KJC Korea
Journal Central

This study deals with the prepositional alternations of in and at in the ‘Verb in/at V-ing’ constructions, with the purpose of identifying their syntactic and semantic characteristics as well as investigating the linguistic factors that distinguish between two constructions. For doing these works, this study adopts two different methodologies focusing on the data extracted from COCA; collostructional analysis and semantic-functional analysis. As the results, this study proposes the constructional meanings of each construction: the in V-ing construction conveys the meaning of carrying out the event as its basic sense whereas the at V-ing pattern expresses the aim relation with the purpose of attempting to do something with its goal. The evidence can be provided by the results from raw frequency as well as collostructional analysis that succeed occupies the top position as a collexeme most strongly attracted to the in V-ing construction and that the verb aim occupies the top position as a collexeme most strongly attracted to the at V-ing construction. From the second analysis, this study could identify the four linguistic characteristics of these two patterns. These results support the claim that there must be some collocational restrictions in syntactic and semantic aspects of each construction.

In the 21st century, the situation of East Asia's 'youth generation' can be summarized as 'an unstable generation due to an extensive recruitment of temporary employees '. This problem is common among the youth of East Asia in the 21st century. Moreover, they are trying to unshackle the collective hierarchical structure that was built by the past society. In particular, the current generation of young people today face the problem of economic inequality, which has emerged in the process of distributing perks of economic growth that entrenched the 21st century. Young people's expressions of opinion was emphasized in the era of the internet. Moreover, popular cultural products today have nothing to do with politics, but they associate their identity with the youth through entertainment channels. By analyzing the disposition of East Asian youth in the 21st century, we found that modern systems, customs, and norms that East Asian countries followed in the 20th century are no longer valid today. Therefore, we need to reflect on everyday life of the 21st century, which is unlike life in the 20th century, wherein a person underwent four stages, namely, school education, professional life, political reality, and family relations.

This article aims to examine the scope of film politics under the Fourth Republic in French West Africa (AOF). The Overseas Commission du Cinema d’Outre-Mer was established under the Fourth Republic of France, and it has initiated a certain propaganda aimed at glorifying the image of French imperialism and thus going beyond its image spoilt by the Second World War. Considering cinema as a means to better manage its colonies, France sought to create a film industry to shoot, show, and distribute educational films. Arab films and American films, deemed dangerous for the natives of the AOF, saw limited screenings. On the other hand, the Overseas Cinema Commission has introduced quotas for many French films to be shown in AOF cinemas. It has restricted the screening of foreign films other than French films because they need to follow local customs and traditions. In particular, they pointed to Arab films and Western films of the United States as films that could agitate the natives of West Africa. The colonial government reluctantly feared that Arab cinema would be a threat to French colonial imperialism due to its growing worship of Islamic leaders. The colonial government feared that the innocent AOF residents would imitate the violence of American Western films, and it feared that the AOF residents would be shaken as they watched Europeans expel Indians from America.

Unlike most of the countries in the world , including western countries, where theatre barely continues to survive as one of the very minor sub-genres of culture, contemporary Russian theatre has established itself as one of the ‘hot places’ in which various current social problems are shared, interpreted, and spread. The most surprising thing is that the Russian modern theatre has an avid youth audience. This paper studies how Russian theatre has been able to communicate with the so-called 'digital generation' and has established itself as one of the new youth culture platforms in the era of new media in the 21st century. Chapter 2 gives a glimpse of the major trends of changes in Russian theatres in the 2000s and early 2010s, which are often defined as ‘the period of self-reconstruction’. Chapter 3, centering on major theatres and cultural infrastructure that capture the attention of young people, examines various strategies of modern Russian theatres in the new era. In the new media era, Russian theatre is expanding the meaning of theatre itself by creating an active communication with young people, based on the new media.

This essay analyzes Frantz Fanon’s two plays, The Drowning Eye (L’Oeil se noie) and Parallel Hands (Les Mains parallèles), collected in the recently published book, Alienation and Freedom (2018). Both plays were written in 1949, and these plays predate Fanon’s other texts. Though Fanon is well known for his critique of colonial structures of oppression in texts, such as Black Skin, White Masks and The Wretched of the Earth, his plays do not explicitly mention race and politics. The Drowning Eye and Parallel Hands present how characters who have lost their attachment to tradition, such as name, beliefs, and language, sustain themselves in relation to privation and attempt to make a change without being dominated by the death drive. The mood of melancholy is essential for exploring this subject. The characters’ sense of loss resonates with Fanon’s comment on the phenomenological experience of embodying blackness in Black Skin, White Masks. At the same time, the characters’ tendency to vacillate between love and death drive and the enactment of the unknowable encourage us to read into Fanon’s thought beyond the dialectic of exclusion and inclusion. If we are attentive to Fanon’s aspiration for the anti-colonial world and consciousness of difference when reading his plays, we come to understand that the feelings of alienation and melancholy can free us from our former selves.

The "Maghreb" or "Ifriquiya" mentioned in this article was often described or understood mainly in the Arab and Islamic areas because it is within the Islamic culture. This is based on the logic of 'identity', and it has led to various distortions of regional understanding. It can be understood in the same context as what is commonly called Eurocentrism. This study aims to explore Berber's role, which is rarely mentioned in the Sicilian conquest process, and it results in 'identity'. This type of research seeks to overcome the logic of 'identity' and explore various possibilities for exchange of local culture and civilization. It is well known that Sicily was the site of a confrontation between Christianity and Islam in the Mediterranean, and in the Middle Ages, this area was also a land of Islam. The Islamic conquest process was completed before and after the Agrabid dynasty, entering the Fatimid dynasty, but the process was not smooth. This is because the confrontation between the Arabs and Berbers, Berbers and Berbers, and other Islamic sects in "Ifriquia" slowed the conquest of Sicily. In the midst of this, there is little historical assessment of Berber, who has had a profound impact on the islamization of Sicily. This study examines the situation of "Ifriquia" in the process of islamization in Sicily and various backgrounds of Berber's participation in the conquest of Sicily. Thus, based on a number of related literatures, surveys, and research studies, this study can examine the fact that the conquest of Sicily and islamization were led by several Berbers rather than Arabs. Through this study, we can infer the role of Berber in the "periphery" and how they were able to connect the Mediterranean and African civilizations.

This essay explores how Louise Erdrich’s The Round House interrogates a jurisdictional maze in the US legal procedures concerning the protection of Native Women from pervasive non-Indian male sexual violence against them. Moreover, it also explores how the novel envisions their active survival by transforming the legal milieu. Arguably, the author questions the incompatibility of justice/law as shown in the deficient legal treatments of Linden (a white rapist of Geraldine). Furthermore, she advises how the legal environment should change through the negotiation of traditional/modern tribal laws. In addition, the author mentions why the unjust federal Indian laws should be altered urgently. For this study, first, this essay focuses on the tension between an Ojibwe tribal judge, Bazil Coutts (the victim’s husband, a representative of modern tribal law, whose legal power was severely declined by a series of federal Indian laws) and Joe (the victim’s son who appealed for traditional Anishinaabe justice or Wiindigoo justice, which was an unavoidable solution for protecting his mother). The author shows a sympathetic attitude toward Joe as he seriously wanted to remove Linden, the insatiable white Wiindigoo with colonial greed and violence. Second, this essay elucidates the metaphor of tie as a moebius strip, which allows Joe to feel connected to Bazil in terms of their legal perspectives. Through the metaphor, the reader envisions Joe as a future tribal lawyer, who is supported by his community and will do his best to make American lawmakers hear his appeal for restoring the Natives’ sovereignty.

This article views “foreignization” as a translation strategy to confront domestic assimilation ethics by revealing the unfamiliarity of foreign culture, under the Lawrence Venuti’s perspective considering translation as “the works and result of domestication.” In this sense, this article aims to adapt foreignization in Chinese to Korean translation, and it uses names of ethnic minorities from Tibetan decent Chinese writer Alai’s work, “格拉长大,” and culture vocabulary, “火塘,” “寨” from the “格拉长大,” “尘挨落定,” by the same author. The works written by a third-generation ethnic minority in China are included in the “literature written by a foreign writer in his/her mother tongue,” defined as “minor literature” by Deleuze and Guattari. His works are suitable texts for translation using foreignization that has the possibility of fostering heterogeneous discourses. The authors propose a foreignization strategy that can reveal cultural unfamiliarity for target language readers when minor literature (Tibetan) in the mainstream culture (Han Chinese) meets the needs of Korean readers who live in another world.