Earticle

Logico-semantic relations such as entailment or presupposition are concepts treated constantly in the field of classical logic or the logical semantics. This paper aims at the analyses of entailment and presupposition observable in the common text. By utilizing their logical definitions, the paper will attempt to explore the logico-semantic relations and through the process analyse their semantic effects observable in the speeches of the President of France and in the editorials of Le Monde. The entailment is provoked by sufficient condition, necessary condition, and finally by necessary and sufficient condition in common text by si, pour, donc. The presupposition in this manner is produced by the factivity and the aspect. French verbs such as savoir, ignorer, oublier, regretter exhibit the factivity observable, and verbs such as commencer, continuer, finir concerns the aspect. Also the paper analyses texts from French novels, from a learners' point of view : Le petit Nicolas, Harry Potter-A l'école des sorciers, Le Papillon des étoiles. The analyses will demonstrate the utility of logico-semantic relations discernable in learning foreign languages.

With drastic shift of traditional concept of Text-Linguistics, the ecological functionalist approach designed by Robert T. Alain de Beaugrande (1997) is taking up more significant role in Text-Science as well as in Translation- Studies. In this paper we outline an inter-disciplinary framework of a Functionalist Program for Translation Studies, on the basis of Text-Science, Constructivist epistemology and Astronomy of Johannes Kepler (the Laws of planetary motion). In this model, we deal with the material and data fields of Text in the sense of de Beaugrande, looking into its logical demand for modelling for Translatory Acts (Translatorisches Handeln). This descriptive apparatus should include, for example, the perspectives of Skopos-theory (H. Vermeer/K. Reiss) and the Prototypology (M. Snell-Hornby) applied to translatory act-theory (J. Holz-Mänttäri). These syncretisms in the research of Translation-Science, which are becoming increasingly obvious in the era of Interdisciplinarity, are to be systematically described and explained by the equally syncretic discipline of a meta-theory which reformulates the relevant contributions from related disciplines and connects them into a Functionalist Program for Translation Studies.

The Epic GuJiGa (龜旨歌) raises new insights and questions as to the true meaning of the poem. The KimSuro clan who settled in the Kimhae area on the southern tip of the Korean peninsula was not a power group due to small numbers, and thus had problems in founding a Kingdom such as Kokuro by Jumong or Baekjae by Eunjae. To make up for this lack in manpower KimSuro composed songs and had his followers sing the song and spread the mythic tale that he was destined to be king thus mobilizing his supporters to enthrone himself as King. The song however was a political ruse. For this reason the paper qualifies the song as a strategem and not incantation. KimSuro to ensure and to enlarge his power base with the local feudal lords told them that HeoHwangOk who was from a Chinese descendant was actually a Princess from India. It is for this reason that the song is known as a song that founded the Gaya Kingdom. The paper develops the point that if KimSuro's wife Empress Hwa was an Indian, KimSuro could also have been Indian himself. Because it would have been close to impossible to have wed someone with a foreign origin at the time. The tortoise mentioned in the poem symbolizes KimSuro himself. Further research on the subject undisclosed that tortoise was used as a symbol for Kings in the Indian caste system. This hypotheses, the tortoise symbolizing KimSuro, is grounded on the tortoise shaped crown that was recovered during the excavation of the Gaya tombs. Even the words “sing the song holding handfuls of soil from the summit in each hand” in GuJiGa (龜旨歌) denotes a part of a ceremony performed in India. This liaison between King Suro and the tortoise was not made, because traditionally researchers translated the tortoise as a tortoise and nothing to do with symbolization. The words “show the head”, in a loose translation means to ʻshow yourselfʼ, in India ʻshow yourselfʼ is literally understood as ʻshow the headʼ. As mentioned the song was a ruse of KimSuro to trick his followers to sing, dance and to proclaim him King. In GuJiBong (龜旨峰) and GuJiGa (龜旨歌) the Ji (旨) symbolizes an order from the King. In ChoSun Dynasty the words such as KyoJi (敎旨) or SungJi (聖旨) was used to denote orders from the king. It was ʻJiʼ which was used for giving out commands by King KimSuro to his close followers. For this reason GuJiGa(龜旨歌) is viewed as an abbreviation of GuWangSungJiGa (龜王聖旨歌). In accepting this deduction as to why the title or name GuJiBong was used after the crowning of King KimSuro becomes quite clear. It is also important to note that not only were the lyrics of the first part GuJiGa lost due to similarities in the lyrics with the Chinese song HaeKa (海歌) the lyrics at the end of the verses were also confused with those of Haega and was lost. Accordingly the ending phrases for GuJiGa and those of HaeGa became identical.

This study searches for a precise meaning of 'object,' which is in general use as an important concept in the study of language. We first look into some instances of misunderstanding that have characterized previous definitions of the term, Dictionary definitions are also reviewed which strike one as problematic. In an attempt to grasp the precise meaning of 'object,' two concepts of the term are examined: first, whether to treat 'object' as a reality of the external or subjective consciousness of the inner substance; second, how to define the direction of the object. Object is suggestive of the subjective consciousness of the inner realities as well as the external ones. Furthermore, the objectivity of the consciousness and external realities are grounded in different meanings. In terms of directionality of the object, the direction of 'object to subject' as well as 'subject to object should be considered. Therefore, relationship between the subject and the object can be presupposed to be bidirectional.

The essay explores Charles Taylor's and Slavoj Žižek's theories of multiculturalism, and attempts to suggest the alternative to multicultural ideas dominated in the Western societies. Firstly, the essay examines Taylor's consideration of multiculturalism, in particular, his argument on the relationship between recognition and cultural communication based on language in general. Taylor regards language in a broad sense as a cultural code system by which one can recognize his or herself in the process of communication with the other. What Taylor seems to put an emphasis on is that the idea of multiculturalism is the very telos inscribed in the development of modern states as well as of the individuals. Taylor points out the beginning of modernization and the birth of authenticity as the category of immanent morality. Through the authenticity, that is, the category of morality, the individual could find the original self. From this perspective, the doctrine of Herderian nationalism came to exist in its own right. Different from Taylor's viewpoint, Žižek criticizes multiculturalism as an ideology suppressing the singularities of ethnic groups. Multiculturalism serves as the discursive justification of racial hierarchy in the society by preserving a cultural and political distance from immigrants. Like a Chinese lunchbox, such an ideological set-up operates with the logic of assimilation, even though multiculturalism openly asserts itself as the alternative to the assimilating policies. Discussing the difference between Taylor and Žižek, the essay concludes that an attempt to go beyond multiculturalism is the way in which one can create a world that comes into the singularities without unitotality forced by the globalizing worldlessness.

This study aims to illuminate the poetic ideal and the reality of Rimbaud's poetry, particularly in the poem “The Drunken boat” and in the poetic collection Illuminations. The first impression on Rimbaud is a poet against all conventions and traditions that surrounded him both in daily and in literary life. By wanting to become a <seer(voyant)>, the poet was trying to discover the unknown world through poetry. First, this world began to be realized by the denial of the reality where the poet reside. A few years later, he suddenly said goodbye to literature and he returned to the reality that he left behind and abandoned. We may say that the ideal and the reality coexist simultaneously in Rimbaud's world, two aspects that are contradictory and complementary. In his early poems, he expresses the denial of reality that limits the poet's creative imagination, and the denial of literary conventions and traditions. In his letters called <of seer (du voyant)> Rimbaud tells us of his studies of future poetry and explains how to become a true poet; 'modern poet'. In his later poems, the poet tries to erase the frontiers that divide the real and the unreal: the universe of the Illuminations, recreated universe with new structures and harmonies composed of new elements. In Rimbaud's poetic universe, the unknown that the poet wants to reach is not solid; in other words, not eternal. After creating it, Rimbaud destroyed it Through this we may deduce that 'destruction' is the important driving force of poetic creation in the Rimbaud's literary universe. The poet understands that the world is not eternal, he reached this unknown through poetry and by remaining silent he went to seek the unknown elsewhere, but this time in real life. It is this, the "passage", a constant movement, which is one of Rimbaud's poetic features that attract us.

The work of Peter Greenaway poses a complex challenge since it ranges from films to artworks and tends to push against the limits usually accepted for both domains. The themes of his work, such as death, violence and sexuality, mixed with games and different kinds of measuring can be polemical. Furthermore, the treatment that they are given eschews well-known solutions, thus compelling the viewer to take an active role in order to enjoy the work. In this study, the Baroque is proposed as a key, relating different aspects of Greenaway's work that otherwise appear chaotic and incoherent. The term Baroque refers to historical period, but also, and more importantly, to a topic that has been given attention by both art and film critics who do not limit the period exclusively to the seventeenth century. The Baroque is seen instead as an ensemble of strategies that have informed the production of different works of present time. The aim of this study is to find the basic strategies of Greenaway' work that resulted in different formal and thematic manifestations linked to what has been conventionally identified as a Baroque aesthetic. The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the ‘interartial’ dimension and the ‘intermedial’ dimension in Peter Greenaway's films, <Draughtsman's contract>(1982), <A Zed and Two Naughts>(1986), <Prospero's Books>(1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media―the media is a condition of existence in art―but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. Specially we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance and the Baroque as well as pictorial techniques and language in order to question the nature of artistic representation.

The paper looks at the use of allegorical representation in Modern drama. The paper proposes to define and to reevaluate the use of allegory in Modern drama. Redefine how allegory is used, and to what purpose it is used in modern drama. The paper will demonstrate how allegory, allegorical representation in effect, has changed to adapt to the new stage. Allegory is no longer limited to words and its expressive powers as it was in the traditional context but has become more psychological. The paper also as to defines allegorically representation and its relation to objectivité. Allegorical representation to achieve its effects, has to be an ʻimitated imageʼ of reality, it should not be accepted as ʻrealʼ by the audience. The representation on stage is in relation to real but it is not a realistic image of society. Because it happens in a fictive world where there are no signs as to guide us where it is, in this sense, the dramatic theme requires and takes on a very objective perspective. Finally, The allegorical representation gives drama the expressive quality that which is easily lost in a materialistic perspective: openness in its translation and an objective perception which makes acceptable the story at hand to the audience even if it be fictive.