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This paper is to survey a serise for The Red Cliff which is depicted The Former and Latter Odes on the Red Cliff written by Su Shi. This subject was mainly painted by the literati painters and consistently represented. In format of The Red Cliff, there are basically a types of pictorial depicton in accordance with their contents. Describing the whole scenes and the part of the story. Others is painted which bring from one scene of describing the whole scenes of the story.

The "Name" is not only representative of a person but also a cultural heritage containing national cultures. Therefore, we can easily find some cultural value from the square inch sized seal texts. This article is a comprehensive study of the characteristics of names appeared on the seals in the Warring States Period. In the Warring States Period, single name is generally used for naming and this style can be divided into 13 categories. Except unavoidable cases, such as using the name of place, the name of person or the reason of physical characteristics, using double name is very rare and this style can be categorized by 8 kinds. In result, using double name is defined as a fringe method of naming in the Warring States Period. In addition, we can find a big difference between the names of Warring States Period and those of Post-Qin and Han Dynasties in the structural aspects. In conclusion, understanding of the characteristics of names from the Warring States Period can be a great help to better understanding of ancient books and unearthed documents.

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the ‘interartial’ dimension and the ‘intermedial’ dimension in Peter Greenaway's film, <Prospero's Books> (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's <Birth of Venus>: the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway’s modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play’s meta-theatricality: in other words, Shakespeare’'s text has been adapted without being betrayed.

The purpose of this study is to compare the books exchange between china and Joson dynasty. Books, ancient and modern are an essential part to publish, propagate, administer the books which is a matter of grave concern among nations. Also they are the most important information and the symbol of the government power. As a result, the rulers had brought many necessary books from China and it is a national policy to govern in Joson dynasty. This study will discuss the introduction of chinese books from the Annals of the Joson Dynasty, especially from the first king of the Joson Dynasty, Yi Seong-gye to the ninth king. At that times, Joson Dynasty had attempted to reign various policies. So many books related with the absolute authority of China. In accordance with the book classification method in ancient china, they are have been categorized. Furthermore, it should have been a important clue to check the influence by being brought many books from China.

Narcissism is a pathological phenomenon and narcissistic subject always needs to put itself on the top and has interest in nothing but its own determination. The protagonist of Adversary by Émmanuel Carrère does pay careful attention to what others are thinking of him while he does not distinguish difference between object of love and himself. So he can be allegedly narcissistic subject. And it can be said that the behaviors of Mary in the movie Under the sand by Ozon are included in narcissism in that narcissistic subject has the characteristics that idealizes the object of libido. However, in this study, the heroine is examined based on such a point that the object of love and extreme idealization incline toward others. We call this case reverse-narcissism. In Part 2, it is investigated what relation narcissism as an unconscious psychological tool has with Oedipus complex, which plays an important role in forming human psyche. For instance, disappointment caused by prohibition at the oedipal stage is too severe, which creates superego and its idealization to protect in such a way that narcissistic regression can not be done. Cases of extremely big gap between ego and ideal type are perversion, impostor, mania, paranoia, etc, where narcissistic and oedipal elements are combined to affect.

Lee Chan’s early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan‘’s poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet’s tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s’ poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn’t throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry’s extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

This article is concerned about the symbolic meaning of the transvestism Renaissance perspective through analysis of Triumph Over Persecution work and The Merchant of Venice, and Jealous Ioan Tornese. The transvestism is frequently present in the comedies of the golden age. A woman author Maria de Zayas has a special interest in female identity with critical and defying view. Also the subject of the transvestism in Spanish literature originated in Italian tradition. In Italian literature, there were two types of disguised women, who urge for love and warrior-heroine(amazon). Both types are also listed in Spanish literature. The dress-crossing heroine of Triumph Over Persecution displays a type of heroine, who corrects a male prejudice and reset a harmonious order. Shakespeare is also one of the Renaissance writers under the influence of the Italian Renaissance novel. Heroine of Merchant of Venice symbolizes a triumphant challenge against the blocks of the patriarchal system. In spite of the social system blocks, cross-dressing women may receive in the patriarchal scenes without problems. Based on the notion of paradox and irony, the Italian novel reflects popular psychology of the time when the link between the internal identity and social outside puts into question. The cross-dressing Torneses' wife, symbolizes the mockery or renaissance deception. Their deception emphasis on an ironic way in the point view of inhuman man who consider women material belongs to the man without any free-will. The costume of the characters make it possible to change their original identity into the other. From this point of view, we can say that the transvestism in these works could be interpreted in two ways: first, the destruction of the traditional categories of women's identity and second, the burlesque contempt on the patriarchal renaissance society.

This study analyzes the meaning of madness shown in the female narrative, focusing on two novels- 「Before the Operation」 by Mei Niang and 「Madman`s Diary」 by Baek Shin-Ae. The novel 「Before the Operation」 reveals women’s instinctive desires through an insane woman and brings up a problem of unfair suppression caused by patriarchism. On the other hand, the heroine of 「Madman`s Diary」 shows madness when she is at a crisis to be "the other" in the patriarchal system. Her madness is caused because she fails to find the meaning of her presence in the system. Interestingly, a woman who departs from moral standards of patriarchy (from 「Before the Operation」) becomes thefocus of public censure while a man (from 「Madman`s Diary」) who also ignores those standards seems to be a victim. In 「Madman`s Diary」, the man’s wife is accused of being mad while he draws sympathy as a victim. This shows that those moral standards have duplicity. At this point, the heroines who continuously adjust themselves to the system express their madness. In other words, the madness implies a stern protest against the moral standards applied differently to men and women. It is unique that the two heroines of the novels become "sane" when they encounter thematter of "being a mother". When it comes to 「Madman`s Diary」, "being a mother" of the insane woman who becomes "the other" in the system foretells dismal future. Meanwhile, Mei Niang indicates the way- "being a mother"- to overcome the dismal future through 「Before the Operation」. In this case, the mother is not a figure that reproduces the patriarchal power structure, but an independent figure who wants to change it. For that reason, "being a mother"has the meaning of subversion and resistance.

The purpose of this paper is to examine the possibility of application of some French and German movies to teaching of multi-culture in elementary, middle and high schools. Three different films are selected. <Kirikou and the wild Beasts>(2005), a French animation film directed by Bénédicte Galup and Michel Ocelot, is appropriate for the education of understanding cultural relativity and improving multi-cultural sensitivity in elementary school. <Loin du 16e> is a French short film directed by Walter Salles and Daniela Thomaso and included in omnibus style film <Paris, je t'aime>(2006). This short film relating a story of an immigrated woman who leaves her baby in a crèche and travels through Paris to work for a bourgeois mother can be used for developing a bond of sympathy between natives and immigrants. It is recommended for the class of junior high school. Finally <The Edge of heaven>(2007), a German film directed by Fatih Akin, provide a learning model for the education of multi-culture in high school classrooms. The cinematographic aesthetic of this film is focused on a process of reconciliation with others over the cultural, racial, national and generational differences. Analyzing the structure of the film and being guided by teachers the students can understand better in improving abilities to understand others.

This study aims to observe the features of Korean adjectives composed with symbolic base impling human character. Korean adjectives composed with symbolic base shows more delicate nuances than ordinary adjectives. For observing the feature of them we analyzed the 6000 symbolic words in 'Stanadard Korean Dictionary'. As a result,the symbolic base of adjectives is divided into the one that maintain the basic meaning of symbolic words and the other that do not maintain basic meaning of symbolic words. The base that maintain the basic meaning of symbolic words is divided into the one that has meaning of character and the other that do not has meaning of character. The base that do not maintain the basic meaning of symbolic words is divided into the one that can relate with '-hada' and the other that cannot relates with '-hada'. This study remains the problem in future to examine common points of symbolic base

The subject of the paper is to discern the validity of the translation theory put forward by the ESIT(Ecole Supérieur d'Interprètes et de Tranducteurs, Université Paris Ⅲ) and how it differentiates from the other translation theories. First, the paper will analyze the theoretical aspects put forward by examining the equivalence that may be discerned between the french and korean translation in relation to the original english text that is being translated. Employing the equivalence in translation may shed new insights into the unterminable discussions we witness today between the literal translation and the free translation. Contrary to the formal equivalence the dynamic equivalence by Nida suggests that the messages retain the same meanings whether it be the original or a translated text to the/for the reader. In short, the object of the dynamic equivalence is to identify the closest equivalence to the suggested source language. The concept of correspondence and equivalence defined by theoriticians of translation falls to the domain of dynamic equivalence suggested by Nida. In translation theory the domain of usage of language and the that of discourse is denoted separately. by usage one denotes the translation through symbols that make up language itself. In contrast to this, the discourse is suggestive of defining the newly created expressions which may be denoted as being a creative equivalence which embodies the original message for the singular situation at hand. The translator will however find oneself incorporating the two opposing theories in translating. Translation falls under the criteria of text and not of language, thus one cannot regulate or foresee any special circumstances that may arise in translation of discourse, the translation to reflect this condition should always be delimited. All other translation should be subject to translation by equivalence. The interpretation theory in translation (of ESIT) in effect is relative to both the empirical and philosophical approach and is suggestive of new perspective in translation. In conclusion, the above suggested translation theory is different from the skopos theory and the polysystem theory in that it only takes in to account the elements that are in close relation to the original text, and also that it was developed for educational purposes opening new perspectives in the domain of translation theories.

Japanese Give and Receive Verbs are divided into "YARU", "MORAU"and "KURERU". These are influenced by the subject, speaker's viewpoint and meaning. Three verbs are used in a different way depending on who is the giver and who is the taker. I analyze "YARU" and "KURERU" Verbs used in 『TOUSEISYOUSEIKATAGI』. It focus on politeness, gender, and meaning when combined with 'TE'. As an expression of politeness, 'Yaru' is to give to a person of lower social status or an animal or plant. 'Ageru' is to give to an equal ora person of lower social status nowadays. However, 'Ageru' which is treated as elegance of the language remained expression of respect, 'Yaru' is used when the receiver is a person of lower social status and equal social status in『TOUSEISYOUSEIKATAGI』.'Kureru' is used when the receiver is a person of lower social status and equal social status, 'kudasaru' is used when a person of higher social status gives the speaker something in『TOUSEISYOUSEIKATAGI』. Women speakers use 'oyarinasai' 'oyariyo' 'ageru' 'okureru' and men speakers use 'yaru' 'kureru'. Speech patterns peculiar to men are 'kuretamae' 'kurenka'. If the verbs are joined to 「TE」, they obtain abstract meaning as well as a movement of things. They express some modality for action of the preceeding verbs. The modality has the following meanings；good will, goodness, benefits, kindness, hopeness, expectation, disadvantage, injury, ill will and sarcasm. In addition, 'TE YARU' expresses the speaker's strong will, 'TE KURERU' expresses the speaker's request.

The concept of frame in semantics has implications for our understanding of such problematic terms as 「meaning」 and 「concept」. It is conventional to say that a particular word corresponds to a particular 「concept」 and to assume that concepts are essentially identical across speakers. In contrast, the notion of frame accepts that the frame for a particular word can vary across speakers as a function of their particular life experience. To say, instead of thinking in terms of words as expressing 「concepts」, we should think of them as tools, like frames, that cause listeners to activate certain areas of their knowledge base, with different areas activated to different degrees in different contexts of use. This notion is Fillmore's most crucial contribution to current cognitive linguistic theories, and his frame semantics is built on such a notion. This paper discusses the basic assumptions and goals of frame semantics, and examines the notion of frame and illustrates various framing words of English and Korean under such a notion. (Kyungsung University)

Attitudes toward target language culture and motivation have been known as important factors in second or foreign language learning. In this study, cadets' attitudes toward the target language community and culture were investigated to find out any relationships with English achievement. Integrative or instrumental motivation in foreign military context was investigated to determine which motivation was more positively related to English proficiency. Cadets' responses were shown highly positive and internally consistent in most cases. Military cadets' attitudes toward American culture were statistically significant and could predict their English achievement. Even though integrative motivation was statistically significant, correlation with English achievement was low. However, instrumental motivation was not significant. This result implies that attitudes toward culture is an important factor in foreign language learning and integrative-instrumental motivation dichotomy might not be enough to explain specific context like cadets' English learning situation at Korea Army Academy at Youngcheon.

This paper aims to propose teaching plans based on individual learner's experience and from a cross-cultural viewpoint by applying Currere as a method of Korean life-culture education. Current Korean culture education programs are not systematic, and are being executed without differentiation from language education. Thus, this study proposes Korean life-culture teaching plans based on the method of Currere. We suggested Currere teaching-learning stages and strategies for Korean language learners by adapting Pinar’s and Jeong Seong-a’s method of Currere. The Currere teaching-learning stages consisted of introduction, regression, progression, theme analysis, data analysis, group discussion, and integration. Although the method of Currere is implemented through autobiographic writing, this study added the strategies of ‘personal experience telling’ and ‘schema utilization and background knowledge provision’. In order to enhance the applicability of Currere to Korean life-culture education, we suggested teaching plans for the theme of "How to dispose rubbish" as an example. We suggested detailed teaching plans that teachers can apply in the actual classroom. We expect that these teaching plans may be applied to actual classes so that Korean culture education may not be limited to the acquisition of knowledge, but be linked to their real life.

This study is aimed to investigate the aspect of using relative clauses in Korean. The data used for this study were extracted from the Korean text books for the foreign students and from the Chinese students' Korean compositions. They are the learners of Korean language at the early intermediated stage. As the result of analyzing them, the followings were found Ⅰ)the majority of relative clauses in Korean consists of left-branching sentences, ⅱ)The number of the subject relative clauses was higher than object ones in both. In the aspect of using relative clauses subject ones were used even more frequently than object ones. This result is corresponded to the previous thesis, "the subject relative clauses were acquired earlier than object ones". ⅲ)The relative clauses that those with a head noun function as subject in the main sentence showed in higher proportion in comparison of those as object. That is, this study showed that subjects in the relative clauses were used more frequently than objects in them at the early intermediated stage. Finally, this study analyzed the errors of adnominal ending usage occurring in their compositions. More errors occurred when adjective form ended with '-hada' is changed into adnominal ending one.

Chinese is a topic-prominent language, so when we learn Chinese we should know the discourse function of the Chinese language. Most of the Korean student think Chinese sentences should appear in the order of S-V-O and they always make mistakes when they use Chinese. I think Korean is very similar with Chinese in the discourse function. Hence, in this paper, I try to find a method of teaching Chinese topic sentence. It does so by comparing Chinese with Korean in the light of discourse function. I think when Korean student know how to use Korean topic sentence to explain the discourse functions of the Chinese language, they will not make similar mistakes. With this understanding in mind, chapter 2 tries to show various topic sentences to prove that 'topic' is very important in Chinese sentences. This is why we say Chinese is a topic-prominent language. In chapter 3, I analysis the sentences that students made, and highlight the reasons why they made mistake. The result lies in the reason whereby they always think Chinese should appear in the order of S-V-O. They do not understand why some sentences appear in the order of O-(S)V or S-O-V. It show that they do not know what is topic sentence and do not know how to make topic sentences. Sometime I have them translate them into Korean, but they also make Korean sentences like in the order of Chinese S-V-O. Therefore, I think, under this circumstance, to let them to translate and to speak in Korean in topic sentence, get some feelings about Chinese topic sentences, and tell and make Chinese topic sentences are naturally critical in their training.

This paper explored the academic socialization of a group of Mongolian college students, learning Korean as their L3 (Third Language), by focusing on their uses of an electronic communication channel. From a perspective of the continua of bi-literacy, this case study investigated how Mongolian students who had limited exposure to a Korean learning community overcame academic challenges through the use of a written communication channel as a tool in the socialization process. Data were collected mainly through three methods: written products, interviews, and questionnaires. The results from this study were as follows. Interactional opportunities for these minority students were seriously constrained during the classroom practices in a Korean-speaking classroom. They also described the lack of communicative competence in Korean and the limited roles played by L2 (English) communication as key barriers to classroom practices. However, students' ways of engaging in electronic interactions differed widely in that they were able to broaden interactional circles by communicating their expertise and difficulties with their Korean peers through the electronic channel. More importantly, the communication pattern of "L2-L2/L3-L3" (on a L2-L3 continuum) emerging from data demonstrated how these students used a written channel as a socialization tool to mediate their learning process in a new community of learning. This study argues that a written communication channel should be taken as an essential part of teaching practices especially for foreign students who cannot speak Korean fluently in multi-cultural classes.