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Both Laoqita and Piaotongshi were originally published as textbooks for teaching Hànéryányŭ (漢兒言語), the official language of the Yuán (元) Empire. Each of these textbooks, however, underwent several revision processes as the official language of China changed when a new dynasty came in to rule the empire. During the Ming (明) dynasty, each of them was published as Revised Version to accommodate its official language Nánjīng Guānhuà (南京官話) and then for the Qīnɡ (淸) dynasty as New Annotated Version to suit the Beijing Mandarin. This version of Laoquita was also published as Reprinted Version for teaching standard Běijīng Guānhuà (北京官話). This paper makes claims concerning (1) the date of publication of the original Laoqita and Piaotongshi and (2) their authorship. We first claim that they were published almost the same time around the year of Bingxū (丙戌, 1346) during the period Zhìzhèng (至正) of Yuán. This claim is based on at least two passages in the texts, as follows: (1) Piaotongshi mentions in Lesson 39, entitled “The Goryeo Monk”, that Monk Boheo (步 虛) of the Goryeo dynasty gave a sermon in the capital city of Yuán in the year of Bingxū (丙戌) and (2) in Story 105, entitled “Auspicious Day for Returning Home?” (筭 卦), Laoqita also has a passage “May you have good fortune in this year of Bingxū (今 年交大運丙 戌) that refers to the year of Bingxū (丙戌, 1346). The Original Laqoita also mentions about bǎochāo (寶鈔), a paper money used during the Yuan dynasty, reflecting the market price of Zhìzhèng (至正, 1341-1367) period, especially that of 1355-1368. Second, we claim that both Laoqita and Piaotongshi were written by some official government translators/interpreters of the Goryeo dynasty who were dispatched to the captial city of Yuán and stayed around there for a good portion of time. This claim is simply based on frequent references to persons and affairs related to Goryeo in the texts. Both Laogits and Piaotougshi were, however, textbooks for reading Hànyǔ (漢語), complementing and closely related to each other with interesting contents. Since both of them were used as textbooks for reading Hànyǔ texts, the contents mostly focused on learning Hànyǔ with their main topics covering from the names of Chinese dishes, proverbs, and idiomatic expressions to the ways of finding directions to a hospital, selling and buying things for trade or other daily affairs that might easily occur while living in a foreign city. They were textbooks for learning Hànyǔ as a living language. Laogits and Piaotougshi each aimed at different levels of difficulty in learning Hànyǔ. Laoqita aimed at the elementary level, whereas Piaotongshi was written for the intermediate level. For those who were taking the highest-level state examination for recruiting official interpreters (譯科), for instance, Laoqita provided the material for practicing on primary tests. Piaotongshi, on the other hand, provided intermediate-level practice materials that required more specicialized skills. They were, however, both Hànyǔ (漢語) textbooks for understanding daily life.

Despite the lack of historical documentation, The Nakhi are believed to be the descendants of the Old Chiang, moving to the Lijiang area from their nothern home in The Middle Western China. But even after the official recognition by the government in 1954, the Nakhi have kept suffering from two problems: the lack legitimacy in the tribal name as their endonym among the whole tribe, and the unclear interpretation ('na'='black', 'khi'/'xi'='people') of the tribal name. They can be properly treated by the fact that the Moso are not a tribe distinct from the Nakhi. Especially for the meaning of the tribal name, it needs to consider the adjective modification in the Nakhi language. In the name the first one is regarded as a modifier before the second letter whose grammatical category is a noun. For this reason the disputable meaning('na'='black', 'khi'/'xi'='people') can not hold out no longer, and a different syntactic relation has to be considered. Through the semantic analysis of the Moso as their exonym, a better semantic interpretation of the tribal name is proposed that 'na' and 'xi' refer to 'heaven' and 'people' respectively, and the tribal name has a compound noun structure, 'Noun1+Noun2'. In this papen, I will claimthat the tribal name has to be reanalyred as an exonym stracture (Noun1+Noun2) instead of endonym stractare (Adj+Noun).

For the last few decades the method of computational phylogenetic analysis has been successfully adopted in numerous cases of text-critical works. It has opened a new possibility of textual criticism based on the possibility of dealing with a number on taxa with long lists of characters. But it seems that the method introduced to the field not only new technical possibilities but also a new perspective of textual stemmatics. To make this point clear an attempt is made in the present article to differentiate clearly the phylogenetic analysis (in Hennigian sense) from the computational cladistics. The major point is that the former method accepts the presupposed evolutionary process not only in the formal sense but also in the historical one. Overall, the different methodological possibilities offered by the computational phologenetic analysis and cladistics have, in my view, their own advantages depending on the general situation of the textual transmission of the target texts. Furthermore, indifferentiated application of the traditional philological method would not be valid, if it is adopted without any reference to a concrete history of text transmission(s). I have additionally attempted to make some suggestions for the future text-critical works with regard to the orally transmitted literature of Korea.

Australian poetry rarely plays a role in academic narratives about the origins of English- language literary modernism. This essay spotlights Christopher Brennan’s italies (1913) as an example of a text that deserves more widespread attention. Its author recoils from the historical processes pushing Australia to separate from Britain, and he recognizes that the “old dream of kingship,” the colonial imaginary, cannot be sustained intact and inviolate. He responds by withdrawing from the world and self- reflexively? exalting the book as the only place the old magic can survive. Modernism, in this scenario, is born through evasion, displacement, and escape. What saves italies-what insures that it is more than retro-imperial escapism--is its thorough-going disruptive, broken texture. The act of imagination necessary to reject decolonization wrenches language until it becomes strange and new.

Also known as a successful nonfiction writer, Peter Matthiessen seems to be clear in his preference for fiction over nonfiction as an art form to explore “deeper truth.” Furthermore, whereas he tends to be drained in the process of writing nonfiction, he says, he is energized by fiction writing. Fiction, above all, gives him more imaginative freedom than nonfiction because with fiction he is able to go beyond the limits of “facts.” Then fiction writing gives him an invaluable opportunity to listen to and capture human voices in a fresh way, itself both the very essence and delight of fiction writing. For him fiction is also an art form that functions like a meditation in his search for reality. If Zen is a medium for him to reach “samadhi” in which he is able to see things as they really are, fiction writing is a way of getting in touch with “prajna” with which he can understand the whole reality. Shadow Country is Matthiessen's grand attempt to penetrate and understand the reality of self through the Watson story. While it is a story of self-examination of the individual self, it metaphorically becomes a narrative of a close examination of America and its dark sides.

This paper aims to reveal that the process of reconstructing the past brings about a newly constructed subject in How I Learned to Drive. Reconstructing the past in How I Learned to Drive is from a retrospective point of view. Therefore, the past is edited, distorted, deleted and transformed. Lit'l Bit reconstructs her past traumas from her childhood and adolescent period of being sexually abused. The reconstruction is not a literal representation of the past nor is it a tone of an affirmation. In her reconstructed narrative, she was loved by Peck, and was the dominant partner in their relationship. In her reconstruction, she becomes not the traumatic victim but the survivor. She overcomes all the pains of the past experience with Peck, who even while loving her abused her. At the age of around 40, she reconciles with Peck who has died by recalling him in her imagination. Because of this reconciliation Lit'l Bit can be dependent on Peck, and at the same time makes possible her future positive relationship with him in her imagination. Lit'l Bit becomes liberated from the past by reconciling with Peck in her reconstructed narrative. Therefore, by forgiving Peck and herself for cooperating with him in his abuse of her body, she frees herself from her past traumas. Furthermore, she learns to control her anger, and becomes healed through this process of refashioning the past.

In the history of Korean theater, Dae-Sung Yoon is a writer who has pursued various topics and themes according to the era from an individual to social issues. Now in his 70’s, Yoon staged his latest three plays on stage that were based on the aging society, If I can Love One More Time(2010), Awake from Beautiful Dream(2010), and Traveling Together(2012). Korean society is quickly becoming an ‘old’ society, Yoon who himself is old writes from his personal experience of observing old age’s issues and not from a third person’s point of view. The ‘old age trilogy’ represents the problems of ‘old age’, such being death, love, alienation, loneliness, diseases and etc. The trilogy is also meaningful in that they are based on the writer’s own experiences. Unlike the ideal old characters that we are accustomed with, Yoon’s characters represent ‘desire’ and ‘challenges’, such as love, sex and alineation. However the trilogy falls short in that the most serious problem is somehow excluded, which is that of money. But even with this shortfall, in terms of expanding the boundaries of topics, themes the trilogy is a welcome distraction.

This article aims to illustrate the status and the role of dialogue sequence based on Jean-Michel Adam’s theory of textual linguistics. There are many doubts as to whether a dialogue itself can become the object of study or the unit of analysis in textual linguistics. However it is important to denote that the statement ‘already’ considered as the subject of fundamental study of linguistics is produced at the moment when it is enunciated, i.e. dialogue. In addition, because there are so many parameters in a dialogue that has to be taken into account, it is difficult to prototype all of them for the study of a text. Textual linguistics should consider these problems when adopting the method of text analysis for the study of the dialogue. In this respect, Adam’s proposal to take dialogue as one of the sequences is significant, in that, if we can analyze the dialogue in a systematic way, we may be able to ameliorate the structure of the texts substantially. This paper proposes two features of the dialogical sequence. First, the phatic sequence is placed at the beginning and at the end. Moreover, the dialogue is defined as an act. These particularities of the dialog allow us to grasp the characters’ activity depicted in the text. To ensure the status of the dialogue as a unit of analysis, we need to prove that the dialogical sequence plays the same role as the other sequences. The paper analyzes an extract of a Korean fiction, “Wandoogi.” The analysis showed that the dialogue sequence can dominate the other sequences. In other words, a dialogue sequence can assimilate the role of an embedding sequence. The dialogue sequence should be given a specific position in textual analysis due to its mediating attributes.

Receivers tend to have higher expectations for broadcast interpreting, which is a genre of interpretation that emphasizes formal completeness. Using simultaneous interpretation outputs of President Obama’s victory speech, this paper examines how fidelity and performance in broadcast interpreting affect evaluation by receivers. The speech was simultaneously interpreted from English to Korean and Japanese, and these different renderings were used in the analysis. Simultaneous interpretation outputs were presented through TV broadcasts directly in spoken form or transcribed into written form. By comparing evaluations of spoken and written materials, it was found that interpreting outputs having the highest score for fidelity in the written form received the lowest score in the spoken form. This implies that a faithful interpretation may receive a poor evaluation if the interpreter’s performance is not up to par during delivery. On the other hand, performance factors such as the interpretor’s voice and accent were able to compensate for less fidelity in content. It is also worth noting that all respondents agreed on the importance of voice for interpretation outputs in the spoken form. Nevertheless, the value of fidelity in interpretation cannot be disputed. The findings of this study are expected to stimulate further research on practical strategies for broadcast interpreting.

This study deals with “stimulus words” in political communication with special reference to the semantic-pragmatic political language use. In particular, we look into the types of strategic languages that are employed in the political discourse to build up negative images of the opposition parties. Of particular interest is the emotional aspect of the vocabulary exhibited in a party spokesperson's expressions asserting his or her party's position on specific portfolio against the opposing party. The stimulus words a spokesperson uses are often indexes of the party's interpretation and evaluation of an issue at hand, attesting to its political reaction, to the social condition and to its political determination. Such political vocabularies, therefore, have the function of achieving communicational simplicity, making the political language readily available through “decreased power” and the concomitant strengthened “emotional appeal.” The present study analyzes the language of party spokespersons to illustrate how they capitalize on stimulus words--or rather “stigmatic” words--to the advantage of, or to the detriment of, a political position as the case may be.