆง‹้€ ใฏใ€Œ่ฆ‹ใ‚‹ใ€ใฎๆ–นๅ‘ๆ€งใ‚’ๅผท่ชฟใ—ใ€ๆ–นๅ‘ๅ่ฉžใฎๆ‰€ๅœจๆ–นๅ‘ใฎๅ‹•ๅ‘ใซ้–ขๅฟƒใ‚’ๅฏ„ใ›ใฆใ„ใ‚‹ใ€‚
The transition of "to see" to a motion verb means that "to see" is not a typical motion verb, but at the same time, it possesses the characteristics of a motion verb. When the action of "to see" occurs in "direction noun + wo + to see," there is no movement of the executor's position, nor does it cause a change in the position of the object, so it is not a typical motion verb. However, "to see" itself includes the movement of gaze and body, emphasizes a continuous process of movement, and has directional qualities, thus possessing features of a motion verb. Additionally, when verified by adding "no hou" after a common noun, it can be confirmed that when combined with a direction noun, the direction noun does not refer to the object of "to see," but indicates the direction of "to see." Furthermore, the structure "direction noun + wo + to see" emphasizes the directionality of "to see" and shows an interest in the trends of the direction noun's location.
ๆ–‡่„ˆ็š„ใช่ฆณ็‚นใ‹ใ‚‰ใ€ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใŒๅฎŒๆˆ็›ธใงใ‚ใ‚‹ๅ ดๅˆใ€ใ“ใฎๆง‹้€ ใฏไบ‹่ฑกใฎ็ช็™บๆ€งใ‚’ๅผท่ชฟใ™ใ‚‹ใ€‚ใใฎๅ‰ๆ–‡ใซใฏใ€่กŒๅ‹•่€…ใŒๆ„่ญ˜็š„ ใซ่ฆ–็ทšใ‚’็‰นๅฎšใฎๆ–นๅ‘ใซๅ‘ใ‘ใ‚‹ๆ–ฐใŸใชๅฅ‘ๆฉŸใŒ็พใ‚Œใ‚‹ใ€‚ใ“ใฎๆ–ฐใŸใชๅฅ‘ๆฉŸใฏใ€ๅคšใ ใฎๅ ดๅˆใ€็ช็™บ็š„ใชๅซใณๅฃฐใ‚„ๅฏพ่ฉฑใฎๅฃฐใงใ‚ใ‚Šใ€ๅ‹•ไฝœๅฎŸ่กŒ่€…ใŒใใฎๆ–นๅ‘ใฎๅ‹•ๅ‘ใซ้–ขๅฟƒใ‚’ๆŒใคใ‚ˆใ†ใซใชใ‚‹ใ€‚ใใ—ใฆใ€ใใฎๅพŒๆ–‡ใฏๅคšใใฎๅ ดๅˆใ€้ฉšใในใๆ–ฐใ—ใ„็™บ่ฆ‹ใ‚’็คบใ—ใ€็ช็™บ็š„ใชๅ‡บๆฅไบ‹ใ‚’ๆ˜Žใ‚‰ใ‹ใซใ™ใ‚‹ใ‚‚ใฎใงใ‚ใ‚‹ใ€‚ใ“ใฎใ‚ˆใ†ใชๆง‹้€ ใฏ็ทŠๅผตๆ„Ÿใ‚„ใ‚ตใ‚นใƒšใƒณใ‚นๆ„Ÿใ‚’้ซ˜ใ‚ใ‚‹ๅŠนๆžœใŒใ‚ใ‚‹ใ€‚
From a contextual perspective, when "่ฆ‹ใ‚‹" in "direction noun + ่ฆ‹ใ‚‹" is in the perfective aspect, this structure emphasizes the suddenness of the event. In the preceding sentence, a new opportunity arises where the actor consciously directs their gaze in a specific direction. This new opportunity often manifests as a sudden shout or the voice of dialogue, leading the actor to become interested in the developments in that direction. The subsequent sentence often reveals a surprising new discovery, clarifying a sudden event. Such a structure has the effect of heightening tension and suspense.
ไปฅไธŠใ‚’ใพใจใ‚ใ‚‹ใจใ€ๆ—ฅๆœฌ่ชžใซใŠใ‘ใ‚‹ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’ๅ่ฆ‹ใ‚‹ใ€ใฏๆ„ๅ‘ณ็š„็‰นๆฎŠๆ€งใ‚’ๆŒใกใ€ไธ–็•Œ่จ€่ชžใซใŠใ‘ใ‚‹ใ€Œๆ–นๅ‘ๅ่ฉž๏ผ‹ใ‚’๏ผ‹่ฆ‹ใ‚‹ใ€ใฏๆ–‡ๆณ•็š„็‰นๆฎŠๆ€งใ‚’ๆŒใฃ ใฆใ„ใ‚‹ใ€‚ใ€Œๆ–นๅ‘ๅ่ฉž +ใ‚’ + ่ฆ‹ใ‚‹ใ€ใซใŠใ‘ใ‚‹ใ€Œ่ฆ‹ใ‚‹ใ€ใฎ็‰นๅพดใจใ—ใฆใ€ใใฎไบ‹่ฑก่ค‡
In summary, the construction "direction noun + wo + miru" in Japanese has semantic specificity, while "direction noun + wo + miru" in world languages has grammatical specificity. As for the characteristics of "miru" in "direction noun + wo + miru," its event complexity...
ๅˆๆ€งใ€็žฌ้–“ๆ€งใจ็ถ™็ถšๆ€งใ€็งปๅ‹•ๅ‹•่ฉžใธใฎ็งป่กŒๆ€งใ€ใใ—ใฆไบ‹่ฑก็ช็™บๆ€งใŒๆŒ™ใ’ใ‚‰ ใ‚Œใ€ๅคšๆง˜ใชๆ–‡่„ˆใซใŠใ„ใฆ้‡่ฆใชๅฝนๅ‰ฒใ‚’ๆžœใŸใ—ใฆใ„ใ‚‹ใ“ใจใŒๆ˜Žใ‚‰ใ‹ใงใ‚ใ‚‹ใ€‚
It is clear that aspects such as compatibility, momentariness and continuity, transition to motion verbs, and event suddenness play important roles in various contexts.

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    3 3 ^(3){ }^{3} ้‡‘้ก็Ž‰ใ€‚ๆ—ฅๆœฌ่ชžๅ‹•่ฉžใฎใ‚ขใ‚นใƒšใ‚ฏใƒˆๆ€งๅŠใณใใฎ็ตฑ่ชžๆง‹้€ ใซใคใ„ใฆ๏ผปM๏ผฝ.ไธŠๆตท๏ผšไธŠๆตทไบค้€šๅคงๅญฆๅ‡บ็‰ˆ็คพ๏ผŒ2015๏ผš132.
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  3. 4 4 ^(4){ }^{4} ๅฐๆฑ ๆธ…ๆฒป๏ผŒ็”ฐ้‚Š็Ÿฅๆˆ. ่‡ชๅ‹•่ฉžใ€Œๅ‘ใใ€ใจใ€Œใ‚’ๆ ผใ€ใฎ็ตใณใคใ[J]. ๅค–ๅ›ฝๆ–‡ๅญฆ, 2002, 51๏ผˆ1๏ผ‰๏ผš67.
    Kiyoharu Koike, Tomonari Tanabe. The connection between the intransitive verb "muku" and the accusative case[J]. Foreign Literature, 2002, 51(1): 67.