Earticle

Drug addiction influences most communities directly or indirectly. Increasing studies have reported the relationship between circadian-related genes and drug addiction. Per2 disrupted mice exhibited more vulnerable behavioral responses against some drugs including methamphetamine (METH). However, its roles and mechanisms are still not clear. Transcriptional profiling analysis in Per2 knockout (KO) mice may provide a valuable tool to identify potential genetic involvement and pathways in enhanced behavioral responses against drugs. To explore the potential genetic involvement, we examined common differentially expressed genes (DEGs) in the striatum of drug naïve Per2 KO/wild-type (WT) mice, and before/after METH treatment in Per2 KO mice, but not in WT mice. We selected 9 common DEGs (Ncald, Cpa6, Pklr, Ttc29, Cbr2, Egr2, Prg4, Lcn2, and Camsap2) based on literature research. Among the common DEGs, Ncald, Cpa6, Pklr, and Ttc29 showed higher expression levels in drug naïve Per2 KO mice than in WT mice, while they were downregulated in Per2 KO mice after METH treatment. In contrast, Cbr2, Egr2, Prg4, Lcn2, and Camsap2 exhibited lower expression levels in drug naïve Per2 KO mice than in WT mice, while they were upregulated after METH treatment in Per2 KO mice. qRT-PCR analyses validated the expression patterns of 9 target genes before/after METH treatment in Per2 KO and WT mice. Although further research is required to deeply understand the relationship and roles of the 9 target genes in drug addiction, the findings from the present study indicate that the target genes might play important roles in drug addiction.

The complementizer -ko in Korean before verbs of saying and thinking indicates the domain of speech and does not, have any modality. When it occurs with verbs of perception, it has a modality function, which indicates indirect evidence. In the so-called subject-to-object raising sentence, the raised nominal is not the grammatical subject of the complement but a previously mentioned discourse topic. By raising this topic, a speaker encodes a 'doubt in truth modality of the -ko complement clause.

본 논문은 Nikāya에 나타난 붓다의 침묵인 無記[avyākata]의 구조와 체계에 대해 분석하는 것을 목적으로 한다. 無記는 붓다 시대의 外道사상들에 대해 붓다가 침묵한 것이다. 경전들에서는 “붓다는 10無記의 질문에 대해서 어떠한 설명도 하지 않는다[無記]. 왜냐하면 涅槃으로 이끌지 못하기 때문이다. 그러면 설명할 수 있는 것[記]은 무엇인가? 그것은 涅槃으로 이끄는 四聖諦뿐이다“라는 대목이 자주 등장한다. 이처럼 사람들은 누구나 나름대로 견해를 가지고 있다. 붓다 당시의 외도들도 마찬가지로 62見․35見․10見 등에서 어떤 한 가지 견해에 집착해서 '그것만이 진리이고, 다른 것은 거짓이다'라고 주장하였다. 이러한 외도사상인 62見이나 10無記 등을 분석해 보면 ①有 ②無 ③亦有亦無 ④非有非無라는 四句의 구조를 가지고 있음을 알 수 있다. 外道들의 戱論은 Nikāya에서 '62見 → 10無記 → 四句'로 점차 간략히 규정되었고, 이것은 ①제1구 常住論[有] ②제2구 斷滅論[無] ③제3구 懷疑論[亦有亦無] ④제4구 無因論[非有非無]으로 분류되는데, 여기에 붓다 당시의 인도 사상 전체가 포괄된다. ①常住論은 바라문교, Pakudha Kaccāyana 등, ②斷滅論은 Ajita Kesakambalin 등, ③懷疑論은 Sañjaya Belaṭṭhiputta, Nigaṇṭha Nāṭaputta 등, ④無因論은 Pūraṇa Kassapa, Makkhali Gosala 등과 정확히 일치한다. 이러한 常住論 등의 邪見들은 夢想 속에서만 가능하고 그것을 논의하는 것은 무의미하기 때문에, 붓다는 四句의 질문에 대해서 언급하지 않는 無記[avyākata]의 태도를 취한다. 또한 四句는 ①‘긍정’ ②‘부정’ ③‘긍정과 부정의 합’ ④‘③의 부정’으로서, ①정립[正] ②반정립[反] ③종합[合]으로 대표되는 Hegel(1770~1831)의 변증법과 동일한 형식을 가진다. 또한 ABO식 혈액형의 응용방식인 ①A형[正] ②B형[反] ③AB형[合] ④O형[綜合不定]과도 정확히 일치한다. 그리고 집합론의 기호를 사용하여 ①A ②~A[Not A] ③A∪~A[All] ④A∩~A[Zero]라는 형식으로도 四句는 표현된다. 그래서 이 긍정판단과 부정판단의 조합인 四句分別은 인간의 사고방식에 있어서 철저한 논리 형식을 갖춘 것이어서 사물을 분별함에 있어서는 그 이상의 체계가 불필요하게 된다. 다시 말하면 인간이 사유함에 있어서 아무리 정교한 체계가 있더라도 결코 이 긍정과 부정의 조합인 四句를 벗어날 수 없고 그 틀 속에서 사유할 수밖에 없다. 그래서 四句는 인간사유방식의 정형화된 틀이라고 표현할 수 있다. 그런데 붓다는 이러한 62견이나 10무기 등의 외도들의 견해에 대해서 대부분 침묵으로 일관하였다. 그 이유는 첫째 붓다는 자신이 직접 깨달은 진리 이외에 다른 어떠한 진리도 찾을 수가 없었고, 둘째 그 깨달음의 선언은 62見이나 10見으로 대표되는 모든 기존 사상[外道]에 대한 부정적 입장 속에서의 비판이라는 것에서 잘 알 수 있다. 그래서 그 비판의 表明은 “설명하지 않음”[avyākata; 無記]으로서 나타난다. 인간의 戱論[papañca]적 사유형태인 有無라는 이치에 맞지 않는 것에 대해서 표현한다는 것은 거짓이고 無意味하기 때문에 침묵한 것이다. 다시 말하면 붓다의 正覺은 잘못된 戱論을 부정하는 동시에 올바른 세계관을 확립하는 것이었다.

The present paper analyzes about the structure and the system of avyākata[silence; 無記] appeared in Nikāya. Avyākata is what Buddha became silent about heresy. Buddha what kind of explanation does not do about question. It says generally in the scripture[sutra; sutta]; “Buddha does not say what kind of explanation about question of 10views. Because it does not go toward nibbāna[nirvāṇa]. Then what will be able to explain? Only it is Catu-sacca[四聖諦]“ Like this Everybody is having an opinion in it's own way. Also the heresies at that time of Buddha with the same were attached in one kind opinion among 62views etc. and said that “Only this truth and, the something else is lie“. Tries to analyze like this heretical ideologies, 62 views or 10 views, has the structure of 4 phrases, that is ①it exists[有; Atthikavāda] ②it does not exist[無; Natthikavāda] ③it exists and also does not exist[亦有亦無; Atthikanatthikavāda] ④It does not exist and also does not that does not exist[非有非無; Nevatthikananatthikavāda]. The ideologies[papañca] of heresies with “62views→ 10views→4phrases“ simply were provided gradually in Nikāya. These are classified with ①Eternalism[Sassatavāda; 常住論], ②Annihilationism[Ucchedavāda; 斷滅論], ③Skepticism[Amarāvikkhepavāda; 懷疑論] and ④Adhiccasamuppannavāda[無因論]. All Indian ideologies at that time of Buddha include in these inside. ①Eternalism is Brahmanism and Pakudha Kaccāyana etc. ②Annihilationism is Ajita Kesakambalin etc. ③Skepticism is Sañjaya Belaṭṭhiputta and Nigaṇṭha Nāṭaputta etc. ④Adhiccasamuppannavāda is Pūraṇa Kassapa and Makkhali Gosala etc. The opinions which go wrong is possible with only imagining, is meaningless to discuss it. So Buddha did not answer about the questions. 4 phrases are ①Affirmation ②Denial ③Sum of Affirmation and Denial ④'Denial of ③'. So Thoes are the format which is identical with Hegel(1770~1831) dialectics. Also Thoes are application method of ABO formal blood types “①A type ②B type ③AB type ④O“ type transitions accurately agrees. Also those are expressed with four kind formats of the sign of set theory, that is ①A ②~A[Not A] ③A∪~A[All] ④ A∩~A[Zero]. So the system of above these divisions is unnecessary. Because those show the format which the human being thinks. But Buddha did not answer about the questions. Because those questions are meaningless and not a truth.

G protein-coupled receptor kinase 5 (GRK5) is one of the seven GRK family members whose primary function is to desensitize G protein-coupled receptors (GPCRs). In recently, GRK5 deficiency has been linked to early Alzheimer disease (AD), but the mechanism by which GRK5 deficiency may accelerate to AD pathogenesis remains elusive. The GRK5 mRNA is expressed widely in brain and peripheral tissues, with highest expression evident heart, lung, and placenta. In cellular model systems, GRK5 can phosphorylate several neuronal GPCRs including ß2-adrenergic, M2-muscarinic, secretin, angiotensin AT1, and thyroid stimulating hormone receptors. Transcription activator-like effector nucleases (TALENs) are programmable nucleases that join FokI endonucleases with the modular DNA-binding domain of TALEs and highly effective in inducing mutations at specific genome loci. TALEN-mediated mutagenesis in zygotes is a potential alternative to conventional gene targeting in mice. In the presented study, we report the generation of mice with genetic knockout of the GRK gene using TALENs. We designed TALEN vectors for exon 1, 3 and 5 of mouse GRK5 gene and tested their ability to alter the each surrogate vector in 293T cells. We prepared of mRNAs for the linearized TALEN using the mMessage mMachine T7 Ultra kit. mRNAs (4ng/μl) was injected into cytoplasm of 180 one-cell embryos. After incubation for 24 hours, the selected two-cell embryos transferred into the oviduct of seven pseudopregnant C57BL/6 mice. We confirmed the genotype of Fo mice by sequencing and T7E1 assay. We found 6 mutant mice lines (11%) from 53 newborns. We also mated 3 Fo GRK5 mutant lines with wild type mice and confirmed the genotype of the F1 progenies. All the mutations observed in Fo mice were transmitted through the germline but not all progenies (8/3, 13/4, 7/4). Taken together, TALEN-mediated mutagenesis might accelerate the creation of genetically engineered mouse models and elucidate the mechanism of AD pathogenesis using GRK5 knock out mice.

The object of this study is to analyze the differences in the uses of ‘-ŏsŏ’ and ‘-ko’ connective endings in the Korean language which express the temporal sequence of action between two clauses. Previous studies have indicated that the clausal connective ‘-ko’ is used after a transitive verb taking an object while ‘-ŏsŏ’ is used after an intransitive verb as well as in cases where the predicates in the two clauses of a sentence repeat the same speech elements, including the object. Studies have also explained that ‘- ko’ is used when the action in the preceding clause is completed before the following action takes place while ‘-ŏsŏ’ is used when the action in the preceding clause continues to have effect on the action in the following clause. These suggestions, however, come with many exceptions. This study aims to analyze, modify, and support previous research on these connectives. It argues that ‘-ŏsŏ’ is used when the result of the action in the first clause continues into the action in the following clause and when pragmatic relevance is established. It also maintains that the connective ending ‘-ko’ is used without regard to pragmatic relevance or whether the action in the first clause affects the action in the second, following clause. The result of the study is a clear, effective explanation of the differences in the uses of the connective endings ‘-ŏsŏ’ and ‘-ko.’

본 논문에서는 중세의 초등교육용 텍스트인 고왕래를 분석하여 남북조시대 사람들의 심성의 일단을 규명하고자 했다. 고찰의 결과, 다음과 같은 점들이 밝혀졌다. 첫째, 남북조시대 사람들은 생활본위의 실용적인 사고방식을 지니고 있었다. 이 점은 교육용 텍스트인 고왕래에서 뇌물수수 등 실제 재판과정에서 이루어지는 비공식적인 방편들이 확인되는 데에서 미루어 짐작할 수 있다. 둘째, 남북조시대 사람들은 격변하는 시대상황 속에서 특정 가치관이 옳다는 판단을 유보하는 불확정의 정신을 지니고 있었다. 바사라를 둘러싼 평가의분열, 관련 텍스트의 파열은 이 점을 대변한다. 셋째, 남북조시대 사람들은 요리아이라는비일상적 세계에서 바사라를 즐기면서도 결코 일상의 세계에 대한 의식을 저버리지 않았다. 요리아이를 둘러싸고 확인되는 부끄러움의 감정은 이를 이야기해준다.

This paper attempts to clarify a part of the mentality of the people in Nanbokucho Period by analyzing Ko’orai, which means the textbook for elementary education in Medieval Japan. As a result, we could see that the contemporaries had a cold sense of reality. They paid much attention to the way that real society actually works and responded with the spirit of uncertainty about the fluctuating value system. In addition, they did not abandon the consciousness of the everyday life while enjoying Basara in the unconventional world.

고희동은 관료신분으로 일본에 관비유학까지 다녀와 한국최초의 서양화가가 되었다. 하지만 얼마 후 그는 서양화를 포기하고 동양화로 회귀해 버렸고 그러한 그의 선택은 한국미술의 선각자로서의 자각도 열정도 희박하였다고 비판과 더 불어 동양화로 제작한 그의 작품도 저평가되는 결과를 초래하였다. 하지만, 『동아일보』창간호삽화와 《양류관음도》 등 동양화로 제작한 작품을 살펴볼 때, 그의 동양화로의 전환은 회귀가 아닌 침체된 한국미술을 발전을 위해 동서양의 기법을 모두 아우르는 새로운 미술창출을 위한 적극적인 방향전환이었다고 평 가할 수 있다. “그림에 있어서는 동서양이 다르지 아니하”며, 한국미술의 발전을 위해 서양 화기법 수용의 당위성을 역설한 고희동은 고려시대의 독자적인 불화양식인 양 류관음도에 서양화의 사실적 기법과 구도를 사용한 새로운 역사화, 《양류관음 도》를 완성시켰다. 이 작품을 그의 스승, 구로다 세이키의 대표작, 《옛이야기》의 구도의 일부를 차용하여 조선인의 정서에 맞는 역사화로 재창출하기 위한 고희 동으로 평가해야 한다고 본다.

Heedong Ko, the Korea’s first western-style painter, is a pioneer in establishing the paintings and writings association, led the modern art in Korea. But his choice, he give up the western painting return to the oriental painting, even he went to Japan to study as a government student, created a more narrowly Heedong Ko’s position, so that results in his work were produced by oriental painting rating decreases. However, Heedong Ko, were dispatched Joseon’s first foreign student as a officials status, received a special treat of Kuroda Seiki, the head of the tokyo art school a western-style painter. At this time Heedong Ko receive advice from him on what he should do, returning to Korea. It is remarkable Heedong Ko was committed to the institutionalization of art by the art organization and the paintings and writings association, almost similar organizations, hakubakai was organized by Kuroda Seiki, and tried to historical painting. Among them, the “yangryu gwaneumdo”, produced using a realistic western painting techniques and composition to the yangryu gwaneumdo, the own buddhist paintings form Koryo Dynasty, even though not received much attention from the Korean painters, was a new historical painting borrows some of the composition techniques of “old story” of Kuroda Seiki.

韓国最初の西洋画家という名誉ある称号で一生をいきていた高羲東。彼は書画協会 の設立を通して韓国近代美術の礎石を築き上げた人という評価と同時に日本へ留学 までいって西洋画を学んだ先覚者として余りにも少ない作品と余りにも早い西洋画 の放棄と東洋画への回帰によって無責任な知識人という叱責を受けなければならな かった。 しかし、彼が帰国した1915年の韓国は西洋画に対する理解がないに等しかったし、 ちゅんとした美術学校は勿論、西洋画を展示する機会さええられなかった状況のな かで、西洋画と東洋画を会わせた書画協会の発起したという点だけでも彼が韓国美 術に与えた貢献はすくなくない。さらに高羲東は《楊柳観音図》や󰡔東亜日報󰡕創刊表 紙挿絵などでみられるように西洋画の技法を取り入れた新たな東洋画を作り出そうと した。 それは彼が留学していた1910年頃、日本の洋画界は黒田清輝を中心に日本の神話や 歴史をモティーフにした歴史画が流行っていたことと無関係ではないと思われる。岡 倉天心を中心にした｢日本美術院｣は没線描法, 即ち朦朧体を使い、インドや中国の神 話や歴史、仏教を主題にした歴史画を制作に注意を注いでいだ日本の美術界の動向に 新しい可能性を見つけ出したと思われる。このような意味で黒田の《昔語り》の構図の 一部を借りて完成した高羲東の《楊柳観音図》は高句麗古墳壁画の伝統を生かして󰡔東 亜日報󰡕の創刊記念表紙画の制作したように、高麗時代の独自的な様式である楊柳観 音図に西洋画の写実的な技法を取り入れた新しい風俗画的な歴史画と見なしてよいと 思われる。

신고송은 1928년에서 1932년 사이 비평 대상을 동요에서 동시로, 시로, 음악으로, 연극으 로 연대기적으로 선택하면서 확장하고 관련 논쟁에 적극적으로 참여한다. 그는 1928년에서 1931년까지 동요와 동시를 대상으로 하여 장르분리논쟁을 주도한다. 그는 동요를 동심천사주의, 부르주아적 아동관으로 비판하면서 동시와의 분리론을 내세운다. 분리론의 초점은 동요를 부르주아적 아동관으로 제한하는 형식을 제거하여 볼셰비키화 하는 것, 프롤레타리아 동시에 있다. 볼셰비키화를 준거로 하여 그는 1931년 동시대 시에 대한 실제비평을 한다. 그는 동시대 시의 유파들 가운데 계급예술시를 ‘부르주아, 초현실적 의식, 리리시즘, 초현실적 주관’ 등으로 볼셰비키화를 이루어 내지 못했다고 비판한다. 그는 ‘프롤레타리아, 계급의식, 리얼리스틱, 구체적 사실적 사실’을 근거로 볼셰비키화 하는 방법론으로 프롤레타리아 리얼리즘을 제시한다. 프롤레타리아 리얼리즘을 방법론으로 하여 프롤레타리아 예술의 정치적 임무를 수행하기 위해서 그는 1930년에서 1931년까지 음악 장르의 속성, 대중과의 접근성을 그 수단으로 제시 한다. 대중과의 접근성을 도구로 하여 프롤레타리아 예술은 음악이 가지고 있는 대중과의 접근성을 결합시켜서 그 정치적 임무를 수행해야 하는 것이다. 프롤레타리아 예술의 정치적 임무를 담아내고 수행할 예술적 실천 형식을 그는 1931년에 서 1932년까지 연극 장르에서 찾아내고자 한다. 그는 프롤레타리아 연극의 관객을 확보하기 위해서 극장공연무용론을, 노동자 농민 대중을 관객으로 조직하기 위해서 드라마리그론을, 그 관객집단이 프롤레타리아 연극운동을 일상생활의 활동으로 받아들이게 하기 위해서 소인극적 활동론을 내세운다. 이러한 노동자, 농민 대중 관객의 확보, 조직집단화 그리고 상설공연을 가능하게 하는 공연양식은, 관객집단의 현실문제를 내용으로, 관객과의 접근성을 바탕으로 한 형식에 의해서 실천될 수 있다. 그 형식은 시 형식에서는 ‘짧은 어구’를, 연극 형식에서는 ‘극적 앨랜지(엘레지), 간단한 제스츄어’를 빌려오는 슈프렛히콜이다. 따라서 그의 예술대중화론은 당위적인 명제로 모든 예술의 볼셰비키화를, 그 방법론으로 프롤레타리아 리얼리즘을, 이를 방법론으로 프롤레타리아 예술의 정치적 임무 수행을 대중과 의 접근성, 그 예술적 실천 양식을 슈프렛히콜로 설정한 것이다.

This paper observed Sin Ko Song's Controversy of Art-Popularization and Popular Forms of Art. The result of analysis can be summarized as follows. 1) From 1928 to 1932, He was broadening the scope of critical object. That is a chronicle choices from Children's Song to Children's Poem, from Children's Poem to Poetry, from Poetry to Music, fro Music to Theater. 2) From 1928 to 1931, His Criticism adjusted the focus of Children's Song. He judged the Bourgeoisie Viewpoint of Children by angelism and then exposed revolutionary Romanticism. 3) From 1928 to 1931, His Criticism adjusted the focus of Children's Poem. He separated Children's Poem from Children's Song and then claimed The Proletarian Children's Poem, Bolshevikization of Children's Poem. 4) During 1931, His Criticism adjusted the focus of contemporary poetry. He judged the poetry for art principle by the hedonic subjectivism and then produced The Proletarian Realism. 5) From 1930 to 1931, His Criticism adjusted the focus of contemporary music. he produced Art-Popularization, and then advocated Art-Popularization through Music, Music-Popularization. 6) From 1931 to 1932, His Criticism adjusted the focus of contemporary Theatre. He insisted on Theatre-Popularization. That is the useless theory of indoor performing, the theory of Drama League, the theory of an itinerant troupe, The theory of Sprech-chor.

1274년과 1281년 두 차례에 걸친 몽골의 침입과 가미카제(神風)로 인한 격퇴의 경험은 일본의 전통적인 신국사상의 강화와 함께 국가의식의 고양과 신불의 영험에 대한 의존적 관념이고양되는 계기가 되었고 원구도가 출현하는 배경이 되었다. 회화 분야에서 몽골침입을 형상화한 원구도의 수량은 적고, 도상도 일정하지 않았고 막말유신기에 활동한 기쿠치 요사이(菊池容 齋)의 원구도에서는 가미카제에 의해 풍비박산 나는 몽골병선이 강조되어 있다. 메이지(明治)시대 전기까지 가미카제를 중심으로 묘사된 원구도의 도상에 큰 변화가 나타난것은 <몽골침입에마키(蒙古襲来絵詞)>가 천황가에 헌납되고 일반에 알려진 점과 밀접한 관련이 있다. 오야노가(大矢野家)가　소장하고 있던　<몽골침입에마키>가　1890년 천황가에 헌납되고 원구도의 도상에 영향을 준 것은 1894년 청일전쟁의 발발 직후 원구기념비(元寇記念碑) 건립운동에 관여한 화가 야다 잇쇼(矢田一嘯)에 의해서다. 기쿠치 요사이에게서 그림을 배우고미국에 유학하여 서양화법을 익힌 야다 잇쇼는 1896년에는 <원구대유회(元寇大油繪)>를 완성하여 일반대중에 공개했다. 전부 14점으로 이루어진 <원구대유회>는 기쿠치 요사이의 가미카제 장면과 <몽골침입에마키>의 장면 등을 융합, 활용하여 이전에 없던 화면을 제시함으로써원구도의 도상에서는 새로운 전통을 확립했다. 특히 <몽골침입에마키> 가운데 오야노가 삼형제가 몽골전함에 다가가는 장면을 활용하여 더욱 큰 스케일의 화면에 드라마틱한 장면을 제시하였고, 하나의 패턴을 형성하였다. 이후 아시아태평양전쟁기에 원구도는 곤도 다네오(権藤種 雄), 이소다 죠슈(磯田長秋) 등의 그림에 계승되며 도상의 고정화 현상을 보였다. 또한 아시아태평양전쟁기 종반 몽골침입 장면 또는 ‘가미카제’ 장면의 형상화가 적어진 현상은 가미카제특공대의 비중증대와 반비례하여 나타난 현상으로 설명될 수 있을 것이다.

The experience that the Mongol invasions of Japan took placed in 1274 and 1281, and Japan was spared by kamikaze became a source to strengthen Japanese traditional consciousness as a divine land, thought of nation, and reliance on the gods in Buddhism Shinto. Its experience also inspired the birth of Mongol Invasions Painting (元寇図). With an exception of Mōko Shūrai Ekotoba(蒙古襲来絵詞: Illustrated Account of the Mongol Invasion), in comparison with the 14th century literature, such as Taiheiki(太平 記), Hachimangudokun(八幡愚童訓), Masukagami (増鏡), the number of the Mongol Invasions Painting is limited and its representation was not constant. In the early examples of Mongol Invasions Painting which was painted in Edo Period Ema(絵馬)，or Ukiyoe (浮世絵) by UTAGAWA Kuniyoshi(歌川国 芳:1798-1861), various scenes, including ground battles, both sides of camps, and naval battle, were enumerated while Mongolian armed vessels were emphasized as destroyed by kamikaze in KIKUCHI Yosai(菊池容齋:1788－ 1878)’s Painting of Mongolian Invasions. The significant change in the images of Mongol Invasions painting was related to the donation of Mōko Shūrai Ekotoba(蒙古襲来絵詞: Illustrated Account of the Mongol Invasion) to Royal Family by Oyano(大矢野) Family in the early Meiji period. The painter who drove changes in the image of Mongol Invasions Painting, and participated in the movement to establish the Monument of Mongl Invasions which were launched with the outbreak of the Sino-Japanese War in 1894, was Yada Issho(矢田一嘯:1859－1913). He studied Western style painting in America after studying Japanese painting as student of KIKUCHI Yosai. After completing Grand Oil Painting of Mongol Invasion in 1896, he opened to people. In the Grand Oil Painting of Mongol Invasion which composed of 14 pieces, YADA created new image of Mongol Invasions Painting with usage of Mōko Shūrai Ekotoba and Kamikaze Scene seen in the KIKUCHI’s Painting of Mongol Invasion. In particular, he completed the dramatic and dynamic scene with usage of scene of OYANO brothers in Mōko Shūrai Ekotoba, which became a pattern. During the time of the Asia-Pacific War, GONDO Taneo(権藤種男:1891－ 1954) and ISODA Choshu(磯田長秋:1880－1947) were succeeded to the same image of Mongol Invasions Painting and its image was never changed since then. Moreover, while the number of Mongol Invasions Painting or Kamikaze diminished its images, as a phenomenon of inverse proportion which appeared with increase of Kamikaze suicide commando during the end of same era.

1274年と1281年、二回に亙って行われた蒙古の侵入と神風による撃退の経験は日本の伝統的な 神国思想の強化と国家意識の高揚、神仏の霊験への依存観念が強まるきっかけになり、元寇図の 出現の背景となった。かつて文学の分野で『太平記』、『八幡愚童訓』、『増鏡』、などの例で 触れられた事実と比べてみると絵巻の<蒙古襲来絵詞>を例外とすれば蒙古の侵入の場面を絵画の みに形象化した元寇図の例は少なく、図像も様々だった。時期的に早い例の18世紀の絵馬には両 軍陣営と海戦の場面が描かれており、歌川国芳(1798-1861)の浮世絵＜高祖御一代略図弘安四年 上人利益濠虎軍敗北>では地上戦が中心をなしている。幕末維新期に活動した菊池容齋(1788－ 1878)の一連の元寇図では神風によって壊滅された蒙古の兵船が強調されている。 明治時代前期まで神風を中心に描かれた元寇図の図像に大きな変化が現れたのは<蒙古襲来絵 詞>が天皇家に献納され、一般に知られたことと密接な関連がある。大矢野家が所蔵していた<蒙古 襲来絵詞>が1890年天皇家に献納された後、元寇図の図像に影響を与えたのは1894年日清戦争の 勃発直後起きた元寇記念碑建立運動に関わった画家矢田一嘯(1859－1913)によるところが大きい。 菊池容齋に学びアメリカで留学し西洋画報を習った矢田は1896年<元寇大油絵>を完成し一般に公 開した。14点からなる<元寇大油絵>は菊池容齋の神風場面と<蒙古襲来絵詞>の場面、などを融 合、活用し以前にはなかった画面を提示し元寇図の図像には新しい伝統を確立した。とりわけ、<蒙 古襲来絵詞>のなかの大矢野三兄弟が蒙古戦艦に近づく場面を活用し、もっと大きいスケールの画 面にダイナミックでドラマチックな場面を提示し、一つのパターンとなった。 以後アジア太平洋戦争期において元寇図は権藤種男(1891－1954)、磯田長秋(1880－1947)、 などの絵に継承され図像の固定化現象が現れた。また、アジア太平洋戦争期終盤に入って蒙古襲 来の場面、あるいは神風場面が少なくなった現象は神風特攻隊の比重の増大に反比例したものとし て説明されよう。

This study analyzed the elements that can know the referent in the concept of context, focusing on copies of printed advertisements used by KO-series demonstrative. First, in the overall contextual aspect analysis, there were many examples of situational contexts in which the referent could be known by pictures during advertisements, and it was found that [KONO+noun] was mainly used. This is thought to be a photograph of the referent by KO-series demonstrative, who have a usage of referring to the object in front of them. Second, in the context of common　knowledge, [konokuni], [konoyo], [konohosi], [konozidai] represents the space or time in which advertisers and consumers exist together, which is thought to have a function of inducing empathy from consumers who watch advertisements. Third, in the formal context, The consumer who are interested in the KO-series read catch-copy, sub-copy, and body copy to know what they instruct, which functions to induce consumers to look closely at the advertisement. Finally, as for the additional context, an example appeared in which the referent could be inferred through the formal context or the situational context. In this way, in the case of speculating the object of instruction through the primary context, the referent is not clear. In other words, it is thought that the additional context functions to focus on advertisements by making the object of instruction unclear.

This paper examines the direct use of indicators in the Ko series used in advertising copies and what functions they play in advertising. In conclusion, in advertising copies, the Ko-type indicator directs and emphasizes the subject of advertisement or related things, and functions to stimulate consumer curiosity and draw attention. In advertisements, advertisers and consumer do not indicator directly to objects in front of them because they are not exist in the same time and space, but they create a place of conversation like that, making them feel realistic. In advertisements, only indicators such as “kore” and “koko” are used without directly revealing the name of the advertisement target, and direct or related to the advertisement target. In this case, it arouses consumer interest and interest in what the indicator points to. In addition, when used in the form of “kono+N,A,V”, the attributes of the advertisement target can be expected more than when only the indicator is used, but there are also cases where the advertisement target name is not clearly disclosed, stimulating consumers’ curiosity and drawing attention. In addition, “konoyo”, “konohosi”, and “konokuni”, which represent absolute space, and “konokoro”, “konosaki”, and “konoharu”, which represent absolute time are used in advertising copies, and in this case, it seems that the function aims at the advertising effect by arousing the sympathy of consumers.