@article{oai:repository.ninjal.ac.jp:00003449,
 author = {秋田, 喜美 and AKITA, Kimi},
 issue = {21},
 journal = {国立国語研究所論集, NINJAL Research Papers},
 month = {Jul},
 note = {名古屋大学, Nagoya University, 近年の日本人名には，漢字を冗長に用いるものが散見される。「水月/mizuki/」は/zu/の部分が，「咲希/saki/」は/ki/の部分が，「花奏/kanade/」は/ka/の部分が，それぞれ2つの漢字の読みの一部となっているように見える。本稿では，これらの非規範的な名前を関係形態論の観点から分析する。「水月」型の名前は，composium（compose + symposium）のような，構成要素どうしが音韻的に一部重なる混成語と同様に扱える。一方，「咲希」型と「花奏」型については，(The) Beatles（beat + beetles）のような包含型の混成語に似ているものの，構成要素の表記をともに残している点で異なる。この独自性は，漢字を用いた命名法の創造性の一端を示している。, Numerous Japanese personal names in recent times have started including phoneme sequences that are dually represented by two kanji characters. For example, 水月 /mizuki/ is a female name whose components—水 /mizu/ ‘water’ and 月 /zuki/ ‘moon’—phonologically overlap with each other. 咲希 /saki/ is a female name in which 咲 ‘to flower’ alone can be pronounced /saki/ but is followed by the extra character 希 /ki/ ‘hope’. 花奏 /kanade/ is a female name that illustrates the opposite: 花 /ka/ ‘flower’ + 奏 /kanade/ ‘to play (a musical instrument)’. This paper analyzes these noncanonical names within the framework of Relational Morphology. It demonstrates that 水月-type names are parallel to blends with phonological overlap, such as composium (compose + symposium); 咲希- and 花奏-type names are similar to blends with phonological inclusion, such as (The) Beatles (beat + beetles), but retain their components' orthography, suggesting the creativity of logographic naming., application/pdf},
 pages = {1--13},
 title = {日本語の人名における表記の冗長性 : 関係形態論の観点から},
 year = {2021}
}