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According to a survey, ‘yi (translation)’ originally meant ‘official interpreter’. Since different countries and races in all directions used different languages with different customs and preferences, it was impossible to understand what other people said without this interpreter’s assistance. Later, such interpretation acts or results were all called ‘yi’. However, this kind of issue can also happen due to time differences as well as regional differences because of different languages, customs and tastes between the past and the present. Therefore, ‘yi’ can be divided into two different categories: ‘translation with spatial differences’ and ‘translation with time differences’. The two types have different characteristics. This study investigated the characteristics of translation with time differences which refer to the ancient times and the present in the East, focusing on Confucian Scriptures. Through this analysis, this paper examined how and why the Analects of Confucius has been translated and created culture.

During the Second World War, why did editors of literary reviews in Vichy France including some associated with the French Resistance publish translations of German literature? Through an analysis of the French translations of German texts appearing in the Lyonnais journal Confluences from July 1941 to December 1943, this article shows how a skillful editor could weaponize translations by choosing not only what authors to publish but also where to begin or end an excerpt to suggest a dissident political meaning. At the same time, to continue to publish, that same editor needed to allow the possibility of alternative political readings that suggested support for the regime. This article argues that the editorial strategy of framing texts in such a way to encourage contradictory political meanings can be understood as a unique survival mechanism in an authoritarian regime in which people held deeply ambivalent political views what the historian of public opinion Pierre Laborie has characterized as “double-think.” Though each translation contained elements that suggested contradictory political meanings, from 1941 to 1943 these readings became progressively less ambiguous, less characteristic of “double-think” language, and less likely to be interpreted as supporting the Vichy regime.

This essay, based on a Korean translator’s own experiences in both Korean and English translation, attempts to raise a question about the supremacy of the original work, generally presupposed in the field of translation theory and criticism. Considering there is a discrepancy between the idea of a pure national language and the various practical contexts in which it is actually used, this essay defends a translator’s authorship, based on Walter Benjamin’s arguments on the task of a translator. Then, it looks into the often unmentioned and ignored reality surrounding a Korean translator, for instance, regarding him/her a contract worker, treating a translation as a copy or a version of the original, and yet putting on the translator’s shoulders the burden of reproducing the mysterious beauty of the original. It also examines the belletristic desire of a poet-critic on which he/she may easily be taken prey. Ultimately, this essay tries to say it is about time to give just credit to a translator as a creative author of another original and criticize English translation of Korean literature in the context of world literature rather than "Korean literature in English."

This article discusses how the Greek imperative was translated into the Gothic in the Gothic Bible. While the Greek imperative system has three tenses, three voices, two numbers, and two personal forms, the Gothic one has one tense, one voice, three numbers, and three personal forms. Due to these differences, Gothic translator(s) would consider such facts in translating Greek into the Gothic. Through this study, this author found that various Greek tense-forms of imperative were translated into the present tense one in the Gothic and that the Greek imperative mood was sometimes done into the Gothic subjunctive mood that was known to replace the usage of imperative in Gothic. In addition, there are a few examples that the Greek imperative was translated into several vocabularies in Gothic Bible (e.g., 35-38) or substituted by diverse expressions such as the participle (e.g., 39) and an idiom (e.g., 50), and an interpreting translation (e.g., 51). Those examples show that the Gothic Bible was not a simple literal translation but one according to the system of the Gothic language still even if it was faithful to the original language.

In French-speaking countries, where the tradition of ‘Bon Usage’ remains strong, many linguistic phenomena reflecting linguistic insecurity may still be observed. To accurately understand language attitudes, this study focused on hypercorrection and analyzed the mechanism and causes of this linguistic phenomenon. Based on earlier studies in French and English-speaking countries, we proposed a hypercorrection mechanism applicable to French-speaking countries based on the following considerations. First, hypercorrection occurs when a speaker moves between two varieties due to their mutual power relationship; importantly, this power relationship is not objective but subjective, and arises from various causes such as social class, space, and situation. Also, the two varieties reflect variation between or within speakers. This study is significant in helping to clarify the phenomenon of hypercorrection, which has previously only been analyzed based on language use between social classes.

This research aimed to compare punctuation marks frequently used in China and Taiwan, exploring the historical establishment process and differences of the current punctuation rules on both sides. In a large sense, current punctuation rules in China are based on “General Rules for Punctuation” (2011). However, in Taiwan, “The Revised Punctuation Handbook” (2008) is currently applied. They are basically rooted in the “New Punctuation” of 1920. Since 1949, they have been slightly different in usage. In particular, as rules have been revised over time, the punctuation marks on both sides showed a plethora of dissimilarities between both sides. Accordingly, this research fully paid attention to the history of Chinese punctuation marks, then briefly compared both current punctuation rules with reference to contemporary use. As a result, a few differences were found: The Chinese rules are more systemic and detailed than those in Taiwan. For instance, Taiwan's rules have no table of contents, definitions and classifications of punctuation marks. In addition, there were no specific usage and examples in Taiwan. It can be assumed that the policy and regulation of both governments have some impact on them. Simply put, Chinese learners and users should get aware of accurate Chinese punctuation marks frequently used on both sides. Furthermore, the higher similarities of the punctuation rules and usage could pave the way for more bilateral culture exchanges and Chinese learners.

This paper aims to study cave paintings from an aesthetic point of view. Even though cave paintings are human artworks, researches only have been conducted from the religious, archaeological, and ecological perspectives. Therefore, it is worth studying the aesthetics of cave paintings as works of art. The main features of cave paintings are the fact that the exhibition hall is a cave rather than a white cube, and that the human iconographies are combined with other living things. Compared to general exhibition halls and iconographies of humans, those of cave paintings are unique. The inside of the cave is dark and humid, and the surface of the walls is uneven. Human figures drawn on the cave walls are combined with animals, plants, or unknown creatures. As these variations of cave interiors and human iconographies are difficult to define, predict, or imagine, viewers are puzzled and frightened. The most suitable aesthetic concept for the art work of cave paintings with these characteristics is the grotesque. The word grotesque comes from the Italian word 'grotta', meaning cave, and was first used in a 15th-century painting found in the basement of a Roman palace. According to Wolfgang Kaiser's study on the use of the word 'grotesque' in German and French, the key symbol of the grotesque is the figure of a monstrous creature, a chaotic mixture of animals, foliage, and humans in distorted proportions. Thus, the grotesque can be defined as the collapse and unfamiliar change of the world, which was familiar to us and operated according to a fixed order, is engulfed in confusion. The cave gives viewers a sense of unfamiliarity through its features of low illumination and uneven walls, which are different from general exhibition spaces. The human figure in the cave paintings is a combination of animals, plants, and something unknown to the human body that the viewer encounters daily, giving the viewer confusion. The implications of this thesis are to study cave paintings from an aesthetic point of view. And the cave paintings are grotesque works of art that cause eerie and bewildering emotions in the viewer. Also, although the concept of grotesque was formed in the 15th century, there are some artworks made before the 15th century, such as cave paintings, to which the grotesque is applied. Therefore, this study argues that it is necessary to expand the scope of research on grotesque.

The aim of this article is to analyze the structure and aspects of the rite of passage in the film <Jojo Rabbit>(2019). This film, directed and adapted by Taika Waititi based upon the novel Caging Skies of Christine Leunens, is a Jojo Betzler’s growth story. He is a ten-year-old boy in Nazi Germany during the second world war. He is extremely patriotic and loves his country and loves the Führer - he talks to his imaginary friend Adolf Hitler, who, in his mind, he sees as his best friend and biggest cheerleader. The rite of passage is a ceremony or ritual of the passage which occurs when an individual leaves one group to enter another. It involves a significant change of status in society. According to Arnold van Gennep, the rites of passage have three phases: Separation, transition, and incorporation. In the first phase, people withdraw from the group and begin moving from one place or status to another. In the third phase, they reenter society, having completed the rite. The transition phase, liminality, is the period between states, during which people have left one place or state but have not yet entered or joined the next. During the liminal state, one's sense of identity dissolves to some extent, as it is a period of transition. According to the schematic of the rite of passage, the narrative in <Jojo Rabbit> is structured in the form of a correlation between Jojo, who enters through the front door of his house, and then opens the door again and leaves. Jojo has been thoroughly indoctrinated that Jews are horned witches and needs to be killed, falls into chaos while living with Jewish Elsa hiding in his closet. Therefore, as a time and domain of ambiguity, Jojo's house functions as a space for the transition rite equipped with the threshold quality. Taking Elsa outside, Jojo completes the rite of passage. In the rite of passing through the threshold, tying Elsa’s shoelaces symbolizes the growth of Jojo. In the incorporation phase, Jojo assumes his "new" identity, and re-enters society with his new status. Overcoming racial hatred and prejudice, he empathizes and loves Elsa, a Jewish girl. She then tells Jojo to dance with her ― Rosie believes that dancing is one of the few ways you can be free under this Nazi regime.

This study reexamines the silence of Rimbaud, a traditional and outdated problem, generated by his sister Isabelle Rimbaud, and metamorphosed into Rimbaud’s myth of silence. She distorts the author's thinking, claiming that he renounces poetry immediately after the publication of A Sseason in Helll, and that the poet himself definitively burns all the copies before her eyes. Etiemble, Bouillane de Lacoste, Yves Reboul, Lefrèree, etc., reexamined and criticized the problem of Isabelle Rimbaud’s argument on book burning and the myth of Rimbaud's silence, but we do not sufficiently recognize its interpretive importance and its risk in the reading of Rimbaud’s poetry. Many people tend to believe that Rimbaud gave up poetry in complete silence, with the farewell of A Sseason in Hell, and burned all its print editions. But this legend is far removed from the truth, because in 1901, Belgian bibliophile, Léon Losseau, discovered all the print editions of A Sseason in Hell that the author had neither paid for nor burned. It is on this truth that this study seeks to reconsider Isabelle's letters as well as her fallacious claims that lead to Rimbaud's myth of silence. Further investigation of Rimbaud’s poetic silence to disclose the essentials of his poetry is required rather than accepting the perspective of Rimbaud’s myth of silence.

This paper aims to analyze various figures of military unit slogans of the ROK Navy. For this purpose, total of 136 unit slogans of battleships and ground units were selected for analysis. The 227 figures, which were applied to the selected units slogans, were divided into 2 figurative modes. The first was the figures of thought (53%) and the second was the figures of language (47%). The former then was classified as trope, figures of association, figures of citation, and the latter was classified as figures of structure and figures of rhyme. Among the figures of thought, for the trope, the metonymy was mostly used. For the figures of association it was the hyperbole, and for the figures of citation the allusion. And among the figures of language, for the structure, the ellipsis was mostly used and for the figures of rhyme the assonance. The most preferred figures among military unit slogans was the hyperbole, which was represented in 48 slogans, accounting for 35.3% of the total. This type of rhetorical devices demonstrates the combat power and the military spirit of the unit, and emphasizes their pride, while envisioning a victory in a battle.