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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 paper examines the evolution of narrative structures in storytelling, focusing on the interplay between character-driven narratives and media-specific formats. Using The Man Who Laughs a traditional feature-length film and Mask Girl a modern OTT series as case studies, the analysis highlights how differences in character arcs influence and shape narrative structures that align with the unique demands of their respective media. The study begins by exploring the character of Gwynplaine in The Man Who Laughs, whose singular and linear arc reflects the traditional three-act structure of classic cinema. The film's concise format prioritizes thematic clarity and emotional intensity, adhering to the requirements of the theatrical medium. In contrast, Mask Girl utilizes a non-linear, episodic structure characteristic of OTT platforms, leveraging its extended runtime and multiple character perspectives to explore contemporary themes such as identity, societal beauty standards, and the psychological implications of social media. By comparing these two works, the paper underscores how narrative techniques adapt to audience behavior and technological advancements. The cinematic medium emphasizes brevity and symbolic storytelling, while the digital OTT format allows for layered narratives and prolonged character development. The study also discusses the cultural and thematic relevance of these works, highlighting their critique of societal norms and their reflections on the human condition. This research contributes to understanding how storytelling evolves across media platforms and offers insights for creators and scholars into crafting narratives that resonate with diverse audiences in an ever-changing media landscape. By bridging traditional and modern techniques, this paper demonstrates the dynamic relationship between character, structure, and medium in contemporary storytelling.

This paper reexamines ideas about linguistic relativity in the light of new interest in the theoretical climate. The original idea is based on the incommensurability of the semantic structures of different languages. On this view, language, thought, culture are deeply interconnected, so that each language might be associated with it a distinctive world view. Throughout this work I utilize the historico-epistemological standpoint to dissect the conceptual structure of this principle. In the introduction I will of for a justification of choice of the theme. Section 1 will address some essential definition of the linguistic principle and insist on the necessity to elaborate a typological spectrum of relativism and universalism. In the second section some important landmarks of linguistic relativity were marked from Plato to Humboldt via Condillac and Herder. 1 will subdivide the relativity hypothesis into 3 theses which are interlated. In the final section the epistemological structure of the linguistic principle will be analysed in some detail by providing my exposition of Sapir-Whorf hypothesis. By way of conclusion I will present the works of Wierzbicka who demonstrated the lexicons of different languages suggest different conceptual universes. By rejecting analytical tools derived from the English language she proposed instead a natural semantic metalanguage based on lexical universals, which is made up of universal semantic primitives. In this paper we attempted to construct a general problematics of linguistic relativity, focolizing on the Sapir-Whorf hypothesis. We devided this very problematic question into its ontological and epistemological dimensions. In particular the ambivalance of Whorf's relativity is discussed in some detail. Also, an archeological survey of this subtle question on the relation between language, thinking and culture was provided. (from Aristotle to Humboldt, via Condillac and Nitzche). In conclusion this investigation underlines the necessity of preparing the cultural linguistics to enlarge the scope of contempory linguistics.

There is a common belief that the nature of language lies in communication and that efficient communication needs observance of conversational maxims based on cooperation among participants. However, language doesn't necessarily pursue efficiency or economy and maxims are frequently violated either intentionally or unconsciously in our daily conversations. While violations of conversational maxims may cause inefficient communication accompanying extra efforts by listeners for processing information, they can also result in unexpected psychological effects, that is humor. This paper presents the cooperative principle and four conversational maxims and analyzes humor resulting from violating maxims. Although violations of each maxim would betray the expectations of listeners, the unexpected utterances may make listeners laugh. This article analyzes violations of four conversational maxims exemplifying and explaining a few dialogues and utterances. Finally, the paper shows that humor from violations of maxims is closely related with social and psychological elements and suggests further research should be conducted on the dynamics between verbal expressions and underlying socio-psychological factors.

Korean linguistics or linguistics in Korea has the viviparous limitation that on the one hand, it was influxed from Europe and Japan and on the other hand, these days the American linguistics takes the initiative in Korea. That's why Korean linguistics cannot be free of the problems of 'dependence/independence', 'central/marginal', etc.It calls for two conditions to study the nature of Korean itself and to establish the independence of Korean linguistics in this situation. The first condition is that we should reveal some peculiarities of Korean in itself. The second condition is that we should reveal universals of Korean by comparing it objectively with other languages which are typologically and genealogically different. I think the first is important but the latter is more important.To meet the second condition, we analysed the expansion structure of NP in Korean and French, and suggested a new tree-diagram for describing equivalently the NP structure of the two languages. As for VP structure, we suggested some possibilities of comparing the final endings in Korean with personal pronouns in French, and of comparing the prefinal ending 'si' in Korean with the second plural pronoun 'vous', etc.As a result of the comparison of Korean and French, we came to conclusion that Korean is a inflectional agglutinative language while French is a agglutinative inflectional one. In other words, they are same in 'typus', are different in 'topos'. This may be a surprising/unexpected conclusion. But this, we think, can lead us to much closer approach to the nature of the two languages Korean and French.

This paper focusses on the concept of Ijtihād in Islam, its appearance and the qualifications for a mujtahid. Ijtihād means a judgement through reasoned deduction by scholars (ʿUlamāʾ) and lawyers (Fuqahāʾ) with adequate knowledge of Islam in order to obtain the answers to certain matters. According to some of Muslim traditionalists and western scholars, the door of Ijtihād in Islam has been closed since the ninth or tenth century due to their misconception of Ijtihād despite its intermittent activities. With the introduction of western laws to Islamic countries in the nineteenth century, Islamic law had to be in harmony with Ijtihād to resolve various secular issues. In order to be a Mujtahid, a scholar was required to have the power of discernment, because it was a foundation of the Islamic legal sources like Ijtihād or Ijmāʿ.

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.

This study analyzed the pronunciation errors of Korean monophthongs among Chinese learners by measuring and comparing the monophthong pronunciation, particularly the monophthong formants, of five advanced Korean learners in China and five native Korean speakers, using an experimental phonetic method. The results showed that even advanced Korean learners in China made numerous errors in the pronunciation of Korean monophthongs. The most common errors were observed with ㅗ/o/, and errors also occurred frequently with ㅓ/ə/, ㅜ/u/, ㅣ/i/, and ㅐ/ɛ/. ㅏ/a/ and ㅡ/ɯ/ were the least error-prone vowels, while the degree of bias for ㅔ/e/ was also relatively low. By comparing the Chinese speakers' pronunciation of Korean monophthongs with their pronunciation of Chinese monophthongs, it was evident that errors occurred due to the influence of their native language. Therefore, customized corrections should be implemented for Korean monophthongs that are prone to errors. It is essential for teachers to assist Chinese learners in recognizing correct articulation positions and rectifying pronunciation errors, especially when the pronunciation resembles Chinese monophthongs but differs in terms of vowel height and backness.

The primary objective of this paper is to advocate for the necessity of Korean Education as a Heritage Language for overseas Koreans and to explicitly establish that the ethnic Korean group in China should also be considered as a target for such education. To achieve this, the paper first examines various definitions of heritage language, heritage language speakers, and heritage language learners, and then explains why the ethnic Korean group in China can be classified as heritage language speakers and heritage Korean language learners. By analyzing trends in both domestic and international heritage language research, the paper highlights the need to expand the scope of research topics within the field of Korean Education as a Heritage Language. It is particularly noted that studies focusing on the ethnic Korean group in China as heritage language learners are extremely scarce. The paper discusses the crisis of Korean language maintenance from the perspective of minority language education in China. It points out that although Chinese Korean(Joseonmal) shares linguistic roots with standard Korean, it has evolved into a unique Korean variety due to the historical and social context of Korean immigrants from various regions of the Korean Peninsula. This linguistic divergence necessitates tailored educational strategies for Korean language learners among the ethnic Korean group in China. By presenting these linguistic differences, the paper emphasizes the need for specific and concrete educational approaches to support Korean language learning for this group.

The aim of this study is to answer the question of why simultaneous interpreting, successfully introduced in the 1945 Nuremberg Trials, was not utilized in the Tokyo Trials that took place the following year. At Nuremberg, simultaneous interpreting had dramatically accelerated the trials and allowed justice to be achieved in four languages. It was an innovation that gave rise to the profession of conference interpreting, and established research on interpreting as an independent academic discipline. The Tokyo Trials, however, employed only consecutive interpreting. The primary reason was the shortage of bilinguals fluent in English and Japanese. Additionally, the Tokyo tribunal neglected the fact that linguistic justice was a prerequisite for legal justice. A more fundamental reason was the tribunal’s mistrust in Japanese interpreters. The US-led tribunal, forced to depend on Japanese interpreters in a courtroom where their compatriots were being tried, assigned Japanese-Americans (Kibei) as monitors and US military officials as language arbiters to keep close watch on them. Unlike their counterparts in Nuremberg, the interpreters in the Tokyo Trials were reluctant to publicly disclose their involvement. The Tokyo Trials thus failed to become a turning point in the history of interpreting and Interpreting Studies in Japan.