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A Study on the Types of ‘Narration-Focalization’ in Hong Sang-soo’s Films Ko, Hyun-Chul This paper aims to investigate the types of ‘narration-focalization’ in Hong Sang-soo’s films in terms of the concepts of cinematic narratology including “narration”, “focalization”, “ocularization”, “filter” “intradiegetic narrator”, “extradiegetic narrator” and “grand imagier”. The results of the investigation are summarized as the following. First, the paper investigates that Hong Sang-soo’s films consist of four types of ‘narration- focalization’, that is, ‘extradiegetic narrator-zero focalization’ ‘extradiegetic narrator-variable internal focalization’, ‘intradiegetic narrator-fixed internal focalization’, ‘intradiegetic narrator- fixed internal focalization(‘intradiegetic narrator-fixed internal focalization’)’. Second, it investigates that On the Occasion of Remembering The Turning Gate, Woman Is the Future of Man, Woman on the Beach are related with ‘extradiegetic narrator-zero focalization’. Third, it investigates that The Day a Pig Fell into the Well, The Power of Kangwon Province, Virgin stripped bare by her bachelors are related with ‘extradiegetic narrator- variable internal focalization’. Fourth, the paper argues that Night and Day, Like You Know It All, Hahaha, The Day He Arrives are related with ‘intradiegetic narrator- fixed internal focalization’. Fifth, it argues that Tale of Cinema, Okhee’s Film are related with ‘intradiegetic narrator- fixed internal focalization(‘intradiegetic narrator-fixed internal focalization’)’. In conclusion, it is claimed that four types of ‘narration-ocularization’ are very effective in Hong Sang-soo’s films.

A Study on the Diaspora and Identity of Korean Chinese People (Chaoxianzu) in Movies - Focusing on Zhanglǜ and his Movies - Park, Lo-Jong․Ko, Hyun-Chul Korean Chinese people in China as we currently call compatriots in China as a whole have been highlighted as a new group in East Asia. They have now become a representative example of immigration and border crossing over their prior abodes in the present from the phenomenal recognition on Chinese in the past, who immigrated into China and have lived there and minor ethnics in China. Gradually, they have been pointed to be one of social phenomena while forming their independent communities. This essay selects Zhanglǜ who has been known as a first Korean Chinese cinema director to study their diaspora and identity through this changing topography of Korean Chinese people, while aiming at studying the consciousness of these problems through his movies. A cinema director Zhanglǜ is a figure on many contacts and his images represent his positioning very well in such a way. It can be considered that his movies have been already accepted universally in the categories of Korean movies and he has accumulated aesthetic layers of Zhanglv movies in his creative styles in the history of Korean movies. For Zhanglǜ, it can be said that various images in world citizens are crossed over the identity of refugees and their boundaries from faces of immigrants who are living in alien lands. Amidst various calls such as Korean Chinese people, Chinese people and minor ethnics, we can see that he has transfused his diaspora in a very dynamic way to create a new form of cultural consciousness in East Asia. In addition, he has drawn the aspects of identity to the inside of consciousness in our life over the political prejudice in a very sharp way and has purified it in a realistic manner through his movies, while he is not limiting to his identity. It is true because we may acknowledge that he has been embodying the spirit of the East Asian life called humanism over the acquired distinction on boundaries called the language, people and national territory.

Reading a Martial Art Movie 『東邪西毒: Ashes of Time』 - The Love and Loneliness of a fighter “Hyeob” escaping from the Powerful Group - Ahn, Seung-Woong A film director Wong Kar Wai's film tells us the love and loneliness of a modern man. His movie 『東邪西毒: Ashes of Time』can be understood under such background. By the way, he nominated a chivalrous fighter as a class to show love and loneliness the most compressively. And he did not nominated a chivalrous fighter of ‘powerful groups’ stuffed by an ideology in a virtual space but the living one outside ‘powerful groups’ who had to struggle to survive in a historical moment. This study has tried to investigate and find the meanings of 『東邪西毒: Ashes of Time』as a martial art movie starting from the critical mind that the existing studies thereof have a little bit neglected its chivalrous factors. In brief, the meanings are as followings. First, the Mise-en-Scène, story line, acting and so on thereof have been analyzed in the dimension of a motion picture technique, and such analysis makes us know what director Wong Kar Wai wants to show in this movie is not the stories of chivalrous fighters dictating to the whole country in a virtual space ‘powerful groups’ but inner conflicts and pain that chivalrous fighters who would actually and historically exist pass through in realities of life. It is the unique feature of 『東邪西毒: Ashes of Time』which is definitely different from the films in the existing martial art genre. Second, this study examined that the love of 『東邪西毒: Ashes of Time』has three features - ‘complicated love triangle’, ‘sexual implication’ and ‘shadow of death’. And the love story reveals the essence of life by emphasizing affirmation of ‘instant life’ that an acute social class-chivalrous fighter who is on the verge of death can sense only and the premonition of ‘eternal death’. Third, this study studied the main motifs such as ‘frustration of love’, ‘the passage of time’ and so on associating with the corresponding aspect for the death of a movie character. Thus, 『東邪西毒: Ashes of Time』was a film showing the loneliness of the existence facing death, nominating a special class called a chivalrous fighter ‘Hyeob’. Such story thereof thoroughly escapes from the rules of martial art films, and simultaneously shows the inner world of a chivalrous fighter ‘Hyeob’ who would historically exist. That is, this movie could be the most non-martial art film and the most martial art film at the same time. And this movie becomes face up to the emptiness of love that modern people feel and the identify of loneliness that it is unable to know the origin via such the most non-martial art and the most martial art film. It is the meaning and value of 『東邪西毒: Ashes of Time』 as an authorism art film.

A comparative study on modern recognition of Lee Sang and Mu Shiying Liu, Jing-Zi Lee Sang and Mu Shiying were very active writers who worked on writing in Korea and China in 1930's. Seoul and Shanghai in 1930's where Lee Sang and Mu Shiying worked were epitomes of modern times created by imperialistic capitalism. Their criticism on colonialism in their works is often replaced with criticism on capitalism. This article aims to comparatively study their modern recognition and their perspective on ‘modern times’ by analyzing their major works. For Lee Sang and Mu Shiying, modern cities are the objects of curiosities and those of anxiety and fear at the same time. Lee Sang distances himself from those modern cities and grasps the logic of capitalism from the perspective of an observer. For Mu Shiying, Shanghai where the tradition and the modern times are mingled is a deformed city. Lee Sang and Mu Shiying express their senses of anxiety about the modern consumption pattern. The main character of Lee Sang's novel shows his aversion to modern times by expressing his fear for fetism of capitalism that continuously arouses our desires for material things in the monetary order. On the contrary, Mu Shiying obsesses about modern ‘time’ through modern consumption and acutely feels the fatigue and sense of impotence coming after such experience. At the same time, those two writers focus on the human relations of modern times through metafictional writing. While Lee Sang expressed the collapse of faith in humans relations, Mu Shiying expressed severance of communication in the human relations of modern times. Basically, while Lee Sang's perspective is ‘looking down’ from above and ‘looking in’ from outside by grasping the fictitious lives of colonialistic modern times, that of Mu Shiying is ‘exposing’ from inside to outside through a variety of direct experiences in the modern cities.

Trajectory of Modernity: Yi Yooksa's Adoption and Transformation of Chinese Literature Lee, Si-Hwal This study briefly examines the trajectory of the Chinese modernity in Yi Yooksa's literary works in its adoption and transformation during the Japanese Colonial Occupation of Korea. In the first place, I look into the literary consciousness of Yooksa occupying a deity in the Korean literary circle like Lu Xun(魯迅) in China in the respect of modern ego. He was consciously trying to establish a brand new oriental cultural atmosphere in needs for the continuous relationships between the East and the West. He imagined and embodied the ways to breaking down the western modern crisis, authorizing more reliable humanistic modernity, and constructing a new nation-state through Chinese oriental tradition. Secondly, this study compares Yi Yooksa with Chinese writers such as Lu Xun, Guo Moruo(郭沫若), Gu Ding(古丁) and Xu Zhimo(徐志摩) with the methods of text-centered critique. Lu Xun was interested in the practical aspects of literature to induce people's enlightenment by negating Chinese tradition in order to accomplish modernity. On the contrary, Yi Yooksa was interested in construing a futuristic project for constructing a new modernity by overcoming colonial situations and the modern valorization of the tradition by partly preserving its value. He attempted not just to accept the Western modernity but to construct a new modernity by re-configurating the tradition. Yooksa trained dreams and passions towards future with a collection of poems, A Goddess(女神), by Guo Moruo in the early stage of the Chinese modern literature arguing changes of the way Chinese understand things in the world. Yooksa borrowed the poetic images as the ‘flowing tide in the sea,’ the ‘fire dog swallowing the sun (celestial dog)’ from Guo Moruo. Yooksa was practicing the solidarity and friendship with Guo Moruo, emphasizing the equipment of the developed modern ego. I also analyze the modernity in Yooksa's works by illuminating his literary activities translating and introducing Alleys(小港), a novel written by Gu Ding, a typical pro-Japanese writer. Yooksa differs from Gu Ding in the sense that he imagined the modern East through a balanced perspective without privileging the West. For Yooksa paid attention to Gu Ding not because of the latter's pro-Japanese orientation but because of the humanitarian sympathy and compassion in his critical description of Manchuria. It is roughly estimated that from the comparison of Yi Yooksa to Xu Zhimo, the former seems to be influenced significantly by the latter considering Yi translated many pieces of Xu's works among other modern poems. Yi could attract the humanitarian sympathy and compassion in Xu's poems. After all, Yi's literary orientation resembles Xu's in that he constructed an idiosyncratic world of poetry without subscribing for any literary factions while participating in resistant struggles to liberate his nation from Japan at the risk of his own life. However, Yi differs from Xu in that he applied his own world view to the Xu's poetry style. In conclusion, Yi Yooksa did not follow the trajectory of the reckless acceptance of modernity through Japan as many Korean intellectuals did, but groped for his own way to receive it through China.

A Study on the Types of North Korean Poems Lee, Jeong-Ye Among the three elements of poem, matter, form and expression, North Korean poems are putting its primary focus on the first. For this reason, even the theories and researches of poems, which were published in North Korea, rarely provides substantial or organized theoretical information about the types and classification of the country's poems. South Korea already has lots of research achievements in regard to North Korean poems. However, there has been little or no researches about the types and classification of those poems. In this sense, the purpose of this study is to classify the types of North Korean poems and examine their characteristics. For the purpose, this researcher reviewed poems found in the above theoretical and research publications, especially those in 『Chosun Literature』released in the 1990s. North Korean poems are largely divided into epic and lyric poems. From a broader view, those epic poems include epic, lyric and epic and narrative poems. The lyric poems of the nation are classified into gasa, which is an old form of Korean verse, long, prose, sicho, dansicho, love, byeoksi, short and recitative poems according to form, farewell, dedicative, satirical, argumentative, , political, scenic, descriptive, local, pastoral, fable, fairy tale, didactic, meditative, gnomic, congratulatory, chudaesi, dangsangsi, cheolisi, affectionate, love, and affectionate and ethical poems according to subject or matter and, in accordance with both subject and form, landscape sicho, scenic and love, travel and love, dansang sicho and long lyric poems. The reason why North Korean poems have many different names as above is partly because Kim Jeong Il pointed out that a diversity of poems should be created and developed, but mainly because in North Korea, diversifying the names of poems were attempted to make the poems not any longer stereotyped in terms of subject, matter and form etc., this researcher thinks.

A Study on The Change of Royal Cart in Early Joseon Dynasty Shin, Myung-Ho in the late 14th century, korean confucian literati, sinjinsadaebe(新進士大夫), tried to reform korean society in the base of neo confucianism. after Joseon Founding, korean confucian literati modified a lot of confucian ceremonies in order to substitute buddhist ceremonies. at first, they titled confucian ceremonies as “gyu sik(regulation manuals)”, “Eui mun(ceremonial manuals)”, and “Eui je(ceremonial manuals)”. but in the end, they titled confucian ceremonies as “Eui gwe(Ritual Protocol Manuals)”. they also titled the reports on national occasions as “Eui gwe(Ritual Protocol Manuals)”. among the confucian reforms, the most important reforms were auspicious ceremony. korean confucian literati tried to make perfect confucian auspicious ceremony. the first national achievement by confucian reformers was the five national rituals in annals of king sejong. and the second national achievement by confucian reformers was the five national rituals. the royal cart regulated in the five national rituals in annals of king sejong was cart decorated by ivory. but the royal cart regulated in the five national rituals was the sedan with cover. the reason of the change of royal cart were king sejo's political showmanship and diplomatic pretext toward ming(明) china. after the publishment of the five national rituals, the royal cart was represented by the sedan with cover.

Study on the Journalism of Jang Deuk-Jun in Korea, Japan, and China during the Period of Japanese Imperialism Choi, Sang-Won․Han, Hye-Kyoung Jang Deuk-Jun played the leading role in opening Dong-A Ilbo in 1920 and was the first editorial and research·communications director of Dong-A Ilbo. He reported from 1920 August 2nd to August 18th in China Beijing as the first overseas correspondent in Korean media and left to Manchuria to report the massacre of Koreans by the Japanese army as the first war correspondent in Korean media on the October 15th the same year. However,he disappeared on November 6th and was reported dead to become the first reporter to be dead in the line of duty. Looking into the articles of Jang Deuk-Jun, he supported the phased independence theory that autonomy should be conducted before independence and independence directive movements such as 3·1 movements should be prepared and is proposing typical logic of right-wing nationalism. This is analyzed that deeply takes the political trend of bringing social development by improvement methods in Japanese studying abroad course. Reason of disappearance and death of Jang Deuk-Jun is still unclear. However, the fact that he was kidnapped and killed by Japanese military is actually confirmed and Dong-A Ilbo reported the content repeatedly for emphasize that Dong-A Ilbo has a strong national orientation

The Relation of Goblin and Dokkaebi - The study of relation in Goblin Market - a poem by Christina Sohn, Dal-Lye What is the Dokkaebi? If we begin with this question, we will uncover countless answers that will all certainly lead us toward the Dokkaebi. This is because depending on the region. Over a long passage of time the Dokkaebi appears to have constantly readapted its personality over and over again in order to suit the requirements of a particular period and region. Although the Dokkaebi has changed from being a character in a simple folk tale to a comic figure with powers of moral discrimination, the cudgel that it holds in its hand should not be regarded as simply as some insignificant tool. Despite the persuasiveness of the goblins cry, however, the ostensible function of this discourse of the market place is to stress the difference between maidens and goblins. Exchange, Goblin Market claims, is the province of goblins, not of girls. The market is dangerous to maids, who belong safely at home. This emphasis of difference is of course partly a matter of sexual difference. A separation between maidens and goblins must be dangerous to maids. The goblins' glen is haunted. In my conclusion, Rosetti's goblin and Korea's Dokkaebi are very exciting and comic to us. I am trying to research this field more and more after this.

Consideration of the Location and Space of Head Houses in Andong region Park, Jae-Rak Our ancestors had a wise thought to be able to read the nature and that was the theory of Feng shui with which to select a location considering the change of water and wind. Andong region is the area that keeps the Confucian culture in Joseon dynasty well and includes the most head houses. There are 43 head houses that are designated as cultural heritage. This research investigated what the geographical thought is that the noblemen in Joseon dynasty took as the base of location. First of all, the origin of Feng shui and the view of Feng shui by noblemen in Joseon dynasty were considered. The correlation between mountain and water concerning head house's selecting a location was also considered in terms of Feng shui. The location and space of head house village are as follows. First, head houses were located in propitious sites. Second, the location and space that the main mountain and left blue dragon and right white tiger wrap in and waters flow wrapping and rotating around the village so far has been prosperous as a head house village. Lastly, the location and space from which you can see the water sneak away has not been prosperous as a village. However, it was prepared with Sasinsa(four mountains around) so that it gave births to scientists of integrity. Therefore, arrangement based on these results shows that initial settlers of Head house villages in Andong region in Joseon dynasty must prefer to a place where mountains and waters are in harmony(balance of yin and yang) when they were to select a location and space. In conclusion, it is judged that the theory of emphatical science of Feng shui is applied to selection of location.

A Study on Chinese myth and Genesis--focus on 'Nüwa, Yehehua, Noah' Kim, Nak-Cheol In Chinese myth, Nüwa(女媧) is the creation deity and the heaven-repairing heroine. It was said that there was no creature in the world at the beginning of the genesis. Pangu(盤古) created the world. Soon after that, there was collapse of the northwest sky followed by gales, heavy rain, snow and hail, and the world was suffering from flood. Seeing this, Nüwa began to repair the sky with stones of five colors and then adjusted the four sky poles in places. and then she made humans with clay. In the Bible, God, seeing the wickedness of man, is grieved by his creation and resolves to send a great flood. He sees that Noah is a man 'righteous in his generation', and gives him detailed instructions for the Ark. When the animals are safe on board God sends the Flood, which rises until all the mountains are covered and all life is destroyed. At the height of the flood the Ark rests on the mountains, the waters abate, and the dry land reappears, Noah, his family, and the animals leave the Ark, and the God vows to never again send a flood to destroy the Earth. Thus, The flood myths are also popular in the world. So some people say that Nüwa is Yehehua(Jehovah), Yehehua is Noah. Further more, they assist that Bible is an echo of myths. So, this article intends to prove the origin of ‘Nüwa, Yehehua, Noah'.

A Study on the religious nature of Xiongnu rites - Focusing on the comparison of Sayan-Altai people - Kwak, Jin-Seok ① Seon-U-Jeong meeting : Considering the cases of Sayan-Altai people as Altai and Khakas, it is presumed that in Xiongnu's case, the object which ‘Cheifs’ held rites in Seon-u-jeong for bloodgiven unite of clan was a wooden shape as ‘zzos’. This is definitely tree of clan which means ancestors of clan. As previously mentioned, even more so considering that not only ancient Turk but also every Sayan - Altai people worshipped ‘tree of clan’. ② Nong-Seong or Yong-Seong Meeting : Xiongnu might hold rites in Nong-Seong or Yong-Seong to heaven, earth and ancestors. In rites, heaven, earth and their ancestors must be configured at the tree around which long and thin cloths were hung, that is ‘tree of heaven’, ‘tree of spirit’, ‘tree of clan’. They would pray sincerely for the lushness of grasses and the prosperity of livestock by holding rite to heaven, earth and ancestors ③ Dae-Rim meeting : The purpose of having a big meeting in Dae-Rim in autumn is to count the number of people and livestock as written in <SA-GI> and <HAN-SEO>. Xiongnu's main form of production was originally a nomadic life. However they supplied with hunting or limited farming because the production of ranching was poor. Especially in its prime, the profits by depredation, tribute, tax collection and trade were even larger. The plenty of profit or lessness extremely affected on the existence of the nation. It is no wonder, then, tax and tribute was important means for existence of Xiongnu.

Guangong cult worships the general Guanyu from the Eastern Han Dynasty in China. The early Guangong cult served the Village god in Jingzhou during the Wei Jin Southern and Northern Dynasties. It was officially recognized by the royal court in the Song Dynasty as Guangong’s miracles achieved recognition. The official recognition by the royal court led to expansion of Guangong, and Guangong became a common god for all stratums. To eliminate the conflicts between neighboring nations and maintain the dictatorial government, the royal court during the Ming Dynasty and the Qing Dynasty used Guanyu’s ‘loyal spirit’ to symbolize the social integration. Therefore during the Ming Dynasty and Qing Dynasty, Guangong was represented as a Confucian loyalist who protects the country. Guangong’s loyal spirit was continued to these days and is being reemphasized in China. Also what was before the ‘symbol of social integration’ has now turned into the ‘symbol of national integration’, drawing attention. Guangong cult was able to become the most famous folk beliefs in China as it was influenced by other religious cultures in political and cultural aspects. Nowadays, Guangong cult is widely spread out throughout the world including the mainland China and Taiwan. It is easy to see a Guangong temple wherever the Chinese reside. The purpose of this paper lies in revealing how Guangong cult, one of the most famous folk beliefs in China, grew to be the ‘national unification god’ that connects the mainland China and Taiwan and the symbol of national integration that connects overseas Chinese by studying the establishment and development process of the cult.

Laotzu’s Power Image in the Viewpoint of Deleuze Sa, Kong-Il The aim of this paper is to study Laotzu’s Power Image in the viewpoint of Deleuze. Deleuze stresses the rhizomatic process of deterritorialization, which deconstructs the molar organization that codify rules and systems. This rhizomatic process rejects the power that control subjects oppressively. In this sense, Deleuze’s philosophy is related to the politics of creativity. This politics is comparable to the Taoist notion of we-wei, which means letting Nature take its own course. Like this, the politics dismantles the institutional and hierarchical power and embodies the positive and becoming power which flies the danger of state apparatus. That is the nomad politics or the politics of Laotzu’s Master. Deleuze’s notion of rhizome, the line of flight, and the body of without organs is comparable to the Taoist notion of water, Tao, and wu-wei respectively. Also, the notion of Master in Taoism is similar to Deleuze's notion of nomadic subject. Especially, Master positively and creatively embodies the politics of creation Deleuze stresses. In this sense, the power and politics Deleuze describes, or the nomad politics can be called Master‘s politics. Deleuze and Laotzu’s image of power similarly rejects a codification of the world according to orthodox categories and classification.

The Weibo Boom and its Factors in China Lee, Jung-Hee The purpose of this paper is to find weibo boom, and to find universal and particular factors leading to weibo boom The findings are as follows. First, in China, micro blog is called “weibo.” Last year, the fastest growing internet service was weibo. In 2011, the increase rate of the number of netizens using weibo was 296 percents. In 2011, the increase rate of the weibo was much more than other SNSs. Recently the weibo has also qualitatively grown. In 2010 and 2011, the most important events has been firstly reported in weibo. The big accident of the high speed train was firstly reported through weibo in 2011. Second, universal factors leading to weibo boom are similar to those of twitter boom. The advantage of micro blog is speedy communications of information and link to mobile phones, especially smart phones. Third, particular factors leading to weibo boom in China are different from those of other countries. The state control about mass communications have been strong in China. The people have strong desires for getting and expressing informations and opinions. The substitutes for weibo are lack in China. The number of enterprises opening weibo sites are much more than those of other countries. And the enterprises strategies opening weibo sites are very strong in China.

An Empirical Study on Brand Positioning of Korean Cosmetics Firms at Chinese market - Focused on Chinese Student with MDS Method - Lee, En-Joo․Rui, Dong-Gen, Lee, Chun-Su This study aims to analyze the similarity of reputation of 6 korean cosmetic brands and those competitive structures about the primary factor of the word-of-mouth, the advertising model, the non-price sales promotion, the shop atmosphere, the quality, the price. The product design in addition to the more than all preference by attribute item and dimension of 6 korean cosmetic brands, with this aim. This study checks korean cosmetic brand present position in chinese view and suggests strategies to strengthen its brand power factor in chinese market. In addition, this study suggests korean cosmetic brand's direction for suitable development of chinese market. Conclusively, Laneige and Sulwhasoo have their own brand image. The competitive power and preference of Missha, The faceshop and Skin food were similar, followed by Etude house. Therefore, Laneige and Sulwhasoo are need to strengthen their present position. Sulwhasoo is need to reposition price suitability. Etude house has to plan product differentiation strategy and seek niche Market. Competition among low-priced brands-Missha, The faceshop, Skin food, Etude house-have to develop a unique selling characteristics. To achieve the goals of successful marketing, it is necessary to recognize the position of the brand correctly, so establish and execute the discriminated marketing strategies with competitor for the chinese market.

Study on Correlation between Changes in Employment Environment and Labor Force Suicide Rates in China: 1991-2009 Chen, Nan· Kim, Chang-Gyeong The suicide rate among urban middle-aged labor force increased significantly in China between 1998 and 2003, in contrast rates declined in rural labor forces of all ages. Explanations for these divergent trends are largely speculative, but changes of employment environment are likely to have played an important role. We undertook join-point analysis and correlation analysis using available age-adjusted suicide rates, to identify differences between rural labor forces and urban labor forces and to evaluate the association between macro-socioeconomic variables and suicide rates. This study examined the following in China between 1991 and 2009: (1) trends in rural and urban labor forces suicide rates; (2) trend in urban labor force unemployment rates; (3) trend in rural labor force proportion of non-agricultural labor; and (4)correlation between employment status and suicide rates. The main findings of this study were: (1) there are trends towards decline in suicide rates for rural labor forces over the 19 year study period, whereas the suicide rate among urban middle-aged labor force increased significantly between 1998 and 2003; (2) suicide rate of urban middle-aged labor force increased with an increases in unemployment rate during 1998-2003; and (3) suicide rates of rural labor forces decreased with an increase in proportion of rural non-agricultural labor.

A Comparative Study of Insurance Claim Decisions between Korean and Chinese College Students Sul, Hoon-Ku․Choi, Tae-Yeong 본 논문에서는 한․중 대학생 간 보험금청구결정의 애착효과에 관한 비교 연구를 시도하였다. 설문지를 이용한 심리재무실험 결과, 한․중 대학생 간 보험금청구결정의 애착효과에 관련된 문화 간 차이는 존재하지 않는 것으로 밝혀졌다. 하지만 고애착집단 혹은 저애착집단 내에서는 한․중 대학생 간 보험금청구결정의 애착효과에 관련된 국가 간 차이가 존재하는 것으로 규명되었다. 평균적으로 중국대학생들은 한국대학생들보다 더 많은 시간을 보험금청구에 기꺼이 투자하고자 했다.

There are the transitive verbs being causative in its meaning. The transitive morphemes such as -as- , -os- , -s- , -se- contain continuity with the causative morphemes of (sa)seru on the formal characteristics. The transitive morpheme [-as-] is seen as a turning point converting a transitive meaning into a causative meaning. The morphemes such as [-os-, -s-, -se-] are categorized as direct and indirect factor by the influence on objects of a subject, which are the transitive or the causative meaning through the process of the middle stage. As a result, the morpheme [-(sa)seru-] is typically expressed as the causative meaning. We categorize the transitive verbs into three types: typically direct meaning, direct and indirect meaning, indirect meaning as to the intention and the activity of the subject. In summary, we try to induce them to typically be a causative meaning, which is to be realized by ordering, commanding, requesting objects as to the intention of the subject.

The comparison between Korean and Japanese regarding the level of feeling the burden and the refusal strategies according to refusal reasons - focused on hierarchy and intimacy between interlocutors - Lee, Hyun-Jung This paper covered the level of feeling the burden brought about when rejecting and refusal strategies through cross-linguistic comparisons and analyses between Korean and Japan. The survey on this led to the conclusion as follows. For one thing, according to the result of survey on the entire level of feeling the burden, Koreans feel the burden the most when rejecter and rejectee are close to each other and in the same social status. And the second highest level of feeling the burden takes place when they are close to each other and yet interlocutor is in the higher position, followed by the situation where they know little about each other (that is, they are not close to each other) and their hierarchical status is not the same. Lastly, they feel the burden the least when they feel distant and their hierarchical position is the same. On the contrary, Japanese tend to feel the burden the most when they are close but rejecter is lower than rejectee in terms of the hierarchical status , followed by the condition where they are close to each other and in the same hierarchical level. As shown above, both countries take into consideration closeness relationship rather than hierarchical relationship. Next, considering the level of feeling the burden in accordance of the reason of rejection, it is found that when they reject due to the incapability or the inappropriate circumstance to deal with the offer, they feel certain amount of low burden, while when they should reject toward close hearer because of psychological reason or causes on their own principle, they are found to feel the conspicuous high level of burden. Third, the survey indicates that in the case of rejection attributed to the lack of ability or circumstance, both of the countries have the stereotyped refusal patterns, whereas they are divided up into roughly two type of refusal patterns depending on whether they are close to each other.

The study of <Bungaku Annai>magazine(2)-Focusing on the literary criticism of the documentary stories and 'How to read the popular literature' by Tamura Eitaro Ebihara Yutaka Kishi Yamaji proposed the literary criticism of the documentary stories as an outcome of the efforts that criticized the absurd popular literatures and was going to approach the reader from the writer side in healthy popular literatures for the fourth the art popularization discussion in the proletarian literature. And what was serialized in “Bungaku Annai Magazine” as the first step of the literary criticism of the documentary stories was “How to read the popular literature” by Tamura Eitaro. Because the documentary stories of the late Edo period was becoming basic of the established popular literatures. 　First of all, this study investigates how it was proposed with the literary criticism of the documentary stories of Kishi Yamaji and how it is taken up with “Bungaku Annai magazine”. The following part looks into how the documantary storie of the late Edo period was becoming basic of the popular literatures. Finally part looks into “how to read the popular literature” by tamura. Tamura criticized on the documantary storie of the late Edo period, “Tyuji Kunisada” “Hikozaemon Okubo” “Komon Mito”. So This study aims to re-examine the validity of Tamura's essay through each works.

｢a dancer｣ and <the boat> Kim, Ok-Ji Mori ougai(1862∼1922) is a literary man who had studied in German as a position of an army surgeon in the time of Meiji. After returning from German where he studied for 4 years, he published ｢a dancer｣ which was written as a basis of his own experience in German. He has treated the materials of his work as the his own experiences or elements of his own circumference, but the description of <the boat> appeared as several forms in the earlier and latter term of his literal ground. In this essay the essayist is now surveying the symbolical meanings of <the boat> reflected in ｢a dancer｣. Anyway the boat appeared in ｢a dancer｣ is a ship which is symbolizing the modernization, but he describes the small boat instead of the large ship, so there is a some hidden intention of his own. The boats in which ｢うたかたの記｣, ｢文づかひ｣ which are works of his earlier term and the ｢山椒大夫｣ which is the work of his latter term are described as <a ship>, <a boat> and <a small boat> according to the scale and form, but it is thought that he intentionally describes <the boat> in the ｢a dancer｣. We should give the focus on the point that the boat in the development of the matters and the actions of characters of the work is not the ship or the small boat but the boat. The boat is important itself but we are able to see the writer's intention which he focuses on the space, where the work will be creating the actions of character in the work. Therefore the boat of the space is only the background and then we can see the writer's intention which he would like to highlight the space in the boat. And then ougai expresses the boat of the space where Toyotaro , who is the hero in the work, exposes <the grudge> and for the first time Toyotaro realizes his own discoveries that he did his actions of 'the passive and mechanical' life and the his own existence of <the weak heart> through <the boat>. And Toyotaro realizes the <the men's knowing grudge> in the time of boarding <the boat> for the first time. He did not want to tell this matter to the other men, but he can not be able to take <the boat> in this case of selecting a space. Toyotaro selects the middle class room in <the boat> as a space to expose his own <the grudge> in the case like this. At this time, the writer looks at his mother country in <the boat> and expresses the awareness of his own crisis, and this means the awareness of the crisis facing the writer's reality. The time when ougai began to write the 「a dancer」is after two years returning from German, so that we can guess that the writer keenly felt to take the space where he expresses his own emotion facing the awareness of crisis in the reality. Thus the <the boat> which ougai chose is not simply the space but the writer should want to take the <the boat> of space to expose his emotion effectively. Therefore <the boat> which is described in ｢a dancer｣ is the space where Toyotaro realizes his own reality and exposes the remorses for the reality. And then the described space of his work playes several roles to bestow the literary motive in the works.

Kaziyama Toshiyuki and Kim Heeroㅡ“I am a man from a peninsulaㅡNovel⋅Kim Heero” Lim, Sang-Min In 1930, Kaziyama Toshiyuki, a writer, was born in Gyeongseong of Joseon. Right after Japan was defeated in the Second World War, he went back to Japan. From when earlier than any other writers who were also born and grew up in Joseon, he created literary works about experiences of the colonial era. In particular, “I am a man from a peninsulaㅡNovel⋅Kim Heero” is a suggestive literary work considering the fact that its story is about the Korean Japanese of the post-war era and the continuity of colonialism. “Kim Heero case” is an accident that happened on February 2nd, 1968. Korean Japanese Kim Heero killed 2 gangsters because they constantly chased him for debt he owed to them. After that, he held 13 people hostage at a near hot-spring and held his ground against the police. Then, he demanded apologies from gangsters and a police officer for evil deeds and scornful remarks about the Korean Japanese respectively. After the incident -social issue of that time- took place, the media was divided into two: Defence for Kim Heero and Criticism about him. However, when comparing and analyzing it with other contemporary media remarks and the authorization issue of Joseon University, in “I am a man from a peninsula- Novel⋅Kim Heero”, not only the problem relating to Japanese perpetrators but also that of Korean Japanese perpetrators are closely looked into. Kaziyama Toshiyuki had the mind of perpetrator for colonialism and that of victim as a returnee at the same time. His work “I am a man from a peninsula- Novel⋅Kim Heero” was not carried away by either defence or criticism about Kim Heero and shed light on the “self-responsibility” awareness that was inherent in the Korean Japanese. Therefore, this literary work deserves to be reevaluated in Korea where Kim Heero is heroized.

A Study on “Bangiku” by Fumiko Hayash - A Representation of the Aging and the Defeat of the War - Lee, Sang-Bok This study examines “Bangiku”, which begins with its heroine; Ms. Kin Aizawa received a phonecall from the separated Mr. Tabe. When they met for the first time Kin was 50 years old and Tabe was a college student. Kin still remembered that they overcame the huge generation gap and passionately loved each other. Later, Mr Tabe married other woman and they broke up then. This story starts when they met again a year after the separation. Kin wanted to show herself younger than the year before. Because she thought it is a defeat if she looked older. However, she was disappointed because Tabe came to beg her money. She wanted to eject him from the place when she saw him attempting to take money from her but she hid herself. Tabe also wanted to kill Kin because she did not answer his request but he behaved himself and acted as he still loved her. Kin got a Hormone injection in order to hide the tired feelings from aging. She still believed that she is able to commit love affairs. Tabe compared between her and her maid, Kinu. When she realized that she is aging in comparison to Kinu’s glossy youthfulness. When she was young she was a Geisha and she was certainly positive about her looking. Now she recognized her age and was less attractive than her maid. This literary work contrasts between Kin who realized the seriousness of her age by Tabe’s revisit and Tabe, who believed his life had been completely destroyed by the war. It draws the painful lives with people’s mental environment after the war.

A Study of the advent tradition of Yamato dynasty; The design for the myth of TensonKorin in ‘KIKI’ Kim, Sang-Gyu The advent myth of Tenson(天孫) tells the Emperor's sacred nature and the origin of supreme power. Unlike other founder tradition which comes down from heavens, it is set as the summit of the mountain in southern Kyushu. That is, it has made for the place from which the divine spirit of a rice called the crest of Takachiho(高千穂) of Himuka(日向) begin. This is an intentional myth which begins from being unrelated to the land which exists actually to say nothing of the history suited in the past. In the period of the gods of the KIKI(古事記&日本書紀), the myth with such contents was completed along with the government idea of sovereignty, and it has applied to the history of future generations. It was insisted in the world which the Yamato dynasty governs as a fixed fact before the first Emperor(神武天皇).

To Japanese people “The Hare of Inaba” is a well known tale, which was recorded in Kojiki, the eighth century records of Japan. Many early researchers had presumed that the tale had come from Korean peninsular but found no evidence whereof. However, since the same tale was found in Odongdo of Yeosu, the theory of introducing from Korea began to gain momentum. Owing to the discovery this article aims to find out the transmitter of the narrative, its transmittee group for investigating the transmission time, and the group's connection with ancient Korea. The results presumed that the group which brought the tale from Korea to Japan must be Haji family of old Japanese. That is because the background of hare tale was the family's seigneury, because Haji family members considered themselves as the transmittees of the hare tale, and because some descendents of the family has the name of Haji-Usagi ((土師兎); Haji-Hare). Moreover, Haji clan orginated from Izumo, which had a close relationship with cultures of Gaya and Shilla of ancient Korea, and ruled the Tottori area as a power group. Especially, the clan as a professional group was entitled to build keyhole-shaped tombs, which were distributed in the Japanese Islands and southern Korea, and create Haniwa (埴輪; terracotta clay figures). As shown in the distribution of keyhole-shaped tombs inside the Korean peninsula, Haji clan maintained a close relationship with southern Korea including Odongdo of Yeosu. It can be presumed that the hare tale was imported from southern Korea to Japan by the clan and inserted into the legend of Ohokuninushi. Thus the hare tale of Kojiki holds a great significance in the history of Korea-Japan relations as a valuable cultural asset.

The purpose of this study is to find out if you've already been experiencing the results, how attempt between actions and results are evaluated in the japanese criminal law. It is impossible for actions that have already been established to affect crime in the japanese criminal law. this is concurrence of mens rea with actus reus. The results show that as follow: Firstly, if you act at the initiation of criminal intent, that has already been established, attempted benefits is possible after the foundation of the evaluation of crime except for the third elements. Secondly, if the crime on the results weighted must be construed in the form of a single crime. Therefore, the basic crime and serious attempt by the results of separation may be granted benefits. Thirdly, if the no really manual criminal actor crime construed in the form of a single crime, we have to make full use of reduction of human punishment, and the negation of the objective attribution etc.

Territory policy of United Nations SCAPIN No.677 at 1946 January was excluded that the Dokdo is not the Japanese territory (administrative and rule position). so Japan expected Japanese territory in the Peace Accord. Japanese government persuaded America as the Japanese territory. Japanese government was waited for the position of final decision in the Peace Accord but United Nations didn't decide that the Dokdo is Japanese territory in the Peace Accord. difference of the opinion between America and England is existence about the position of the Dokdo. After of all the Japanese expectation was not achieved it. Actually from 1946 January the Korea controls the Dokdo depending upon the SCAPIN　No.677. Japanese government insisted the position of the Dokdo for the Japanese territory because of the Japan-U.S. Administrative Agreement. So the Japan- American executive agreement was discontinued. Japan asserted takeshima as Japanese territory until now. Because the evidence as Japanese territory is the Japan-American Executive Agreement. Japanese lawmaker pursued Japanese government legal Justice of characteristic of the Japan-U.S. Administrative Agreement. After of all the Japanese government recognized the fact that the assertion is contradiction.

Analyses of factors influencing on employees’ creative performance in Northeastern Asian Collectivism So, Won-Geun In research on creativity, researchers have not much explored the extent to which improving employees' creative job performance relates to the distinction between individualism and collectivism. In recent years, however, cultural differences and diversity have received small attention in the field of business management. This article analyzes the factors influencing employees' creativity at work in collectivistic culture representing Korea, China, Japan, etc. Firstly, diverse concepts of creativity are attempted to be clarified. Analyses of factors affecting creativity on the job in collectivism are followed by the clarification of the differences between creativity and innovation. The main purpose of this study is that factors increasing employees' creativity are different in between northern east asian collectivistic culture and western inividualistic culture. Lastly, it proposes that organizations' supportive culture and team climate which may be caused by leadership style will promote creativity at work.

Moderating Effect of Temperament in the Relationship between Parenting Attitude and Social Competence of Elementary School Children Lee, Hee-Yeong․Hwang, Gyeong-Hye The main purpose of this study was to examine the moderating effect of temperament in the relationship parenting behavior and social competence of children. The subjects of this study were 582 6th graders(boy, 257; girl, 233) who reside in Busan and completed Parenting scale, Social competency scale for children and Revised Dimensions of Temperament Survey: DOTS-R. Collected data were analyzed using independent two-samples t-test and Two-way ANOVA. The results of this study were as follows: First, social competency of children significantly differ according to affectionate parenting of both mother and father. Second, all the temperament variables used in this study did not moderate the relationship between parenting behavior and social competency of children. Possible explanation for these results were suggested and tentative conclusion based upon the results of this study was made.