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This paper seeks to observe the foundation of ancient Greek philosophy in its relationship with the notions of mythos and logos. It is generally accepted that the history of Western philosophy in its initiatory phase took the format of progress “from mythos to logos,” an idea largely attributable to Wilhelm Nestle's problematic Vom Mythos Zum Logos(1940), which to my mind leaves much to be desired. This framework holds Homeros and Hesiodos totally different from Socrates and Plato, giving rise to the bifurcation of mythos and logos. Misunderstandings come to light when one reaches the conclusion that in the ancient Greek society the words mythos and logos referred respectively to established authoritative speech and emergent reasonable discourse or theory that neither of them really had anything to do with the fictional properties, or the degree of fictionality, of the messages under consideration.

Translating is a process of converting one language to another which might not be compatible at all with one another, due to divers inherent differences that are identifiable between languages. This difficulty in converting one language to another mainly stems from differences in the uses of vocabularies unique, customary and traditional, and also to an extent in the uses of honorifications. The paper addresses the problems of translators in converting languages without conventional inherent honorific system such as English to Korean. English as language does not use the honorific system per se, while it is used in certain circumstances and situations as addressing someone with title or to show respect, it is not a norm. Translating from a language which does not use an honorifical mode to a language that does is a delicate process, because it ultimately becomes a question of tradition and to a certain degree questions in portrayal of gender and its representation. The problems in translating dramatical texts are far different from any other literary genre in that dramatic texts are dialogues that are meant to be pronounced by an actor/actress on stage in actual time in front of a live audience. Drama achieves reality only when the dialogues presented are accepted as ‘reality’ in itself. In this sense, the dramatic dialogue should and has to be an exact copy of the actual reality that the work is representing and should not be modified in translation trying to conform to the translators language, traditions, culture and customs. In conclusion, translating from one language system to another where the two systems have no common ground poses problems and must be engaged based on the cultural and linguistic consideration of the original work to deliver the ‘nuance’ that the original work tried to convey. This paper addresses the above situations and the subsequent questions of value that may arise in translating a dramatic text from one language to another.

In February 2019, Handke’s silent play, entitled “Die Stunde da wir nichts voneinander wußten”, was performed in Seoul. The play was originally completed and had its maiden performance in Germany in 1992. Handke’s play brought social issues to the stage in a unique way through silence and body language. In an era where existing plays were produced based on lines and dialogue, this play, stood out in stark contrast. This silent play received little attention as it was overshadowed by various forms of experimentation in postmodernist plays. Handke was making a declaration of independence through his play, which he viewed from an aesthetical point of view with critical acceptance, to escape from the world of existing dialogue based plays and broaden the audience’s opportunity to become actual participants. Handke’s reputation as an avant-garde playwright was established in the early 70’s with his play “Publikumsbeschimpfung” and his play, “Die Stunde da wir nichts voneinander wußten” has only strengthened this reputation. “Die Stunde da wir nichts voneinander wußten” is a play which is born out of the remorse for modern people’s misuse of oral language and the existentiality which is to never give up. Handke’s aim was to focus on one’s self existence instead of the private possession of one’s self. Handke endeavoured to pursue the formation and dissolution of one’s self, through physicality and purposefully used silence to enhance that physicality. Using body language, Handke managed to replace the lethargic language found in traditional plays that do not express the extent of everyday painful realities. The meaning of body discourse in “Die Stunde da wir nichts voneinander wußten” tells the importance of communication through body language which has been forgotten and replaced by spoken language. At least for this reason alone, Hantke's journey to a new theatrical world best reflects the philosophical intent of communication by the original author Hantke to penetrate a world of alienation, loneliness and indifference in the human race.

This article deals with the early documentaries of Joris Ivens, born in 1898, in Nijmegen, a Dutch town close to the German border. Unfortunately, there is no research on him in Korea. This is the reason why this paper had to start with the introduction of early works, and it is also an excuse. His documentary aesthetics will be completed only after the study of socialist and communist documentaries after the 1930s, which is left as a task for the next study. Joris Ivens produced analytical and formal works under the influence of the European avant-garde in the 1920s. He analyzed the rhythm and movement of visual images through <De Brug>, and captured the current fleeting features and the improvisation in <Regen>. If the former emphasized formal and abstract events, the latter was regarded as a cinema-poem that recorded the city's lyricity by capturing more than 130 shots of Amsterdam in rain. However, even though two films each vividly recorded Rotterdam bridge and the rainy scene of Amsterdam, Balaz criticized the two works as images that lack reality. But it is not ture. The reason is that Ivens emphasized European avant-garde aesthetic practice at this time. It is indisputable that the two films which attempted to record Amsterdam's present through iron bridges and rainy places occupy an important place in his documentary aesthetics.

The pre-training language model, BERT has achieved a great success in natural language processing by transferring knowledge from rich-resource pre-training task to the low-resource downstream tasks. The model was recognized as a breakthrough or an innovative technology that changed the paradigm of natural language processing. In this paper, a number of studies have been analyzed to classify and compare the research directions. We examined a technical challenges after BERT. In the pre-training process, self-supervised learning is performed, which relies entirely on training data. If we introduce the linguistic knowledge in the course of the training, it would be possible to get better result more effectively. Therefore, it is necessary to develop a method to insert external knowledge such as linguistic information in the training process. The mask language model and the next sentence prediction are being used in BERT's pre-training tasks. Though, to get much deeper understanding of the natural language, some other effective methods are to be studied and developed. Lastly, we should aim to develop eXplainable Artificial Intelligence (XAI) technology in natural language processing, helping us look into the transparent processing. The pre-trained language model focuses on the development of skills that can be used for all the tasks of natural language understanding. A lot of researches are focused on how to adapt language model effectively to downstream tasks based on common language models, even with the case with little data. It is also hoped that the technical analysis reviewed in this study will provide linguists and computer researchers with an opportunity to understand recent technological achievements in the field of natural language processing and to seek joint research.

Over the years much interest has been paid to the research of idioms and metaphors in cognitive semantics. Not surprisingly then, there has been a good deal of related research, however, there are relatively few studies on animal figurative expressions. The present study aims to examine metaphorically extended meanings of wild animal figurative expressions in French through 3 representative corpora’s analysis. For this purpose, eight wild animal words loup(wolf), renard(fox), serpent(snake), ours(bear), poisson(fish), oiseau(bird), canard(duck), ver(worm) , 145 related figurative expressions and 1,646 uses in corpora were analyzed and categorized based on semantic molecules. Our findings show that firstly, eight wild animals’ figurative expressions and their extended meanings could be categorized. Which related to five components such as human being, event, object & abstract, time and arbitrary construction. Secondly, there were differences in semantic categories of figurative expressions according to animals. For example, ‘malevolence’, ‘cruelty’ and ‘greed’ are the most frequent semantic molecules associated with ‘loup(wolf)’, whereas, ‘rudeness’ and ‘coarseness’ are conceptualized in ‘ours(bear)’. Furthermore, wild animal expressions demonstrate different French speakers’ modes of thought and cognition compared with ‘plant’ based figurative meanings.

This study investigated question tags in world Englishes from a comparative perspective. A corpus analysis was conducted with the GloWbe to identify the forms and communicative functions of the commonly used question tags in inner-circle and outer-circle English-speaking countries. It revealed that the three most frequent positive tags are do you?, are you?, and would you?, and negative-positive balanced tags are more frequent than unbalanced ones. An in-depth analysis of the concordance lines indicates that unbalanced tags are primarily used for euphemistic, ironic, and confrontational effects. English speakers in the inner-circle countries tend to use would you? tags in imperative and argumentative situations while those in the outer-circle countries use them more often to make a request for confirmation and express encouragement in phatic communion. Furthermore, inner-circle speakers exhibit a tendency to use do you? and are you? tags to posit a proposition that presupposes the listener’s agreement, whereas in the outer-circle countries their usage contexts are preferentially associated with emphasis, oxymoron, and sarcasm.

The choice and use of modal auxiliaries depends on multiple grammatical factors in the sentential environment. The most frequently occurring auxiliary verbs in the TOEFL 11 corpus were extracted from the Chinese, Japanese, and Korean subset of the corpus, and manually coded with a number of morphological, syntactic and semantic features. The paper presents examples of linguistic features such as modal semantics, the co-occurring verb types, and semantic classes of verb phrase proposed by Vendler, as well as the animacy type of the subject shows similarities or differences among the three groups of language learners. The behavioral profile based analysis of the linguistic features revealed that the modal can show similarities among the Chinese, Japanese, and Korean. Korean and Japanese learners show a clustering of May and Will, while Chinese learners does not form a group with the Korean and Japanese learners regarding may and will. The paper contributes to expanding our understanding on the choice of modal auxiliaries by the learners of English in the three East-Asian countries.

The purpose of this paper is to provide formal stress patterns of basic English words, which have more than three syllables, for Korean learners’ understanding of English rhythm. The basic assumption for this paper is that it might be effective for Korean learners of English to comprehend the English stress patterns of frequently used English words. Under this assumption, 495 English polysyllabic words (having more than three syllables) are chosen as the data of this paper from the list of basic vocabulary in the 7th English curriculum for Korean primary and secondary education. Those English polysllabic words are analyzed using mainly four basic spelling-based stress rules by Hahn and Dickerson (1999). Based on the evidence in this paper, it is assumed that a systematic exposure to spelling-based stress patterns will not only provide Korean learners of English with pronunciation learning practices that allow them to improve their production of English polysyllabic words, but also help them teach themselves on their own pace.