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This study examines Zhinan (straight man) and Xiaoxiannv (little fairy), along with related neologisms, as linguistic reflections of escalating gender conflict in Chinese society. By investigating the linguistic characteristics and semantic evolution of these gender-specific designators, this research aims to elucidate the current state of sexist language in contemporary China. Drawing upon the Baidu Index, news articles, and corpus-based data, this study traces the semantic trajectories of these terms. The findings are as follows: First, Zhinan, which emerged around 2014 as a neutral descriptor for heterosexual males, initially underwent semantic expansion to encompass "average" or "masculine" archetypes. However, it has since shifted toward semantic pejoration, currently serving as a satirical label for patriarchal or authoritarian men. Furthermore, its derivative, Zhinan’ai (literally “straight man cancer,” a derogatory term for patriarchal men), employs a pathological metaphor to describe incurable dogmatic male attitudes, establishing itself as an offensive epithet. Second, Xiaoxiannv, appearing around 2016, is a compound of the mythological term Xiannv?referring to beings of exceptional beauty and power?and the prefix Xiao, which denotes familiarity. While initially used to refer to charming young women and later expanded to symbolize purity or to respectfully address female customers, it has undergone a degeneration of meaning since 2019. It is now increasingly utilized as a derogatory epithet to disparage women perceived as having a “princess complex” or an undue sense of entitlement. Third, the usage patterns of Xiaoxiannv, Zhinan, Zhinan’ai, and Puxinnan demonstrate that gender-specific designators are being weaponized as instruments of linguistic stigma. This form of linguistic violence facilitates a self-perpetuating cycle of mockery and hostility, institutionalizing gender-based hatred within Chinese digital discourse.

Following the 2011 Great East Japan Earthquake and the subsequent Fukushima nuclear accident, numerous memorial facilities were established in the Tohoku region to preserve memories and pass down critical lessons to future generations. This study focuses on the visitor experience at two representative facilities in Fukushima Prefecture: the Great East Japan Earthquake and Nuclear Disaster Memorial Museum and the Iwaki 3.11 Memorial and Revitalization Museum. While these museums utilize advanced technology and physical artifacts to document the triple disaster, this research specifically examines the role of 'Kataribe' (disaster storytellers) as human mediators who bridge the gap between static exhibits and the visitors' emotional understanding. Furthermore, the study highlights that Kataribe narratives effectively compensate for the limitations of physical disaster remains. By analyzing over 1,600 Google Maps reviews and conducting field interviews, this study examines how visitors perceive the relationship between “official exhibits” and “personal stories.” The findings show that while physical artifacts provide factual records, the Kataribe play a crucial role in evoking empathy and deep learning. Visitors reported that hearing personal stories from survivors transformed the disaster from a distant news event into a relatable, human tragedy. In essence, the storytellers successfully bridged the gap between the government’s reconstruction narrative and the individual’s traumatic memory. However, the study identifies pressing challenges, such as the aging storyteller population and the need for better support for international visitors. Addressing these issues is vital to prevent the loss of first-hand voices and to maintain the emotional depth of the exhibits.

This study systematically analyzes research trends in critical literacy within Korean language education in response to Korea’s transition toward a multicultural and multilingual society, and proposes implications for future educational applications. Research on critical literacy in Korean language education began around 2013 and has gradually increased since 2020; however, the total number of studies remains limited to 21, indicating a quantitative insufficiency. With regard to learner types, a large proportion of studies focus on qualitative research and theoretical discussions targeting learners with academic purposes. In terms of instructional materials, literary texts and public discourse materials such as newspaper articles have been predominantly utilized. More recently, studies employing digital and multimodal texts have gradually increased, reflecting contemporary social changes. Teaching and learning models were categorized into literature-based models, discussion-centered models, reading?writing integrated models, and critical discourse analysis?based models. Across these models, a common cyclical structure was identified, in which text comprehension expands into the interpretation of social meanings and further develops into learners’ reflective and practical expression. Based on these findings, this study suggests several implications for critical literacy research in Korean language education: the reconceptualization of social citizenship formation and public discourse participation competence, the expansion of research subjects and diversification of research methodologies, and the need for differentiated instructional design according to learners’ purposes. By examining the current status and significance of critical literacy research in Korean language education, this study provides foundational data for establishing directions for Korean language education that align with the context of a multicultural society.

The purpose of this study is to develop and validate a structured scale for measuring multicultural literacy, grounded in the cultural context and educational needs of Korean society. Based on a comprehensive review of domestic and international literature, multicultural literacy was conceptualized through four core sub-factors: knowledge, attitude, skills, and critical awareness. During the item development phase, 40 preliminary items were constructed by analyzing existing scales and incorporating the discursive context of Korean society and the diverse experiences of respondents. To verify the content validity, a Content Validity Ratio (CVR) evaluation was conducted with six experts in the fields of social welfare, immigration policy, and HRD, and inappropriate items were deleted or revised according to the criteria. Exploratory Factor Analysis (EFA) and Confirmatory Factor Analysis (CFA) were subsequently conducted to examine the factor structure and construct validity of the final scale. The Korean multicultural literacy scale was developed to reflect the multicultural realities of Korean society and to assess critical citizenship, cultural sensitivity, and practical competence. The scale consists of 6 items on multicultural knowledge, 6 items on multicultural attitude, 5 items on multicultural skills, and 6 items on critical multicultural awareness. This study contributes to the conceptual advancement of multicultural literacy by integrating critical perspectives into its framework and operationalization. Furthermore, it provides a valid and reliable measurement tool that can be applied in educational, organizational, and policy settings. The findings suggest that the scale can be used to assess individuals’ levels of multicultural literacy and to inform the design of targeted educational programs that enhance intercultural understanding, critical reflection, and social responsibility.

This study aims to investigate the historical transition and characteristics of calligraphic styles in Busan's calligraphy competitions, a topic that has not been substantively researched. Focusing on the ‘Busan Art Exhibition(1975-2025)’ as the primary data source, this research empirically analyzes the trends in calligraphic styles by dividing the competition's history into three periods: the ‘Formative Period,’ the ‘Flourishing Period,’ and the ‘Period of Stagnation and Change.’ The findings are as follows: The Formative Period(after liberation–1979), influenced by the National Art Exhibition(國展, Gukjeon), was characterized by the coexistence of ‘canonical forms(法度, Beopdo)’ from ‘Tang Dynasty Standard Script(唐 楷書, Tang Kaishu)’ and ‘artistic charm(尙韻, Sangyun)’ from Huang Tingjian's semi-cursive script. The Flourishing Period(1980–1997) marked a major transition, spurred by the 1980 educational reforms and exchange with China. The mainstream standard script shifted from Tang Kaishu to the powerful strokes of ‘Northern Wei Standard Script(北魏 楷書, Northern Wei Kaishu)’. In semi-cursive script, the dominant style shifted from Huang Tingjian to the ‘beauty of harmony and balance(中和美, Zhonghemei)’ of Wang Xizhi. Furthermore, ‘Han Dynasty Clerical Script(漢 隸書, Han Lishu)’ gained significant popularity. The Period of Stagnation and Change(1998–2025), amid popularization and internationalization, has shown a clear trend toward diversification and individualization, establishing the ‘simple and unadorned beauty(質朴美, Jilbakmi)’ of Northern Wei Kaishu and the ‘epigraphic spirit(金石氣, Geumseok-gi)’ of ancient scripts, such as ‘Bronze Script(金文, Geummun)’, as the mainstream aesthetic. This study holds academic significance in empirically demonstrating that Busan's calligraphy competitions, distinct from the gradual changes of the central art world(國展, Gukjeon), have dynamically accepted Chinese calligraphic trends based on the openness of a port city, thereby forming a unique aesthetic sensibility.

In the Urang Village Battle during the Cheongsan-ri Independence War, Kang hwa-rin, the first lieutenant of the Northern military administration, led the outpost Battle to victory. The Valiant fighting of the 1st and 4th lieutenants of Kang hwa-rin and Lee woon-kang represented the Valiant fighting of veterans who were told as the first of the three reasons for the Victory of the Cheongsan-ri independence war. Therefore, it is reasonable to attribute the top major in the Urang Village Battle to the 1st lieutenant of Kang hwa-rin, who won the the outpost battle and the Yagyegol estuary battle and played an active role as a rear defense force in the battle of the ridge highlands. Kang hwa-rin is the same person as Kang keun-ho, an instructor of the Goryeo Revolutionary Army, and Kang keun-ho, who joined the Army Academy in 1949 for the fourth time in the eighth period. He is also a reinforcement officer Kang hwa-in who served as an executive of the school group in North Manchuria in the mid-to-late 1920s, and a member of the North Manchuria’s Youth League, or a central official of the Manchurian General Bureau of the Joseon Communist Party. Lastly, Hong beom-do's Korean Independence Army, which was retreating from Cheonsu-pyeong to Cheongsan-ri, did not engage in a joint operation with the Northern military administration. but it is also worth remembering that by surprise and annihilating the Japanese forces who were dispatched to surround the Urang village highlands, Hong beom-do's Korean Independence Army saved the Northern military administration from a crisis that could be surrounded and destroyed by the Japanese forces, and at the same time, led the Urang village battle to victory.

Kim Yun-sik was a major Confucian scholar who lived through the late Joseon dynasty and the Japanese colonial period. Facing rapid political and social upheaval, he insisted that Confucian principles must remain the foundation of personal ethics, social order, and state governance. He emphasized Myeongdeok 明德, the Five Relationships 五倫, and the ideal of Datong 大同 as essential values that could guide the nation through crisis. At the same time, he sharply criticized the superstition widespread in society, identifying Fengshui theory 風水地理說 as the most harmful. He argued that such beliefs undermined moral responsibility and rational thinking, and he refuted them using Confucian reasoning. For Kim, a healthy society required ethical practice and collective effort, not reliance on supernatural forces. His critique reflected a broader desire to cultivate a more disciplined and morally grounded public culture. Although firmly rooted in Confucianism, he recognized the necessity of Western knowledge for Korea’s survival. However, he rejected uncritical imitation, arguing instead for selective adaptation suited to Korea’s circumstances. He interpreted Western learning as an extension of the Confucian Six Arts 六藝, seeking to harmonize tradition with modern change. Through this approach, he aimed to preserve cultural continuity while equipping the nation to face new global realities. Ultimately, Kim Yun-sik’s thought reflects an effort to preserve Confucian identity while responding constructively to a transforming world. His approach offers an example of how an intellectual can navigate historical upheaval without abandoning core moral principles. It also illustrates the creative strategies Korean thinkers employed to reconcile inherited traditions with the pressures of modernity.

This thesis aims to conduct an in-depth analysis of the various ways Du Fu, revered as the “Poet-Sage” in the history of Chinese poetry, utilized function words in his seven-character poems and the aesthetic achievements thereof. Whereas previous research has largely been limited to exploring macro-level characteristics of Du Fu's poetry, such as its “deep, vigorous, and ever-shifting” style , this paper focuses on the micro-level linguistic element of function words, investigating how they operate as a concrete mechanism to shape Du Fu's unique poetic style. This paper clarifies that function words not only play the role of the “poetic eye” that captures the spirit of the poetry, but are also a core element in forming his poetry's characteristic modulated cadence and in creating a profound artistic mood through the “fusion of the abstract and the concrete”. Furthermore, by analyzing his linguistic experiments?such as the flexible use of word classes that breaks the boundary between content words and function words, the introduction of prose logic known as “writing poetry as prose”, and the bold adoption of contemporary colloquialisms ?this paper elucidates how Du Fu pushed the expressive possibilities of seven-character regulated verse to their absolute limit.In conclusion, this thesis reveals that the greatness of Du Fu lies not only in his grand thematic consciousness but also in his perfect mastery over the subtle linguistic element of function words, through which he freely shaped the structure, emotion, and rhythm of his poetry. Future studies are encouraged to further synthesize humanistic appreciation and linguistic inquiry to reveal fresh layers of meaning in classical literature. This approach ensures that Du Fu’s poetic legacy remains vibrant and relevant, flourishing through its continuous engagement with the readers of today.

This article examines the concept of the “Huajian paradigm,” a term widely used in Ci studies to characterize the shared aesthetic tendencies of the poets represented in the Huajian Ji (花间集). Rather than offering new interpretations of individual texts, the study focuses on the conceptual foundations of this paradigm, considering how it has been formulated and employed in modern scholarship. By tracing the trajectory of the “paradigm” concept from the philosophy of science to its adaptation in literary studies and its subsequent application in Ci scholarship, the article argues that a paradigm should not be understood as a set of aesthetic norms consciously followed by poets at the time of composition. Instead, it is more appropriately regarded as an interpretive framework that emerges retrospectively through processes of compilation, critical interpretation and scholarly generalization. From this perspective, the so-called “Huajian paradigm” was not a pre-existing creative norm shared by Huajian poets; rather, it took shape after the compilation of the Huajian Ji, as later editors and scholars identified recurring aesthetic features and organized them into a coherent explanatory framework. Such an understanding helps to avoid projecting modern analytical categories onto historical practices of composition. By clarifying the conceptual status and interpretive function of the Huajian paradigm, this study aims to offer a more cautious and self-reflexive approach to the analysis of group-based aesthetic phenomena in Ci history, contributing to a more nuanced understanding of the overall characteristics of Huajian Ci.

This study aims to identify research trends in the Chinese art market through keyword co-occurrence network analysis. Using the CiteSpace software, 363 academic articles related to the Chinese art market published between 1989 and 2024 were retrieved from CNKI. Keyword network analysis was subsequently conducted, and the results were visualized. The findings indicate that research trends in the Chinese art market can be summarized into three main aspects. First, existing studies have primarily developed around five core keywords?“art market”, “contemporary art”, “artworks”, “market” and “art”. Major research themes include the operational mechanisms of the art market, the interaction between creative tendencies in contemporary art and market acceptance, and pricing models and value evaluation systems for artworks. In particular, research on the calligraphy market remains relatively limited, and quantitative price analyses comparable to those conducted in the fields of oil painting and Chinese painting (guohua) have not been sufficiently developed. Second, a synthesis of burst keyword analysis and keyword timeline network analysis reveals that digital technology and artificial intelligence have emerged as key variables in art market research, expanding related discussions, while “globalization” has become an issue that has received sustained academic attention in recent years. Third, from the perspective of developmental trends, this study categorizes research on the Chinese art market into three stages: the formative period (1989?2003), the period of rapid development (2004?2014), and the period of in-depth development (2015?2024). Based on these analytical results, suggestions for future research are proposed.

This article offers a comprehensive reassessment of segmentation (fenzhang) and sequencing (bianlian) in the Guodian bamboo-slip text “Liude” (Six Virtues). Starting from the 1998 Jingmen Museum editio princeps, we compare key proposals: Qiu Xigui’s cautious partial reconnection (slips 7?8), Li Ling’s principle of prioritizing contiguous readable units, Chen Wei’s “co-compilation thesis” (integrating Liude with Zunde yi and Cheng zhi wen zhi), Shan Yuchen’s systematization, and Zhang Guye’s “new arrangement” (micro-moves of slips 1?5, 47, 48 and use of verso marks). Evaluated along two axes?codicological evidence (length, string-hole spacing, script, verso marks) and internal textual logic (argument flow, thematic cohesion, stylistics, intertextual controls)?our findings support the co-compilation framework at the macro level (due to strong physical concordance and doctrinal continuity across virtue?role?duty and “Heavenly Constants” modules). At the micro level, Zhang’s specific relocations improve both cohesion and alignment with material cues. We further show how disputed loci (e.g., “governing inside/outside the gate,” “wei fu jue jun”) shift interpretive weight under different arrangements, demonstrating that ordering is itself interpretive. We propose a two-tier “evidence-weighted rule”: (1) prioritize codicological constraints; (2) validate with readability and intertextual comparison. Situating Liude vis-a-vis Wuxing (virtue ethics vs role ethics), we argue that Liude articulates an early Confucian role-ethical architecture with the “Ren-inside/Yi-outside” principle contextualized across mourning, family, and civic domains. Future convergence requires high-resolution IR/multispectral imaging, cross-corpus collation with Tsinghua/Shanghai slips, and standardized digital workflows.

This study examines the transformation of Chidu (epistolary writing) from private communication into a “printed media commodity” during the Late Ming Dynasty. During the late 16th and early 17th centuries, the expansion of commercial printing in the Jiangnan region altered the production and distribution of texts. In this context, Chidu emerged as a “textual resource” for repeated consumption, moving beyond its role as a record of personal social interaction. The research employs a comparative analysis of late-Ming letter manuals, such as Shudu Xinyu and Chidu Qingxia. By tracing how the original letters of Yuan Hongdao were edited?specifically, how personal details like medical prescriptions were replaced with aesthetic rhetoric?this paper elucidates a process of "de-contextualization." This transformed private documents into impersonal, standardized templates. Furthermore, the shift from chronological arrangements to functional, situational classifications signifies a critical migration of textual authority. Through this process, individual styles were homogenized into an idealized “literati style” for mass consumption. The “mediatization” of Chidu redefined these texts as practical “expression models” for navigating social landscapes. This phenomenon reflects an early modern transition where literary texts were reconfigured as cultural commodities within market logic. By shifting focus from author-centered history to the intervention of media and market forces, this study reveals how the material form of a text can redefine its existential mode. Ultimately, this research suggests that the commercialization of the literati lifestyle served as a precursor to modern media culture.

This paper examines the phenomenon of visible puppeteers in Chinese puppetry and asks how the shift from “hidden” manipulation to on-stage “presence” reorganizes spectatorship and reconfigures stage power relations (and their attendant power metaphors). Focusing on string and rod puppetry, it argues that making puppeteers visible does not necessarily function as a Brechtian exposure that interrupts illusion; instead, visibility often aestheticizes control by turning manipulation itself into an object of pleasure and evaluation. For this reason, visible manipulation on stage is no longer merely a technical arrangement of performance, but becomes an important mechanism in the production of meaning. The paper identifies two dominant modes: (1) a virtuosity-centered mode that highlights technical mastery and spectacular skills, and (2) a role-integrated mode in which puppeteers partially “enter” the character through a hybrid puppet?human body. Although these modes emphasize different viewing logics, both construct an individualized figure of authority?a recognizable, embodied controller?thereby concentrating agency and responsibility in a single person and normalizing domination as performative excellence. A close reading of the Quanzhou string puppet mini-play Destiny Puppet shows how this structure can be pushed to an extreme and turned reflexive: the awakened puppet confronts the puppeteer and demands to be released, only to “die” once the strings are cut. The play simultaneously maximizes and interrogates the control metaphor, staging the paradox that dependence on control enables “life,” while liberation entails destruction. Therefore, puppeteer visibility is not only a formal strategy but also continually invites audiences, at the level of meaning, to reflect on the tensions and costs embedded in the relation between “control?dependence?liberation.”

This study examines the benefits of hybrid and HyFlex classes through a comprehensive literature review. The study is motivated by the tendency for these instructional formats to be perceived negatively by educators, often as unavoidable or temporary measures rather than as pedagogically meaningful options. It explores whether hybrid and HyFlex classes offer educational benefits beyond their role as emergency responses and considers their potential to enhance instructional effectiveness. This study builds on Ishizuka (2023), which combined a literature review with a questionnaire survey. Although that study identified advantages such as flexibility, freedom, selectivity in instructional formats, as well as convenience and efficiency, it did not capture learners’ perspectives on benefits related to instructional quality beyond environmental factors. To address this gap, the present study focuses on benefits observed in actual classroom practices, in addition to environmental advantages. Although the COVID-19 pandemic has largely subsided, hybrid and live-streamed instructional formats continue to be implemented, and future public health circumstances may again necessitate a shift toward online-centered education. A review of previous studies suggests that the combination of face-to-face and live-streamed instruction cannot be adequately understood under the single label of “hybrid.” In Japan, research on hybrid and HyFlex classes has yet to be systematically reviewed in a comprehensive and cross-sectional manner. Accordingly, this study analyzes research on hybrid and HyFlex classes published in Japan across multiple disciplines. Given the breadth of practical research, particular emphasis is placed on language education and Japanese language education, where interactive and bidirectional instruction is central. The findings indicate that the most frequently reported benefits across disciplines are environmental in nature, including flexibility in learning, the ability to choose participation modes, convenience, efficiency, expanded learning opportunities, and responsiveness to diverse learner needs. Additional advantages associated with online instruction, such as access to learning materials, individualization, and accessibility, are also commonly identified. Economic benefits, including reduced transportation costs and more efficient use of time, are likewise noted. The analysis reveals limited evidence of benefits beyond environmental and economic factors in the existing literature. Overall, the findings suggest that environmental advantages constitute the most consistent and salient strength of hybrid and HyFlex classes. While these instructional formats present ongoing challenges, effectively leveraging their environmental benefits?particularly through instructional strategies such as flipped classrooms and external collaboration?may offer meaningful pedagogical value. In educational contexts where interaction with native speakers of the target language is limited, hybrid and HyFlex classes may provide especially valuable learning opportunities.

This article reexamines Natsume S?seki’s intellectual trajectory through the concept of “spiritual pilgrimage.” In this study, spiritual pilgrimage does not refer to movement toward a sacred destination or religious conversion, but to recurring processes of cognitive displacement triggered by the anxiety of the modern self. From this perspective, angya (itinerancy), hi-ninj? (non-human sentiment), and sokuten kyoshi (following Heaven and relinquishing the self) are understood not as chronological stages but as overlapping modes of thought mobilized under different conditions of crisis. The study first interprets S?seki’s angya as an aesthetic form of observation that juxtaposes landscapes and sensory impressions encountered through movement. It then examines hi-ninj? in Kusamakura as a cognitive attitude that suspends human sentiment and enables the contemplation of nature and objects. Within this framework emerges the world of mono, understood as the sensory presence of natural and material phenomena beyond human interests. Finally, through S?seki’s Zen experience in Kamakura and the poems written after his severe illness at Sh?zenji, the article argues that sokuten kyoshi represents not religious enlightenment but an ethical orientation that regulates the self under unresolved conditions. S?seki’s spiritual pilgrimage thus remains fundamentally unfinished. English abstract must be written in at least 20 lines. Currently, there are 17 lines. Please fill out more. Please make sure to write it. Please don't forget to write it. You must fill it out additionally.

This article aims to reveal the true nature of the photographic experience that Sakutaro, a representative poet of modern Japan, took a special interest in, and to examine what aesthetic principles he attempted to implement in his poetry based on this experience. It is known that Sakutaro began taking photographs in his third year of middle school, which could be considered his literary starting point, and devoted his life to photography. Accordingly, this article, drawing on Sakutaro's writings on photography and printed photographs, seeks to illuminate the connections between his photographic experiences and the contemporary Japanese Geijutsu Shashin(Fine Art Photography) movement. Furthermore, it examines how his photographic methods shaped the aesthetic principles of his poetry. First, in terms of landscape photography, Sakutaro utilized the soft focus technique of Fine Art Photography to contrast the foreground, which represents reality, with the distant, which represents the ideal, thereby pursuing a nostalgia for the ideal. This led to his poetry, which, through themes of ‘melancholy’ and ‘wandering’, creates a nostalgia for a distant ideal that cannot be reached, yet inevitably leads to a constant search for it. Second, in terms of portrait photography, Sakutaro sought to express the inner psychology of subjects caught between the ideal and the real by showing them gazing into the distance or projecting an objectified self onto specific subjects. This aspect manifests in his poetry as a ‘shadow’?a self torn between the ideal and the real?and serves as a foundation for the creation of diverse self-images, such as ‘horse’ and ‘dog’. Therefore, this article is significant in that it reveals that Sakutaro's photographic experience served as an important foundation for his poetic activities, and that this was the basis for his unique aesthetic surrounding nostalgia and self.

The purpose of this study is to identify the need to recover analog sensibility lost in modern digital civilization through the film Love Letter directed by Iwai Shunji. The core motifs of Love Letter are the sense of loss due to the death of a lover and the memory of first love. Modern people who are accustomed to digital civilization are expanding their sense of loneliness and isolation through mechanical encounters and interactions rather than the sincerity of relationships. The value of Love Letter is not limited to simply overcoming the pain of reality through past memories and recollections of lovers and first loves. Digital civilization only continues mechanical contact rather than human intimacy through nature, human relationships, and interactions recreated in virtual reality. Such mechanical contact and exchange cannot deeply experience the pure beauty of nature and the inner longing and pain that are reproduced in the movie. In particular, the letter functions as a medium of delayed communication that allows emotions to accumulate and deepen, unlike instantaneous digital interaction. White snow with a white snowy landscape as a background can be imitated in a digital virtual reality, but the reproduction of the precious values ??of purity, longing, and memories that can be felt in real nature may have limitations. This is because pure emotions and memories of the past cannot be reproduced by digital machines. The film further emphasizes this through visual imagery such as white snow, which symbolizes purity, memory, and emotional stillness beyond digital reproduction. The expansion of isolation, dry exchanges, and lack of emotion that humans can experience in a digital civilization society causes them to lose the essential value of life. In other words, Love Letter is valuable in that it suggests to the audience that the analog sensibility that modern people have lost can overcome the dry reality and improve the qualitative value of life.