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2013, Vol., No.34

  • 1.

    Town of Edo - Folk Entertainment and Public Entertainment -

    林雅彦 | 2013, (34) | pp.7~22 | number of Cited : 0
    War subsided and in the latter half of middle of Edo era, Kyoho year (1716-36), the town of Edo which peaceful days visited, it was with the big city more than a population of 1 million people. During Edo City that became a big city called "Oedohapbyakuhachijyo-大江戸八百八町", it became one of the world's best cities full of gaiety, the activeness, and the people of many kinds of types of job flowed from the whole country commonly. For example, Echigo-ya of the mercer minded a store across the main street in Surugacho (existing Nihonbashi) taken up in a motif of Ukiyoe and Mount Fuji which had going was expected from a background. Furthermore, you will have to pay attention about spring flower viewing, summer fireworks, the daily pleasure trip including the autumn maple-tree viewing when you think about a folklife of Edo. It was the times when a show booth of Asakusa and the two countries neighborhood of the downtown, roam art, strolling musician art in the community were full of the prosperity. I consider some of folk entertainment in the town of Edo and public entertainments.
  • 2.

    A Study on the Catchphrases in Japanese Newspaper Ads and Their Semiotic Analysis

    kwon ik ho | Song, Sook-Jeong | 2013, (34) | pp.23~38 | number of Cited : 0
    This study verified through the used sentences whether the word ‘日本', employed in the catchphrases in Japanese newspaper advertisements, plays the role of a linguistic sign with connotations. As a result, it is known that the connotation of the word ‘日本' serves as an ideological subject to be protected, saved and safeguarded, identified with the world as the supreme value, getting beyond Japan and the image based on the national value. The research further shows that ‘日本’ implies a stronger connotation when pronounced as ‘にっぽん’ than when pronounced as ‘にほん’, and in a sentence in which the state ideology of nationalism is strongly expressed, ‘日本 is pronounced as ‘にっぽん'. The study also shows that the word ‘日本’ as a linguistic sign has developed into a myth through the interaction with the signs connected with each other.
  • 3.

    Problems and Possibilities for Japanese Cultural Education in Korean Universities: Conceptualizing and Reexamining Culture through Discussions by Learners of Japanese

    Momoyo Shimazu | An, Jiyoung | 2013, (34) | pp.39~59 | number of Cited : 1
    Abstract PDF
    This study is a part of a longitudinal study that explores the possibilities of Japanese cultural education from the views of learners of Japanese in Korean universities. The study begins with the premise that educators should understand how learners see and understand Japanese culture on their own, and goes on to show the process through which learners conceptualize and reexamine culture through online-discussions. The four online discussion forums on “Japanese culture,” “Japanese people,” “stereotypes” and “identity” were developed over the course of one semester, following the steps that learners took initiatively: (1) reconfirming their views on Japanese culture, (2) transforming topics spontaneously, (3) pointing out problems about defining Japanese culture and people, (4) examining the concept of stereotypes and reexamining their views toward Japanese culture and people, and (5) connecting their identities and culture. From extracts of learners’ descriptions, this paper examines their observations and reflections on discussing culture with other classmates. The paper also shows how the learners exchanged opinions through discussions on Japanese culture and people, and how they became aware of how to see and talk about culture. Based on data analysis, this paper also discusses both problems and possibilities for Japanese cultural education in Korea.
  • 4.

    Cases of Project-Based Learning in Japanese Communication Classes

    Lee Sun Hee | 2013, (34) | pp.61~76 | number of Cited : 8
    PBL (Project-Based Learning) has been receiving more and more attention in resent year. This paper is a report on the results of applying PBL “Japanese communication” classes. The goals of “Japanese communication” are to help the students develop Japanese communication skills. PBL emphasizes learning activities that are long-term, collaborative and student-centered. Unlike traditional, teacher-led classroom activities, students often must organize their own work and manage their own time in a project-based class. By analyzing outputs of PBL and course evaluation of students through a qualitative and quantitative analysis, students were generally satisfied with the PBL. Especially students actively recognize the difference between the Korean and Japanese style of communication through the PBL. But, problem development and project evaluation methods, however, it is necessary to reconsider.
  • 5.

    A Study on the Level of Demand Related to the Request of Personal Information in South Korea, China and Japan -with A Focus on Internal Situation and Contact Situation-

    YimYoungCheol | Kim Yoon-hee | 2013, (34) | pp.77~94 | number of Cited : 2
    The current thesis surveys the native speakers of Korea, China and Japan, the Japanese learners of Korean, and the Japanese learners of Chinese to analyze and examine the characteristics of the level of demand in each of the scenes in which the personal information is requested of the instructor. And the results are as follows. 1) For the semantic function of the native speakers in Korea, China and Japan, ‘explanation’ is frequently used in Korea and China and 'obliging assent' is frequently used in Korea and Japan, while apology is frequently used in Japan. 2) The native speakers of Korean and Chinese have the strategy to persuade the conversational partner through ‘a lengthy explanation’, while those of Japanese through ‘obliging assent’ and ‘apology’. 3) The native speakers of Chinese manage their language in such a way that the logical explanation strategy works effectively in persuading the partner.
  • 6.

    Study on etymology of Miso - Mainly on Sino-Japanese & Sino-Korean that transliterated Goryeo Miso -

    Cho, Dai-Ha | 2013, (34) | pp.95~110 | number of Cited : 2
    The meaning and the origin of Miso(味噌;みそ) are not yet clarified. In this article, I notice such a fact and based on the pronunciation of a Sino-Japanese that wrote Miso, want to consider an origin of the miso. The conclusions of this article are the following:(1) It is /mjətsu/ when I transliterate ‘密祖’ in ‘鷄林類事’. (2) The ‘美蘇’ is Sino-Goguryeo(高句麗) and based on Sino-Han. This word is /miəsɔ/ as words of Goguryeo. In addition, this word is related to the Middle-Korean ‘메/metsʌ/’. (3) The Miso came from /miəsɔ/ of the Goguryeo word, and /miəsɔ/Japanized it. Then it have changed like /miəsɔ/>/mieso/>/miso/. (4) Miso is fermented food transmitted with a soybean in Japan and is the words that Meju of the materials Japanized. However, the miso have changed for words to express something like Korean Doenjang since a variety of Jang where it applied this in was developed. Therefore, the Japanese miso was not influenced by Chinese Jang culture. You should say that Miso is influenced by Korean, Meju rather than by chinese Jang.
  • 7.

    A sociolinguistic study on kinship terms in Korean and Japanese - Focused on relation by marriage -

    Hong, Min-Pyo | 2013, (34) | pp.111~128 | number of Cited : 9
    Abstract PDF
    This paper carried out a survey (conducted in July-September, 2011) of the use of the terms of address for siblings of spouses and spouses of siblings in Korean and Japanese. The important findings are summarized as follows. (1) In Korean language, basically different kinship terms from the ones for consanguinity are used for addressing siblings of spouse and sibling’s spouses regardless of age differences. As a secondary use, first-name, the terms from the viewpoint of the youngest member of the family and teknonymic terms are also used. (2) In Japanese language, basically the same kinship terms as the ones for siblings of consanguinity are used for elders such as elder brothers and sisters of spouse or spouses of elder brothers and sisters. Secondarily, first-name + san is also used. However, for younger ones such as younger brothers and sisters of spouse or spouses of younger brothers and sisters, first-name + san/kun/chan etc are used the most because there is no addressing term for younger siblings. (3) There are some elements of inequality of the gender among spouses in the addressing terms for siblings of spouse in both Korea and Japan, but there are much more elements in Korean than Japanese.
  • 8.

    Theory of 『Itansyanokanasimi』 - Regarding the desire theory of Lacan -

    KIM SANG WON | 2013, (34) | pp.129~148 | number of Cited : 0
    『Itansyanokanasimi』 is known as the only written confession of Tanizaki Junichiro. Originally Tanizaki finished the writing of his work in August, 1916 with the intention of posting 『Itansyanokanasimi』 on 「中央公論社 in 1916 Sep, but it was first released 11 months later because of the opinions of the editorial department that it could be prohibited from publishing. And Tanizaki added a long introduction which was exceptional to him. To aim this point, this paper was executed to identify the meaning of outsider, psychological conditions and behavior patterns of main character, Shozaburo. First, the plot of 『Itansyanokanasimi』 was examined as study method. Second, the deleted parts were pondered which Tanizaki personally supervised and deleted when he edited his work for 新書版全集(1958 中央公論社版)Results showed that the meaning of the outsider in the work that the desire of Shozaburo which was forbidden in symbolic world that Lacan had suggested was finally realized in the real world. And the psychological conditions of Shozaburo were identified to stay in imaginary world which is a stage of psychological fixation conditions and he could not adapt in the symbolic world. But the author realized the ideal of main character, Shozaburo at the closing section of 『Itansyanokanasimi』, which it is actually impossible in the real world that Lacan mentions. Additionally the release was also connected with the death of Seki, Tanizaki’s mother and it was also a self-justification of publishing of 『Itansyanokanasimi』 which was forbidden and 11 months of gap was also required to add the deleted parts which Tanizaki himself deleted for the release 11 months later.
  • 9.

    The Composition of the Movement of Persons in ‘Genji Monogatari Emaki’ (The Illustrated Handscroll of The Tale of Genji) - With a Focus on “Yomogihu” and “Sekiya” -

    KIM Soomi | 2013, (34) | pp.149~167 | number of Cited : 3
    Abstract PDF
    With most of the drawings in ‘Genji Monogatari Emaki’ depicting human figures inside a building structure, there are only two drawings that show movements of human figures: the “Yomogihu” and “Sekiya” drawings. As for the previous studies, since ‘Genji Monogatari Emaki’ had been prescribed as a segment-type emaki that portrays “a stationary world that doesn't entail the deployment of time in principle,” it has almost never been the subject of discussions in regard to movements of human figures. If so, then, in ‘Genji Monogatari Emaki’ that portrays a stationary world in principle, in what composition do the “Yomogihu” and “Sekiya” drawings depict movements of human figures? Under the awareness of such issues, by comparatively analyzing the main contents of Monogatari (the name of genre) and Gotobagaki, this paper attempted to contemplate the ways in which the contents are projected in the drawings of emaki (The Illustrated Handscroll). As a result, confirmed was the fact that the deployment of time, --as 右, right = the past; and as 左, left = the future --which were shown in the conventional continuous-type emaki, were being applied to the movements of human figures in the “Yomogihu” and “Sekiya”drawings. As shown, it would seem that, in the composition and the movement directions of human figures with respect to the drawings of ‘Genji Monogatari Emaki,’ a logic unique to emaki concerning time is in play and the positioning of the movements of human figures is being done in accordance with the artist’s interpretation of the contents of Monogatari.
  • 10.

    Diversion of Buddhist tales & faith formation of avenging spirit - Focusing on “Nihonryoiki” -

    김홍래 | 2013, (34) | pp.169~188 | number of Cited : 0
    Faith the Holy Spirit has been known to have met for the first time in the Heian period, have seen an article that seems to be the prototype of the Spirit. In "ZokuNihongi" "Nihonsyoki" "Kojiki", we can find the faith of awe and reverence for the spirits of who died, leaving a ill feeling. I think the faith of Holy Spirit in Heian-period, has inherited the faith of such spirits in Nara-period. On the other hand, the Holy Spirit in Heian-period, have been known such as Sawara- sinno, Iyo-sinno, Fujiwara Yoshiko, Fujiwara Nakanari, Tachibanano hayanari, Hunyano Miyatamaro. They have some point in common what the traitor with false charge, the dead in a rural location, the many are involved in the right of successing to the Imperial Throne. This is because under the Fujiwara to succeed to the exclusion of other Clans, and to have all the power of the regent to the emperor, as the most effective way to eliminate the Prince and Princess to be political opponents, using lots of sins of rebellion. The Holy Spirit of the Heian period, has fused the existing evil spirits faith with epidemic-god faith in the private sector. And we can find the factor what is indirect political-criticism by the people. In addition, the selection of the Spirit in Goryoe, are carried out will depend on the complexity of the political situation at that time, it has closely related to the politics of Heian. Was harvesting the first time as a material of the story of faith Holy Spirit, is the Spirit of Nagayao of “Nihonryoiki”. But Kei Kai did not think Nagayao as the vistim of political power-game conscious widely at the time, but regard as a response to the sin of hitting monk. There is some diversion arbitrary of causality by monks. It is considered not only the pride of my monk degree, so that the back-to-back with it, its underlying that there is blame, hatred, resentment, indignation of monk to Nagayao repression.
  • 11.

    Criticism on Suh Doo-soo's view on ‘Sakimorinouta’ - By analyzing his intention of translating ‘Sakimorinouta’ -

    Park Sanghyun | 2013, (34) | pp.189~205 | number of Cited : 1
    Abstract PDF
    Suh Doo-soois the first Korean who entered Keijo Imperial University, took ‘Japanese Language and Literature’ course, and learned Japanese literature in modern academism during the Japanese colonial era. In the heat of the Pacific War, from November 2, 1942 to November 11, 1942, he translated ‘Sakimorinouta’ into Korean among Uta in 『Mannyousyu』 in the name of 「Sakimorinouta : shameful implantation」 in 『the Maeilshinbo』, the official press of Japanese Government-general of Korea. His intention of translating the song was quite obvious. He read ‘the true heart of Japanese’ and ‘lofty national character’ from ‘Sakimorinouta’ and wanted to propagate it as if that is the national identity imbedded in Japanese history. In other words, he projected imperial Japanese nationalism onto the past in order to reconstruct its past. Moreover, his view on ‘Sakimorinouta’ is interlinked with ‘Naichi’. In conclusion, Suh Doo-soo's view on ‘Sakimorinouta’ reflects that he, as a Korean who lived under Japanese colonial rule, internalized imperial Japanese nationalistic view in himself. In addition, his perspective was extension of modern nationstate's typical view on the classic which tries to seek glorious national identity and continuous history from the classic.
  • 12.

    The Editing Sense of an Abridged “Seisuisho” - Based on Yuchoro’s Kyokabanashi -

    이은주 | 2013, (34) | pp.207~221 | number of Cited : 1
    There have been a wide edition with 1,030 short stories and an abridged edition with 310 ones of "Seisuisho" by Anlakuan Sakuden. In abridged edition there are some deleted examples of names and kyoka in comparison of those of a wide edition, which are explained in previous studies as generally changed story forms rather than authors' personal tastes. In order to clarify the forming process of ochi, the essential factor of otoshibanashi, the change of ochi has been studied focusing Yuchoro's kyokabanashi in this study. As the result of the study, we could conclude that they deleted kyoka if the story was completed with ochi even without kyoka and that they didn't delete kyoka if kyoka itself was the main factor of the story. There is an example of deleting name, Yuchoro, with kyoka, which showed that the story before kyoka didn't finish with ochi. We could find out that some kyokabanashis of wide editions were changed into otoshibanashis deleting kyokas in making abridged editions.
  • 13.

    The grotesque aspect of Akutagawa Ryunoske and Tanijaki Junichiro’s novels - Focusing on the space of <Rashomon>, <Shisei> -

    IM MAN HO | 2013, (34) | pp.223~238 | number of Cited : 0
    This study aims at considering the grotesque aspect within the space of a tattooer Seikichi’s upstairs room and Rashomon's loftfocusingon Akutagawa’s <Rashomon>and Tanijaki’s <Shisei>. These two works are not the writer’s first one but they can be considered as the first real work on the point of that those take a role of compass to promote understanding writers’ works. And each work has a common point that there is the grotesque space like the top of door and the upstairs room. In <Rashomon> of Akutagawa, the grotesque of loft; the top of door shows us that the moral sense about the human’s good and evil can be changed by an individual egoism. In <Shisei> of Tanijaki, the grotesque setup of Seikichi’s upstairs room that overlooked Hukagawa Sagacho’s Ohokawa had to exist for the space to carry through the theme that the writer’s alter ego; the hero had the ideal beauty’s body tattooed infusing with his soulful art and kneeled in front of the transfigured woman. Therefore the grotesque setup of Akutagawa and Tanijaki’s novels acts as a factor that they pursued the art-for-art and the love-of-beauty literature. It is difficult to say that Akutagawa and Tanijaki’s two texts characterize the overall aspect of the Japanese grotesque but each work takes a very important role of the grotesque literature connected from the old faith that words have a mysterious power to the modern animation considering on characteristics of Akutagawa and Tanijaki’s the anti-natural, the art-of-art and the love-of-beauty literature.
  • 14.

    The Global View of Shimazaki Toson's Ode on a White Urn - Comparing with Keats' Ode on a Grecian Urn -

    Choi SoonYook | 2013, (34) | pp.239~260 | number of Cited : 0
    The aim of this thesis is to compare and re-interpret Shimazaki Toson's Ode on a White Urn with Keats' Ode on a Grecian Urn which has still been mystified by most of critics and readers who have mainly been pinned down to the mythic parts of the poem. As a concrete research measure, at first, it was to pursue the trace of Keats' Ode on a Grecian Urn. secondly to pursue the trace of presentness in parallel expressed on Toson's. As the method of criticism, the Text-criticism is to deal with Keats' Ode on a Grecian Urn, comparing with Toson's. Toson read mostly the english romantics : Shelley, Byron, Keats, Coleridge, and Wordsworth. For the first stanza, Harold Bloom tells us the mythic level centering on the patterns of the “Urn.” Here “Urn” is an art in itself visible to us. We finds the poet’s fate of being forced to keep on singing regardless of his contemporaries’ concerns and tastes, which shows Keats and Toson's agony losing universality and popularity for his works. In conclusion, Keats and Toson foregrounds the “Urn” and backgrounds significance of art and simultaneously sets mythic historicity and contemporary presentness in parallel. This is concerned with the oracular message to blind readers over centuries : “Beauty is truth, truth beauty, - that is all. / Ye know on earth, and all ye need to know.”
  • 15.

    The Culture Code of Primitive Religion in “Princess Mononoke” and ‘Spirited Away’ - By Focusing on the Aspects and the Role of Primitive Religion -

    Han Chong-mi | Woo Jeonggueon | 2013, (34) | pp.261~281 | number of Cited : 4
    The purpose of this paper is to examine the culture code of primitive religion in “Princess Mononoke” and “Spirited Away” by focusing on the aspects and the role of primitive religion The culture code of primitive religion in “Princess Mononoke”“ Spirited Away” appears in three aspects greatly. There are spirit-of-a-departed-person faith, revengeful ghost faith, and primitive Shintoism. First, it is a spirit-of-a-departed-person faith has appeared as the natural forest in “Princess Mononoke” that has the intense energy as an object of faith. Sesond, it is a revengeful ghost faith and curse god that is representation by San and Nagonokami in “Princess Mononoke”. However, a revengeful ghost does not simply surface as an object of fear, or is not denoted by “Princess Mononoke” only as an object of extermination. Moreover, no revengeful ghosts attributed only to wrong. A third interpretationーthat primitive Shintoism has appeared as gods' world and gods of yaoyorozuーis a lanyard and a sanctuary. The scene into which stone small shrine is thrown away freely appears in the portion of the beginning of “Spirited Away”, and the dry old tree by which the lanyard is stretched just after that is drawn on it. Although there is a role into which a sanctuary and the world are made to divide in this lanyard, since the lanyard is stretched. Moreover, the sanctuary where the world of the gods who are beyond the tunnel of “Spirited Away” was separated from the world. And although the hot water store is drawn as a place where gods such as ‘Filth god’‘Kaonashi’ visit it, this hot water store is functioning as ‘a spiritual place’ in “Spirited Away”.
  • 16.

    Japanese 'Culture Nation Theory' and Cool Japan Strategy

    ParkJeonYull | Choi Jungeun | 최중락 | 2013, (34) | pp.283~300 | number of Cited : 6
    Evaluation of Japan and Japanese culture is very diverse and the spectrum is very wide in accordance with history of the country and the world trade or exchange. Especially seen in South Korea, Japan, historically and realistically must be a important neighbor. Mutual trade dependence is also high and a lot of Japanese visit Korea. The cultural policy of Korea is affected by Japan. Japan and South Korea are in a relationship that may not be aware of each other for economic or cultural phenomenon. Therefore, they tend to be overly responsive to the evaluation each other. When it is thought that the other's rating is positive, it tends to conjugate to their policy or strategy by amplifying or reinterpreting its meaning. Especially in 2002, Japan was regarded as 'Cool Japan', means highly attractive country in the world which has strong soft power, and that was reflected in the policy. Pop Culture such as manga and animation was expected to create a significant competitive advantage and make a huge income in the global market. However, it fell short of the expectations of the Japanese people or government. Japanese people are proud of their culture or Japanese soft power called 'Cool Japan', but the assessment of 'Cool Japan' in overseas was not higher than expected in Japan. So it is suggested in Japan recently that they should be focused on the traditional sense of beauty or value again as important as ones of Pop Culture is.
  • 17.

    About the price of painting and economic environment in the Edo period.

    milim Lee | 2013, (34) | pp.301~323 | number of Cited : 1
    As building connections between paintings and economic environment have begun to emerge, a variety of matters related to the value of paintings becomes open to question, especially in the case of famous artists. When we look at the Japanese Modern Art from an economic perspective, it is questionable if the value of painter's work is based on its original value of the painting or some sort of his or her social status or reputation. Moreover, in the Kang-Ho period it is open to question if the price of a famous artist's painting guarantees the quality of the painting or the quality of painting guarantees the painter's economic success. Needless to say, any conflict between these correlations could be the case quite a few. Unlike to a bottom painter or a civil painter, the painter who worked for 'Ukiyoe' as his or her karma lived a life of many hardships and the price of painting was too low to be compared. Besides, the value of 'Ukiyoe' was lower than a piece of drawing since it was replication of art. In addition, considering the number of the 'Ukiyoe' artists that is as many as the sand of the sea, they had to appeal to a master painter and make their paintings attractive enough to ring the heartstrings of a master. Thus 'Ukiyoe' had to face the reality and express the sense of reality that came from people living in the real world. 'Ukiyoe', however, has not been considered as art till the late Edo period. Although the artistic value of the painting was not lower than the value of a court painter's or a civil one's, 'Ukiyoe' of Utagawa school(歌川派) including Hirosige(廣重) or Hokusai(北齋) could be easily purchased and appreciated at the price of a bowl of udong by anyone. 'Ukiyoe' is one of the art genre which has its significance in the sense of beauty and technique. 'Ukiyoe', however, was widely considered vulgar and civil art due to its biased view which derived from class consciousness in the Kan-Ho period.
  • 18.

    Consideration about Terms and Meaning of Korean Otaku

    Lim Chan Soo | 이윤지 | 2013, (34) | pp.325~342 | number of Cited : 7
    In Japan, Otaku means those who have enthusiasm for subculture like manga, anime, game, pc, sf, and etc. In Korea, it has same meaning but has negative nuance. Usually, in Korea, Otaku is explained as a specific culture of Japan. However, as 40 years passes by since Japanese Otaku culture starts, we can't be sure it's only Japanese's. In Korea, we can confirm Korea also has Otaku through 1995's comic market. That time, many people don't know about Otaku but now, people know who they are. However, compare to its exposure, study about them is short. There are many studies about Japanese Otaku, but not about Korean's. Korean Otaku culture has short history but it spreads quickly through online community. So now, we need to consider Otaku's meaning in Korea. When Otaku was used in Korea first time, it was used as a expert. However, now it means those who have enthusiasm for japanese culture, especially anime. In Korea, Pye-In, ~Ppa, ~Deok, O-Deok-Hoo have same meaning with Otaku. Pye-In means those who are obsessed by their interest and stay home at all time. Also, they don't criticize their interest. At this aspects, Pye-In and ~Ppa have something in common. ~Deok, similar with Japanese mania, means those who have more attention for their hobby more than usual people. At last, O-Deok-Hoo is which pronounce Otaku as Korean and has same meaning. However, O-Deok-Hoo has narrower interest than Japanese Otaku. Korean Otaku means not just having enthusiasm for subculture but having enthusiasm for Japanese contents. This research considers what is Korean Otaku approximately but it would contribute other researches about Korean Otaku in future.
  • 19.

    A study on linguistic landscapes about Indonesian signs in Tokyo : Focus on public and private sings

    磯野英治 | 引田梨菜 | 豊国祥子 and 6other persons | 2013, (34) | pp.343~356 | number of Cited : 1
    Focused on Indonesia which has been carried out a brisk exchange on terms of policies and cultural exchange at recently, this paper described about a tendency and expansion of Indonesia or more specifically, Indonesian language that is exist in Tokyo metropolitan area based on linguistic landscape view. The survey was implemented not only at public institution such as the Indonesian republic embassy, Indonesian republic school, but also at Indonesian store and restaurant as the object of linguistic landscape on private store, and by the survey we could approached the necessity, role and actual condition of Indonesian language that is exist in Tokyo which is concerned as a cultural process of multilingual and internationalization. From the result of the survey, it has been observed that the commonness of public display (Indonesian, Japanese, English) and the diversity of private display (Indonesian, Japanese, English, Hindi, Arabian) has become cleared, particularly we could observe consideration by using the multilingual display in Indonesian food store because they are basically ahalal(legal) store for muslim people.