2015, Vol.38, No.

Cross Penetration of Empire and Colony in Chunhyangjeon by Jang Hyukju

KIM GAEJA | 2015, 38 | pp.7~28 | number of Cited : 3

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Cross Penetration of Empire and Colony in Chunhyangjeonby Jang HyukjuKim, Gae JaThis article considers Chunhyanjeon written in Japanese by Jang Hyukju in1938. His Chunhyangjeon was presented from among the collusion and crackof 'things Japanese' and 'things Chosun' discussed in Japanese literary world inthe 1930's. This article analyzed the writing method and the meaning of the text. Jang Hyukju(張赫宙, 1905∼1997) became known to Japanese literary worldby the second grade nomination of the prize contest of the magazine Kaizo in1932. Since then, he worked actively in the Japanese literary world by writingnovels in Japanese and introducing the literature of Chosun. Thanks to his activity,the literature of Chosun drew attraction from the Japanese, which can be called'boom'. Jang Hyukju was in the middle of this boom. So, his text presented thecollusion and crack of empire and colony. We can make sure this issue fromhis play Chunhyangjeon. When he presented Chunhyangjeon, Jang Hyukju mentioned his purpose ofwriting. He intended to write modern play in new literary style. Chunhyangjeonwas surely the material of things traditional Chosun, which was correspondedto the demand of Japanese literary world. Through the story of Chunhyangjeon,however, he formed the modern text style. He wrote in standard Japanese language,and described things from the perspective style which is often used in modernnovel. And he renewed the character characteristically and arranged the structureof the play. His writing style showed clear distinction in the comparison toChunhyangjeon written by You Chijin which was presented in Korean language2 years earlier than Jang Hyukuju's. The text Chunhyangjeon written in Japanese by Jang Hyukju reflected specificityas a district of Japan. But on the other hand, a new literary method of modernrealism was tried. Chunhyangjeon written by Jang Hyukju shows the crosspenetration of empire and colony. And in his Japanese-language literature, theliterature of Chosun is coexisting and playing variation.

“It’s our grief”: Re-membering Blanche beyond Pity and Fear

Mijeong Kim | 2015, 38 | pp.29~63 | number of Cited : 0

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“It’s our grief”: Re-membering Blanche beyond Pity and FearKim, MijeongThis paper attempts to re-read Tennessee William's A Streetcar Named Desirefrom a non-Aristotelian perspective, particularly focusing on the audienceperformativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a finalpurpose or end (telos) and that is to inspire a catharsis (literally “purification”)of pity and fear by means of representation and to give pleasure from experiencingtheir relief. However, a dramatic theoretician Augusto Boal argues that Aristoteliancatharsis is not to get rid of pity and fear through their vehement discharge; rather,the basic function of catharsis is the purging of antisocial elements from the socialbody and the restoration of order because catharsis occurs when the spectator,terrified by the spectacle of the catastrophe, is purified of his “hamartia” whichlooks similar to the tragic flaw of the hero in the play. Thus, Boal asserts thatAristotle's coercive system of tragedy manipulates the emotions of the passivespectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimationfor a particular political configuration but as the performance of ethical acts―throughwhich all the participants, including not only the actors but also the audience,communicate more actively about practical problems and actively work in orderto make sense of themselves, others, and society. Here, the audience is requiredto restore and reinforce his/her capacity to think and to act; thus, an unquestioning,passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A StreetcarNamed Desire involves the audience in the responsibility for what occurs on thestage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purgingof pity and fear, but empathy toward the other's pain, beyond pity and fear, tocarry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to “re-member” Blanche DuBoi―theiconic Williams victim “dis-membered” by traumatic memories and open woundsand is thus unable to complete her grieving and mourning―as one of us, notas the other. It will be the only way to remember right regarding her tragedy.

Paradox and Irony in Postmodern Picturebook - With Focus on Piggybook by Anthony Browne

Sunhee Ra | 2015, 38 | pp.65~87 | number of Cited : 4

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The Work of Mourning of 9/11 in U. S. A

Oh, Bonghee | 2015, 38 | pp.89~113 | number of Cited : 0

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The Work of Mourning of 9/11 in U. S. Abonghee OHThis paper explores the work of mourning of 9/11 in the United States, focusingon the project of building the National September 11 Memorial managed by theLower Manhattan Development Corporation(LMDC) and the War on Terrordeclared by the George W. Bush administration in the wake of 9/11. This paper first looks at the project of building the Natioanl September 11Memorial and considers what was at stake in achieving this project. It also examinesthe limitations of the project. This paper argues that, in spite of the efforts tomourn the victims in significant and meaningful ways, the work of mourningin the memorial project fails at least in two respects. First, the memorial project“began so soon” right after 9/11 that the victims’ families were not given enoughtime to mourn their loved ones. Second, the project were permeated with Americannationalism and patriotism, which made the 316 non-American victims of 9/11invisible and forgotten. Then, it goes on to examine the War on Terror becausethe War on Terror epitomized the failure of mourning due to these causes. Inhis address to the nation delivered on the very day of 9/11, President GeorgeW. Bush stated that “America was targeted for the attack because we’re the brightestbeacon for freedom and opportunity in the world” and that the terrorists failedto threaten America into chaos. He also stated that America is in “the war againstterrorism.” These statements were a futile reassertion of the illusion of Americaninvulnerability and a prohibition of mourning in favor of violent military responsesto 9/11. American nationalism also underlies Bush’s official naming of September11 as “Patriot Day.” The victims were sacrificed because they were at the sitewhen terrorists attacked, which implies that their death had nothing to do withAmerican patriotism. Naming September 11 as Patriot Day was an act of imbuingthe absurdity of the victims’ death with a false meaning and an act of forgettingthe non-American victims. The failure of the work of mourning of 9/11 consisted in the inability to recognizehuman vulnerability and interdependence and the inability to mourn not onlyAmerican victims but also non-American victims killed in 9/11 and the War onTerror. A meaningful and significant mourning could be possible when we realizesthat all human beings are exposed to one another and their lives are interdependenton one another. September Eleventh Families for Peaceful Tomorrows welldemonstrated this kind of mourning. When most Americans supported violentretaliations, Peaceful Tomorrows made pleas for nonviolent responses to 9/11. Turning their grief into action for peace, its members work “to create a saferand more peaceful world for everyone,” not only for Americans. Their effortto mourn in meaningful and nonviolent ways delivers the message that a disasterlike 9/11 should not happen anywhere.

Consideration of Public-oriented Plays of Lope de Vega

Yoon Yong-wook | 2015, 38 | pp.115~144 | number of Cited : 0

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Consideration of Public-oriented Plays of Lope de VegaYOON, Yong-wookThe purpose of this study is to look into the support activities of the 17thcentury spanish plays which had been taken in various paths in terms of responsesof the then-public who had been enthusiastic about great plays and artworks. Such a phenomenon clearly appeared in the open-air theater 'corral' where ‘Teatronacional’ was performed at that time. Therefore, this study tries to investigatethe functional relation between the public's responses and the prosperity of then-playsfrom the concrete standpoint of Lope's public-oriented plays. Although Lope'splays basically include system-protection ideology, they are thoroughly based onthe public's support and popularity. In short, at that time, Lope's dramatic reformand entailing remarkable hit and success were made possible through thoroughcompliance with the public's preference and thereby the public's absolute supportand affection. The tendency of his public-oriented plays appears in two aspects. One is the common people persecuted and punishment of a wicked man of power. The typical plays in point are Lope's Peribáñez y el comendador de Ocaña andEl mejor alcalde, el rey. Through the plays, the playwright Lope not onlyimplemented praise of absolute monarch very effectively, but soothed the woundedheart of the common people who had suffered pains due to their unfair and lowlysocial status. In this way, his plays might give senses of reliefs and satisfactionto most viewers who identified with the common people in the plays. The otherone is the decisive raise of status of an exemplary commoner, the subject matterwhich had been used by Lope as one of useful means to show the public-orientedtendency of his plays. The cases in point are Los Tellos de Meneses and its succeedingwork Valor, fortuna y lealtad. The two-part work of Lope is about the hard journey,ups and downs, and ascent to the nobility of Tello, an exemplary and rich farmer,and hits young son Tello. Through the two-part play, Lope demonstrated howan exemplary and good-mannered commoner rose to the nobility and therebygave vicarious satisfaction to the then-public and received a lot of praise fromthem. As mentioned earlier, through his public-oriented plays, Lope not only satisfiedthe public's desires and achieved his realistic goal of big success. Not all Lope'splays are public-oriented. Nevertheless, the popular success of 'Teatro nacional'made by Lope and his followers is based on the public's preference and the plays'dramatic responses to their desires, and the strategic elaboration to comfort thepublic suffering lot of pains in daily life.

Korean Characteristics of OkJoongHwa and J. S. Gale's Translation Practices in “Choon Yang”

Lee Sang-Hyun , lee jin sook | 2015, 38 | pp.145~190 | number of Cited : 4

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Korean Characteristics of OkJoongHwaand J. S. Gale's Translation Practices in "Choon Yang"Lee, Sang Hyun ․ Lee, Jin SookThe objective of this paper is to investigate translated individual words in J. S. Gale's "Choon Yang" in comparison with its original OkJoongHwa(『獄中花』)while referring to early modern bilingual dictionaries and missionaries' ethnography. Gale faced a lot of translation difficulties because the source text had a verydifferent cultural system from the object text. OkJoongHwa was a Korean pansorinovel which meant it included many Korean characteristics. However, Galeconsidered its Korean characteristics were deeply connected with Chinese classics. Even famous people and place names cited from the Chinese classics in OkJoongHwarepresented the Korean thinking. Gale tried to faithfully translate the source textas much as possible whether the words were Chinese or Korean. In this paper,we deal with mostly various translation aspects of the Chinese-letter words inOkJoongHwa. Gale's first method to translate words made of Chinese Character is transliteration,the examples of which are the name of Chinese famous people and places, andChinese poems. The second method is to parallel transliteration and Englishinterpretation equivalent to the Chinese Character. The examples are the namesof main characters like "Spring Fragrance or Choonyang," "Mongyong, orDream-Dragon" and in his translation of word play in Osa (Commissioner), orKamsa (Governor), kaiksa (a dead beggar). The third is literal translation of Chineseidiomatic phrases as Gale translated 侵魚落雁 into "She’d make the fishes to sinkand the wild-geese to drop from the sky." The fourth is a little free translationof the title of public office, the various names of Korean yamen servants andthe unique Korean clothing and ornaments. We expect Gale's many translationdifficulties as we can see the translated long list of yamen clerks and Koreanclothing and ornaments. After our investigation of his translation practices in "Choon Yang" we concludethat he tried to translate its literary language very faithfully though he could notavoid inevitable loss caused by the cultural difference involved in two languages. Gale's "Choon Yang" contributed to introducing the uniqueness of the classicalKorean novel and Korean culture to the world more than any other English translationworks of that time through his faithful translation.

Representation of China in Ha Jin’s Works and the Controversy over Orientalism

이수미 | 2015, 38 | pp.191~214 | number of Cited : 7

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Representation of China in Ha Jin’s Works andthe Controversy over OrientalismLEE, Su MeeChinese American Writer, Ha Jin has been writing exclusively about the lifein his native Communist China. His stories and poems are almost all about theChinese people so far. In addition, the distinctive Chinese flavour and the inexorablyrepressive image of China in his works present an ‘Other’ to the American culture. Such kind of Chineseness can also be found in Ha Jin’s works and his careeras a writer. The continued demand for knowledge of China, which is createdby China’s increasingly important role in the globalized economy, sustains thecountry’s position as an Other for America. In his early four novels, Ha Jin portrays a totally repressive image of CommunistChina, an image of which functions perfectly as a form of otherness for his Americanreaders. In Ha Jin’s portrayal, the Chinese masses are subjected to the Communistauthority through its bureaucracy and state-economy mechanism, as well as throughthe godlike image of Mao Zedong. They are to follow the Communist conscienceand subscribe to unity-in-difference. Deviation from the one-party rule is intolerable. In each of the novels, Ha Jin presents a specific system of repression. In In thePond, confrontation against Party authority is contained by a process of complicity. In Waiting, the Party’s power is upheld through a system of surveillance in whichpeople act as agents, resulting in a web of power which paralyses love. The Crazedillustrates a play of power by Party officials which, against the backdrop of theTiananmen Square Massacre, is full of craze itself, driving people either out ofsanity or out of the country. War Trash exposes the Communist power’s repressionto the extreme by presenting a case of dishonour in those whose life is debasedas trash by the Party. The repressive image of China produced in these stories,which span over half a century, makes Ha Jin’s China a perfect Other for theWest. To sum up, Ha Jin’s novels construct a repressive image of China. In his novels,Ha Jin exposes the working of repression in particular systems. Through thesesystems, he problematizes the notion of personal autonomy for Chinese peopleand proposes for his western/American readers a solution which eventually turnsinto a re-presentation of American hegemony.

Southwestern Literature as Heresy of the Russian Empire

Yi Eun Kyung | 2015, 38 | pp.215~243 | number of Cited : 0

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Southwestern Literature as Heresy of the Russian EmpireYi, Eun-KyungThis paper looks at the literary mood of southwestern Russia in the late RussianEmpire, while examining the writers of this area and their literary tendencies. Southwestern literature was formed in the late Russian Empire, and prosperedcentering around Odessa. Because of the uniformity in the Soviet culture, however,it could not stay alive but disappeared in the history of Russian literature. Odessa, the center of southwestern literature was a multiracial region unlikeother Russian cities. A unique culture was created, therefore, combining the westernEuropean culture and local ethnicity. Jews in Odessa could enter into the Russian society and assimilate naturally. They could utilize their talents as a strength to enrich the Russian culture withoutgiving up their cultural heritage. For example, in lingual aspects, using Yiddish was not against the Russianculture. In addition, it contributed to interesting new coinages and led to effortsamong writers to minimize the gap between the two languages. Many Jewish writers showed special interest not only in Yiddish but also inFrench, German and other languages. Therefore, they took the lead in translatingand introducing west classics. As evident in the way Yiddish language was formed, mixing their languagewith other languages enabled jews to soak their way into other cultures naturally. Their yearning for the Russian and western European cultures, combined withtheir unique sense of humor, led to generic twists and problematic experiments. From another point of view, it is also unusual that southwestern literaturediversified locational settings and heroic characters in literary works. European style heros, appearance of multiracial people, pain or waggeryexperienced by Jews in their assimilation process, thrilling revenge to unfair violenceof Russians, and espiegle swindlers are the new domains that southwestern literaturepioneered. In summary, southwestern literature was formed in a heterogeneous culturalclimate, which was entirely different from the Russian Empire. In this regard,it was in deviation from the Russian literary tradition. From the Soviet pointof view, it existed as a heresy which was against the Russian Empire.

The Tasks of Comparative Literary Studies and The Literary Transnationalism

Changnam Lee | 2015, 38 | pp.245~264 | number of Cited : 3

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The Tasks of Comparative Literary Studies and The LiteraryTransnationalismChangnam LeeIn this paper, I suggest methodological ways of studying comparative literatureregarding ongoing discussions of world and national literature. The role ofcomparative literature studies has widened in the contemporary era, in which nationshave become rapidly entangled and the concept of the world as a unified entityis under question. In this regard, I critically review the traditional principles ofthe hospitality of cosmopolitanism and the exclusivity of the borders of nationalliteratures. Further, I suggest that scholars adopt the concept by Sigmund Freudof "unfamiliar familiarity" as a methodological motive for studies of comparativeliterature. Based on this concept, scholars can further develop the unique methodsof the discipline of comparative literary studies for teaching and research amidstthe ongoing phenomenon of globalization. They can also use these methods tosimultaneously contribute to solving the problem of "comparison without a unifyingcategory of the world," as revealed by the results of deconstructional and postcolonialstudies. Regarding community-based discussions of literature, I introduce the "bridgeand door" metaphor, put forth by Georg Simmel, as a key concept in methodologicalconsideration of translation and in comparative literary studies. In this paper,adopting the metaphor of the bridge and door as an intertextual and social modelfor comparative studies, I define the new role of comparative literary studies inliterary transnationalism, which is particularly necessary when different languagesand cultures overlap and become entangled. Regarding the rapidly changingcontemporary world community, comparative literary studies, as an experimentaldiscipline, is uniquely capable of examining this kind of community, which formsitself beyond and beneath individual nations.

The Identity of Morisco en Don Quijote de La Mancha

Juin Lim | 2015, 38 | pp.265~295 | number of Cited : 0

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The Identity of Morisco in Don Quijote de La ManchaLIM, JuinThis article is concerned about a reason for which Cervantes participates anarabic author named Benengeli and morisco translator in his work instead of christianauthor. From the multi-cultural point of view, the time in which Don Qujote waspublished, belongs to the Golden Age. In other words, the society can not besupported by the ideology of Purity of Blood in that the morisco, converso (ChristianJewish) have been permitted to coexist in the name of christian proselyte or NewChristian despite of invisible discrimination. An invisible discrimination is basedon the prejudice and negative stereotype of Old Christian against the New Christian. Cervantes offers an o open space for readers to participate in the creative reading,giving up the absolute authority of author named Benengeli. The deep-rootedprejudice against morisco or muslim author makes the readers of Don Quijotedo reinterpret the contents and have question about his sincerity. This disbeliefis partly on the basis of hypothesis that Don Quijote would be passed on orallyby an arabic or morisco. Leaving the hypothesis alone, Romance, festivalperformances of morisco or the aljamia literature in the Iberian Peninsula havethe chivalry or knights of the Occident. The chivalry in Romance of moriscomeans that morisco would seek assimilation into the mainstream of OccidentalChristian community. At the same time, morisco would be faced with the dilemmaof loss of religious identity. But Taqiyya, islamic doctrine, offsets the dilemmabetween yearning to assimilate into mainstream and religious conscience of moriscoin that Taqiyya permits morisco to convert to Christianity in case that they arein danger of life or the following risk. From this point of view, There is no roomfor doubt about the fact that Taqiyya contributed to social assimilation ormulticultural society of the Iberian Peninsula. It has been a long time since anarrow-minded religious dogma and ideology became a anachronistic relic inmulticultural society of Spain such as the Purity of Blood. From a relative viewpoint,Don Quijote provides a ground for the collective intelligence among christian,muslim(morisco) and converso through a liberal community between readers andauthors who form a pluralistic society.

A Study on Cultural Identities of Jewish Immigrants from Former Soviet Union in Israel : Focused on the Language Use and Acceptance of Religion of the Newcomers who Immigrated during the 1990s

A Young Choi | 2015, 38 | pp.297~329 | number of Cited : 1

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A Study on Cultural Identities of Jewish Immigrants fromFormer Soviet Union in Israel : Focused on the Language Useand Acceptance of Religion of the Newcomers who immigratedduring the 1990sChoi, A-YoungSince 1989 about one million Jews from Former Soviet Union have immigratedto Israel. Now Russian speaking Jews are the second largest ethnic groups afterthe Israeli Jews who were born in Israel. Although FSU Jews have returned to their ethnic homeland, they continue tolive as 'foreigners' due to a cultural distance between sending and receiving society,such as, lack of knowledge about Jewish tradition and religious practice and lowlevel of Hebrew proficiency. Because of this reason FSU immigrants tend to continueremain strong ties with Russian language and culture. There are several reasons for such a relatively slow process of language shiftof FSU Jewish immigrants, the language shift to Hebrew. Firstly, majority ofFSU immigrants moved to Israel since the 1990s are older than 45. Secondly,their first residences in Israel are mostly located in small and mid-sized cities,where the proportion of Russian speaking immigrants is more than 30%. Andfinally they consider Russian culture is 'superior' to Israel's Levantine culture. For many Jewish diasporic communities, Judaism was a dominant factor forself-consciousness, but because of Soviet regime, aimed to break all the religiousinstitution including Jewish, Soviet Jewry was uprooted from their religioustraditions. Besides about 30% of FSU immigrants are not defined as Jews bythe Jewish religious law(Halakhah). And many of them are reluctant to convertto Judaism. FSU Jewish immigrant agree that Israel must be a Jewish state, butfor them 'Jewish' does not include religious elements. FSU immigrants considerthat religious affiliation of citizens of Israel should not affect their civic rights.

The Study of Collation in Shi-Ji SanJiaZhu

SEOWEONAM | 2015, 38 | pp.331~349 | number of Cited : 0

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A Study on the Feasibility and Effectiveness Using Songs: A Case Study of EFL College Students

Ryu Do Hyung | 2015, 38 | pp.351~384 | number of Cited : 1

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The Radical-rule and Arrangement System of Characters of Wu Jing Wen Zi: a Rebuttal of Yu Jiaxi’s View

Kyeong-won LEE | 2015, 38 | pp.385~404 | number of Cited : 0

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On the Regulation for Pronunciation of Loanwords in Korean

Eunkyoung-Lee | 2015, 38 | pp.405~431 | number of Cited : 4

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A Study on Some Types of Separable Syntactic Atoms in Korean

Lee, Hoseung | 2015, 38 | pp.433~459 | number of Cited : 0

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A Study on Some Types of Separable Syntactic Atomsin KoreanLee, Ho-SeungThis paper aims at a better understanding of the concept of korean separablesyntactic atom, of which inner parts is separable in syntax, and at examiningwhether or not this concept can apply to derivatives, functional complexconstructions, idiomatic expressions in korean. I defined a syntactic atom as a minimum unit which is drawn directly fromlexicon and then is applied to syntactic rules. And I insist that so-called ‘lexicalisland constraint’ has some problems and that the syntactic rules can be appliedto inner parts of syntactic atom, if the syntactic rules is irrelevant to new syntacticatom formation. The greater part of derivatives is non-separable syntactic atoms. But the likesof ‘반짝거리다’, ‘죄송스럽다’, ‘칭얼대다’ are the separable syntactic atoms. Thedegree of separability of them is different in the insertion of korean particlesor negative adverbs and the omission of root of sytactic atom. The derivativesof ‘X-적’, of which roots is regular nominal roots, permit the syntactic link betweenroots and the syntactic combination of the root and its argument. These kindsof derivatives is separable syntactic atoms. Also the derivatives of ‘bracket paradox’and ‘X-답-’ derivatives is separable syntactic atoms. All functional complex constructions are not separable syntactic atoms. Accordingto the degree of grammaticalization, inner parts of some are separable, some isnon-separable. Separable functional complex constructions only permit theswitching of endings or Josas but not application of other syntactic rules. Allidiomatic expressions which are composed of two or more syntactic atoms areseparable syntactic atoms. Some of them have so strong separability to allowthe insertion of syntactic atom, adverb or adnominal modification and the nounin idiomatic expression to become the head of the relative clause. And someidiomatic expressions which have weak separability only permit interrogative’ssubstitution or form change in fraction of idiomatic expressions.

Effective Method to Improve the Competence of the Vocabulary by the Image and Listening

Jung,Il-Young | 2015, 38 | pp.461~500 | number of Cited : 0

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Comparative Analysis of Aspect of ChinaModern Chinese Auxiliary "Laizhe"

Han, Keung-Shuk | 2015, 38 | pp.501~521 | number of Cited : 7

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2015, Vol.38, No.