2015, Vol.39, No.

This thesis comparatively looks into folklore faiths, expecially child-birth gods related to child-birth customs and aims to find out both nations’ faith in child-birth gods and their features. It looks into birth gods protecting delivering mothers and babies by appearing at the delivery sites at time of delivery and child-rearing gods intervening in growth of babies after they are born. In both nations, many gods are believed in for selection of babies, safe delivery and their healthy growth but those appearing at delivery sites are only birth goddesses called Samsinhalmony and Obugami. What make this phenomenon appear in both nations’ folklore faiths? Seeing the reason in the fact that common negative concept regarding childbirth exists in both nations’ established faiths, the writer comparatively analyzed various cases of delivery-related defilement in both nations’ delivery customs. Its result showed that Japan is stronger in delivery-related defilement concept than Korea is. For instance, Japan regard child birth-related defilement more horrible than that related to funeral. Pursuantly, in Japan stricter regulations on childbirth rooms and stricter taboos for babies have been passed down. Besides, in the process of its comparative study on both nations’ divine images and appearances, the writer paid attention to the fact that unlike Japan’s mountain gods and restroom goddesses appearing at delivery sites, they don’t get involved in childbirth in Korea and discussed Japan’s theory of reincarnation and its mountain goddess’ marginal nature working behind the curtain. I also discussed the phenomenon that both nations’ childbirth gods are passed down as Three gods, which means that their faith in childbirth gods has to be seen as a result of the faith in childbirth gods interacting with the faith in Three gods or the Three-gods theory, accordingly I indicated that it is worth re-consideration to see the Three-God Theory as the core of the faith in Samsinhalmoni. Lastly, though in both nations’ childbirth faith underlies their fear for divine beings, the faith in childbirth gods, strongly coupled with death heritages, is distributed throughout the nation, which is because Japan’s childbirth gods intervening in birth and growth of a new life also actually involve themselves deeply in the sphere of death as well.

Roland Giguère and Poetic Landscape - La main au feu

KIM YONG HYUN | 2015, 39 | pp.153~176 | number of Cited : 0

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Comparison of Korean & Chinese about Cognitive Approach to ‘N+shang’ through ‘loushang’

minsoo park | 2015, 39 | pp.177~190 | number of Cited : 0

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The Analysis of Etymology of Tungus's Ethnic Groups and the Endonym: Centering on the Evenki and Even

Suncheon Eom | 2015, 39 | pp.191~218 | number of Cited : 1

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A Study on the Automatic Description in the Mixed Expression of Foreign Language and Korean Language in Lee Sang's Poetry

Lee Byung Soo | 2015, 39 | pp.219~240 | number of Cited : 3

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The following summarized argument is the comparative research of the characteristics of automatic techniques demonstrated in the mixed expression of foreign language and Korean language in Lee Sang's poetry. Our research examines the use of foreign languages such as French and English shown in Lee Sang's poems, and then, recognized the characteristics of the automatic techniques demonstrated by the parallel marks and signs of Korean language. The automatical technique's element that Lee Sang made use of is a language of loanblend, consisting of free use of French, English, Japanese and Korean. The mathematical and geometric figures such as numbers and shapes can be seen as an important poetic language. In Lee Sang's poetry, the French words “AMOUREUSES” and “ESQUISSE” and English words “I WED A TOY BRIDE” are considered as parts of Korean language. The use of foreign language is seen by the readers as encodes of a unacquainted language and it provides rhetorical characteritstics that gives off profanatory feeling about the poetry. The poet is seen to have created a new poetic language that excess the standards of the limitations that Korean and Chinese marks have through the application of polysems and poliphonyic effects that foreign languages have. The mathematical and geometric signs are Lee Sang’s special experimental elements that can’t be seen in other literary poetries. They are conversational and the requirements for the expression of abstract artistry and esthetics. The language used in his poetry are external to those traditional poetic languages and they mix freely with other poetic elements to become an automatic technique used in the writing. Lee Sang’s techniques can be considered as the pursuit of defiance and departure, freedom about literature and artistry. Moreover, the avant-garde expressionism is the literary form that demonstrated the sense of inferiority, nervousness and loneliness risen from physical pain and the abnormal relationship with women in the poet’s personal life. The technique shows the longingness of the the Western culture and literature that lay dormant in the poet’s consciousness and it is also the expression of ingenious that created the new guide in the Korean poetic literature, exceeding the European surrealism. Lastly, the automatic technique images that are demonstrated by the mixture of the foreign languages and Korean language are the creations of an innate poetic language and poetic literature that can’t be imitated by anyone in Korean literature.

Research on the Modification of Folktales’ Motifs

Seonghee Chun | 2015, 39 | pp.241~286 | number of Cited : 0

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This study explores how folktales’ motifs are used in diverse cultural contents such as literature, movies, or comics. More precisely, it is concerned with mysterious characters like Babayaga and Koshchei who appear in Russian fairytales. When the motifs of the reviewed literature are analyzed, the following three criteria are used for classification: New Writing, Rewriting, and New Version. Or course, it is New Writing that is far from the original work. Most of the collected works, including Joan Aiken’s The Kingdom Under the Sea, Patricia Polacco’s Babushka’s Doll, Babushka Baba Yaga, and Taï-Marc Le Thanh’s BABAYAGA, belong to New Writing. The New Writing type mainly focuses on Babayaga’s secluded life. In fairytales, Babayaga is depicted as the goddess of Mother Earth, the heroine of the Nature, or the ruler of the Animal Kingdom. That is why she lives in the deep and uninhabited wood. She is related to the Coming of Age ceremony. Her ‘Hut on hen’s legs’ is an obstacle for immature protagonists to face before they come of age. Protagonists are supposed to solve the problems posed by Babayaga. If they succeed, they can get her magical help so as to complete their final mission. Babayaga is likely to appear as their antagonist. Protagonist may be subjected to a terrible ordeal created by Babayaga, and then come of age by recovering from that ordeal. Sometimes, Babayaga helps protagonists to get a grip on reality. That is why she lives in a hut in the deep and dark forest which is on the borderline between life and death. On the other hand, Marianna Mayer’s Baba Yaga and Vasilisa the Brave has been classified as a controversial work between New Writing and Rewriting. It is apparently closer to New Version. However, it cannot be classified as a work of New Version because the author incorporates ‘probability’ into her work. Among the reviewed works, it is Korean Writer Rye, Kami’s The Spider Woman’s House that best reflects the essence of Babayaga. Babayaga and other characters are amusing in movies because most of the movies are animations for children. In one sense, it is positive that the scary characters in folktales are approachable to children. In other sense, however, it is regrettable that symbolic motifs are completely eliminated. In Mike Mignola’s Hellboy, Japanese animations such as Index or Narutaru, on-line games such as Cabal or Vampire: The masquerade, the essence of the supernatural characters in folktales is completely eliminated, and only their ‘belligerent power’ stands out. It is desirable to put stories into perspective whether they are written or told. The literature property of folktales provides a special opportunity to readers. In this light, a variety of motifs have a good reason to be reborn as modern cultural contents. The bottom line is to maintain its true nature.

On a Way in which Biographical Film Summons Character and History - Focusing on the Film, The Golden Era -

sung-hee Jin | 2015, 39 | pp.287~308 | number of Cited : 3

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A Study on Xu Xiao Bin’s Sounds of Nature(天籁) - Focusing on Intertextuality of Lee Cheong-jun's Seopyeonje

Choi Eun Jeong | 2015, 39 | pp.309~328 | number of Cited : 0

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On the Study of the Interaction between Syntax and Semantics in See Verb Construction in English

Mija Kim | 2015, 39 | pp.329~354 | number of Cited : 0

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Thoughts on the Culture of Post-80s Generation and Newly Created Words

Kim Soonjin , Han, Yong Su | 2015, 39 | pp.355~380 | number of Cited : 5

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Phonological Characteristics of Russian Nasal Consonants

Kim Shin hyo | 2015, 39 | pp.381~406 | number of Cited : 0

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Russian nasal consonants / m /, / n / have a feature value not only [+consonant] in common with obstruents , but also [+sonorant] in common with vowels. Nasal / m /(bi-labial) and / n /(dental) have the same place of articulation but different manner of articulation. The feature value of / m / is [+cons, +son, +nas, +ant, -cor, -high, -low, -back, -cont, -del, rel, -strid, +voic], and that of / n / is [+cons, +son, +nas, +ant, +cor, -high, -low, -back, -cont, -del, rel, -strid, + voic]. There is a difference in feature [cor] value of / m / and / n /. In this study it is confirmed that it is a fact that the Russian nasal consonants behave differently from the other consonants in each phonological phenomenon due to their phonological characteristics. The preceding voiced obstruent is changed to an unvoiced one in a process where the last voiceless obstruent in the consonant cluster ' voiced obstruent + nasal /m/ + voiceless obstruent' skips the nasal consonant and spreads its feature value to the preceding voiced obstruent transparently because of the feature [+sonorant] of the nasal consonant. The coronal nasal /n/ participates in a palatalization with the following palatal actively and palatalize preceding plain consonants passively because of markedness hierarchy such as 'Velar > Labial > Coronal'. But the labial nasal /m/ is palatalized with the following velar palatal actively and participates in a palatalization with the following coronal palatal passively. This result helps us confirm the phonological difference of /m/ and /n/ in a palatalization. When the a final consonant is nasal, the unvoicing phenomenon of a final consonant doesn't occur. In such a case as cluster 'obstruent + nasal' the feature value [voiced] of the preceding obstruent doesn't change, but the following nasal can assimilate into the preceding obstruent. When continuing the same nasals / -nn- / in a consonant cluster, the feature value [+cont] of a weak position leads the preceding nasal / n / to be changed into [-cont] / l /. Through the analysis of the frequency of occurrences of consonants in syllabic onsets and codas that should observe the 'Sonority Sequence Principle', the sonority hierarchy of nasal consonants has been confirmed. In a diachronic perspective following nasal / m /, / n / there is a loss of the preceding labial stop and dental stop. But in clusters with the velar stop+nasal, the two-component cluster has been kept phonetically intact.

An effect of Content-centered Class Using Movies in Learning Practical Expressions

Kim Hye Jeong | 2015, 39 | pp.407~432 | number of Cited : 7

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The Expression of Ending Sentence in Family Conversations in the Virtual Language - Focusing on Politeness and Sentence-final Particle with Instructional Media -

YANG JUNGSOON | 2015, 39 | pp.433~460 | number of Cited : 0

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A Study of Wangyun's Theory of Gujinzi - Focusing on Fenbiewen and Leizengzi

JaeJoong Oh | 2015, 39 | pp.461~484 | number of Cited : 4

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‘Usage’ and ‘Grammar’ - Focusing on the Rule of Korean Orthography

CHUNG, HEE CHANG | 2015, 39 | pp.485~499 | number of Cited : 3

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Cross-Cultural Studies 2023 KCI Impact Factor : 0.52

2015, Vol.39, No.