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The purpose of this study is to examine how Russia perceived the Korean Peninsula geographically in the late 19th century through the only Russian-made ‘Карта Азиатской России съ прилегающими къ ней владениями(Map of the Asian region of Russia and its adjacent territories)’ map collected by the National Maritime Museum in 2020. In particular, it is meaningful to examine the role of Russia, which was a relatively weak part, through the activities of Rogin Aleksandrovich Bolshev (Л.А. Большев), a map production expert who was rarely mentioned in Korea. Korean academic circles have focused on studying the changes from the 17th century to the 19th century, focusing on British and French maps, in relation to the markings of the East Sea, Ulleungdo, and Dokdo on old Western maps. The ‘Map of the Asian Region of the Russian Empire (Карта Азиатской России)’ owned by the National Maritime Museum is seen as an important source of information showing Russia’s geopolitical perception of East Asia since the 19th century. In particular, the production of maps through detailed hydrographic surveys of the East Coast is considered significant in that it laid the foundation for modern maps. Ulleungdo was written in Japanese as ‘Matsushima’, but Russia was the first to write the island name of Dokdo separately in Russian as ‘Olive Tea’ for West Island and ‘Menelai’ for East Island. In a situation where Russian materials related to Korea are still not being used properly due to practical difficulties such as data acquisition, the ‘Map of the Asian Region of the Russian Empire (Карта Азиатской России)’ owned by the National Maritime Museum provides not only historical and geographical information but also the turbulent modern and contemporary international relations of the Korean Peninsula. It is believed that it will provide important information for research. In the future, we hope to conduct more in-depth research by supplementing data and linking with adjacent studies.

With the development of society and people's attention to health, health awareness has gradually improved, and people have increasingly realized that health is a valuable wealth. In the 21st century with the high development of spiritual civilization and material civilization, it is required that the school education should train talents with all-round development. Health education has always been an important part of student education, and to a certain extent, students' health education is closely related to their own development and the development and progress of the whole society. Health education for students is a relatively important component, which mainly refers to the use of behavioral intervention and information dissemination to establish students' health concept, master health knowledge and voluntarily adopt an educational process and activity that is conducive to life style and healthy behavior. Both China and Korea are influenced by Confucianism and have certain commonalities in health education, but the differences in social systems and national histories also make health education in both countries different. Therefore, by comparing and analyzing the differences in the approaches, methods, contents, and goals of health education between China and Korea in the context of the four-dimensional linkage model, this paper can provide some inspirations for the development of health education in China: constructing a perfect early warning evaluation mechanism; developing lifelike health education, etc., so as to promote the improvement of health education. Please enter 2 more lines. Please enter 2 more lines. Please enter 2 more lines. Please enter 2 more lines

This paper examined the aspects of hedge expressions in the use of Korean-Japanese bilingualism by Japanese women in Korea. Japanese women in Korea were classified into three groups according to their stay in Korea, and the frequency and use of hedge expressions in each group were compared and considered. The Japanese women's group in Korea, who have married Korean men and have a long life in Korea, live most of their language lives in Korean, and in terms of language management, they showed a soft dialogue strategy that gave friendliness through the use of hedge expressions. On the other hand, the Japanese women's group in Korea, who have shorter lives in Korea than them, use Japanese and use various language forms such as representative Japanese hedge expressions as well as various auxiliary verbs. In this regard, it was confirmed that the pattern was similar to that of women in Japanese couples with short stays in Korea. In this way, the use of hedge expressions by Japanese women in Korea and Japan showed the function of consideration to form a smooth conversation and strengthen understanding of the other person by using mitigation cushion expressions rather than direct expressions in both Korean and Japanese languages. Including the fact that it showed some grammatical errors, I was able to get a glimpse of the strategy of using hedge expressions as a Korean learner, and on the contrary, I was able to grasp the language form of hedge expressions that are widely used among Japanese hedge expressions.

This paper examines Seopo's critical view with the academic attitude that Seopo tried to interpret scriptures and historical figures in a similar way to the perspective of Soron scholars, as a paper that examines the narrative method of Seopo‘s interpretation of the original ‘Taibozhidezhang(泰伯至德章)’of 『The Analects』. As a result of the review, Seopo maintained a position to criticize Juja's interpretation of the scriptures in a way that was faithful to the original intention of Taebaekjideokjang, yet subjectively added to it. Seopo criticizes original text of Taebaekjideokjang in a structure that it consecutively covers the entire text from the beginning to the end, narrates the essay in a simplified manner while well-aware of controversies of interpretation in ‘Taibozhidezhang’, expresses Zhuzi’s interpretation in 『The Analects』 in a complexed and multi-layered text structure by exhibiting independent perspective. In summary, Seopo questions the phrase “Sanyitianxiarang(三以天下讓)” through a sentence structure of ‘Dissenting opinion(或曰)’-‘Opinion(曰)’. offering a paradoxical perspective in interpretation of “rang(讓)” that ‘Rang(conceding) of Tianxia(天下)’ may interpret to ‘Guo(國:Nation)’s Rang(conceding)’ which all leads to the conclusion confirming Seopo’s polysemy way of interpretation. In conclusion, Seopo can be evaluated as showing the “huokan(活看)”'s perspective beyond the dogmatic idea of absolutely accepting phrases in Taebaekjideokjang while challenging the authority over the interpretation of the existing scriptures. This proves that Confucius' evaluation of Taebaek Jidok is not simply that Confucius praised “Taibo(泰伯)” as a “unsurpassed excellence(至德)” but a complex issue related to Seopo's ideological tendency to succeed to the throne in the 17th century.

This study aims to verify correlations between local culture and Korean education and propose a direction for Korean education with local cultural resources. Korean education whose goal is to help foreigners with their local settlement promotes the fusion of the universal nature of Korean culture and the uniqueness of local culture within the framework of local spaces and contributes to the maintenance of an area's independent culture, guiding foreigners to become members of a local discourse community. Korean education for foreigners based on local cultural resources holds several educational values including stimulating their learning motivation and interest, increasing their independent interpretation competence, cultivating the identity of local culture, enhancing their sense of belonging to the community, and boosting their ability to discover and resolve local issues. The study reviewed previous studies on Korean education based on local culture and found a need to expand Korean education research based on local culture quantitatively by broadening its horizon to include diverse goals and various levels of learners. There is also a need to develop discussions that are not biased toward certain areas and are based on the social cultures of various regions in South Korea. In addition, such education should make use of local culture in a curriculum based on the fusion of various language skills and functions and expand it to its real use by learners. If foreigners receive such education and get accustomed to local culture, they will be able to minimize their discord with local residents and achieve natural harmony with them, growing into customized local talents to contribute to the establishment and inheritance of the identity of local culture and becoming an able member of the community.

?Monk Daegwak's Joongchanggundo? is a documentary painting, which depicts terrain, seal engraving, and hermitage, by guessing the time when Uicheon Daesa had rebuilt Seonamsa. The ?Monk Daegwak's Joongchanggundo? placed Seonamsa, which is an auspicious place, in the center of the picture. It describes the natural terrain surrounding Seonamsa relatively subtly but exaggerates the space of Seonamsa. This duality of scale distinctly reveals the characteristics of a mental map. The ?Monk Daegwak's Joongchanggundo? outlines representations of mountains with solid lines. The inside of the solid lines is treated with Yongmukbup, which means coloring techniques by using various density of oriental ink and wash, and the density of ink reveals slope and dimensionality. It depicts water flows with three solid lines and omits Supamyo, which means detailed water patterns. It describes the architecture of Seonamsa by using a single axis, starting from the main gate, which is Iljumun and called Jogyemoon to the main hall called Daeungjeon, by passing through pavilions. The picture of ?Monk Daegwak's Joongchanggundo? employs a perspective with a bird’s eye view, overlooking from above. and it utilizes a reverse perspective method, presenting major terrain features and architectures around Seonamsa. The space of Seonamsa is depicted with a viewpoint looking down from Daeoknyeobong toward Seonamsa. The composition of the picture clearly presents a central orientation through the flow of viewpoints and in addition it overcomes limitations of visual observation through a shift in perspective. Through mountain principles, ?Monk Daegwak's Joongchanggundo? describes the topography, focusing on Janggunbong as the central point, which is Sojosan, as a space by presenting a form of Janggundaejwahyung and by expressing Daeoknyeobong as an inner sanctuary. Gyeolin, which is a symbolic sign with the fingers of Ilwolseok protecting the central vein starting from Janggundaejwa, indicates Ilwol of a sign of a truth, called Bupin. On the other hand, it symbolizes a seal called Injang in Feng Shui. In addition, the picture represents the Buddhist world by drawing Saminbong and Samindang. The ?Monk Daegwak's Joongchanggundo? is a pictorial map employing a composing method of mountain map as a documentary painting including the context of Feng Shui. Through the pictorial map, this picture describes the architecture of Seonamsa and its surrounding terrain realistically. Thus, the ?Monk Daegwak's Joongchanggundo? is a pictorial map, which includes not only a simple context of Feng Shui but also Buddhist ideology by using images and mountain principles.

Japan declared its entry into a multi cultural society in the 1980s, about 20 years before Korea, and has been implementing the so-called Multi Cultural Commensalism policy. Thus, it appears to be an appropriate reference in planning and implementing Korea's multi cultural policy. In particular, this study focused on policies for immigrant women. This is because, even among multi cultural related groups, married immigrant women and female immigrant workers are at a social disadvantage. As a result of this research, Japan's Multi Cultural Commensalism policies related to women were characterized as local government-led policy implementation, the alienation of married immigrant women which resulted from relatively high interest in female immigrant workers, the absence of a basic law and Japanese Language education course supporting married immigrant women. However, the enactment of Domestic Violence Law and an increase in availability for the Survival Japanese education including ‘Easy Japanese' and the protection policies for the aged immigrant women seemed to have greater progress in the long term. Privy to this analysis, in order to have an efficient plan and enactment of Korea's future policy regarding immigrant women, this study suggested the need to infuse ‘Korean education curriculum for married immigrant women' with more flexibility by local governments, the need to build a larger sharing system of the Korean language education along with ensuring government's commitment to female immigrant workers and the activation of immigrants voluntary council.

In this article, I tried to reveal the difference between Eonmun letters and Hunminjeongeum letters. In our academia, we generally see Eonmun and Hunminjeongeum as the same. Eonmun is considered the name attached importance to the Korean writing function or commonly used name, while Hunminjeongeum is considered the name emphasizing the function to write the Chinese phonetic value or formally used name. However, Eonmun, which means letters, and Hunminjeongeum, which means sound, can be seen as distinctive. There is also a discussion that Hunminjeongeum was first created and that the Eonmun was made by selecting only the words needed to spell Korean. But Eonmun was made in 1443, Hunminjeongeum was made in 1446. Various sources point to the fact that Eonmun was first created and that Hunminjeongeum, which complemented the Chinese phonetic alphabet, was created when the appeal against it was posted. Shin Sook-ju, Sung Sam-mun and others went to meet and question the phonetic value of Chinese characters to Hwang Chan in Liaodong Province after 1445 for the completion of Hunminjeongeum and the compiling of Donggukjeongun(東國正韻). The Eonmun Office had already been installed since December 1443 and before February 1444, and which is also the logical basis that Eonmun was created before Hunminjeongeum. Also, the fact that the name of the Eonmun consonants is pronounced completely differently in the Hunminjeongeum system also provides ground for the fact that Eonmun was made before Hunminjeongeum. Meanwhile, the Korean translation of Lăoqĭdà(老乞大), Samun Seong-hwi(三韻聲彙), Gyujangjeon-un(奎章全韻), and others used Eonmun and Hunminjeongeum together. The decisive difference between Eonmun and Hunminjeongeum lies in the precision of phonetic transcription. Even if the Korean language can be perfectly written with Eonmun, it cannot accurately represent the sound of a foreign language such as Chinese or Mongolian. It's no different from the situation where we can't properly represent the pitch of English in Korean. Only by accurately recognizing the difference between Eonmun and Hunminjeongeum, it will be possible to correctly mark the current foreign language pronunciation.

This study statistically analyzed the vocabulary frequency lists based on the ??New HSK Outline?? vocabulary list and beginner-level Chinese textbooks using corpus analysis tools. Summarizing the results of analyzing the vocabulary levels in two Chinese beginner textbooks published by two different publishers using WordSmith, we found the following: 1. Both textbooks contained a significant number of words beyond the required level. 2. Based on the STTR (Standardized Type-Token Ratio) values, the first textbook (Publisher A) had a higher diversity of vocabulary compared to the second textbook (Publisher B). Overall, the higher STTR value for Publisher A suggests that its vocabulary level is more diverse than that of Publisher B. 3. Assuming that books 1 and 2 are studied continuously, B textbook has a higher connection with new HSK level 3 than A textbook, as a result of examining the congruence rate between the vocabulary in the first and second volumes of publishers A and B. Using corpus analysis tools, we analyzed the vocabulary included in the first and second volumes of beginner-level Chinese textbooks published by different publishers, focusing on how well they align with the vocabulary levels of the New HSK. Through this research, we glimpsed the possibility of providing actual Chinese example sentences from various contexts, rather than artificially generated sentences by utilizing features like concordance in corpus analysis programs such as AntConc and WordSmith. This study statistically analyzed. This study statistically analyzed. This study statistically analyzed. This study statistically analyzed. This study statistically analyzed. This study statistically analyzed. This study statistically analyzed

This paper was intended to present some new perspectives on the generation and derivation of language. To this end, I first reviewed the views of major prior studies that have had an important impact in linguistics, and then I identified what language generates and how it is derived. The results are as follows: Firstly, humans generate and derive the ‘spatiotemporal cosmos of human brains(space-time continuum of human brains)’ in language through primary symbols such as the ‘Auditory Symbols’. Secondly, the derivation of language is carried out by the method of ‘Parallel Processing’ of ‘component(constituent unit)’ and ‘roler(actor, player)’ based on the principle of ‘Binary System’ and ‘Retroduction’. Thirdly, in the process of deriving the Chinese syntactic structure, ‘世(time)’ and ‘界(space)’ of ‘Spatiotemporal Cosmos of Human Brain’ are implemented as Constituents with respective characteristics. In addition, they are derived by parallel processing with respective Role-player [predicate and subject & object]. As described above, this paper presents a general theory of language generation and derivation as a hypothesis. And then, I tried to reveal how this principle is realized as the core syntactic structure of modern Chinese. After this theorization process is established, detailed analysis and research on the special syntaic structure(e.g. ‘Ba-Structure’, ‘Bei-Structure’, ‘the constructions of inversion’ etc.) of modern Chinese will be left as a follow-up task of this study.

This study investigated Korean-Chinese undergraduates as non-English majors for their perceptions of English-Korean translation teaching in China, through which they could make full use of their multilingual and multicultural characteristics to enhance their competitiveness. The research was carried out during the spring semester of the 2023 academic year and involved two questionnaire surveys with 58 participants and an online interview with 15 participants, at the beginning and end of the semester, respectively. Chaoxing Xuexitong, a mobile learning platform in China, was used for data collection and analysis. Korean-Chinese undergraduates' needs for and expectations of English-Korean translation teaching centered on developing English proficiency and acquiring competency in professional translation, with a limited understanding of translation teaching. However, on completion of the translation course, their perceptions of translation teaching changed remarkably. First, their needs and expectations of translation teaching were met to a certain extent, with considerable learning outcomes, such as the development of English proficiency, the acquisition of competency in professional translation, the adaptation to the needs of the translation market, and the enhancement of cross-cultural communication skills. In addition, the English-Korean translation skills had a positive effect on their practice of translation and improved English. Furthermore, English-Korean translation teaching proved successful, with an effective teaching method and activities, as well as a dedicated instructor. Despite the existing challenges, such as their deficiency in English reading comprehension, a lack of knowledge of English culture, and inadequate use of translation skills, they could use their preferred translation tools for searching for relevant materials, and their approach to translation has advanced considerably, from initially producing a word-by-word translation to evolving to express the contextual meaning of a given text over time.

The phenomenon of reduplication occurs in all languages ​​around the world. It involves repeating words or morphemes, increasing the unit size compared to the original form, and indicating changes in meaning compared to the base word. In Chinese, reduplication is not limited to verbs but is a common phenomenon that occurs in nouns, adjectives, and other parts of speech. Through reduplication, speakers can achieve effects in grammar and meaning different from the original word in various language environments, contributing to language exchange. In modern Chinese, the grammatical meanings of verb reduplication are often explained as expressing “a short duration,” “attempt,” “circumlocution,” and so on in introductory-level Chinese textbooks and grammar books. However, Korean does not have such verb reduplication, leading to difficulties and errors in understanding and using it for Korean learners. Therefore, this paper aims to theoretically explain the phenomenon of Chinese reduplication based on existing research and propose pedagogical suggestions to effectively utilize it in educational settings. including the function of each combination. Additionally, at the advanced level, we teach the use of “VV” and “V一V” in different linguistic environments from a pragmatic perspective. This teaching approach has not yet been carried out, but the main purpose of this paper is to invite researchers to verify this experimental teaching approach and, if necessary, conduct actual teaching in the classroom to derive and analyze the results and provide a basis for future teaching and research.

In the tradition of Chinese literature, anonymous authors, though their names and biographies may not be preserved, have made contributions arguably more significant than any named writer. Their works resonate with strong vitality, candidly reflecting the realities of life and expressing emotions more directly. The anonymous authors of Dun Huang Songs, rooted in the cultural background of the Dun Huang region in northwest China, encompass a diverse range of occupational backgrounds, including disgruntled literati, Taoist priests, and local leaders from border regions. These authors not only contributed to the creation of Dun Huang Songs but also played a central role in transcribing and disseminating Dun Huang manuscripts. The hidden identities behind the anonymity of Dun Huang Songs cannot be simply overlooked. This research examines the anonymous authors of Dun Huang Songs based on their content, authorial status, and transmission methods. Generally, when discussing anonymous authors, it is often assumed that they hail from the common ranks of society, their voices emerging from the collective experiences of everyday life. This assumption finds its roots in longstanding literary traditions such as the 诗经 Book of Poetry and Han dynasty 乐府 Yuefu Poetry, where authors are conventionally associated with the common folk. However, the case of the anonymous authors of Dun Huang Songs defies such simplistic categorization. Influenced by the unique characteristics of the Dun Huang region and the literary genre in which they operated, these poets embody a complexity that transcends the boundaries of social status and conventional literary norms.

Based on the corpus of Chinese Education Expert Wei Shusheng's speech video on China's website Bilibili.com, this paper analyzes the linguistic features, generation mechanism, and humor strategies of Wei Shusheng's speeches from the perspectives of rhetoric and pragmatics. This paper holds that Wei Shusheng usually uses metaphors, repetition, parallelism, puns, exaggeration, allegory, and other rhetorical devices in his speeches, and makes humor by violating the cooperation principle and politeness principle of various linguistic communication and breaking various pragmatic presuppositions. Through these humorous strategies, Wei Shusheng vividly points out the key problems in teaching, highlights the key points and difficulties in learning, refutes students' wrong views, and satirizes bad social phenomena. At the same time, relevant sound characteristics and situational language, as well as other means are added to the speech and teaching, so that the refined and appropriate humorous language can help the teaching and speech to enlify the atmosphere, make the finishing point, and shorten the psychological distance between teachers and students and the audience, meanwhile achieve a appropriate degree of relaxation, so that the teaching and communication effect is fair enough, really attain the edutainment. In conclusion, as an influential educator in the field of education reform in China, Wei Shusheng's research on linguistic humor has unique value for both linguistics and pedagogy. This paper, as a case study of his linguistic humor, has a specific inspiration and demonstration role for the majority of front-line teachers in the use of educational teaching language.

In examining the controversy surrounding ‘Mimiyan’ in the animation ‘I Am What I Am’, it becomes evident that this issue in China extends beyond a mere lack of appreciation for diversity in beauty. It is intricately linked to historical and cultural backgrounds, as well as a history of racial discrimination against East Asians, particularly the Chinese. The Western ideology of ‘Yellow Peril’ justified colonialism and aggression towards East Asia, fostering a negative perception of the Chinese. Under this backdrop, characters like ‘Fu-Manchu’ emerged, and the West used ‘Mimiyan’ as an image code, creating a distorted and negative portrayal of the Chinese, thereby promoting racial discrimination. Consequently, ‘Mimiyan’ transcended its literal meaning as a physical eye shape to symbolize racial discrimination and insult towards the Chinese. Although extreme racial discrimination, as seen in ideologies like ‘Yellow Peril’ and laws such as the ‘Chinese Exclusion Act’, has dissipated, the history of racial discrimination persists. Western brands like D&G, Gucci, and Dior stirred controversy in China with their advertisements, where the ‘Mimiyan’ code stemmed from a Western orientalist perspective and a misconstrued understanding and stereotype of the Chinese. However, the controversies surrounding the ‘Sanzhisongshu’ advertisement and ‘I Am What I Am’ suggest that these instances reflect an inability of Chinese society to acknowledge the diversity of beauty, potentially marking the emergence of excessive nationalism and a new form of discrimination. Such controversies could prompt serious discussions within Chinese society about diversity in beauty and racial discrimination. This dialogue is crucial for fostering recognition and acceptance of diversity and individuality within Chinese society and culture. It could strengthen China's cultural identity and facilitate harmonious communication with global cultural trends.

This paper critically verifies the validity of the Anthropological-Realism(本體論) theory, which is an important characteristic of the aesthetic theory advocated by 李澤厚(Li-Zehou, 1930-2021). He appeared like a comet in the so-called “Aesthetics熱” and “Aesthetics Great Debate” in the 50s when he abruptly refuted the 朱光潛(1897-1986) theory, which was a prominent figure of the time. However, 李澤厚's main argument at the time, the anthropological realism theory, was probably buried too much from a Marxist structuralist point of view, and 李澤厚 himself later admitted that he was applied as a propaganda of Maoism. Therefore, this study also attempts to correct some misunderstandings that arose by equating the main points of 朱光潛's aesthetic theory with the romantic epistemology of Western aesthetic scholars in the 18-19C. Therefore, it is intended to explore various possibilities of Chinese and Eastern modern aesthetics again. As he came up with the speculative theory of Gestalt psychology's ‘homogeneous structure theory’ as an answer to the cause of the aesthetic action of objective objects on humans, he admitted to himself that ‘psychology-anthropological body theory’ was ultimately an incomplete theory. Moreover, crucially, the rationality and practical rational products he claimed to have built are quite empty in that empirical verification is impossible. The limitations of this can be clearly recognized in that the possibility of conflict, which had been experienced in the confrontation between Western 唯心論(Mentalism) theory, is still repeated in modern China and Eastern aesthetics, and that it can be confirmed that the horizon of modern art and aesthetic thinking has not been expanded. Therefore, it is necessary to continuously seek another new artistic consciousness.

The purpose of this paper was to identify research trends in doctoral theses related to Chinese calligraphy through the research method of keyword network analysis. Accordingly, 394 doctoral theses related to calligraphy that could be searched from the Chinese knowledge network from 2000 to 2023 were extracted and visualized by performing keyword network analysis using UCINET 6. As a result of the study, the following results were drawn regarding the research trends of doctoral theses related to Chinese calligraphy. First, from 2000 to 2008, there was a growth period in which 'calligraphy-related doctoral theses' were continuously produced, and thereafter, the amount of theses fluctuated in a small range every year. This result was analyzed as the result that Chinese universities did not expand recruitment of doctoral programs after several years of growth in related majors, and the demand for doctorates did not increase significantly with social development. Second, the core research direction of doctoral researchers was focused on ancient Chinese calligraphy art, and there was little research on calligraphy art after the Qing Dynasty. As a result, it was confirmed that calligraphy-related research topics are not sufficiently in harmony with the development of the times or aesthetic changes. Third, as a result of analyzing the network composed of keywords, the keywords with high betweenness centrality were ‘Epigraphy’, ‘Song Dynasty’, and ‘Calligraphy’, and the keywords with high closeness centrality were ‘Epigraphy’, ‘Calligraphy’, and ‘Emotion’. It was in order, and keywords with high betweenness centrality appeared in the order of ‘Epigraphy’, ‘Song Dynasty’, and ‘Calligraphy’. Lastly, modern calligraphy, regional calligraphy, collective calligraphy, Jebal (题跋) and Jeonseo (篆书) were analyzed as directions that future calligraphy research should pursue. These research results can be used as meaningful reference material for the harmonious development of calligraphy research, selection of schools for researchers to enroll in, understanding of research trends, and discovery of research topics.

The nominalized clauses in Japanese and the adnominal clauses in Korean are closely related in terms of their syntactic structure, as both of them modify the respective head nouns. However, they exhibit differences in the morphological patterns when embellishing the head noun in practical application. Japanese employs four forms: “ル․タ․テイル․テイタ” for conjugation, while Korean appears in combination with adnominal past tense suffixes such as “을/ㄹ․는․은/ㄴ․던” Notably, due to the fact that a single adnominal past tense suffix in Korean expresses multiple meanings, it is more complex than Japanese in this regard. Thus, a comparative study of tense and aspect in nominalized clauses between the two languages is essential. This paper attempts a Korean-Japanese contrast of nominalized clauses through the observation of actual examples and achieves the following outcomes: First, it systematically classifies semantic functions, which were not thoroughly addressed in previous studies, based on tense and aspect criteria, categorizing them as “state and action.” Furthermore, it explores the structured organization of these semantic functions through subcategories. Second, it conducts a detailed analysis of the correspondence and semantic functions between the Japanese “ル․タ․テイル․テイタ” forms and the Korean adnominal past tense suffixes, supplementing previous research by introducing unexplored correspondences. In summation, this paper bridges the gap between Japanese and Korean grammar by juxtaposing their respective mechanisms of nominalized and adnominal clauses. The study not only brings to light the syntactic and morphological intricacies but also advances the discourse surrounding semantic functionalities, culminating in a comprehensive cross-linguistic exploration that enriches our understanding of these linguistic structures.

The Tohoku region suffered the most significant damage from the 2011 Great East Japan Earthquake. This paper critically examines the cinematic representation of the Tohoku region in “Suzume,” focusing on the themes of memory and forgetting of disasters, and the loss of place and homeland caused by such calamities. Director Makoto Shinkai, through this film, counters the forgetting of the Great East Japan Earthquake, suggesting a resistance to oblivion. However, the memories portrayed in the film can be considered selective. Despite the disaster being a complex event that involved an earthquake, tsunami, and nuclear accident occurring simultaneously, the film notably avoids mentioning the nuclear accident. For this reason, the question remains as to what message director Shinkai included in this film about the dangers of nuclear power. Furthermore, the Tohoku region is depicted as a space lacking meaningful place-ness. The Tohoku represented in the film emerges as a space of loss, where the memories of places before the massive earthquake are erased due to the damage and subsequent reconstruction efforts. ‘Oya Coast service area’ and ‘Orikasa Station’ that appear in the movie are new spaces that were relocated from their existing locations. The film fails to show the original landscapes of these two spaces, and newly constructed areas exist merely as simple backgrounds, devoid of any real context. Through this, it can be seen that this film places greater significance on the issue of mourning for the ruins that are fading away from people's attention and memories, rather than on the area damaged by the Great East Japan Earthquake. The results of this study are expected to provide useful implications for animation film research on ‘place and hometown loss.’