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This paper aims to define the Kaya native words, Pyŏkdin~Sungsan, Pal, Ili and Maidinyi, appearing in Samkuksagi (A Chronicle of the Three Ancient Kingdoms) and in Samkukyusa (A Reminiscent History of the Three Ancient Kingdoms). The three words denote the geographical denominations concerning the surrounding seas during the Kaya Dynasty and consequently may be accepted as genuine Kaya words. Pyŏkdin is a geographical name which consists of two morphemes, i.e., pyŏk+din (+a morpheme boundary). If we take the morpheme pyŏk for a sound-loan, we can infer it to be pyŏr. On the other hand, if we take it for a meaning-loan, it will be pyŏr. Of the two pyŏr is thought to be more persuasive. Assuming that Pali is an inscription of a sound-loan word, it can be read as pyŏri. Since there was no aspirate quality in the ancient Korean consonant system, pal can be read as bal, a prototype of Pyŏri appearing in the native songs of Shilla in the later period. Accordingly, pyŏri and its one-syllabic form pyŏl resulted from the omission of the suffix-vowel i which had coexisted. The back morpheme din as a meaning-loan may also be read as tal. The Kaya word meaning mountain was tal and so it is different from the word moe, which may be quite enough as to draw the attention to the subject at hand. Finally, assuming that Ili is a sound-loan, it can be read as Iri. It was the Kaya word relative to ting sung(star). And if one was to take the word Maidin as a sound-loan, it may be subsequently defined as a compound word of mai and din. The word mai appeared and was frequently used as an name of the places in the middle part of the ancient Korean peninsula. It implies mul(water) while din meant tal as noted above. Among the vocabularies pyŏri:iri, moe:tal, and mul:mai which coexisted in the Kaya language, pyŏri, moe, and mul may have been the native words of Kaya, and iri, tal, and mai may have been loaned from the words of Baekje. This active interaction of words bears witnesses that there had been vigorous cultural exchanges between the two nations.

This paper studies the 19th century writing in Korea, how it began and transformed. At the end of 19th century, Korean society experienced diverse changes in its traditions. Traditional ideals, life style and the world view were shaken by new ideals and perspectives during the enlightenment period which today is called the ‘Gaehwagi’. The writing also was effected by these subsequent changes. Before Gaehwagi, Korean sentences were written in Chinse characters. Educated people used only Chinese characters to express their thoughts and opinions. However, following the Gaehwagi, Hangul (Korean alphabet) and Chinese characters were used together. But soon after the problem became apparent with the general public in that they were not educated well enough to employ both the Chinese characters and Hangul in the same sentences, it was a new writing style they had never experienced. The paper addresses the question of how the new writing style became a ‘norm’ following the Gaehwagi by comparing the Seo-Yu-Kyun-Mun (1895) and the Shin-Chan-Cho-Deung-So-Hak (1909). Historically Seo-Yu-Kyun-Mun used Hangul almost for the first time in what may be defined as a formal writing, while Shin-Chan-Cho-Deung-So-Hak was used as a manual to teach the general public. In Seo-Yu-Kyun-Mun one finds that the use of Chinese characters and Hangul was successfully negotiated as one dialect, and even though the use of Hangul was somewhat restrictive, we can evaluate it as being the stepping stone for the new writing style. Shin-Chan-Cho-Deung-So-Hak showed progress from Seo-Yu-Kyun-Mun in terms of the usage of Hangul. In Shin-Chan-Cho-Deung-So-Hak, Hangul was used to express the substantial morpheme in addition to the grammatical morpheme. And since it used only Hangul in some sentences and paragraphs, one can assume that the usage of Hangul had been generalized to some degree at that time. Though traditional long-descriptive minuscule writing style was also going through changes, the use of paragraph became more apparent in the Shin-Chan-Cho-Deung-So-Hak, compared to the Seo-Yu-Kyun-Mun.

During consultations with the soldiers classified maladapted in the military camp, one can easily discern without great difficulty that a vague anger characterizes this group of soldiers. The anger is caused by separation anxiety; separation from their mother-society. Their anxiety is much graver than that of their predecessors because the separation itself has become a trauma like experience than that of their previous generation. One of the main causes for this problem is the excessive dependence on the helpful modern inventions : the mobile phone, especially the smart phone, which totally changed the communication environment. The young soldiers communicated almost always by means of their mobile phone before they entered the military camp for basic training. The smart phone environment delimited the actual social contacts and in consequence the young soldiers did not feel the need for actual, ‘real’ communication with their peers or acquaintances nor to learn the social norm. This may be the very reason as to why they have some difficulty adapting themselves to the life of the military camp where the agreement with its norm is essential. Their anger derives from the incomprehension itself of their situation. And this incomprehension is the result of lack of understanding of the social conventions and norms. Thus to control the anger of the maladapted soldiers, it is necessary to educated them that what they may be experiencing is very much according to the social conventions. The humanities therapy can play an important role where the boundary of the actual psychology can not cover. Through a model for the communication of the humanities therapy we can help the soldiers to control their anger and consequently adapt to their military life.

Postdramatic Theater is relative to the reality that one identifies with and thus renounces linguistic vested rights through decentralization, absence of playwright-subject and exclusion of fiction on stage which has been considered as an absolute aesthetic perspective since Aristotle. Documentary theater refers to a series of works that exclude fictions as much as possible by utilizing testimonies based on reality such as newspapers, documented records and biographical elements to emphasis the reality on stage. Documentary theater has its origins in Piscator’s political theater in Germany in the 1920s and saw such playwrights as Peter Weiss in the 1960s and the German Theater Rimini Protokoll of today. In Korea with the introduction of Rimini Protokoll’s Karl Marx: Das Kapital, Erster Bandin 2009, the movement of documentary theater became more noticeable. Of course, works such as The biography of Terrorists(2004) and A Good Person Yang-gyu Cho(2007) showed concepts belonging to documentary theaters but were performed intermittently and it was not until two or three years ago that the concept of documentary theater was fully established. Ki-ung Sung and Han-sol Yoon are representative of those who belong to the documentary theatres in Korea. Their works, particularly As it seems that intimacy is also sickness(2012) and I am a sex king(2011) show the very characteristics of documentary theaters. However, there are differences between the two theaters. While Ki-ung Sung’s narratives are more individual and thus microscopic, Han-sol Yoon uses meta-narratives. Moreover, while Ki-ung Sung advocates the use of imagination, Han-sol Yoon tries to be objective as possible in his works. These differences stems from Ki-ung Sung being a playwright and a director, while Han-sol Yoon is simply a director. The theatrical circles in Korea judge documentary theaters as an experiment, and as yet are taking a wait-and-see stance as it may be just a temporary curiosity and a trend. As seen in Germany, in order for the documentary theaters to establish themselves in the main theatrical movement the time is of essence. In the case of German documentary theater the political perspectives manifested were found to be the cause of the decline, because the reliability of historical materials and their objectivity were put to question due to the subsequent subjectivity that may have influenced the montage sequence and thus the final work. These are questions that are very much valid and still has to be explored in the contemporary documentary theaters.

Cognitive Linguistics claims that fundamental cognitive abilities and experientially derived cognitive models have direct and pervasive linguistic manifestations, and conversely, that language structure furnishes important clues concerning basic mental phenomena. The cognitive representation of language is in fact massive and highly redundant, and the most accurate description of it (as a psychological entity) will reflect the size and redundancy. And as such, a language is described as a structured inventory of conventional linguistic units. The paper analyzes the meaning of the preposition, especially the meaning of French prepositions avant and après. The purpose of the analyses about prepositions which expresses the spatial relation is to establish the corelation between our extra-linguistic recognition and spatial linguistic expressions. The analyses proposes three definitions vis-à-vis avant / après's meaning, and their one prototypical definition. After which, the paper will propose après's own distinct meaning as tracking and pursuing. The analyses will try to confirm the fundamental concepts of cognitive linguistics: in that the human language is a non-autonomous system that is associated with the general cognitive abilities of humans. Furthermore, the paper will try confirm that the meaning of spatial expressions is identified through and only through the general recognition of space. This is consistent with the task of the linguistics decribed in Langacker(1999, 71) : a language is trying to tell us something about how it structures meanings, and it is our task as linguists to learn to interpret these signs.

This study introduces a language processing model of one of the most prominent French computational linguists, Maurice Gross (1934~2001), discussing its computational applications. The methodology he proposed for describing syntactic properties of French simple sentences presupposes the exhaustive examination of all predicative entries, which gave it the name Lexicon-Grammar. The results of this approach are presented under a form of binary matrix: about 75,000 French predicates have been described and classified in syntactic tables. However, Gross realized that there still existed tremendous size of non-regular expressions, called compound words, frozen phrases or multi-word expressions, which can hardly can be described under syntactic and formal devices. Thus, he suggested a more processing-oriented framework named Local Grammar (LGG) which is represented as a directed graph like RTN (Recursive Transition Network). The LGGs are transformed into finite-state automata or transducers by means of FSTgraphEditor in UNITEX system, which is implemented, on one hand, for this purpose and, on the other hand, for the automatic corpus processing based on these finite graphs as well as electronic dictionaries included in the system. In this paper, various areas of LGG applications are discussed, such as the construction of linguistic resources, information extraction/opinion mining or formalization of frozen expressions for machine translation.

The paper aims to present a creative study of Humanities and Engineering based on Human-centered Design in the modern society -- specifically, the apparatus and method for providing a user interface for media contents in a user equipment. In order to provide the user interface, the background screen of the user interface may be formed from at least one image. Each image of the at least one image may represent a respective one of the retrieved media contents. The user interface with the background screen formed from the at least one image may be displayed. A desired image may be selected from the at least one image of the displayed user interface as well as a desired media content corresponding to the selected desired image may be played.