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This treatise aims at the explanation about the modern legend that Japanese ghosts are appeared at Ami-dong in Busan. To make the explanation clear, it is necessary to investigate the history and folk-belief of Ami-dong and to connect those together as regional culture. According to the result of investigation about history and folk-belief, most of all, the emigrants' history to use the Japanese's public cemetery as building site is the psychological cause of the belief. It was occurred in 1945 and 1951 to change the tombs as building site when the immigrants and emigrants came in Busan from abroad and hometown because of liberation(독립) from Japan empire(1945) and Korean war(1951). To settle at Ami-dong they had to build house, so they dig tombs and destructed pot in which skeletal ashes were. The tombs were made for the Japanese citizens who were died and buried in Japanese colonial days. Because of the accidents, they felt guilty for a long time because it is immoral action to break dead person's tomb for living person according to Oriental tradition. Therefore, this treatise suggests that the modern legend of Japanese ghosts were originated from the guilties to Japanese dead persons.

Many scholars indicates borderless globalization, the age of openness, role increase of local instead of nation as topic of the future. Globalization of world economy bring about free migration beyond capitalist enterprise and convert to the direct competition system of the locals instead of faded meaning of the nation. In this paper, we analyzed the meaning and limitation of the super wide range economy areas that is a strategy to overcome the long-term economic stagnation of Busan. Farther the super wide range economy areas, we assert the necessity of the construction of the super wide range life-culture areas in the time frame of wide range and to achieve this, we considered the diverse strategy. The diverse strategy to construct the super wide range life-culture areas follows. First, to be able to the central role in the East-south area, Busan must develop the close cooperation with other regions and role adjustment, distributive and autonomous model. Second, intensively foster industry fit with the region's characteristics. Third, for formation of industries that can product a higher value-added business, Busan must confirm the creative talent pool. Forth, the continuous and deep concerns about the super wide range life-cultural areas. Fifth, the plan of socio-cultural exchange program persue between Busan and Kyushu by stages. Sixth, Busan need the convergence of diverse opinion from the local resident and the establishment of receptiveness about other culture.

This study is to suggest the political alternatives through the analyses of marine tourism master plans out of the central and local government (Busan) plans, which were based on the literature reviews about the two theories of tourist destination- hierarchial place vs organization-, reflecting current situation under marine tourism development nation wide. Then, to accomplish the purpose is to find out future vision of Busan by analyzing the direction and content of tourism-related plans established since 1990s. The results found that visions from most plans suggest the image as a marine city based on marine resources, but most destination not be really developed as plans suggested. Second, the central and local government related to tourism development of Busan repeatedly produced similar but different named outputs depending on repeatability and periodicity of plans after the mid of 1990s. In conclusion, urban space of Busan as a tourist destination should be reevaluated from the viewpoint of the hierarchial place theory. However, physical plans that were oriented to hierarchy and lack of definite contents should accept the lessons from the organizational theory, which a tourist destination is dependent on a life cycle model. Busan must be prepared to the fitness of survival strategy from changing and dynamic tourism markets inside and outside.

In this article, the term "sea port cities" does not simply refer to the ports as a facility for international trading. It is rather defined as the place where the innovative ideas and new brains are created and where diverse aspects of each culture are combined by the regional and international exchanges of cultures. This article is intended to identify how different cultures are interacting each other. The term "Cultural interaction" includes the acceptance of the new culture by a historical accident, conflicts with the native culture and intergration, and transformation into a new one. From the perspective mentioned above, this article is intended to identify the process of forming a new society and its mechanism comrehensively in historical, philosophical, literal aspects by understanding the interactions of the people and culture and the conflicts and acceptance, and the creation of the new culture in the Guangzhou(廣州) and Quanzhou(泉州) area in 16th century.

This paper focuses on Hong Kong's “collective memory,” a recent popular topic in Hong Kong, in terms of its background, development process, and implications. Driven by the demolition of the Star Ferry Pier in 2006 and the Queen's Pier in 2007, Hongkongers' interest in “collective memory” has evolved into a public movement for the conservation of cultural heritage. Criticizing the government's urban planning and cultural policy, Hongkongers have demanded the public’s participation in the government's urban policy, fearing that the government is wiping out Hong Kong's memory and history by destroying urban spaces in order to eradicate “indigenous identity” of Hong Kong. In the process of searching for an identity, the Hong Kong people declare that Hong kong is no longer a “borrowed place” but “our city with our collective memory,” ushering in a new social movement led by a new generation. However, the controversy surrounding what “collective memory” Hongkongers share has yet to be settled. I suggest that an “indigenous identity” based on the city itself and the memory its residents cherish is emerging apart from the identity based on the opposition between mainland China and Hong Kong.

초록 2 Before and After The Emancipation of Korea, Park Tae Won's spent his time during the Japanese colonization up to North Korea while working on the two following aspects of his literature. This paper is aimed at the establishment of literary phase of park Tae Won's novels through the analysis and generalization of his works after examining th writer's biographical facts and literary characteristics background The novels of Park Tae Won has a weekness of not having been able to generalize th reality of lives. Therefore, the inward reality of the works reflects only the phenomenal recognition of world, and lacks the active will of overcoming the surroundings. His works leave much to be desired as to whether he devoted himself to finding out historical reality and shaping it as a novel, or not. And there is a limit of Park Tae Won's novels in that the inward reality of the works is not consistent with the outward reality. The writer Park Tae Won had spaces in the literature of both North And South Korea, and himself as a role-model of some one living a life as an ordinary educated person who experienced two different political regimers.

The study looked at the tea ceremony for the reception of the Japanese envoys, which were in a neighboring-country relationship during the Joseon period, determined by dividing the period into the former period and the latter period. The tea ceremony during the former Joseon period was not customary, but it was held on the level of a friendly talk between the Japanese envoys and interpretation commissioners. Also, the offering of the tea ceremony was taken care of by interpretation commissioners. Furthermore, sometimes, the tea ceremony was performed in a concrete ceremonial form, but this was temporary only when a banquet or a feast could not be offered due to some cases including national mourning. As such, the tea ceremony has become customary beginning with the latter Joseon period. It was discovered that the number of performances of the tea ceremony and their methods were written in detail in foreign diplomatic books, which previously omitted records about the tea ceremony. This means that the tea ceremony was also modified with certain standards for performance like at a banquet or a feast. In the meantime, a person in charge of organizing the tea ceremony included Dongraebusa(東萊府使), Busancheomsa(釜山僉使), and Jeobwigwan(接慰官). Therefore, the tea ceremony had a greater importance than in the past when it was organized by Tongsa(通事). Nevertheless, these documents do not mention whether liquor was used instead of tea for the performance of the tea ceremony during the later Joseon period. Hence, it was hard to disclose the reason why it was still called the tea ceremony while actually being a drinking ceremony. This part may be deemed as important in revealing the mid-stage of the tea ceremony; however, to my regret, it still has to remain in question as of now.

This study mentioned necessity of humanities introspection about sea, and it was viewed in a concept of 'Marine humanities'. Also, after humanities research results related with sea was reviewed, possibility and meaning that the Marine humanities have as an alternative research theory were considered. When we view research related with sea in a theoretical dimension, it was mainly carried out in natural science which is an opposite region of humanities, so characteristics of sea culture having active and relative intention were difficult to be investigated in a view of humanities. However, when we consider that interchange and communication with heterogeneous culture als well as new culture creation were carried out through sea, the humanities introspection about sea will be surely necessary. There were many cases that humanities was set in the center in humanities study related with sea, and sea was used in a material dimension. Research about communication and interchange with the medium of sea in case of literature, and there were discussion about a concept and range setting of sea literature. A study about man executing heroic marine activity was performed in case of the historical science, and it strongly contributed reinterpretation of national and social meaning of the heroic man. On the one hand, since a folklore reserch object is interpreted phenomenal and locally or present shape tends to be retroactive, it was found that there was some distance from intention of sea literature premising diachronic and synchronic communication and interchange. If we accept meaning and limitation of the research related with sea progressed in a humanities domain, it is viewed that the Marine humanities not only reminds us of interest about a study theme related with sea that has not been recognized until now, but also it could function as an alternative method theory of a humanities dimension overcoming and complementing problems that land-oriented modern humanities have.

South Korea and Japan has not been “countries of immigration.” Both countries partly accept immigrants from overseas to solve the shortage of domestic workforce or to recruit highly skilled professionals. They allow foreigners into the countries to work but they usually permit them to live and work only for a certain period of time. However, in recent years the population of immigrants has been increasing in South Korea mainly because of the international marriage between Korean men in rural areas and South-east Asian women. Our Nationalism and the myth of the homogeneous society could lead to the discrimination against different cultures. Thus, appropriate school curriculums for children in female married immigrant families are needed. It is also necessary to develop educational programs and methods based on multiculturalism to help them to understand other cultures while still keeping their original identity. In South Korea, the government is leading the multiculturalism policy while in Japan local communities are leading the policy with support from the national government. However, both countries has not yet set specific educational programs for the children from immigrant families. Therefore, in order to grow as multicultural countries, South Korea and Japan should prepare for programs and support systems which will help children from immigrant families integrate themselves with Korean (or Japanese) culture.

This paper aims to examine the transition of cultural industries for 10 years from 1997 to 2006 in Busan Metropolitan City, focusing the annual change of numbers of enterprises, numbers of employees and the total sales. Among various cultural industries, 9 major groups are selected for the analysis of the transition. They are industries of broadcasting, movie, advertisement, design, performance, publishing, distribution of publication and recording media, printing and game. The result of analysis shows that, for the period, the industries of advertisement and publishing recorded sharp growth in the scale and in the national share; the movie industry also recorded sharp growth in the scale following the national trend; the industries of broadcasting, design, performance and game also recorded sharp growth in the scale but with a little decrease in the national share; the printing industry maintained the status quo in the scale and in the national share; and the industry of distribution of publication and recording media was stagnant in the scale following the national trend.

Dashanzi, the center of a vanguard art in Chaoyang district Beijing, is the largest synthetic art in Asia; it draws tens of thousands of viewers in everyday and three hundred of thousand viewers during the art festival. The government of Beijing presented that they would develop this region as the greatest Culture-Art industry Cluster in the world. It also is the route of understanding the present address in Chinese art development, shows its ability at the greatest of the vanguard art in Asia. Chinese society had turned a command economy to a free-market economy in early 1990’s. Some of young artists who graduated from art academy; for example Fanglijun, Yueminjun, Yangshaobin, Xuluotao, Lulin, Dingfang, Yiling, Xuyihui, naturally formed an art colony. This art colony what we are saying is ‘Beijing Dashanzi 798 Yishucun’. The reason why 798 yishucun comes into the spotlight was directly connected in the change of industrial structure, which had turned light and heavy industry to culture industry since 1990. The development of metropolis is accompanied with a plural culture; this is the very attraction of a city. After the development of rural economy and the change of industry structure, we remodel many of old buildings into reusable ones, the role of city could be resurrected.

This paper is the “Explanation” which takes the “示” part as Script in the Discussion of Chinese Cultural Sacrifice from the perspective of etymology There have 76 characters of the ‘示’ part which has nothing to do with the character of this paper. I will analyze some characters of “示” part of Sacrifice in this paper. It can be divided into five categories, namely, the meaning of Sacrifice, the ritual objects, the ritual, the purpose of Sacrifice and the ritual results. From the ritual of the meaning of the word: At that time, the ancient Chinese ritual significance is the hand with a drop of juice under the meat to worship the gods, and gods who can transport. The object of Sacrifice is from God, only the social, ancestors　神,　祇,　社,　祖,　祏, 褅,　䃾,　禪,　禡,　祔,　祈,　祰,　祧.　祏,　祪,　禓　for instance in order to know heavenly god, and earth, their ancestors, mountains, rivers , heavenly king , Siming, god of army, god of daylight, The ritual of sacrifice that from the offering – 禋, 柴, 祠, 礿, 祼, 𥛱, 祳, 𥚩, 祰, 祫, 祝, 祴 𥛱, 祳, 𥚩,　祰, 祫，祴 for instance - shows that they are sacrificed to worship god; They put livestock and Yubo(玉帛) on firewood, and the fire burned which means that the it is offering to a heavenly god as the smoke rose; Sacrifice in Spring, with many new summer dishes, washing and cooking which are to worship the gods or ancestral King, means the praise message more than a simply Offering things; And use of liquor and blood poured in to Shenzhu around is for asking god's spirit to comedown; when they are offering, they worship god with message; And they used musical instruments for their temple festival. The purpose of sacrifice that from 禮　禱，祈，禦, 禜, 禳, 祓, 禫, 禂, 禖, 禬 for instance is to get blessing and longevity and in order to avoid wind and snow, floods, droughts, pestilence and resentment. And another reason is to avoid soldier and horse not to get disease. And another reason is that the officer can be able to solve the people's hardship. The results of Sacrifice, that from 禧, 禛, 祿, 禠, 祥, 祉, 福, 禎, 祺, 禔, 祐, 祗, 禍, 祟 for instance, shows in the Good or good fortune or a safety; and in awe of god, but if the sacrificial ceremonies is wrong, it will offend the gods, god will not bless, and bring disaster. The above is from the “示” part of characters to understand ancient Chinese cultural sacrifice

With an enormous increase in farm production, Song Dynasty became a commodity economy society, and a new type of city was also built at that time. A lot of people converged on the city, and a large growth in population made new urbiculture. One of the main features of the new culture was the advent of numerous Geisha Houses and Geishas. In those days, Geishas became one of the main groups leading an entertainment culture. Through a very close relationship with intellectuals, they sang 'Ci(詞)'s that were written by intellectuals and spread them. At the same time, intellectuals could compose a lot of 'Ci(詞)'s and diffused them by help of Geishas. Geishas were very cooperative because if their names were mentioned in famous intellectuals' 'Ci(詞)'s, they could win fame. Therefore, Geishas played an important role in the process of establishing characteristics of 'Ci(詞)' and also greatly contributed to the development of 'Ci(詞)' by spreading it throughout the country.

oming with the new century, the developing politics and economy in East-Asian countries have found new balance. China is rising with each passing day, the future of the Korean Peninsula unification still remains unclear, Japan is trying to revive the dream as a super power. Furthermore, these countries are trying to grasp the hegemonies over the regional affairs, Under these circumstances, East-Asian nationalism appears as a trend of increase strongly and antagonistically. The correlation of nationalism and national consciousness determines the East-Asian countries attach more importance to the mould of national consciousness. The mould of national consciousness surely brings influences on nationalism. East-Asian countries have different methods and strategies over this issue.

摘要：进入新世纪，东亚国家的政治、经济在发展过程中出现了新的不平衡。中国日渐崛起、朝鲜半岛统一前景仍不明朗，日本欲重温大国梦，加之对地区事务主导权的争夺，促使东亚民族主义强势抬头和相互对立。民族主义与国民意识的交互关系决定了东亚国家对国民意识塑造的重视。国民意识的塑造必然带有民族主义的影响，东亚国家各有方法和策略。

This paper is to describe the varied activities of the United Front of anti-fascism of Korean-Chinese anarchists in the 1930's, focussing on Bajin(巴金) and You Ja-myung(柳子明), the typical anarchists of the two countries. These two men are worthy of notice because of not only constantly taking actions as anarchists for the longest time in the late history of East-Asian anarchism, but expressing their own views on war through various literature. Furthermore, they had a comradely relationship for a long time. In this paper I would like to present this fact that Korean-Chinese anarchists had strong feeling of solidarity although they were in the overstrained relations between nationalism and internationalism during the Anti-Japanese War as well as that the two men's individual relationship. From the Manchurian Incident to the Sino-Japanese War, the long wartime brought a number of significant changes to Bajin and You Ja-myung. It is that they broke away from the anti-war line of theoretical anarchists and declared positive resistance as well. Among Chinese anarchists the cognitive change, if the struggle was something to fight against the strong authority and aggression, they had to take part in the war, gradually generated. It was connected to the assertions: aggressive war should be opposed to revolutionary war, and citizens's resistance was the only way to give themselves freedom. Also the Korean anarchists contended the Common Front of nationalists and communists, suggesting the Racial Front which they couldn't even dare to think in the process of changing the movement type, terroristic tactics to armed oppositions. It is very interesting fact that during the Spanish Civil War the participations of anarchists in the People's Front had dramatic effects on the shifting of their lines. The articles of the anarchist magazines at that time shows well by what theoretical basis the Spanish Front affected the cognitive changes of the Korean-Chinese anarchists. The resistant assertion and the controversy of the Racial Front among the Korean-Chinese anarchists were based on the phased consideration: national revolution should be first accomplished with the victory of resistance, and then anarchist society could be established. In the Common Front, however, without making sure the spiritual originality a Front had lots of room to be buried under the national revolution itself. In spite of the danger, Bajin and You Ja-myung didn't forsake the international solidarity, even in the war time when patriotism was enthusiastic. The numerous documents, great and small, could sufficiently confirm that Bajin desired every nations to have free lives, encouraging the Korean independent activists participated in the Anti-Japanese War, and the fact You Ja-myung leaded the solidarity struggle of international anti-fascism with the movement of the Anti-Japanese Salvation Association.

This study presents various aspects of Edo Meiji as colligation of transitional expressions and finds out the fact that there are surprisingly abundant transcriptions of a Chinese letter. The former expressions such as ｢Kyakusetus｣ ｢Wasetus/Setsuwa｣ ｢Kanwakyudai｣ ｢Saisetus․katustoku｣ are employed in a Chinese vulgar literature and generally used in many times after Edo. This paper presents many Japanese transitional expressions, centering around transcriptions of a Chinese letter which are likely to be considered as new Chinese expressions. We exclude examples which deviate from general transcriptional way of a Chines letter and has no ground owing to only a few instances. Main transitional expressions are 「saruhodoni・satemo・sate・kakute」, but there are considerable Chinese expressions derived from China in this research. Key expressions like ｢wabunryoutou｣ ｢huzaiwasya｣ ｢hudai｣ ｢anka｣ ｢wakyuujohan｣ are used in Japanese literature. To the extent that Chinese colloquial expressions were included in Edo Meiji literature under the influence of Sinology, the possibility of abundant expressions increased. It also implies that authors sought to inform his new knowledge of a popular new culture pedantically.

The Korean verb form “Chinese verb stem + hada”and Japanese verb form “Chinese verb stem + suru” are very similar. When these two very similar languages are studied, and the Chinese verb(verbs incorporation a word of Chinese origin) form is taken as the focus of the study, it is usual that 2 character Chinese verbs become the focus and most of the time a grammatical comparative study is the convention. There has not been an adequate comparative study done on the two languages with the focus on 1 character Chinese verbs. With Korean 1 character Chinese verbs as its pivot, this study attempts to look into the degree of overlap between the identical usages of the two languages using Chinese verbs, focusing on comparative examination of the trend in Japanese counterparts of Korean 1 character Chinese verbs. As a result, less than 40% of the 182 1 character Chinese verbs indicated in a Korean dictionary were found in the Japanese language in identical form. Also, data from newspaper social columns and front pages showed similar results, suggesting that the ratio of identical usage of 1 character Chinese verbs in the two languages is around 40%. This indicates it is not plausible to apply Korean 1 character Chinese verbs directly in to the Japanese language despite the similar morphology the two languages share.

This study discusses the Japanese verb naru and the Korean verb toeda in terms of their semantic extensions. Both naru and toeda have the basic meaning of ‘change’, but their extended meanings are quite different. Naru are semantically extended to the meanings of ‘conditional’, ‘reason’, and ‘respect’, while toeda are extended to include the Japanese verbs sareru and suru, and even to iku, which is used as a progressive aspect marker. This paper also shows that naru can be used as a copula that does not imply ‘change’ while toeda can be used to show that its argument or agent is non-volitional.

This study is purposing to adjust the expressions of conditionals showing the future time, by according to examples. 「to·ba·tara」 are used to show the future time in Japanese as well, and as you know, in future time, language formalities like conditionals or times as a rule are used, but those expressions of conditionals are known to be used under confusion in each categories. Meanwhile, in English, condition and time are classified. First of all Conditionals of condition, and future time or time as a rule of time are divided. Therefore, in this study, I took out all the 「when」s out of 『THE DA VINCI CODE』 and found 「to·ba·tara」「toki」 from Japanese translation to research about it. The study was naturally reached to time as a rule. Also, for Japanese translation backing, I searched about 「myeon」 and 「ttae」 in Korean translation.

Since 3rd rhymes including Medial "i," which is a shifted midway sound, it may be seen in the form of shifted sound either in Sino-japanese Go'on or Kan'on. These rhymes, however, have retained the sound of letters represented by direct sounds. In this article, the following results are drawn, by close analyzing Sino-japanese Go'on data remaining the sound forms of letters in patterns of direct sound in 3rd rhymes including Medial-i from modern Sino-Japanese dictionaries. 1) The direct phonetic forms appearing in the whole 3rd rhymes including Medial-i can be defined as Sino-Japanese Go'on because it is the form of letters' sounds prior to complete settling of the shifted sounds transcription. 2) It is a principle to transcribe less than 2 mora in Sino-Japanese Go'on. The sounds of letter which can be just transcribed with 2 mora may be represented with 1 mora following the habit of Sino-Japanese Ko'on. 3) To reflect the original sound, when more than 2 mora is marked, one of the characteristics of shifted-sounds, conjunct openings and main vowels is discarded, and it is inclined to made it mark less than 2 mora by choosing others. 4) It is judged for an inscription of direct sounds, conjunctions and sound division from expletive rhyme-U(虞․尤) in 3rd rhymes including Medial-i to be developed as following process. 5) Direct sound inscription in 3rd rhymes including Medial-i significantly comes out in the row of sound-s&l and partially in the row of sound-t. Judging from this phase, it is concluded the row of sound-l was formed lately.

Chookojoyumoon including <Horyu-ji Main Hall Seokgabulkwangbaemyung> and <Horyu-ji Samjonbulkwangbaemyeong> shows a trial to approach to the sentences of its native language successively even though its basic form is the sentences of pure Chinese. It can be seen from a proper noun such as a person's name, the name of a place, the name of occupation, and so on which are the first stage of borrowing Chinese letters to transcribe into Japanese. After the stage, there are several stages from temporarily marking an expletive like prepositions and auxiliaries with Chinese to marking the part of Jeong Hun which means reading the Chinese original usage correctly. As the stated above, marking the part of a particle in classical Chinese has been assimilated and integrated into inscribing borrowed Chinese letters in order of precedence and it has had the position of a representative in temporary sound names. The names of temporary sound appearing in Chookojoyumoon are the first period of Manyupkamyeong and they were used as the representatives of variations of Manyupkamyeong in second and third period, so it could be found the traces in later generations, Hirakana and Katakana. Horyu-ji Main Hall Seokjabulkwangbaemyeong and Horyu-ji Samjonbulkwangbaemyeong, which are debated in this article, are not greatly contrary to the structure of pure Chinese sentences compared to other Chookojoyumoon. Chinese consonants such as ｢与｣｢於｣｢于｣｢以｣｢者｣have been developed from the function as a particle in classical Chinese, assimilated and integrated in to the second period of Manyupkamyeong, and then settled in the language. Also, it is notably considered that Chinese consonants like ｢於｣｢于｣｢以｣are sound-borrowed letters used frequently in contemporary old folk songs.

There are two types of the sentence structure of Yarimorai in modern Japanese: (1) the beneficiary is in the core structure (2) the beneficiary is not in the core structure. The former type includes four types of Yarimorai : ⓐ the direct object of Yarimorai ⓑ the indirect object of Yarimorai ⓒ the possessor of direct object of Yarimorai ⓓ the possessor of indirection object of Yarimorai. Every Yarimorai verb can be applicable to the above type, but the following kiyoutai is used in daily expressions. 　1)「…お父さんが四谷と和解してくれれば、いちばんいいんですが ＜お父さんが四谷と和解してくれる＞（冬の旅）　2)下女の袈裟治は塵払を取り出して、背中に附いた雪を払ってくれる。 ＜袈裟治は（自分から）雪を払ってくれる＞（破戒） The above sentence structures have not been studied. Therefore, the verbs which need these sentence structures are examined, and the positions of the sentence structure of Yarimorai are also investigated. The conclusion is as follows: The basic usage of Yarimorai belongs to the four types in case the beneficiary is in the core structure. The structure in which the to/kara case is the beneficiary, is also included in the indirect object of Yarimorai in that it requires the modifier which modifies the other to complete the categorical meaning of the kiyoutai verbs themselves. But with a formal point of view, it is not acceptable that the structure in which to/kara case is the beneficiary, is the same as the indirect object of Yarimorai because the structure requires either the to case or the kara case. And in case of the kara case, most of torihazusino musubituki, hanasiaiteno musubituki, and detokorono musubituki has the same meaning unless there is a strict semantic distinction, because the structure of the possessor of direct object of Yarimorai (no case) and reciprocal relationship between the kara case and the no case exist in the sentence. With the above reasons, I suggest that the structure of darekaga dareka (beneficiary)to/kara (nanikawo) ∼siteyaru/kureru be called another structural type.

In the academic community of Teaching Japanese as a Foreign Language in Japan, according to the change of the view point about education, culture and so on, the Media Literacy has been noticed. This is also because Media Literacy is proved that it could be a momentum for the important challenge for identifying the one’s own culture and forming the one’s own individualized culture. I tried Media Literacy at the course of the “Japanese for Media”, which was offered in the Japanese Studies, Department of International Studies, Keimyung University, semester-1,2008. This article is a report about the practice which I tried as a part of Media Literacy, to make students be consciousness of their stereo types about Japan and its mechanism with a report of comparative study about the strategy of declining between Korea and Japan. In Korea, because of the background of the “unfortunate history” between Korea and Japan and “anti-Japanese feeling” based on that, stereo types about Japan have been amplified. In view of those situations in Korea, it is thought that Media Literacy in Korea exercises its effect and importance and Teaching Japanese as a Foreign Language in Korea contributes to for identifying the one’s own culture and forming the one’s own individualized culture in Korea.

This research is to analyze and investigate results on the motivation for studying Japanese of the Korean college students and its related factors. Also, it has searched Korean college students, recognition on Japan and the Japanese and its influential elements. The results of this research are as follows; Korean college students take Japanese classes in order to interchange with Japanese and deeply understand Japanese popular culture, to prepare various tests and future jobs. And Korean college students choose ‘Conversation’ as one of the most interesting areas and one of the most important courses. From this study, we found that 60% or more repliers of Korean college students have good recognition on Japan and 42% repliers have on major factors consisting of this recognition are Japanese movie and drama and Japanese cartoon and animation. Also, 79% of Korean college students replied their recognition on Japan has changed and 70% replied their recognition Japanese has changed, after studying Japanese.

This paper explicates the result of the questionnaire survey about what kind of image the Korean undergraduate students who have close Japanese friends, and those who don’t, have regarding Japan, the Japanese, and the Japanese language. As a result of this survey, those students who have close Japanese friends turn out to have more positive image of Japan and the Japanese than those who do not. And as for the Japanese language, those who have close Japanese friends have positive images such as “polite,” “beautiful,” “amiable,” “good,” “easy to understand,” “fresh,” “soft,” and “easy.”

Music is the medium to convey the human emotion directly to the human mind and facilitates the communication of language and custom with others. And it is possible to understand th times and cultural zone in which the music was generated because music itself contains the characteristic of the times and cultural zone in which it was made. Furthermore, it has the advantage that the subject of music can excitingly attain the difficult objective of education, international understanding. The curriculum of Korea has been reorganized seven times since the enactment and declaration of the 1st curriculum according to the Educational Law and its Enforcement Ordinance enacted in 1955. The nature of the music subject in the 7th Curriculum includes an understanding of basic musical concepts, the experience of diverse musical activities, interests in music and the attitude of enjoying participation in it and reflects the education of international understanding and multi-culturalism. ‘It is necessary to understand he feature of each musical culture and its historical and cultural value by meeting diverse times, style and cultural zone as well as our music and comparing the heritage of our musical culture and that of other countries. Thereby, it is necessary to succeed to and develop our musical culture and contribute to the new musical culture. This corresponds with an understanding of musical concepts through the music of diverse times and cultural zones. It is a high time to know that the music of other people as well as the music of one's people is valuable. When the musical value of other people comes to be understood in earnest, the musical educator of each country would come to have the 'comprehensive vision' and 'balance'. For this purpose, the musical educators of each country need to exchange information on the present situation and task of the education of their traditional music and can cooperate with each other when their mutual advantages are learnt and understood. This study was intended to understand Japanese music and contribute to the teaching method of learner-teacher of traditional Korean music education by investigating the case of traditional Japanese music education in the seminar in which I participated as the learner. The research method is the field study to understand traditional Japanese music while learning the representative Japanese string instrument of 'Goto' and the percussion instrument of 'Wadaiko'. The field study was conducted concerning the case of music education through the traditional Japanese musical instrument of 'Goto' and the case of the teaching method based on the traditional music performed in the traditional festival conducted in real life in relation to the theory and practice of current traditional Japanese music education provided for children based on the contents of the amended 7th Curriculum. This study is concerned with the contents of the teaching method of the teacher in which I participated in the learner's position because it is the case study of traditional Japanese music education concerning the teaching method of teaching-learning. The education of international understanding through music should be focused on enabling students to study the musical characteristic proper to a country and the knowledge or full story related to the music while experiencing the music of diverse countries. The teacher should develop the content and method of teaching and learning by cultivating the ability to know and recognize the value proper to diverse music of several countries. It is thought that the case of traditional Japanese music education presented in this study will be helpful for the teaching method of our traditional music as well as an understanding of traditional Japanese music. In addition, subsequent studies should be conducted concerning the cases of field music education of diverse foreign countries.

The objective of this paper is to explore the meaning of God that Endo has tried to find out, basing the study on Deep River, which is called one of the masterpieces of Endo's literature. In Deep River, Endo suggests the image of God, which he has incessantly pursued for 46 years in his career as a writer. Endo projects the image of the Christian God that Japanese can easily understand onto the main character Otsu. Otsu carried on his back the poor dying Hindus who fell down on their way to the Ganges; they were verging on death but dreaming of reincarnation. Otsu carried them to Manikarnika Ghat. Just as Jesus climbed Golgotha with the Cross on his back to save humans, Endo describes Otsu's act as realizing the true love of Jesus. He also thinks the act of Otsu to be the true embodiment of Jesus. Endo's practice of love in the Ganges, spiritual home to Hindus, means that the God Endo has sought transcends religion or religious sect, and embraces the good and evil just like Mother's love. Endo has tried to find the meaning of God in saving all kinds of human regardless of their religion.

This paper consider about the truth and the fiction which appeared in myth of Korea and Japan. The case of Japan, 『Kojiki』 and 『Nihonsyoki』 describe to the justice of imperial establishment. But the way of description appeared 『Kojiki』 and 『Nihonsyoki』 is different. Of course the way gained from association waith China, which called ｢sakuhou｣. At that time, East Asia formed under the Sinocentrism. So Japan imitate the Sinocentrism. To become the second Sinocentrism, Japan take ｢Kaya｣ and ｢Baekje｣ in their myth. In their myth these country was their tributary. Since like this world view serve for imperialism of Japan. Korea must observe the way of recognition, which Japan do through their myth. ｢Myth of Dankun｣ and ｢Myth of Gwangeto king｣ which Korea's myth, must not be disregarded for their element of fiction. The element of fiction is demanded for secure the justice of country and to emphasize the consecration.

The studies of classics of Sanjounishike has begun from Sanjounishi-Sanetaka and has mostly completed by it's legitimate grandchild Saneki. Among the classics of Sanjounishike, the studies of Isemonogatari has been compiled by Hosokawa-yousai's Ketsugishou, the summation of Sanetaka's discourses. To discover the developing process in the studies of Isemonogatari of Sanjounishike, the comparison between Iseishou and Ketsugishou, the summation of Sanetaka's discourses, has been conducted in this thesis. As a result, various characteristics of Ketsugishou have been found, which gave an opportunity to compare the academic attitudes of Sanetaka and Saneki. It was able to discover that Ketsugishou is a commentary which preserves the academic tradition of hidden theory and contains scholarly progressive aspects. Ketsugishou also holds the intention of Saneki to spread the views of Sanjounishike. In consequence, Ketsugishou has positioned itself as a commentary influencing the studies of Isemonogatari in the early days of Edo.

The study modern and contemporary Japanese literature as the text of space 'Jeju Island' on the overall goal of research. Jeju Island is modern Japanese literature that <Island> How would you have representation? The research area and Jeju <Island> and how that has been the embodiment. How to keep that process would have worked with the power of knowledge. Jeju <Island> is the image of the transformation? If so, what is that element. And　what is it if there is something that doesn't change in origin? Departing from problems such as awareness. Jeju <Island> perspective of modern and contemporary Japanese literature in that pursuit, the Japanese archipelago <Island> from the periphery of the Korean peninsula, Jeju <Island> perspective to ascertain the views will be at the same time, Jeju <Island> to explore literary and through the heart, the Japanese bombardment of modern and contemporary literature to reverse will work.