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I will want to try describe for Korean culture for 21C and we have to try to solve the this problem each other. And, the culture have the most complex types and so, is very difficult for us to solve this kind of problem in historical special Model from Language families. Specially, We have little documentary about culture in ancient life or folklore and historical records, so we have many kinds of difficult in original and beginning culture. But, exactly speaking may be it is very important for me to describe about Korean old culture which the inspired utterance of Ural-Altai and Chinese. In this paper, I was try to show you about Altai's Life with interpretation and material collection. Someday, I'll provide to you in this direction more than now in future. And we need Chinese old Language and culture for us to describe for Korean old culture. and we need much more than now about documentary with history, Language, folklore. We have to try more than now for 21centurly in Korean culture. I'll describe this paper with below ; (A) 'Kourea(고구려)’ is common noun and means, 谷, 溪, etc. (B) ‘항파두리(缸坡頭里, Hang-pa-du-ri)’ It is means of General, Hong-Ta-Gu. But we will solve the problem in this case. (C) 우라한-오이윤(Ulahan-Oïun, Ulahan-oyun) ⅰ) ut>ul(higher, 웃) ⅱ) han (king, great, large) ⅲ) ‘-a-’ : an interpolation vowel ⅳ) oïun : shaman ⅴ) meaning of ‘ulahan-oïun’ are ‘greatest shaman’ ‘shamn of higher king (D) 심방(Sim-Bang) ⅰ) sim : free morpheme bang : bound morpheme ⅱ) Common father's Language type of ‘shman’ is S∨t(origin of word, 語系, 어계) ⅲ) ‘sim-’ and ‘sam-’ have commom father's Language type. ⅳ) ‘sim-’ ‘sam-’ ‘šun’ are comparative each other and belong to ‘S∨t’(origin of word) as common father's Language type. ⅴ) ‘-bang’ is below ; 1. Manchurian : beye(man) 2. Solon : beye(man) 3. Solon : bei(man) 4. Tunguse : bojo(man) 5. Tunguse : buacin(prayer) ⅵ) meanning of ‘Sim-Bang’ 1. holy man(in Jae-chu-iland) 2. prayer(in Jae-chu-iland) 3. attend on man of sun (E) Obo(Ovoo) obo(ovoo) looks like ‘서낭당’(Sea-Nang-Dang) with function in Korea ⓐ opinins of Linguistic ⅰ) obo : ut + bo > obo ⅱ) ut : 上位(higher) ⅲ) bo : buge, be(shaman, 巫師) ⅳ) obo : complex word <cf, obo : ut + buge(bo)> ⓑ opinion of meanning ⅰ) attend on man's shaman of gods of heaven and it's object ⅱ) object of wealth and fecundity ⅲ) object of Unity in Mongolia I want to try describe about 고구려(Kogurea) ‘항파두리(Hang-pa-du-ri)’, ‘우라한-오이윤(ulahan-oïun)’, ‘심방(sim-bang)’ ‘오보(obo)’ with view of Linguistic Folkroe. And so, I have been solve the problems many kinds of these. But, I'll try more than now.

「shila su-i-jun」 is the oldest korean romance collection. They have been presumed ‘Choi, Chi-Won'(857-?), 'Park, In-Ryang'(?-1096), or ‘Kim, Chuk-Myung' as an Author. but, no one is sure. The original master piece wasn't handed down. So, the original detailed story is not known perfectly. The existing novels are from ` 「Hae-Dong-Go-Sung-Jun」ㆍ「Sam-Kuk-Yu-Sa」ㆍ「Tae-Peung-Tong-Jae」ㆍ「Pil-Won-Jab-Gi」ㆍ「Dae-Dong-Un-Bu-Gun-Ok」ㆍ「Hae-Dong-Jab-Rok」. All of them are 15 Volumes. But, actually, There are 12 Volumes except repeated ones and none of them are full storied, they are abstracted. This thesis is to study a view of life and death from some of the novels which based on the romance and death between man and woman. The novels are 「Choi-Chi-Won」ㆍ「Gi-Gui」ㆍ「Su-Sab-Suk-Nam」 and 「Ho-won」. The reason to choose these four novels is romance and death speak for the matter of birth and death very well. From the study, I could find the following facts. Romance could be the symbol of the birth and propagation to continue the life. Death is the end of present life and another beginning for the new life. There are two types for the death. One is temporary (passing ceremony) and the other is eternal (destiny). They become different according to the acceptance of the next world after death as a reality or unreality. In the reality, death is resistible and selectable. But, as a unreality, the only thing is just acceptance like destiny. The above view for life and death was based on the people's thought that the reality and the unreality could be communicated at that time. It was their belief as well. On the other hand, these communicative time and space was the unique description for the novel. It can be like night, dream and temple which could be proved in the reality and also they have the elements for the unreality. With the magnification of time and space like these, the pain of the real life could be cured, and this process made death as a passing ceremony. This was come from the belief there is a next world after death whether it is reality or not. In addition, for the exquisiteness of the novel, romance's complication was described with unordinary couple's encounter. That's how to maximize the lesson and entertainment from the novel. It can add the inquiring function to the life and death and get the artful effectiveness as well.

Death mourning songs developed into pathos-lyrics from songs with magical elements expecting the resuscitation of the decreased. Where were these elegies from in Japan and how did they develop into lyrics? Id like to think of it, looking over the conditions proper to Japan and with eastern Asia in sight. Books of Chinese history dont describe accurately all the historical facts of Japan. In the three history books of ancient China, it is told that they cried loudly, sang and danced in front of the decreased before burial. Death scenes, which appear in Kojiki and Nihonshoki telling the origins of funeral form in Japan, are almost the same with those of Chinese history books. Women look the lead in Mogari(later absorved into Hin from China) in which the decreased was lain in state and served. It is thought to be the origin of elegics. Historiens already indicated that Hin in the estableshed Court funeral form consisted of private form by women and public one by men to the outside. Songs by women serving to the decreased developed into lyrical elegies and flowered in the Manyoshu. The development from songs to lyrics can be seen not only in elegies but in all songs and poetry in Japan. It is one of epoch making movements in the history of Japanese literature. This period is closely connected with political affairs flowing into Japan thought China and Korean Peninsula. In Samkookyusa and Samkooksaki of old Korean Peninsula the prosperity of songs and poetry could be recognized before in Japan, and this movement would flow into Japan. Based on the historical and social backgrounds of this period, the development of Japanese song and poetry must be considered. In the periods of Kogyoku-tenno and Tenchi-tenno Korean Peninsula had been a great influence on Japan. As for songs and poetry, we must study widely, taking the conditions of the period into consideration, how songs and poetry proper to Japan were affected and changed, including not only Chinese literature but Sodongyo, Hesungga and Poongyo in Sinla

The Facts existing at the Ruins of Neolithic Age in South Korea can tell us that there once lived a group of aboriginals who share a lot of similarities with the Dawenkou People. This aborigine was the Ancient Asia was proved to be one of the important ancestor to present Korea nationality. This further evidence that nowaday's Korea has close historic relations with ancient Dongyi ethnic group. In this article, the region centered by Taiwan, and surrounded by the coast lines of China mainland, Japan and south Korea is named North Mediterranean Area. that's also the area of Dawenkou Cultural Circle. The ancient Dongyi people mastered advanced nautical techniques. They especially knew how to migrate to Korean Peninsula relying on the floating of ocean water. Therefore, Dawenkou People and Korea people share various common things both physically and culturally, such as the same or similar features of flat heads, extraction of teeth, stone shelter, twice~bury funeral. Though the comparative study of between ancient the Korea and China has involved in various knowledge of history, documents, archaeology, anthropology, folklore and folk literature, and has touched some of their common cultural features, it is not enough for us to conclude whether the similarities the two nationalities share result in their same racial ancestors or come from their common cultural background.

The Narye ceremony, where various mask dances are inserted, is always considered important whenever there is a discussion of Korean history of the mask play. Unlike other ceremonies that intend to drive ghosts away, Narye came from China and was usually performed in the palace at the end of the year. This paper focuses on the effect of Korean Narye ceremonies, and on the formation of the civil mask plays that are handed down in many regions of Korea now. This study is accomplished by carefully examining the times in which the ceremonies were performed and passed on, their content and the leading groups who participated. Korean Narye gradually overcame the position of being a religious ceremony held at the end of the year and slowly became the Nahee. Various entertaining recreations have been added. It was abolished as a national ceremony in the 17th century during the Chosun dynasty. Therefore our Narye is mostly a royal ceremony, and any records of civil Narye ceremonies can only be found in some areas during the 19th century. Most of the civil Narye were actually led by the local government and the dwellers that lived there participated in the ceremony. In many cases, it is included in the customs of the January Full Moon day (January 15th of the lunar calendar). Its distribution is centered in the Kyungsang Province. For such reasons, ceremonial characteristics of Narye gradually weakened and folk beliefs were added and entertainment varied. Comparing the content of Narye with the extant mask plays, we can find that the dance of the divinities of 5 directions partly remained in the extant mask plays of Kyungsang Province. But we cannot really see this as an inherent aspect of Narye ceremony because it was originally a folk belief. On the other hand, a person related to a Buddhist monk appears on the stage of Narye but the character is not varied, specific or general, as it is today. Also Somae, who is the divinity of the guardian of the door, shows up too, but there is a certain difference in the character from that of today. There is an animal dance related to the 12 zodiac signs in Nayre, but there is no animal dance other than the dance of the lion in the extant mask dances. There is also a simple farce in Narye that is critical to reality; thus it included criticism for those who ruled society and the lot of the poor everyday life of common people. Such criticism stands at the center of the extant mask plays. But as Narye was performed in the palace, such criticism was limited. Therefore, as we compare it through content, Narye shows much difference from the extant mask plays. Also the groups of special clowns who participated in Narye were called upon for special national ceremonies, but the government didn't provide them with any security for life. So they had to join in the general feasts of normal citizens for material support, develop various methods of entertainment and strengthen their criticism toward their environment (reality). These people traveled around the centers of the districts or markets, and played a certain role in the formation of the extant mask plays. However, as the extant mask plays were transmitted in their regions, various methods of entertainment were dispensed with and they were reformed into farce~centered mask plays with the taste of satire and humor. Thus, it is hard to find evidence that many clowns who participated in Narye ceremonies were the ones who transmitted and developed the mask plays in the regions they settled. The mask plays of Hahoe, Yechon, and Jain areas in Kyungsang Province and in Kangnung in Kangwon Province are combined forms of the exorcism mask play called Goodtalnori, where the exorcism ceremony is combined with the mask play, and they were developed spontaneously. As a conclusion, we can say that the effect of Korean Narye on the extant mask play was quite restricted. Narye, where an exorcising ceremony was combined with various kinds of entertainment, is quite different from the mask play that is performed now. We can only find some relation in the parts where they criticize reality. Instead we can rather say that the characteristics of the regional Deadong Nori are the ceremonial features of the inhabitants in order to wish for abundance and peace. The critical features of the common group who criticized helpless nobles and conventional monks formed the extant mask plays.

The doll dance performed in the two shrines called as K'ohyoo and K'ohyoo (they are separate shrines despite the same pronunciation) in Buzen had been dedicated eary in the occasion of a kind of Buddihist ceremony 'Hoojooe' in Usahachimanguu, in which living things, especially fish, were released alive into rivers or seas, and it has been performed every four or three years until now in the ceremony carried out singly by the subordinate shrines. This doll dance has been focused on by scholarly seniors for a long time as one of the important subject matters constituting the histories of Japanese performance art and of the faith in dolls, along with the legend of Azuminoisora who danced a dance called as 'Seinoo dance' on the stage of 'in the sea' when the empress Jinguu marched forward Shilla. I will consider the stages for performance art concerning dolls through these two subject matters. The legend of Azuminoisora is the story that, in order to get some magic power for combating with other nations, a company of the empress Jinguu that came to need the power of 'a child' called as Azuminoisora called out the 'child' from the world of death called as 'in the sea', that, so as to call out this child, one old man arranged a stage in the sea and danced and that, attracted by this dance, Isora appeared and danced on the same stage. Both the dances of this old man and Isora are called as 'Seino dance'. 'Seino dance' is the dance for calling out a god(or spirit) and, at the same time, also the one of the god (or spirit) called out. The dances called as 'Seinoo dance' danced to realize this myth of Isora remain now actually in several areas or in past literature. Seino dance danced in the Buddhist ceremony in Usahachimanguu is also one of them. In the past, the god～going of Hachimanguu was performed up to the temporary palace of the beach Wada in the occasion of the ceremony and, at that time, those in the shrines of K'ohyoo and K'ohyoo are said to have gone out to the sea on boat and had dolls dance Seino dance. At present, this dance of doll is dedicated in the ceremony which each shrine performs singly. In one of the K'ohyoo shrines, the dance of Seino (by dolls) danced on sea remains even now. The marine stage in this shrine of K'ohyoo is very dense in its borderness. The place itself called as the one on the sea is a boundary area and the stage installed there, when compared in its form with other installation where gods are seated, is confirmed to be a device in order for gods to survive from the world of death. The dolls of the shrine K'ohyoo, with such device as a stage, show their dance to us in this world, containing otherworldliness and visiting nature. This research is intended to grasp such aspect of stage as a primitive form of doll stages.