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The Korean spiritual prototype hidden in the Princess Bari myth shows compromise, harmony, and tolerance rather than confrontation and conflict found in other myths. The spiritual prototype of "Bari" is found in the real lives of the adopted children who are sent overseas as well as "Daejangkeum", a protagonist in a famous Korean drama. A number of previous studies, mostly done by mass media experts, focuses on the current situation of Korean cultural industries, cultural contents of each genre, market trend, and cultural policies. A humanistic research method is needed to help produce cultural industries and contents with artistic value, keeping pace with the development of digital technologies. An accumulation of humanistic researches would help revitalize various cultural industries. For example, aesthetic imagination and originality is employed to alter narrative structures. To make an animated cartoon about the Princes Bari Myth, one is expected to discover the unique and distinct features of Korean myths by comparing them with those in myths of other cultures.

In the modern global information age, the term Silk Road evokes expressions like multiculturalism, crossculturalism, and transnationalism as well as globalization. As the ancient trade route of the Silk Road transported not only merchandise, but more significantly transferred various artistic and cultural products, in today’s global economy, we continue to witness such exchanges. Todays larger variety and quantity of goods and cultural exchanges are made more instantaneously. Tourism, media, and worldwide websites all contribute toward speedy and complex transmission of information. The awareness of the interconnections and interdependence of the world we live in motivates both artists and audiences to seek ways to express and experience the common thread that binds together as well as celebrate individual cultural heritage. The 12,000 kilometer route from eastern China to the Mediterranean coast was given the name Silk Road by a German scholar Baron Ferdinand Von Richthofen only as late as the 19th century. Languages scripts, ideas, religions, artistic expressions of various kinds travelled with bales of Silk, precious stones and metals & many natural products. This music of 五尔族(weiwuerzu) had an influence on China and Asian regions and is one of the requisite research task to be investigated in the study of the Korean ancient history. Accordingly, the purpose of this study was to investigate the music of 五尔族(weiwuerzu) in the Chinese Xinjiang region of the Silk Road that had an influence on Korean ancient music as well as Chinese ancient music. There has been the inseparable relationship between song, dance and instrument in the musical life of the humankind, and the musical instrument is one part forming the musical culture of the nation.

The purpose of this article makes a comparative study between Buddhist design of India which originated Buddhism and the design of Korea. A lotus design, one of the Buddhist patterns, is commonly used in all nations which Buddhism is derived from. That is why a lotus design is taken into this study. After looking into the origin of lotus patterns which is a representative characteristic of Buddhist design, we can inquired into the reason of being a representation and the processes of being changed. The subject of study is a lotus design sculptured on the Bharhut Stupa and Sanghol Stupa which are the Buddhist remains of India and a semicircular lotus design of Goguryeo, Backjae, Shila which were Korean ancient countries. The changes of each molding are investigated in this study. A semicircular is thought to be together used in architecture with a lotus design of India, however they have some differences with respect to materials between stones and tiles and being of a different size according to places to use. Despite all of these things, they have an important factor showing Buddhist production so they are enough to study. First, an early lotus design of India is characterized with various descriptions about the processes from blooming to falling such as a lotus of the blooming season, a flowered lotus, a faded lotus and being appeared with a blue design of Egyptian. Second, a flowered lotus design of Sanghol Stupa in the latter period is described in detail compared to a pictorial book of the flora. This results in a strong naturalism and diverse modifications having no same design with it. When it is compared to that of Korea, elements of a lotus design such as an ovary, petals, a gap of petals, circumference of leaves are identical to that of India, however, there are certain differences in being pericarp which includes a stamen and changing variously due to broad circumference of leaves. According to Koguryo, Paekche, Shilla in sequence, all of them are characterized as using the flowered lotus design. Also, contrary to that of India, they give changes in number of seeds by emphasizing an ovary, in size and number of petals to pursue the diversity and in vein using by lines. However, making a lotus design standardized, a semicircular in itself limits the description of Indian naturalism.

As research methods on the analysis of precess of cultural contacts between the Russian & Greek Orthodox Church and Korea in the fields of sacred text, architecture, church activities and so on, author uses communication theory, social and cultural linguistics, translation theory and inter-cultural or cross-cultural Communication. Under the circumstances or depending materials for analyses among the methods which are above-mentioned one or several theories can be adapted to analyse them. With this approachment we can dissolve the semantic structure, cultural transformation mechanism, social - cultural relations and situation, identification of subject as carrier of time value, nation - cultural information, text beyond text, cultural transfer phenomena etc. of the Orthodox Church in Korea through the past century. The concrete result using these methodologies will be published after documents analyses and interviewing of priests in the following article.

The author examined in this article that Russian avant-garde painters of 20th century sought in Oriental art an alternative to Western art. The Russia had sandwiched between the Orient and the West in historical and geographical aspect. and so traditional public culture of Russia is already Oriental and Western thing in parallel. Russian avant-garde artists thought East art as equal weight with Russian art, payed attention to Rubok and stone statue, usual things of farmers, a toy, signboard of streets, and regarded them as an alternative to Western art. They got inspired by these popular culture. These groped not for private nuance but for something eternal and true that is point of eastern art. These thought that they can create art that is true uniquely by joining in popular arts, and confrontation of purity art, confrontation of the Orient and the West was canceled in process of creation of new art language.

In this essay I focused on the controversial problem, what is the 'Independency' of the state in the traditional East Asian world? I supposed that the boundary of politics (政) could be the standard. If one unit had their own politics(政), it could be said ‘independent'. Even though it was under the appointment (冊封) and tribute (朝貢) system or provinces and districts (郡縣) system, which was led by china. I examined the concept ‘politics' (政) in the ZuanGuoCe (戰國策), ZuoZhuan (左傳), Shiji (史記) and some pre-Jin (先秦) times' inscriptions. Among them I found 426 cases. Most of them indicated that usually ‘politics (政)’ was performed in the individual states, not in the world. (天下) And the subject who performing the ‘politics’ was a consul (執 政), not a king. Generally the consul was the supreme commander and also administered the state. While the king performed various rituals which were strongly related to the Zhou(周) court. So the king belonged to the son of heaven's world. But the consul belonged to the state. In the Zuozhuan, the consul was called ‘a commander of the people’ (民之主) and the king was called ‘a supervisor of the Divine’. (神之主) In the Spring and Autumn times, the concept of state's boundary was practical not nominal, it also meant the limit of individual state's ‘politics'. Therefore we can say that separated ‘politics’ indicate the ‘independency' of the state in the traditional chinese world. If Koguryo (高句麗) had their own ‘politics', Koguryo could be said independent.

Korea and Japan frequently exchanged with each other in terms of diplomatic trade and culture. 『Dong-Nae Pu Sa Cheb Wae Sa Do』(東來府使接倭使圖) portraid the reception of Japanese envoys at Pusan by the Cho-Sun dynasty. This picture which was owned by National Museum of Korea, was ten-fold screen. The purpose of this study was to investigate the reception of Japanese envoys through this painting. The result of this study were as follows: First, the woman musician was remained until the late time in Cho-Sun. It does not correspond with the manner of reception by the government. Also It was the women dancers, not boys, that danced. Moreover a nest-of-boxes culture was flowed in through Japanese envoys. Finally, I think that this study served as a stimulus to examine the reception of Japanese envoys at Pusanmin a more fruitful way, and wish to contribute for discovering the special culture at Pusa in the late Cho-sun period.

Among the samurai society in the middle ages, there were many of cases of taninyoshi which means adopting a person with no blood relation. Tanin yoshi includes people of different social class, but there was a clear distinction between samurai and the lower classes as seen for example in the type of punishment meted out to members of each class. It is thus interesting to consider the issues of what happens when adopted children of different rank clash and, as an extension of this, how social rank itself can be defined. For that purpose, the case of a lawsuit over the territory of Tara Manor in the Wakasa country (present western Fukui Prefecture) is very enlightening. The lord of that territory was a samurai named Ungen Niu. After his death, two people presented themselves as heirs to the territory. One is named Joren. He insists that he is an adopted son of Ungen. The other, who bears the name, Nakahara (given name unknown), insists that she is a granddaughter of the Ungen’s adopted son. So a dispute over inheritance arises between them. Joren is ‘hyakusho’ which is a class below the samurai, in control of less land. He himself and others around him admitted that he was hyakusho but he grandly speaks of Ungen as his ancestor. However, Nakahara has no problem with him being a hyakusho. Her only issue is whether or not he undertook the formal procedure to be adopted as a son of Ungen. In the course of the lawsuit, she is quoted as saying sarcastically, “He has only a hyakusho myo (hyakusho land). So he has not associated with samurai, and therefore he doesn’t know samurai circumstances.” She implies that Joren is hyakusho because of having only a hyakusho myo. From the above mentioned, I conclude that there existed a legal principle that the person who manages a hyakusho myo was deemed hyakusho, while a person who manages a ryoshu myo (samurai land) was deemed samurai and therefore it is only after land succession is decided that the social class is in turn determined. Joren has already received a hyakusho myo from someone else so he was considered to be a hyakusho. In Japan in the middle ages, pledges between married couples as wells as parents and children were connected by various bonds which transcended social class, and the society was more fluid than is generally imagined.

Japanese May 5th has been both the Children's Day and the Mother's Day. However, what have really been practiced that day made the Children's Day becoming a holiday for boys not girls. The fact that March 3rd has been a holiday for girls only could be a general explanation for that reason. Certainly there are such factors, but, on the contrary, the fact that traditional folk events for that day were for boys only not girls could be more general explanation for that reason. For instance, flags and carp-shaped flags which are outdoor decorations and weapons and samurai figures which are interior decorations are all the things which signify a wish that the boys may grow up bravely. This holds true even in the games. Stone throwing, bow-shot, kite-flying, boat race are all the games for the tough boys not for the girls. Even if there have been games concerned with girls, it maybe the woman's house among the folklore, Changpo. It is also an extinct custom which are hardly practiced today. Therefore, it is no exaggeration to say that most of the remaining folklore Dano in Japan is concerned with boys only. This fact is very characteristic in comparison with those of Korea and China because Dano is a holiday for girls in Korea and China. It is perhaps natural that fixing that day as Children's Day makes the Children's Day becoming a holiday for boys only except girls and mothers, regardless of original intention.

This article is an investigation on how the historical change and social environment of the Chinese in Korea influences their identity: their language, job transition, and the conception of their marriage. Most of the 1st generation of Chinese in Korea came from the San-Tong province where they shared the same dialogue, language, values, and a unity of the community bounded together by common fate based on the historical experience. It can be said that these factors are the prime powers to sustain their Chinese community in Korea. Generally, the Chinese aren't able to speak Korean well due to their low educational background, and making a living through their services at such places like Chinese restaurants. However, the 2nd generation of the Chinese in Korea are adapting quickly to the Korean society. They are different from the 1st generation in the point of their well education, the increase in the opportunity to contact Korean society, and their weakness to the community conception as Chinese people in Korea. Still the young generation is facing difficulty with some situations such as the choosing their nationality and finding a job according to the changes of the social environment condition. They are also concerned about problems of not having experienced the 1st generation in their dual identity, and are seeking another pattern to live in Korea.

Japan is governing the Senkaku Islands. China is asserting Territory main hoisting. The island history is Chinese territory. The United States passed over the right of the jurisdiction but to Japan. Japan asserting The Territory main hoisting of China, does not develop the island. Also dwelling of the Japanese person is doing not to be able. It is like that it permits the civil official of the island in spite of in the wheat Nationalist. Nationalist established the lighthouse. And maintenance. It established the private party. The Japanese government was managed these facility finally and. China protested regarding the act which like this Japan goes wrong. Chinas and the Japanese two countries only the fight always happening are being put in same situation. The both nations all dispute happens and I dislike the thing. Be like that and, fight the summer solstice roll up, it promised. From the hazard which will reach it maintains an actual condition, it agreed. China started the development of the natural gas in the territorial waters of oneself. Japan effect in the territorial waters of the themselves and that it goes mad, the middle finger of natural gas development, it demanded. The both nations besieged a natural gas development and the dispute was started. It was like that and China the summer solstice proposed a codevelopment. Japan it agreed to a codevelopment. It continued the assertion where Japan separates the themselves but. China Japan asserted does not understand. To between the both nations to defer a territory main hoisting and codevelopment of the resources to be sent the hazard discussion and. The territory strategy of the island of Japan is a possibility becoming the good instruction in territory strategy of the different islands.

This paper aims to observe the general characters of the Korean bound noun, and to examine the syntactic distribution and semantic function of '바‘. In a sentence, the bound noun '바' is expressed as a modified element of a relative clause. This distinctive feature has something to do with the subjective, nonconfigurative, and mental meaning of the relative clause. Therefore, the predicative of the relative clause has the meaning of perception, evaluation, and hearsay. As a lexical item, the meaning of the bound noun '바' is admitted of various interpretations, for instance abstractive fact and speaker's attitude toward to a situation etc. These various interpretations are realized by the relation of elements co-occurred with '바'. This paper is a part of the plan that we analyze complex usages of the Korean bound nouns. The research of this kind can be a meaningful work appropriate to the agglutination of Korean.

The purpose of this paper is to investigate the syntactic and semantic characteristic which is found in Korean and Chinese linguistic structure of Being, Having and Relation. The result of this paper is as follows:

In Sekichō are found a number of cases where an identical person's name is written in different Chinese characters with the same pronunciations, and where a person's name in families and relatives is written in either Chinese characters with the same pronunciations as the Japanese name or Chinese characters with the same meaning as the Japanese name. These characteristics of transcriptions of personal names are rarely found in Ancient literature except for Kojiki and Nihonshoki, which are a different genre from Sekichō. The function of using Chinese characters with either the same pronunciations or the same meaning as the Japanese name is to clear the meanings of the Japanese names, which could otherwise be ambiguous. Sekichō also has a number of cases where the same name is used to refer to both elder and younger brothers/sisters, or both mother and daughter. This seems not functional at all because it is difficult to see who the name really refers to, but shows Ancient Japanese group identity as a community sharing blood. Sekichō also shows various ways of using Chinese characters for personal names such as nigōgana, rengōgana, tenki, and ryakki.

This paper classifies the Chinese characters in Japanese of Ji-gaku Hen and Nichigoruikai as voiced (Tak eumja), cha-voiceless(Cha-cheong eumja), voiceless (Cheong eumja), and voiceless-voiced(Cheong-tak eumja) sounds along with Inkyoo and compares the characteristics of them in two materials. The results of the study disclose the following aspects. First, for the Chinese characters corresponding to voiced sound letters(Tak eumja) in Inkyoo, the commonest usage is that the same forms represented as voiceless and voiced respectively in Han-on and Go-on are recorded as voiceless sounds in Ji-gaku Hen and voiced ones in Nichigoruikai. Therefore it can be assumed that the voiceless sounds of Japanese Chinese letters in Ji-gaku (= Han-on) is the reflection of traditional reading sounds while the voiced sounds in Nichigoruikai (= Go-on) is the reflection of normal sounds. Another recording type of Inkyoo’s voiced sounds--voiceless in both Ji-gaku and Nichigoruikai--can be ascribed to the prevalence of Ji-gaku’s reading sound even in the normal form of Nichigoruikai. However, when the voiced sound equivalent of Inkyoo is represented as voiced in both Ji-gaku Hen and Nichigoruikai, the voiced sounds of Japanese Chinese letters in Nichigoruikai (= Go-on) is the reflection of normal sounds, but the source of the voiced sounds in Ji-gaku Hen (= Han-on) is not clear. Secondly, of the Chinese characters corresponding to voiceless (Cheong eumja) and cha-voiceless sound letters (Cha-cheong eumja) in Inkyoo, the recording of voiceless sounds in Ji-gaku Hen and voiced ones in Nichigoruikai is based on the concept that traditional Han-on used for reading sound is to be voiceless and it becomes voiced in Nichigoruikai where the normal sounds are used. The recording of the voiced sound letter in both Ji-gaku Hen and Nichigoruikai that appears in the letter ‘zeung (蒸)’ can be explained by the assumption that voicing in normal sound is handed down from the voiced form in reading sound. Finally, for the recording of voiceless-voiced equivalents (Cheong-tak eumja) of Inkyoo, two aspects are worth mentioning. The usage of voiceless in Ji-gaku Hen can be inferred as the result from the analogous change of Go-on (=voiced sound) in voiceless-voiced sound to voiceless reading sound. On the other hand, the reason for the recording of voiced Han-on in Ji-gaku Hen can be attributed to the notion that formal reading of the day was voiced sound (Han-on).

This paper discusses Japanese Causatives and Passives and their relations to transitive/intransitive verbs in terms of transitivity. It shows that Japanese verbs are syntactically classified into two subcategories--one with its corresponding intranstive/ transtive counterparts and the other with no such counterparts. It also discusses the transitivity of causatives and passives, showing how causatives and passives are semantically related to transitive/intransitive verbs.

In this thesis, an investigation was conducted on the compound verb translation patterns and evaluation by JKL (beginner) on these patterns [KJL, JKL (advanced)] of Korean Japanese Leaners (KJL) and Japanese Korean Leaners (JKL). Major findings are as follows: [Advanced Korean Language Ability Group JKL (advanced), Beginner Group JKL (beginner)] (1) In KJL, the percentage of correct answers in compound verb translations is nearly identical regardless of Japanese study level. However, the distribution of correct answers ranged from 6.5 to 89.8% depending on the type of compound verbs which shows significant difference depending on the patterns. (2) When translation patterns of compound verbs by KJL and JKL are compared, mother tongue interference is observed in all compound verb translations by JKL. And also in JKL (advanced), numerous patterns that seem to be Korean interference are observed. (3) In JKL, variations in translation patterns are observed depending on Korean study level. In other words, in JKL (advanced) there are many patterns that are influenced by Korean interference, but in JKL (beginner) patterns that appear to have derived from the natural sound of the sentence can be found without the influence of Korean interference. (4) Translation pattern evaluation of JKL (beginner) conducted by KJL and JKL (advanced) strictly evaluate confusion of intransitive and transitive verbs that result in wrong patterns of 『V1+V2』 to 『V2+V1』. And nearly similar evaluation is made on 『V1 +V2』 and 『adv +V1』 patterns.

The Japanese language has a verb construction that consists of Kango, which are words of Chinese origin, plus the verb “suru”, which is often translated as “to do” in English. This formation of words is exceptionally similar to a verb construction in the Korean language that combines a word of Chinese origin with the word “hada”. In the case of both languages, when another part of speech, such as a noun or an adverb, is turned into a verb a construction with suru or hada presents the most efficient option. This paper explores the similarities and differences between Kango verbs in the Japanese and Korean languages from 1950 through 2000. Taking the local news sections of newspapers as its focus for examining kango verbs, this study presents an analysis based on the proportion of kango verbs to all verbs in each language. The result of the examination shows that the Korean has a higher proportion of kango verbs than the Japanese language. It is also proved that the percentage of these verbs in both languages has been increasing in recent years. The chronological change of the ratio of native origin verbs and kango verbs in Korean is very big in contrast to Japanese. It is related to the national language policy of Korea. One character kango verbs occupy top ranks of the frequency of examples in both languages. One character kango verbs also account for the half of common examples of kango verbs in these two languages.

wrote a poem expressing his gratitude that a forest ranger brought pine-nuts. And his gratitude was expressed in the text of the first poem, Min, Ui Sang, a minister, wrote a poem saying good bye to Cho, Cheon. What he chanted the eulogy of tea was showed in the fourth poem, I wrote a poem smelling the tea brought by a monk who lived at Jirisan, a mountain dealing with the contents that he tasted the new tea at the last month of the year. The fifth poem is showing the yearning for his friend Kikum-busa An-Kyung. The poem expressed his admiration of tea's perfume. And he commended the virtue of tea in his sixth poem, I send this poem to the ruler of Chungcheong province. The seventh poem, the prime minister wrote a poem by using the rhythms of poem by other people enjoyed at a feast, showed noblemen's consideration for common people with drinking tea. This poem showed the tea culture of those days. The tea culture of the Chson Dynasty was similar to that of Japan and the tea culture is not different from the recent tea culture considering that tea was used as a kind of presents showing respect for somebodies, and tea made people's mind straight, interchange between Confucianism and Buddhism through tea, and tea-food culture. That is, tea culture at Ha, Yoen's age played an important role in making tea culture flourish at the end of the Chson Dynasty.

Intelligent youths who participated in People’s Commune’s production in Baiyangdian area from Beijing started to create poems in Cultural Revolution. Some researchers consider it as Preparation of ‘Mongrongsi Movement’ in 1980s and others emphasize its independent meaning regarding the creation of Baiyangdian poets during the Cultural Revolution. It is because some of the trends in poetry theme and artistic methods during the Baiyangdian times continued but some of them discontinued at all in ‘Mongrongsi Movement’. Most of the Baiyangdian intelligences creating poets were from high class and graduated from good and famous schools.The books for internal reference, which were published for criticism before Cultural Revolution, were only accessible by high-ranking officials over a certain level.However, they could read those books as middle school students and they tried to search for a new culture. They came to have suspicions on Cultural Revolution in a short time and there became semi-public civil trend among youths. Under these circumstances, middle school students in Beijing came to Baiyangdian in 1969. Although living environments were changed their skepticism and contemplation were continued and they found their unique expressions. The poetry creation attitude of Baiyangdian poets can be identified as ‘Personal’. After 1950s, literature and art in China were controlled by the mainstream discourse.In particular, personal creations became illegitimate during the Cultural Revolution. They could not be publicly published nor revealed to the public. Under these circumstances, the creations in Baiyangdian need not consider the expectations of the readers. The poetry creation was for personal expression only and the poetry creation in Baiyangdian poetry village in the space where culture was lack was the method to survive. This creation attitude made the writers faithful to their own personal feelings and emphasized their personal experiences and insights. In this article, the situations of the members, their search for poetry, characteristics of Baiyangdian poetry and the meaning of Baiyandian poetry village in the history of Chinese Poetry focusing on the time of Cultural Revolution and the specific place of Baiyangdian.

『The Flute and the Dog』 (the 1st of August, Daijung) is fairy tale for children following『the Spider's Thread』. As its subtitle 「It is devoted to Ms. Ikuko」 states, the writer Akutagawa wrote this work for a 15-year old girl. Thus it has strong factor of fairy tale any other than his works and depicts the world of typical old story with the plot of the law of cause and effect, <good reward in accordance with a good deed, evil reward in accordance with an evil deed>. Young woodcutter named <Kaminagahiko> living in the ridge of Mt. Katsuragi at Yamato is the hero of this story, which depicts his success story. Kaminagahiko got three dogs with occult powers named <Do Smell !>, <Do Fly !> and <Do Bite !> from three goblin siblings named <Goblin with one foot>, <Goblin with one hand> and <Goblin with one eye>. And the hero saves two princesses of Minister in Asuka who were kidnapped by bad goblin and this work has naivety and pureness throughout the story.

The purpose of this thesis is to contemplate the Akutagawa Ryunosuke's view of woman. 『JIGOKUHEN(Hell Screen)』 which is one of the art novels and represents Akutagawa's historical novel is regarded highly as the novel of 'art for art's sake'. It is a novel of a certain artist's life. In the novel, the main character, who is an artist, kills his daughter by burning her in fire and finally completes his own art. It can be said that he is a typical person of 'art for art's sake' who sees art as the invaluable thing and the best in his life. The only woman character in this novel, Yoshihide's daughter, is the woman who is in triangle of love with Otono and his father. She plays a big role in unfolding the story. At first, she is known a gentle girl, on the other hand, she also has an aspect of an enchantress as 'beautiful woman'. Eventually, the reason for her innocent in the hell is from Akutagawa's concept of the 'beautiful woman'. Therefore, her tragic fate of falling to hell in 『JIGOKUHEN』 is due to reflection of Akutagawa's negative woman view.