Earticle

‘주례’(周禮)는 중국 예악문화의 연원이 자기원이다. 그 문화내용의 주요 부분은 선진(先秦)시대의 ‘삼례’(三禮)에서 비롯되며, 내용적으로는 국가 차원의 예악 문화, 귀족생활의 의례제도와 관련된 예악 제도와 이론의 세부분으로 구성된다. ‘주례’의 내용은 중국전통문화의 핵심정신을 이루는데, 예스럽기도 하지만 젊고 새로운 부분도 있다. 오늘날 현대국가를 통치하는 데에도 정치수단과 운영 철학에 있어서 여전히 시사하는 바가 있다. 그리고 삶을 살아가는 사회적 개체의 사상 가치와 도덕정신에 대해서도 여전히 지도적인 역할을 하고 있다.

Zhou Li is the origin of Chinese ritual music culture. Its cultural connotations mainly come from the ‘three courtesies’ of Pre-Qin society. It consists of three parts: the ritual music culture at the national level, the etiquette system of aristocratic life, and the related rites and music theories. The content of Zhou Li has formed the core of Chinese traditional culture. It is ancient and young. It not only inspires modern society to govern the society, but also plays a guiding role in the ideological value and moral spirit of the individual living in the society. It also plays an important role in the exchange and communication between globalized countries and mankind.

이 연구의 목적은 중국 귀주성 검동남(黔東南) 지역 묘족(苗族) 차이구 춤（踩鼓舞)의 문화적 의미와 문화적 기능을 살펴보는 것이다. 연구 방 법은 문헌 연구와 현장 조사를 하였다. 이를 통하여 다음과 결은 결과를 얻었다. 우선, 묘족 전통 무용 문화의 중요한 유형인 차이구 춤은 묘족 의 전통문화를 대표한다는 것이다. 문화구조이론으로 차이구 춤의 심오 한 문화적 의미와 다양한 문화적 기능을 분석하였다. 그중 여성문화와 결혼문화는 독특한 특성을 형성하고 있으며 이러한 문화적 특성은 역사 적 발전 과정에서 점차 형성되었다. 결국, 중국식 현대화의 급속한 발전 의 맥락에서 고대 묘족 차이구 춤의 문화적 특성을 이해하는 것은 그 계 승과 발전에 도움이 되며 인류 문화 다양성 보호에 대한 시대적 요구에 도 부합하는 것이다.

The study of the Miao Caigu Dance in Qiandongnan, Guizhou Province, China, reveals the unique cultural connotations and cultural functions of the Miao Caigu Dance. To this end, the literature research method and fieldwork method were employed. The results of the study are as follows: As an important type of Miao traditional dance culture, the Caigu Dance represents the epitome of Miao traditional culture. Its profound cultural connotations and diversified cultural functions are analysed with the help of the theory of cultural structure. Among these, the female culture and the culture of marriage and love are unique, having gradually formed in the process of the Caigu Dance's historical development. In the context of rapid modernisation in China, it is important for the ancient Caigu Dance to retain its cultural characteristics, which will facilitate its continued inheritance and development. This will also ensure that the dance meets the requirements of the times for the protection of human cultural diversity.

맹자의 ‘經權’ 사상은 중국 전통 문화의 중요한 구성 요소 중 하나이다. 맹자는 ‘仁德’과 ‘敬重’이 도덕적인 사회 건설에 중요한 역할을 한다고 주장하며, ‘經’의 범위와 ‘權’의 변통성을 강조하였다. 맹자가 강조한 경권의 처리 방식은 후대 경 권사상의 발전을 이끌었다. 원칙성과 원활성이 서로 결합한 ‘경권’ 사상은 후대의 사유와 행위 방식에 지대한 영향을 끼쳤으며, 현대 사회의 도덕적 사회 건설에도 매우 큰 가치를 지니고 있다.

Mencius's "Ethical Rules and Accidental remodeling" thought is an important part of Chinese traditional cultural genes. Mencius emphasized the core role of "benevolent" and "respect" in ideological and moral construction, and paid attention to the norms of "jing" and the flexibility of "Behavior" Mencius's approach to Ethical Rules and Accidental remodeling has promoted the development of future Ethical Rules and Accidental remodeling thoughts. The "Ethical Rules and Accidental remodeling" thinking method combining principle and flexibility has a profound impact on the thinking paradigms and behavior models of future generations, and it still has a role in the construction of contemporary social moral Important value.

孟子“经权”思想是中国传统文化基因的重要组成部分。孟子强调“仁德”“敬重” 在思想道德建设方面的核心作用，注重“经”的规范与“权”的变通性。孟子强调的 经权处事方式促进了后世经权思想的发展，原则性与灵活性相结合的“经权”思想 方法对后世的思维范式与行为模式产生深远影响，在当代社会道德构建中仍具有 重要的价值。

Boccaro Teapot is one of the main carriers of tea culture in China. This paper introduces the material and its applied characteristics, modelling, development history, appreciation, and cultural connotation of boccaro tea sets. This article mainly introduced some classical works of Chinese boccaro artists. The production characteristics, display form and artistic connotation are recommended. Chinese boccaro teapots are both practical tea sets and works of art, they fully conveys the culture connotation of tea culture. The author thinks the main connotation of tea culture is to respect and tolerate, hopes people’s the positive attitude and wishes to create a harmonious happy life together. Since the advent of boccaro teapots, they are popular all over the world, especially loved and collected by people from mainland China, Taiwan, Hong Kong, South Korea, Japan and Southeast Asian countries.

In the fiercely competitive landscape of urban tourism destinations, strategic destination branding has emerged as a critical differentiator. As one of the three core elements of destination branding, tourism slogans represent the most prevalent and extensively utilized instrument by destination marketers in urban tourism promotion. Previous research on tourism slogans has predominantly examined their characteristic features and effectiveness, with scant attention to typological influences on travel intention. This study pioneers a theoretically grounded dichotomy?cognitive versus affective tourism slogans?and demonstrates their differential impact through dual mediation (slogan attitude and destination attitude). Results reveal cognitive slogans exert significantly stronger effects on travel intention than affective counterparts. Crucially, we identify travel motivation (utilitarian vs. hedonic) as a key boundary condition: utilitarian contexts amplify cognitive slogans’ efficacy. Hedonic contexts enhance affective slogans’ influence. Methodologically, our mixed-methods design?incorporating qualitative inquiry, secondary data analysis, and behavioral experiments?advances tourism slogan typology research while providing destination marketers with empirically validated strategic tools for audience-specific branding

For a long time, sound as a dimension of film art has been concerned and studied, focusing on the selection and combination of sound elements in the film, the relationship between sound and painting, aesthetic tendencies and artistic effects etc. The rise of the study of auditory culture promotes the study of sound in movies to have a new orientation and possibility, and because of the intentional emphasis on sound elements and cultural infiltration in many movies, auditory image has a different meaning, and then presents a more novel and unique role of cultural implication and memory extension than visual image. Wang Xiaoshuai’s Three Line Trilogy：Crimson Red (2005), I 11 (2012) and Intruder (2014), trying to evoke some sort of painful collective memory with the pain of individual life, and trying to reveal some kind of historical role that the ethnic group should have by refining the sound image, and further making the film a far-reaching but particularly true historical echo. Consciously using sound image make “Three Line Trilogy” to be a meaningful auditory landscape; The film also establishes the identity and spiritual background of the “three-line people” with special historical and cultural connotations; The Three Line Trilogy expresses the complex homesick feelings of “third-line people”, and considers the possible redemption of this group. To a certain extent, it forms an in-depth narrative about memory and reflection.

The Cultural Connotation in Male Appellations and Their Written SymbolsKim, Hoon-Ho Liu, Xing-JunThis paper studies the cultural connotation of three male appellations "男"(man), "夫"(husband) and "父"(father) from the perspective of Chinese linguistics, history and culture and folklore. The three Chinese characters refer to the different environment and growing phase a man was in. "男" symbolizes a man working in a filed; "夫"indicates a married man; "父" represents a sophisticated man with wives and children. There is a world of difference existed between "男" and "女", "夫" and "" ,"父" and "母". Such a huge difference stems from the highly-centralized patriarchal social system that China had adopted since Shang and Zhou Dynasties. While endowing men with high social status and noble reputation, patriarchal society imposed multiple behavior criterions and moral responsibilities upon men. By studying the cultural connotation in male appellations and their written symbols, we could find the interaction between Chinese linguistics and the history and social customs of Han ethnic group.

The origin of the ‘rainbow’ in oracle bone inscriptions has been debated in the academic circles, but no final conclusion has yet been found. According to what the ‘rainbow’ in the oracle bone inscriptions looks like, scholars roughly divide it into two categories: the ‘snake’ and ‘dragon’. Reviewing previous argumentations on this issue and resting on comprehensive analysis of various views, this paper traces the academic origin of the ‘rainbow’ in the oracle bone inscriptions, and, at the same time, takes the ‘rainbow’ as the ‘dragon with two heads’, one of the description views on it. Furthermore, it, by means of combining with some arguments over the present archaeological results and discussing again relevant points of them, puts forward an argument that the ‘rainbow’ in the oracle bone inscriptions was taken from the image of the ‘dragon’. On the basis of this argument and relevant theories of philology, archaeology and cultural anthropology, it reinterprets the cultural connotation of ‘auspicious and ominous symbols’ and ‘gender metaphor’, both of which are unique to the special natural phenomenon of the ‘rainbow’ in Chinese culture. Analyzing the cultural meanings such as pouring rain, giving birth to an emperor or a sage, fornication and reproduction, etc. also helps to explain the cultural interconnectedness between the ‘rainbow’ and ‘dragon’ or, more specifically, dragon worship-related cultural prototypes of China.

奴隶的人身、权利与生产生活资料属于奴隶主，是奴隶主的私有财产，从事生产与劳动，其生杀予夺之权尽归于奴隶主。奴隶在中国商周时期的社会记录中占据重要的篇幅，在当时主要的书写载体——甲骨中刻写了很多关于奴隶的字。通过观察这些字的字形可以了解其造意及其蕴含的文化含义。本文选取的尾、隶、奚、仆羌五个字，从其甲骨或金文字形的构造出发，通过商周时期奴隶的异族着装特征、奴隶的外族属性、奴隶的捕获方法与途径、奴隶的刑罚以及古时特有的奴隶的人牲人祭的角度分析了其各自所含有的文化意蕴。在本文的分析中，“尾”由原始部落图腾崇拜演变为代表奴隶身份重要的服装特征；“隶”蕴含着奴隶制度下奴隶不堪重压不断逃亡的反抗史；“奚”与商周时期异族奴隶迥异于华夏民族的辫发习俗有关；透过“仆”的构造可以窥见商周奴隶遭受的刑罚；“羌”字则最为鲜明地表现了奴隶制度的血腥和奴隶无法拥有自主人权的本质特征。

China was a slave society in the Shang and Zhou Dynasties. There are many words about slaves in the existing oracle bone inscriptions.By observing the form of these characters, we can understand their meanings and the cultural meanings contained in them. This paper selects five characters: wei, li, xi, pu and qiang,and analyzes the structure of its oracle bone inscriptions or bronze inscriptions.This paper analyzes the cultural implication of the slaves in the Shang and Zhou dynasties from the characteristics of the slaves' foreign clothing, the characteristics of the slaves' foreign nationality, the methods and ways of the slaves‘ capture, the punishment of the slaves and the unique human sacrifice of the slaves. In the analysis of this paper, “Wei” has evolved from the totem worship of primitive tribes to an important costume feature representing the identity of slaves. “Li” contains the history of the slave‘s resistance to escape under the pressure of slavery. “Xi” is related to the custom of braiding hair of slaves of different nationalities in Shang and Zhou dynasties. Through the structure of “Xi”, we can see the punishment of slaves in Shang and Zhou Dynasties. “Qiang” is the most obvious expression of the bloody slavery system and slaves can not have the essential characteristics of human rights.

Abundant cultural information is included in the items for names, marriage and family, Zi or Hao, and the description of women in Shuowen, a noted Chinese dictionary. The research and analysis on it will help us understand the customs, morals, social systems, tastes and habits of thought in ancient China, and comprehend the basic characteristics and spirits of Chinese culture.

Idiom is a kind of short and finalized language type and language expression that people love to see and hear. It is also proper to say that idiom is the production of human beings’ cognitive activities, possessing the attribute of surpassing nation, history and cultural background. Idiom comes from working people’s oral speech and people’s daily life, and it is closely related with people’s living environment and spiritual culture. Since idiom reflects users’ cultural background and psychological habits and is crystal of user’s experience, people recognize cultural and psychological background reflected by this idiom if they recognize an idiom. Idioms in different languages will be influenced by their nations’ history and culture in the process of emergence and development. Idiom, which is active, live and expressive, possesses pronounced national color and reflects different nations’ colloquial features from various aspects. Discussing the cultural connotations of the idioms and revealing the hidden social and cultural contents of the idioms could help language learning and cultural communications, especially assist Chinese learning in understanding and using the idioms accurately and properly in language communications.

관용표현(устойчивые выражения)은 해당 언어공동체의 문화적 경험에 의해 형성된 세계상(картина мира)을 잘 반영하고 있다. 이러한 표현들 중에는 동물과 관련된 것들이 많다. 이 연구의 목적은 관용표현의 문화적 함축 의미를 밝힘으로써 외국어로서 러시아어를 학습하는 학생들과 러시아어를 가르치는 교사들에게 도움을 주고자 하는데 있다. 연구의 결과, SOBAKA(‘dog’)와 관련된 러시아 관용표현은 일차적인 의미 외에도 다양한 감정(эмоция)성분과 평가(оценка) 성분을 포함하고 있는 것으로 확인되었다. 그러나 해당 관용표현만을 제한적으로 다룸으로써 SOBAKA(‘dog’)에 대한 러시아인들의 전반적인 인지체계를 종합하지 못했다는 점에서 한계가 있다.

This article tries to describe a set of Meanings of SOBAKA (‘dog’) as a Cultural Connotation. Phraseological units well reflect the language picture of the world formed by the cultural experience of a language community. Among these phraseological units are many animal-related expressions. In this paper, we aim to help students learning Russian as a foreign language and teachers teaching Russian by revealing the cultural connotations of these phraseological units. As a result of our study, it was confirmed that Russian idiomatic expressions related to SOBAKA (‘dog’) contain various emotion and evaluation components in addition to the primary meanings. However, this study contains limitations in that it does not synthesize the general cognitive systems of Russians on SOBAKA (‘dog’) since it analyzed only the relevant idioms.

After his rich accumulation, Professor Liu Xingjun accomplished the great work: Chinese Characters Structure and Cultural Connotation. The characteristics of this work can be summarized as follows: (1) Good at introducing by cutting out the superfluous, giving the essential, choosing the good and the main line and the right way for the readers to grasp the knowledge. (2) We can find the thoughtful reviews and the detailed explain in the introduction. And the professor explained profound theories in simple words. (3) The professor gave us a lot of new answers on many questions through plenty of case analysis and theoretical research. (4) The content on comparative character in the book tells us that the professor has wide vision, and he had broken through the traditional research fields on characters.

〈 한 글 제 요 〉 중국어는 중국 문화를 기재하는 언어이다. 중국 문화는 중국어가 담고 있는 내용이고 중국어 語彙는 또한 중국문화를 집적하고 있는 살아 있는 화석이다. 근래에 文化言語學과 對外漢語敎學硏究의 심화에 따라서 語彙 속에서 담고 있는 문화내용은 현재 語彙學 연구의 새로운 과제이다. 이외에 중국문화언어학자 宋永培선생의 연구이론인 “汉语词义系统贮存着天人思想的人文性，是古代圣人以天地万物为象征，展示自然、人事、思维变通的结果”에서 근거하면 天人思想은 중국인의 세계관과 인식론의 뿌리이고, 또한 중국인 사유개념형성의 경로와 과정이라고 할 수 있다. 더 나아가 천인사상은 중국어 어휘 의미의 창조와 발전을 가져오는 문화적 근원이며, 중국어에서 문자를 만들고 어휘를 창조하며 수사하는 방식에도 중요한 영향을 주었고 중국어 어휘에서 은연중에 내포하고 있는 문화적 비유와 상징적 의미에도 중요한 영향을 끼쳤다. 이런 관점을 기준으로 본문은 천인사상중 “近取诸身， 远取诸物”의 조자원칙을 고려하여 漢민족문화가치관을 가장 많이 반영한다고 할 수 있는 어휘 중의 하나인 “人体词”를 선택하여 漢민족 문화가 내포하는 내용을 연구하고 분석하였다. 다음으로 인체의 내부기관( 五臟六腑 )과 외부기관(인체의 머리、몸통、사지)을 담고 있는 “人体词”를 구분하여 그 비유의미의 대체적인 전개 과정에 대한 탐구를 하고 “人体词”가 해석하고 있는 심층적인 文化含义에 대하여 전체적인 정리와 분석을 하여 그 어휘가 내포하고 있는 의미가 선행 이론중의 “以天地万物为象征”、“展示自然、人事、思维变通”의 관점과 부합하는지 살펴보고, 마지막으로 문화언어학의 관점에 의거하여 전통철학관인 “天人思想”의 영향으로 나타나는 외면적인 인간관계와 내면적 心性、道德观、价值观을 반영한 人体词에 대하여 결론을 맺는다. 본 문은 이런 연구과정을 통하여 한민족의 认识规律과 社会实践特点을 통찰할 수 있고, 진일보하여 중국어 어휘 중에 반영하는 문화주체의식과 심층의 본질적 의미를 초보적으로 나마 이해할 수 있기를 바란다. 중국어 어휘의 내재적 의미에 대한 연구는 아직 시도하는 단계로써 참고할 수 있는 논문에도 한계가 있어 관점이 주관적이며 세밀하지 않은 부분이 있음을 양해 바라며 선배 선생님、동료、후배들의 많은 지도와 도움을 바랍니다.

중국의 차 문화는 오랜 역사와 전통을 가지고 있으며, 차 문화와 관련된 회화인 다화 역시 다양한 경험과 축적을 통해 자체의 예술 사상과 시각적 전달 방법을 발전시켜 왔다. 다화는 역대 문인들의 미의식과 정신적 추구를 반영하며, 전통적인 회화 표현 기법을 사용하여 독특한 문화적 공간을 창조하였다. 다화는 문인들이 선호하는 예술표현 양식으로 자리 잡게 되면서 중국 전통 회화 기법을 보여주는 것 외에도 그 표현공간에 시대의 변화에 따른 문인들의 의식과 정서의 변화를 반영하였다. 또한 유불도 사상을 융합하고 은일의 분위기와 여유로움을 함축한 공간을 조성하여 문인들의 미적 취향과 짙은 문인 의식을 표현하였다.

Chinese tea culture has a long history and tradition. Tea painting related to tea culture has also developed its own artistic ideas and visual communication methods through rich experience and accumulation. Tea painting reflects the beauty consciousness and spiritual pursuit of literati of all dynasties, and creates a unique cultural space by using traditional painting techniques. Tea painting has become the favorite way of artistic expression of literati. In addition to expressing traditional Chinese painting techniques, its expression space also reflects the changes of literati consciousness and emotions with the changes of The Times. It integrates Confucianism, Buddhism and Taoism to create an elegant atmosphere and a leisurely space to express the literati's aesthetic taste and strong literati consciousness.

This paper discusses the binary opposition caused by the technology of internet and simulation. Specifically it shows the ways in which our conceptions about the virtual space and machine are framed through cultural representations such as novels, films and Websites. This kind of cultural representation presents generally a dystopian vision : a world where the most savage capitalism ruled by ruthless multinational enterprise, where the violence, the sex and the murder are everywhere, where the real life is useless and people spend his time in the connection to the computer network. The motif "Virtual space" is appeared for the first time in Neuromancer in 1984. The author William Gibson presented 'cyberspace', which is describes as a space of “consensual hallucination”. And here, the body is sort of obstacle. The division of non space / real(or physical) space corresponds to contemporary conceptions of what is important about our physical and virtual spaces ; and also, how we regard these spaces. Some of the discussion about virtual space in cultural representations must revolve around whether virtual space is separated certainly with the real space. And the dematerialization or the virtuality is considered as a main character of virtual space. We can here think about the division of material layer(=hardware) from content layer(=software). The reinforcement of information patterns implies that of the human mental operations, information delivery processes are the most central and that consciousness can be separated from the human body. For example, the film Surrogate, Gamer and Untraceable use filmic signifier to show scenes where users connect to websites, games or avatars. In this mise-en-scene, one can discover that the characters abandon their own body and normal lives and also they voluntarily lock themselves in the closed and dark space. According to two semioticians, Roland Barthes and Christian Metz, the denotation in the film corresponds to the dimension in which images or sounds directly and specifically indicate a subject of reality. And by taking the denotation as the primary material (=connoted signifier) and considering what meaning it has within the narrative, it is again furthered as a connoted signified. In this process, 'how it is expressed' is very closely related to 'what does it means'. The denotation is closely related with the direct or perceptive meaning of the scene produced by an image or the sound. On the other hand, the connotation refers to a symbolic characteristic that corresponds to the denoted signifer and signified. When the sequence of visual or audio matter occupies a precise integrated position within the discourse constructed by the total film, it acquires a more important value than itself. It adds on a supplemental meaning. In this sense, this study refers to the connotation of cultural representations that corresponds to the dichotomy between reality and virtual space and the dualism between human and machine.

There are a lot of metaphors in Korean and Chinese idioms, which come from both nations’ cognition and reflection of realistic world and possess evident national color. According to views of cognitive linguistics, some metaphorical reflection has universality and some have specialty and only exist in specified culture. Korea and China have different national cultures and language view, so metaphors in the two countries’ idioms have different features. we think that idiom is the product of all human beings’ cognitive activities and most Korean and Chinese idioms are metaphorical. This study makes trial exploration of understanding and emergence mechanism of Korean and Chinese idioms with research achievements of modern metaphor theory from the perspective of cognitive linguistics, thinking that idiom is the result of applying metaphorical thoughts in the process of cognition. Metaphor is not only a kind of rhetorical device in language but also an important thinking way through which human learn about the world. Metaphorical thought can improve with the improvement of human being’s cognitive capacity and it is advanced stage of human’s cognition. It is proper to say that the essence of metaphor is illustrating things in one field with experience of another field. People’s concept is based on this. Metaphor phenomena can be seen everywhere, because human’s language include a large number of metaphors, which are very universal. Metaphors behind Korean and Chinese idioms not only are rhetorical devices by means of form vivid expression of language but also, more importantly, are based on experiences. Experience of daily life is the gap that connects object things in different domains.

본 논문은 중앙아시아의 대표적인 역사유적으로 일종의 길 문화유산이라 할 수 있는 카라반사라이가 중앙아시아에서 입지조건 및 사회문화적인 요인에 따라 다양한 형태로 다양한 시기에 걸쳐 건축되고 이용되고 있는 상황을 파악하였다. 자연지리적인 입지측면에서 정착지대와 유목지대를 모두 존재하고 있는 중앙아시아에 세워진 카라반사라이는 세계 동서간 교역이 실크로드를 중심으로 이루어지던 시기에는 단순한 숙소 이상의 인적교류, 문화교류가 진행되는 교류의 길 역할을 수행해왔다. 그러나 근대 이후 실크로드를 관통하는 카라반을 통한 당대의 세계교역이 감소하면서 중앙아시아의 카라반사라이를 통한 교역 네트워크도 동서간 교역 수준에서 중앙아시아 역내 교역 수준으로 축소됨에 따라 카라반사라이들은 그 입지에 따라 기능과 활용 형태에 변화가 나타났다. 중앙아시아에 제정러시아 통치가 끝나고 소련체제가 형성되면서 입지에 따라 일부는 새로이 개축되어 오늘날에도 과거 카라반사라이가 했던 상업과 관련되는 유사한 기능을 수행하거나, 이와 관련된 시설들로 활용되고 있음을 확인할 수 있었다. 특히 오늘날의 우즈베키스탄을 중심으로 하는 이른바 정착문명지대의 도시들이라 할 수 있는 사마르칸트, 부하라, 히바 등의 도시 가운데에 설립되고 운영되었던 카라반사라이들은 당시 수행했던 상업적인 기능과 연관된 기능을 현재에도 수행하고 있는 형태로 여전히 활용되고 있다. 반면 유목지대의 실크로드 선상에 위치하고 있는 키르기스스탄의 타쉬라밧 카라반사라이나 정착지대 도시들 간의 중간에 위치한 길 선상의 카라반사라이에 해당되는 사마르칸트 교외의 라바티말릭 카라반사라이, 타지키스탄의 두샨베 인근 산악지대의 히사르 요새에 위치하고 있는 키스틴 카라반사라이 등은 소련시기를 거치면서 고유의 용도가 폐기된 채 단순한 역사유적의 상태로 보존 또는 방치되고 있다.

This study is to analyze cultural connotation on central asian caravansaray, which had been constructed in central asian silkroad by various geographical and socio-cultural conditions. Caravansary had been constructed in the both area of downtown of settlements and trade routes in nomadic zones in Central Asia. These caravansaray had played as not just the place of global trade than the space of human & cultural exchanges in those days. Though global trade via Silkroad Caravan had decreased because of extending global marine trade networks, role and functions of caravansaray in Central Asia had diversified by their geographical and logistical locations. Under these historical changes central asian caravansaray networks had played role of local or inner-central asian network and used as places of various trade-related activities of merchants. Especially in the settled zones, where include three famous historical cities of contemporary Uzbekistan(Samarkand, Bukhara, Khiva), building of caravansaray have beed used as trade-related facilities or places until now. Caravansaraies in the mountain fortress like Hissar Vally fortress near Dushanbe, Tajikistan, or Rabatimalik Caravansaray in the outskirts of Samarkand, which had been constructed in the middle of trade route between major trade points had been in neglect or these days rehabilitated as historic sites. Since establishing of Soviet Central Asia some of Carava sarays in the settled area have been used as place of commercial activities, and others in nomadic area have kept as cultural heritages.

The goal of this paper is to examine the patterns and roles in which individual signification, that is, connotation, appear within the text. For this study, we looked at the status of denotation, myth, connotation in the category of signification. Based on Barthes’s research, we can see that denotation, myth, and connotation are an individual's selective signification. In other words, denotation and myth can be broadly included in the connotation. Connotation is the act of the subject who significations the world. It is not possible to define the nature of semantic action as only personal. These connotations are subject to double limitations. The fixedness of linguistic signs and the collective nature of myths violate the individuality of the connotations. Human thinking that gives meaning continues to seek new meanings while constantly referring to denotations and myths. If the semiosis, which combines signifier and signified, is an act of giving meaning to the world and interpreting it, then signification can be said to be a key mechanism to make the world symbolized and meaningful. Through this semantic action, the subject lives verbally, socially, and culturally as a member of a group. However, not all of the subjects of society live the way the group defined or intended. Therefore, every individual has an individual worldview through its connotations. We confirmed this through Kim Hoon's novel Heuksan.

In short, it is as in the following that discursive meaning tendencies and social connotations as reflected in the lexicon meaning “general public” of Korea and Japan. (1)The lexicon meaning “general public” except KOKUMIN GUNGMIN have similar social connotation. (2) KOKUMIN means <tough>< foolish> that are not on GUNGMIN. But if we examine forms that subjective opinion on “general public” except GUNGMINWA, there is a possibility that GUNGMIN also has the same connotation. Therefore at the present stage we cannot conscientiously say that <tough>< foolish> is special meaning of KOKUMIN. As far as written language is concerned, we can only provisionally conclude that social values on general public reflected in language use is similar between Korean and Japanese. (3)It is not social connotation but discursive meaning tendency that indicate the difference of social values about “general public”. ① In case of KOKUMIN, it is remarkable that the concrete meaning of nation’s damage by government or politicians like <be extorted properties><fallen into danger><be deceived>. in case of GUNGMIN, by contrast, it is remarkable that the meaning of negative emotions as victim like <be uneasy><be sickening>. ② In case of TAISHU, it is remarkable that the meaning of a preference for something like <having a dislike to intellectual activities><to seek novelty such as fashion or news>. DAEJUNG, by contrast, it reflects a sociological concept like <being passive>. ③ SHOMIN and SEOMIN have similar discursive meaning tendencies like <being poor><be treated discriminatingly>.