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The paper is to provide an objective view of what Islam actually denotes in religious terms through questionnaires concerning the basic ideologies behind Islam as a religion. Islam today denotes a global civilization. Today the Islamic world constitutes of nearly 140 countries and 14million muslims around the world who appreciates peace, the terrorist groups which are associated with various Islamic groups does not reflect Islam or its true teachings. In the scriptures it is written that “religion should not be forced ...”. In view of this text the Islamic and Christian civilization is not one of discord but should be one of cooperation. Researchers like Samuel Huntington views the two civilization as a clash of two different civilization but when viewed their roots compliment each other. The difference between the two lies in the differences in the political and economical realms. The Islamic teaching based on 6 gods and 5 scriptures provides a new model of understanding of religion. It does not rely resting on ideological merits but tries to combine the ideology and materialistic circumstances. Islam from its beginning did not separate itself from political realm of governing but tried to incorporate the religious based teachings into politics. Finally, the last legacy Islamic civilization has left us is that of toleration. Islam has always tolerated other religious beliefs and teachings as can be noted in the following words of Mohammad ‘Abraham is my ancestor and Jesus is my predecessor’. When we consider toleration as the most important feature of any religious belief, Islam in this perspective I believe stands out from the rest.

The purpose of this paper is to study the ethics in the Holy Koran that focus on family relations. The Holy Koran explores: Allah's supreme power and authority, the accountability of individual human beings for their actions during this life, the transient nature of our current life, and the inevitability of an afterlife. Islam considers the concept of family to be mandated from Allah, therefore Islam prohibits to live single, that is, celibacy. In matters between husbands and wives, Islam also permits polygamy. Islam permits the Muslim to marry more than one woman in order to resolve some very pressing human problems, individual as well as social. Also, the prophet Muhammad said that the wives are covers for the husbands and the husbands for the wives. We have come to the conclusion that the ethics in Islam is based on the Holy Koran and Hadith ,namely, Muhammad's sayings. In matters between parents and their children, Islam teaches that it is most important for children to respect their parents. According to Koran 17:23~25, it is said that, “filial piety is the source of all virtues.” Islam does not forgive the undutiful son or daughter if they don't follow the teachings of Allah. But it must be noted that there is still room for argument about resolving the complicated and inscrutable problems between the ethics in Islam and the social surroundings against Islam in the future.

A military banner is designed to present many pieces of information on the unit that it represents. It should basically indicate the name of the unit, its size (or echelon), and its function including its branch. It also shows the tradition of the unit and the values and aims the unit cherishes. These things are represented by means of various signs including shapes, figures, colors, icons, linguistic expressions, etc.The purpose of this study is to examine what and how a military banner communicates to its viewers. From the point of view of communication, it is to specify how a message is decoded by a receiver. Among many theories proposed to explicate the relation between the signifier of a sign and what it signifies, this study adopts Peircean Theory of Semiotics as the frame of reference. More specifically, it examines the banners of the ROK Army and the US Army to investigate the linking mechanism of a signifier (or representamen in Peircean terminology) to its signifier (or object in Percean sense), subcategorizing the mechanism into (1) linking by convention, (2) chains established by severed links, and (3) linking by metaphor.

This paper has analyzed Samganghaegsildo from the perspective of cartoon semiology, and reached to a conclusion that those unique depiction styles of drawings in Samganghaegsildo can be reinterpreted by cadres, strips, planches, albums, and nameplate balloon or word balloons. This uniqueness of drawings of Samgahaegsildo is in the same line with features of cartoon, which is referred to as “the ninth art” nowadays. Drawings of Oryunhaegsildo might be superior to those of Samganghaegsildo from the perspective of paintings. However, from the perspective of cartoons, features of cartoons in Samganghaegsildo which sprouted 400 years earlier than in western cartoons regressed in Oryunhaegsildo. This paper shows that among many Haengsildos, Donggksinsok-Samganghaengsildo had approached to techniques of cartoons most closely. Also simplified drawings in Samganghaegsildo tells that there were coded icons agreed between publishers and readers. The coded icons were a important mechanism to help illiterates and children understand the context of the book only through those drawings. Besides a simply typified discourse structure of Samganghaegsildo effectively worked to convey ideology to its readers. In other words, Samganghaegsildo is a book of stories about somebody who received rewards as a result of his or her filial piety. This typified structure of Samganghaesgsildo might have made possible it readers to have schema and enhance reading comprehension. The synergy of learning Samgang ideology through the typified discourse structure and the coded icons of the cartoon genre's description technique may compete with today's best seller study cartoons.

This article argues about the narration-structure and the textuality in the film “Beyond Silence”. Everything in the society is being in the context; especially literature and art are produced and interpreted inside the social context. Therefore, all of the literal works could be renamed as ‘text’ and if so, they contain the general text structure.In this qualification, this paper tries to explore the structure of the film “Beyond Silence”, based on the textlinguistic theory. We accordingly describe the text of film through coherence, cohesion, intentionality, acceptance and intertextuality. As a result, as other literal works have the textuality, the film “Beyond Silence” shows the textuality, and inside it the film is understood and interpreted by the audience. Through the analysis of the structure by the linguistic theory and opinion in the film, it motivates and accomplishes the communication between many disciples and offer the possibility of interdisciplinary studies.

The purpose of this paper was to observe in which way the structure and functions of advertising language are transformed according to media. For this purpose TV advertising language and printed advertising language were selected as the subjects of comparison in this study, and when an advertisement was presented on two different media with the same message, observed differences in their copywriting and message constitution were mainly investigated.As a result message constitution according to the transformation of medium appeared to have two aspects. One was developed toward complementing the weak points of TV advertising medium, the other was toward overcoming the weak points of printed advertising medium. The TV advertising medium had two important weak points. One was the time limit and the other was the insufficient presentation of verbal information in message constitution. The latter may be a weak point related to the time limit. This circumstance can be improved by transformation of verbal information in the printed advertising. As methods of transformation, ‘addition of contents of copywriting, substantiation of copywriting contents, reconstitution of copywriting’ were identified. Weak points of printed advertising are in that message transmission is dependent only on the vision of listeners. Furthermore even though presentation of all-out information is possible, the printed advertising has to give up multi-sensual transmission and free scene transformation that are the strong points of TV advertising. As a method to overcome these drawbacks, transformation method of non-verbal information was mostly attempted. ‘Omission of scenes, simplification, integration and reconstitution’ were observed.

Male and female language users have their own speech characteristics in language communication, such as different choices of words, ways of speaking or style, including body languages and facial expressions. The purpose of this paper is to discuss the gender differences in language communication in general and various perspectives on these differences, and to analyze the underlying background reasons causing differences between male and female communication. To do this, some studies on the gender difference in language use are discussed and various types of female-specific language behavior are categorized from the different point of views such as sociolinguistic, feminists, and biological perspectives. In addition, the background reason for the difference between male and female language use will be discussed. This study will show how women accomplish their own gender identity through language behavior. Hopefully, this study on gender identities and differences can help us understand differences not only between men and women but also between individuals of the same sex as well.

This work concerns the ontological status of the common nouns of French and its sub-classification. We also propose a formulation of the sub-classification by the algebra of Boole.On the basis of the works of Lyons and Peterson, but also Vendler and Kiparsky & Kiparsky, we establish a criterion of the sub-classification : thing, event, fact, proposition.And so we propose following four subclasses:common nouns of thing : voiture(≒car), étudiant(≒student)common nouns of event : découverte(≒discovery), propagation(≒propagation)common nouns of fact : mystère(≒mystery), reconnaissance(≒recognition), conséquence(≒consequence)common nouns of proposition : supposition(≒supposition), souhait(≒wish), probabilité(≒probability), hypothèse(≒hypothesis)For each of the subclasses, we propose following four filtered boolean algebras:NCc = <{x : x ∈ P, x ≤ chose}, 1NCc, 0NCc, ∧NCc, ∨NCc, ’NCc> (where x’NCc = x’NC ∧ chose)NCe = <{x : x ∈ P, x ≤ événement}, 1NCe, 0NCe, ∧NCe, ∨NCe, ’NCe> (where x’NCe = x’NC ∧ événement) NCf = <{x : x ∈ P, x ≤ fait}, 1NCf, 0NCf, ∧NCf, ∨NCf, ’NCf> (where x’NCf = x’NC ∧ fait)NCp = <{x : x ∈ P, x ≤ proposition}, 1NCp, 0NCp, ∧NCp, ∨NCp, ’NCp> (where x’NCp = x’NC ∧ proposition)This formalization reflects the idea of the boolean semantics that all the possible categories possesses the boolean structure, and reconstitutes strictly the proposed sub-classification of the ontological point of view.

This study investigated the alternate use of English by Korean speakers of English in informal Korean written texts to see (1) in what situations and for what purposes Korean adult speakers of English living in the United States, code-switch into English, in the context of their own personal writing in Korean, and (2) what are the linguistic or structural features of the alternate language forms that they might produce. For this study, data were collected from 4 Korean female adults living in a mid-sized southern city with different goals for residency in the United States. Personal documents and unstructured interview were employed as a data collection method. The results showed that the structural features of the written code-switching might be explained by the typological difference between Korean and English with respect to the head position in given phrases, in that the head position ‘head-initial’ or ‘head-final’ has been considered to be a crucial factor determining the basic word order of a given language. On the other hand, it was found that the participants' perceived reason for using English content words in the Korean informal texts or adopting English word order might be for bridging the gap between their native language and their American life. It was suggested that the functional feature of the alternate use of English and Korean might be followed from that fact that memos on the datebooks should be efficient and economical, i.e. easily recognized and quickly produced.

Traditionally, the film forms its own language through to deal with visual image. Image was the center of the film language and it is the very thing that the film was separated clearly from other media, especially the novel. For a long time ago, visual image had been considered to the subject and the object of cinematic expression. Early on the sound pictures age, disparages and hostilities about the sound from the silent pictures advocates were related with such visualism. Of course the sound itself was not excluded; it was recognized and utilized as the way of making up for visual image and raising cinematic effects. However this relationship was made from strictly hierarchy. This rank what visual image hold a prominent position than auditory image has been solid in spite of eye-opening progresses for experimentation and aesthetic accomplishment of the sound through whole film history.This research is looking into abundance of narrative action and effect for the cinema when we embody newly the auditory image that cinema passed over. Specially, in methods of forming an auditory image, voice-over narration is related to expansion of cinematic expression on this point that it can lead active or be substituted for visual image. A Man Escaped and India Song are the cases of the possibility. A Man Escaped endowed with feeling and cubic effect of it for making use of voice-over which is more abundant than on-screen image. Sound and effect from voice-over surpasses narrative effect of visual image.In India Song, invisible narrators lead the story and they break down a border of the past/the present, memory/imagination, a fiction/reality. Sound of India Song is peculiar as it is not that be the side of making up for image, but that be worked self-controlled and exists. And it also peculiar as it separate image tracks from sound tracks to use voice-over narration and deepens vagueness.

The study of the contiguity between death and femininity in Western literature has been made by many scholars such as Beth Bassein, Elisabeth Bronfen, Dorothy Dinnerstein, Nina Auerbach, and Bram Dijikstra. The Arts and literatures of the fin-de-siècle especially give lots of connecting links to the notion of death and femininity. Of course, the tendency to see death as being masculine has been existed. According to Karl Guthke, who did a memorable study about the correlation and identification of death and femininity, the gender of death in the Middle Ages was uncertain because one could not decide whether Eve or Adam really brought death upon mankind. In the ages of the Renaissance and the Baroque, death was represented as demon who had no specific gender. It was in the Romantic Age when death was clearly defined as masculine: the motifs of “death and the maiden” and “death and the bride” became prevalent. It was in the end of the 19th century, however, that death was redefined and regarded as feminine. Lilith and Salambo were female figures who predominated in the arts and literary scenes of this century. Whether death is redefined as good or bad, masculine or feminine, the tendency to see women as keepers and carriers for death will be no more kept and valid in its old usage and context. To see woman as again the embodiment of love and regeneration will provide an alternative for the Western world which is death-oriented in its pursuit of destructive masculinity, violence, and war.

La relation entre la littérature comparative et l'écriture critique est compréhensive plutôt que restrictive. La littérature comparative apparaît ces derniers temps dans le domaine littéraire et devient un genre principal au début de 20e siècle. Elle se distingue de la tendance dominante par le fait suivant : la recherche de la littérature comparative présume que tous les phénomènes culturels et littéraires reliés entre eux. Ce travail examine le développement du genre de la littérature comparative et les techniques qui proposent aux chercheurs les manières basées sur l'«objectivité». Tandis que le domaine de l'écriture critique est reconnu depuis Aristote, il partage et requiert les mêmes techniques de la littérature comparative. On accepte aujourd'hui ce point de vue selon lequel les deux domaines sont reliés du fait que tous les deux requièrent l'«objectivité» poru leur base. La littérature comparative peut être définie comme un processus théorique, l'écriture critique comme un processus créatif. Ainsi, les aspects théoriques de la littérature comparative ont fourni les bases de l'écriture critique d'aujourd'hui.

In spite of his fast-changing intellectual trajectories, T. E. Hulme (1883-1917) tends to be neatly labeled as a precursor of Imagism and Classicism (more precisely, ‘Classicist Modernism’) in many literary histories. This labeling helps literary historians place or demarcate Anglo-American Modernism conveniently in their historical narratives, but the convenience comes with a cost. For example, Hulme the Bergsonian disappears from the view even though his inadvertent Romanticism, as exemplified in his celebration of the French philosopher’s romantic concept of intuition, serves as one of the foundations of his poetic theory. Here, Hulme’s much anthologized essay “Romanticism and Classicism” is a case in point. Although it is often hailed as a seminal text of Modernism, it holds on to Romantic notions of poetry emphasizing individuality and subjectivity; the Hulme of “Romanticism and Classicism” is a transitional figure straddling Romanticism and what is to become Classicist Modernism. In fact, what has been rather uncritically viewed as Hulme’s Classicist and Imagist position is a faithful reflection of his age, and accordingly, he can be seen as a site in which the intellectual currents of the late nineteenth and early twentieth century collide, disappear and/or merge. As a whole, Hulme’s writings reveal how promptly he mirrors his turbulent and dynamic age rather than expressing his own original perspectives or individuality, whether philosophical or literary. It is precisely this lack of originality--“impersonality” if we borrow T. S. Eliot’s term--that makes him significant and ‘useful’ in delving into the dynamic nature of Anglo-American Modernism in its early phase.

Today, it is getting important to recognize the influence of mass media that are raised in the whole society. Also, there is a tendency to generalize Media Literacy in contemporary society. According to rapid changes and development of media environment, it can not help understanding and using every media in order to access to information, to estimate and to dispatch information. In here, Media Literacy means that it is not only the ability to access to media, but also the ability to analyze and estimate obtained information and to express one's opinion and thought, based on the analysis and estimation, then even to influence others.In this study, a drama from HDTV Literature, KBS were selected as an object to be analyzed, with literary text, because there is a enough common bond about planning intentions to reinterpret the past literature, and to excavate and introduce the current literature, at the same time, it also aim to achieve images of high quality, as corresponding with the digital age. In this context, the point of study was focused on literary text from “Who murdered Kurt Cobain” and the functionality of literacy in drama. So to speak, the purpose of this study is to research reading traditional literary text and the related aspect of Media Literacy, then tries to interpretate the meanings in the viewpoint of the interaction of context.

Dans sa vie, Rimbaud a voulu sans cesse avancer à la recherche de la nouveauté soit réelle, soit littéraire. Il reste jamais immobile, mais est toujours en marche vers l'inconnu et la liberté, comme l'on peut le constater dans son univers poétiques.Le «passage», ce mouvement incessant, est l'une de ses caractéristiques qui nous attirent. Par exemple, le passage de l'Europe vers l'Afrique en passant par l'Orient dans sa vie personnelle d'une part, et d'autre part, le passage du poème parnassien en vers au poème rimbaldien en prose dans sa vie littéraire. Dans l'univers poétique de Rimbaud, on constate sans difficulté cette tendance au passage à travers l'utilisation fréquente de mots poétiques dynamiques: «mouvement», «devenir», «changer», «progrès», «marcher», «départ», «enavant», etc. Autrement dit, avec sa préférence pour le dynamisme, Rimbaud manifeste bien sa recherche incessante de la nouveauté non seulement dans ses œuvres poétiques, mais aussi dans sa propre vie. Il part constamment ailleurs pour chercher quelque chose de nouveau, en laissant tout derrière lui à chaque son étape existentielle ou poétique.Dans sa poésie, Rimbaud a tenu à réformer et renouveler les conventions et les ordres établis pour créer un nouvel univers qui lui soit propre. Pour cela, il choisit les moyens de refuser les données poétiques fixées par l'usage et la tradition et de réformer le langage poétique, par la quête de la nouveauté des formes et des idées. Comme il le dit lui-même, il s'agit d'arriver à l'«inconnu», et Rimbaud voulait y arriver par la création d'un nouvel image ou d'un nouveau rôle du poète: le passage de l'image d'orphique(du poète traditionel) à celui de prométhéen’(du poète moderne).

The notion of (modern) human sciences in Michel Foucault(1926-1984)'s Les Mots et les choses(1966) is crucial for the understanding of his archeological thoughts. The human sciences is presented in the book as a direct successor of kantian notions like Mensch, Anthropologie, etc. The main interests of Les Mots et les choses is clearly to show a sketch of epistemological conditions of the formation of human sciences in modern era. For this purpose, what Foucault tries to do is the analysis of conditions and limits of theses modern human sciences to bring light to the possibility of a meta- human science, that is in fact, (foucaldian) archeology. The archeology analyses the epistemological configuration of theirs historical formations to their possible transformations in the future. Foucault himself declares in an interview in 1967 that his work can be defined as ‘an analysis of cultural facts that characterize our [european] culture’, ‘an ethnology of the culture to which we long.’ In short, what he did in his 1966's Les Mots et les choses, archeological analysis of human sciences, is no other than “an analysis or ethnology of our culture, our rationality and our discourses.”

This paper discusses the shaping of a tragic plot from traditional myth in Aeschylus' Oresteia trilogy. To analyze its plot-structure, it is assumed that the plot is shaped by a combination of story patterns repeated and varied in traditional myth as well as in the genre of tragedy. The story patterns we can find in Aeschylus' Oresteia trilogy are as follows: return(nostos), discovery(anagnōrisis), intrigue(mēchanēma), revenge, sacrifice, exile, supplication(hikesia), and salvation(sotēria). The shaping of a tragic plot in this work, as this paper intends to show, depends mainly on the principle of reversal. The conqueror, for example, is turned into the defeated one, the deceiver into the deceived, the sacrificial to the sacrificed, and the revenger into the one being revenged upon, etc. To sum up, the tragic myth generated by the shaping of the tragic plot in this work can be characterized by the following points: 1. The tragic myth highlights the conflict of the gods, the ambivalence of their plan for humans, and the evolution of the gods, especially on the concept of justice. 2. The tragic myth emphasizes not only the inevitable fate determined by the gods for humans, but also human free will and its consequences. 3. The tragic myth mainly dramatizes the conflict and murder in a household (oikos) which forms the core of city state(polis). 4. The tragic myth reveals the city state of Athenai's strategy to appropriate the myth of Pelops line.

Since 1990s the narratives of outbreak, such as Ebola virus, have frequently appeared in the field of journalism, fictions, nonfictions, and films in the United States. This phenomenon is noteworthy, particularly after the outbreak of HIV/AIDS and subsequent paranoia. The Americans' faith in science, especially medical science, collapsed in the aftermath of AIDS outbreak. The outbreak narratives reflect the anxiety of the Americans as well as their desire to rehabilitate their faith in medical science.The discourses on epidemics, which had been quiescent since 1950s, have been erupting along with the heightened interest in emerging infections. The microbes who know no national boundaries travel around the world more easily as the globalization becomes accelerated. In tracing the trajectories of the epidemics and the microbes, the narratives of outbreak make it visible as to who meets whom and what kinds of social contacts are formed along the invisible communities.Benedict Anderson's idea of 'imagined communities' can be a useful tool in understanding the outbreak narratives. Anderson argues that the nation is an imagined community which exists only in the people's mind as an image of communion, even though each member of the nation does not know each other. In a similar way, the narratives of outbreak implant memories of epidemics inside the imagined communities.The outbreak narratives reveal the paradox of conflicting pulls of nationalism and globalization. If the members of the communities are strongly united in the face of the impending catastrophe, the ambiguous concept of imagined communities can be easily dissolved in the globalized realities of the world. The members of the nation can profit in accordance with their intensity of their belongings. In that sense, the stranger/carrier is an indispensible agent in bringing forth the health and growth of the communities. As a vector for carrying unfamiliar microbes and genes, the stranger/carrier shows how the communities are being integrated and reshaped in spite of the sacrifice of their members.

The paper presents the importance of “human principle” in cognitive engineering which focuses on user experience. Cognitive engineering reveals a system design issue on the relation between the user and the domain task that it will be performing. The paper addresses the investigation of interface design requirements which resides at the center of design specification procedures. Cognitive analysis methods can be used to analyze the elements of the system and the impacts it will have on engineering. Understanding of “Man” lies at the core of cognitive engineering, but also has not been treated with relevant importance in the design of system to this day. The system analyzed in this paper is the cognitive engineering method focused on Man for rich performance. This paper suggests the improvements for these case studies. The importance of understanding the human principle is a significant factor in cognitive engineering, and enables the building of a good design of support system.