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This study takes as the subject 132 poems of the Seventh Day of the Seventh Moon in the Manyoshu and discusses the following: the characteristics of the poems of the Seventh Day of the Seventh Moon in the Manyoshu; the characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry; the transmission of the legend of the Seventh Day of the Seventh Moon to Japan; and the relationship between the poems and the Korean people moved to Japan in Ancient Korea. The following is the conclusion. The characteristics of the poems of the Seventh Day of the Seventh Moon are, first of all they are the only work in the Manyoshu with stars in a night sky as the theme, and the fact that all the authors are the intellectuals with noble bureaucratic background and males. Also, unlike the Chinese legend of the Seventh Day of the Seventh Moon or the Chinese poems of the Seventh Day of the Seventh Moon, other characteristics of the poems in terms of the story are: it is Gyeon Woo who crosses the Milky Way on the night of the Seventh Day of the Seventh Moon; Gyeon Woo and Jik Nyeo accept as their fate their heartbreaking love which only allows them to meet each other once a year; and there are many instances of expressions fused with Japanese myths. Thus, even though the poems of the Seventh Day of the Seventh Moon in the Manyoshu have been influenced by the Chinese legend of the Seventh Day of the Seventh Moon, there are significant differences from China. Therefore, it can be stated as Japanese transform or characteristics of the legend of the Seventh Day of the Seventh Moon. The status of the 38 poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry draw attention since they were written in the earliest period among the poems of the Seventh Day of the Seventh Moon in the Manyoshu. They are presumed to have been written after A.D. 680 or in the TenmuㆍJito Dynasty (A.D. 672～696), and the author to be Hitomaro himself. The characteristics of the poems of the Seventh Day of the Seventh Moon in The Hitomaro's poetry are that the poems are superb than other poets' work in terms of originality, and that they sing a celestial sad love story as a humanly love story on earth closely connected to the realities of life. According to the literature, the period in which the Chinese legend of the Seventh Day of the Seventh Moon was introduced in Japan is presumed to be much earlier than the TenmuㆍJito Dynasty and by the people who moved from Korea. This paper concludes that in the Omi Dynasty's (A.D. 667～672) rigorous literary pursuit, the Chinese poems of the Seventh Day of the Seventh Moon were widely introduced by the intellectual exiles from Baekje, who were competent in Chinese literature, and in this process the poems of the Seventh Day of the Seventh Moon of the Manyoshu were began to be written. Through this research it was possible to confirm that the influence of the people moved from Ancient Korea is revealed also in a Japanese ancient collection of poems, the poems of the Seventh Day of the Seventh Moon of the Manyoshu.

In this paper, I put some thought into "The notion with the removed soul". I focus on and deal especially with the no.147 and the no.148 verses in the Volume2. This two verses concern about the ceremonial to restore the emperor Tenchi-Tenno's soul removing from his body. In this paper, I have considered a concern about that verses and soul-inviting ceremonial performing in the ancient Japan, and have come to the following conclusion. In conclusion, we can discriminate between the no.147 confident that getting a view of the soul with acknowledging tradition to put in a poetry of congratulatory and the no.148 only getting a view of the soul but articulating about distress to never meeting. This paper propounds documentation to the consideration for the notion with the removed soul from the standpoints of the enquiry of a Myriad Leaves. I ambitious that many members in this academic conference will set out like the case examples from some of the areas at Southeast Asia, and carry these investigation forward.

Since spring 2002, the author has met the recent defectors from North Korea to investigate the North Korean oral folk tales. The ten North Korean defectors whom the author met confided to him over 100 pieces of folk tale and folk-tale-related information. Collecting these data was a pleasurable experience as the doubts and ambiguities concerning North Korean oral literature were cleared one by one. The project was worthwhile as the reality of North Korean oral tradition, though partially, could be reported before research has been done in any journals, in an independent volume, or in any broadcasting program. Questionwise the whole content could be summarized as follows: (1) Are there any folk tales in North Korea?: The interviews with North Korean defectors show that there are. For instance, the interviewee who grew up at the town of General Eung-seo Kim dictated some related stories and other town-based legends that he had heard in his childhood. Other interviewees also dictated stories that are hard to be found in the existing North Korean folk tale anthology. (2) In what form do the folk tales exist?: North Korean folk tales were viewed as existing in four types. That is: ① traditional oral transmission ② published but changed tales ③ modernized humor ④ tales adapted for fairy tales and digital media. First of all, traditional oral transmission refers to the folk tales that have been narrated since the Partition of the Korean Peninsula. Second, published but changed tales are those created intentionally for a certain ideological purpose after the successful idolization of Chairman Kim. Third, modernized humor refers to those humorous stories floating over the general population just like those in South Korea. In the author's opinion, this is the type in which the oral tales are most widely distributed and galvanized in the North Korean society. Tales in this category include humor castigating the unjust top officials, humor satirizing the corrupted military, humor that surreptitiously expresses the author's discontentment toward the mainstream ideology, and the sexual innuendoes, which only show that the North Koreans have the same sexual tension in their lives as ours. From these types of humor one can infer that the North Koreans live with a due sense of judgment toward the contradiction or corruption of their political system and thus that they are only human just like one of us with the same instincts, desires and sense of humor. In addition, there are also humorous stories using puns. Lastly, tales adapted for fairy tales and digital media refer to those stories that are not original but re-created based on traditional folk tales or classical literature. The interviewees dictated these tales recalling their experience of reading the fairy tales and comics or watching the movies, TV shows or animation. (3) How are the oral folk tales being transmitted in North Korea?: First, such tales as traditional folk tales, modern humor, fairy tale/digital media tales are transmitted in the private sector in such relationships as family or friends. Then, the changed tales are narrated only in public, never among the private relationships. (4) Why are the folk tale publications lacking between 1965 and 1985?: This is the question that the author has brooded on as he searched for the data focusing on the materials housed in the North Korean Materials Library. According to the interviewees, the North Korean authority collected and burnt every volume, especially the translations of the classics and foreign books. This research could be differentiated from the existing literature reviews in that it is based on the testimony of the defectors who grew up and lived in North Korea. The existing researches are, however, based on notes or recollections of what the researchers heard, not the transcripts of the tape-recorded utterances of the interviewees, so the tales adapted and abridged at random are anywhere but some distance from the original content. The direct transcription method adopted in this research is thus believed to be a step forward in this matter.

This is the study to prove the coexistence of ancient Japanese idea and traditional western idea for love in the literature of his life through the comparative method. To begin with we compared the some novels and poems of Tokoku which has been written in the end of Tokoku with Song MANYO, which is Japanese ancient love songs. And we could find common meaning for love between Song MANYO and Tokoku's novels and poems. In a word these love means to long for the object of his (or her) lover and unite with her (or his) soul. So to love means to long for the other sex and to call the soul and to unite with it spiritually. It does not mean real meeting of man and woman. Because love is spiritual thing in ones mind in these literary. There for We can say that the idea for love in the novels and poems in the end of Tokoku comes from ancient Japanese thought. And secondly we compared the drama HORAI which was written by Tokoku in his early day with FAUST and DIVINA COMMEDIA, western traditional drama. Then we could also find the same meaning of love. In this case love between man and woman is the sweet delusion which is made by Satan. Namely Satan makes sweet emotion between man and woman and make then dream. But Satan makes them fall finally. It is true that drama HORAI has mixed ideas of east and west. So it is not easy to understand each concept in each word clearly. But it is plain that the concept of love is used here as the delusion which is made by Satan. Now we can see that there are two ideas for love between man and woman in the literary of Tokoku. Namely that is traditional western Christian thought and ancient Japanese thought.

Most of the Masks of China's minority nationalities have close and intricate relationship with religion and sacrificial ceremony. Since the primitive society, "the Mask" has been considering as the "magic utensil" or "sacrificial utensil"that can facilitate the flow of communication between the human world and the ultra—nature world. All the cultures of the China's Mask relate to the religious activities by the religious professionals. From the points of view by primitive man and the Mask believer, the Mask is a kind of human soul transportation tool instead of a kind of special makeup skill. Because the Mask can carry human soul to the nether world. The Mask itself is the "sacred utensil"which cannot be touched casually. It is a sort of religious consciousness coagulum. Among various primitive masked god statues, there have been ancestral gods, personalized nature gods, ethnic tribal heroes and killed enemies. Because of these, the Mask has holly and sacred nature. Primitive religion has entrusted the Mask a certain holly significance. The Mask surely has an invincible force. It becomes the Protection God that can protect people from the evil spirit. The Mask history of China's minority nationalities is almost as longer as China's culture. It is not only a mirror of human nature but also a mirror of human society. It has reflected different quarters of Chinese and their belief. From this aspect, the Mask of China's minority nationalities is just the symbol of Chinese culture.