Earticle

본고는 『捷解新語』의 일본어 청음과 탁음의 한글음주인 단자음과 중자음 용례를 중심으로 조사・고찰한 것 이다. 청음과 탁음의 개별적조사만이 아니라 『捷解新語』전체를 체계적이고 종합적인 관점에서 분석하여 다 음과 같은 결과를 도출하였다. ① 청음의 한글음주가 원간본에서 중간본에 걸쳐 어중・어말 환경에서 중자음을 유지하는 것은 조선어 어중의 무성자음이 유성자음이 되어 탁음의 단자음과 혼동하는 것을 최소화하기 위함이다. ② 원간본에 주로 사용된 한글음주 ㄸ(tt)를 개수본 이후 ㄷ(t)으로 통일함으로서 촉음과 그 밖의 청음표기인 ㄸ(tt)와 혼동을 해소하여, 한글음주로 양자를 역할 분담시켜 일본어학습에 도움이 되도록 하였다. ③ 탁음의 한글음주에는 비음적 요소 또는 단자음이 사용되고 청음의 한글음주에는 단자음 또는 중자음이 사 용되고 있다. 특히, 탁음과 청음의 구별에서 가장 혼동하기 쉬운 ダ行音・タ行音의 경우, ダ行音의 한글음주로 t가 사용되고 タ行音의 ｢た｣｢て｣에는 중자음이, 促音｢つ｣는 선행음절에 -t가 사용되어 양자를 한글음주로서 변 별하고 있다. ④ 원간본에서 중간본까지 탁음의 중자음 36용례 중에서 30예가 タ行의 濁音이다. 그 이유로 ガ行의 ㄲ(kk)과 ㅇㄱ(ŋk)의 표기는 구별하기 쉬운데 비해, ダ行의 ㄸ(tt)과 ㄴㄷ(nt)은 구별하기 어려워 ㄴㄷ(nt)을 ㄸ(tt)으로 잘못 표기한 결과라고 생각한다.

This paper researches both Voiceless consonants and Voiced consonants based on practical examples in the Japanese language. We analyze them independently as well as integrally and draw some conclusions as follows. ① The reason that Transcriptions of Hangul of Voiceless consonants keep the Germination in the middle or in the end of words throughout both ‘GENKANBON’(原刊本) and ‘JYŪKANBON’(重刊本) is to minimize the confusion between the Lax consonants of Voiceless consonants and the Voiced consonants inflected from Voiceless consonants of the Korean language. ② Standardizing tt of Transcriptions of Hangul mainly used in ‘GENKANBON’(原刊本) to t used since then, we resolve the confusion between ‘Soku-on’(促音) and tt of other notations. Japanese learning can take advantage of using this standardization along with replacing both for Transcriptions of Hangul. ③ Nasal character or Lax consonants have been used in the Voiced consonant of Transcriptions of Hangul, and Lax consonants or Germinations have been used in the Voiceless consonant of Transcriptions of Hangul. In especially differentiating between Voiced consonants and Voiceless consonants, we draw a line using t mainly used as Transcriptions of Hangul in the most confusing case of ‘Dagyō-on’(ダ行音)・‘Tagyō-on’(タ行音), Germinations in ‘Ta’｢た｣ and ‘Te’｢て｣ of ‘Tagyō-on’(タ行音), and -t in Consonant in a Preceding Syllable of ‘Soku-on’(促音)｢つ｣. ④ Thirty examples are Voiced consonants of ‘Tagyō’(タ行) among thirty six examples of Voiced Germinations from ‘GENKANBON’(原刊本) to ‘JYŪKANBON’(重刊本). We think that ㄴㄷ(nt) is marked wrongly as ㄸ(tt) because it is too hard to distinguish ㄸ(tt) with ㄴㄷ(nt), while the notation of both ㄲ(kk) and ㅇㄱ(ŋk) is easily recognized.

Usually framed structure of an ordinary house has odd number of cross beam, three and five cross beam, due to a ridge piece. However, a square shaped house found in Uljin area have four cross beam structure. Frontal side has three cross beam structure and back side has five cross beam structure of ridge piece. So, it has tall pillars to achieve efficient interior natural lighting. Until now, any studies not have been focused on the sunshine environment. According to, this research aims to define construction planned character seen in the sunshine environment. The square shaped house type were found in limited area of Ulchin area and continuity in good former example and to sleep the development concept which is possible it presents it does. The comtemporary architecture proposes defamiliarization to overcome habitual reference.

This paper aims to shed light on the difficulty involved in rendering evaluative language in literary translation and its implications for preserving ST character personalities in a translation. For this purpose, the paper first gives an overview of the theory of appraisal (or evaluation) developed within the framework of Systemic Functional Linguistics and, then, applies the theory to analyzing evaluative langauge in the first chapter of Pride and Prejudice by Jane Austen and two Korean translations. The analysis shows that the two Korean versions differed partially in the translation of some key evaluative terms in the ST, with potentially divergent effects on the images of ST characters in the minds of readers. The analysis also indicates a shared tendency to intensify negative evaluations in the ST, bringing a certain trait into sharper focus. The paper concludes by emphasizing extra prudence in rendering evaluative language in literary translation, pointing out that a lack of it may risk disrupting evaluative chains constituted in the TT, which can lead to ST character misrepresentation.

This study investigates how the tone of conversation varies according to diverse relationships of the main character Alan in translating English playwright Peter Shaffer's Equus . In particular, when translating literary texts, translators should recognize literary features like characterization, structure and theme. Also, there can be found differences according to the relationship between characters, age & gender and social status. Also how a translator has figured it out and embodied it in a translation depends on the level of translators’ understanding or mediation. In comparison with TT1 and TT2, changes of Alan’s honorific expressions are differently revealed according to his relationships with others. Its translational style of his honorific is different according to each translator. Therefore, the role of the translator is important in the realization of these points especially in the translation of plays. With thorough analysis of the work, the transliteration should reflect the characters’ specific speech styles and their psychological changes with a view to relationships between characters.

This study aims to look into the literature translation works of Thomas Hardy's Tess of the D'urbervilles and find out how faithfulness in translation is fulfilled. Faithfulness in literature translation is one of main issues by which we evaluate a translated work. As the object of analysis, we chose seven Korean translations of Thomas Hardy's Tess of the D'urbervilles, which is famous for its main character's tragic factors. This study is to reconsider the notion of faithfulness for target readers in literature translation. Much of western translation theory centered on the recurring debates as to whether translations should be faithful. This paper also analyzed the cases of explanation by footnote for faithfulness of meaning for the target readers in literary translation. With these translation strategies, translators add information in the translated texts to enhance the understanding of the target readers in TT. These translated texts are examined for their treatment of faithfulness in literature translation. In conclusion, this study points out that faithfulness is to deliver SL message to TT readers without omission or distortion by translators. We can acquire the unique emotions and the spirit of ST through faithful translation. Therefore, translators should add relevant information to enhance the understanding of the target readers in translated text

The purpose of this study is to ascertain the challenging issues in subtitling and establish effective strategies for the better subtitling. Subtitling is quite different from standard textual translation and consists of incorporating on the screen a written text which is a condensed version in the target text of what can be heard on screen. A subtitled text has to be shorter than the audio because the viewer needs the necessary time to read the captions while at the same time remaining unaware that he or she is actually reading. Specifically, it is a burdening task to render English text into Korean version within the subtitling framework while remaining faithful to the original and in synchronization with the audio and visual flow on the screen. As principal operations in subtitling, this study shows condensing, elimination, cultural adaptation and quantitative reduction of target text. From the analysis, this study shows there is a quantitative difference of reduced translation between film and documentary genres. There is more reduction rate on the character level in documentary genre. Therefore, subtitler should establish different subtitling strategy in conformity to genre. In conclusion, subtitler should perceive the message and context of ST thoroughly and convey the core of meaning effectively in TT.

If You Want to See a Whale은 결코 아동문학으로 구획될 수 없는 그림책만의 독특한 미학적 특질을 구현한다. 스코포스 이론을 극복하고 낯섦과 이질성을 투명하게 드러낼 수 있는 충실한 번역이 필요한 작품이다. 본고는 If You Want to See a Whale의 파라텍스트와 본문을 분석함으로써 ST(Source Text)의 미적 특질과 의미를 총체적으로 이해하고자 했다. 이를 토대로 ST에서『고래가 보고 싶거든』으로의 변화양상을 드러내고, 그 변화를 추동한 번역전략은 무엇이며, 그러한 번역전략을 선택하게끔 한 도착지의 규범은 무엇이며, ST는 어떤 문화적 정치적 효과들을 산출할 수 있는지 분석하였다. 『고래가 보고 싶거든』은 앞ㆍ뒤표지에 호소력과 설득력의 극대화를 추구하는 문구를 추가함으로써 상품으로서의 가치를 높이고자 하였으나, 이로 인해 그림책 표지의 기능은 제대로 발휘되지 못했으며, 자유분방해야 할 해석의 장마저 통제되고 말았다. 이 외 파라텍스트의 구성요소 중 커버 제작방식, 저자소개, 제목 등을 살펴볼 때, ST의 의미와 미적 특질이 충분히 드러나지 못했다는 아쉬움이 있었다. 본문 번역에서는 아동을 배려하여 가독성을 높이고, 의미를 분명하고 강하게 전하려는 전략을 구사하였다. 마침표도 없이 소문자만으로 이어지는 문장들을 읽기 쉽게 분절했으며, 쉼표를 사용하면서 길게 이어지는 묘사는 짧게 압축했다. 이 외 문장성분의 첨가 및 수사법의 활용, 그림을 보충ㆍ설명하는 번역 등을 통해 의미는 더욱 분명하고 강렬해졌다. 본고는 TT(Target Text)의 문학성 평가를 위해 다음의 세 가지 질문을 제시했다. ‘TT의 글텍스트는 처음ㆍ중간ㆍ끝의 구성단계를 거치는 동안 의미의 일관성을 유지하고 있는가?’ TT의 어조는 그림텍스트에서 확연히 드러나는 주체로서의 소년을 형상화하기에 적절한가? TT와 ST는 주제 혹은 독자반응 면에서 일치하는가? 분석 결과 TT의 번역전략은 이러한 요구를 충족시키지 못한 것으로 드러났다. 결과적으로 TT는 If You~의 시적 형식들을 무시함으로써 TT 자체로서도 의미의 분열을 노출하고 말았다. ST의 고유성을 존중하는 충실한 번역, 이질성을 수용하는 ‘차이의 윤리’가 그림책 번역과 출판에 절실한 시점이다.

Translated picturebooks face double suppressions that there are no criticism on picture books and their translations. This study is to generally understand the meaning and aesthetic character of ST(Source Text) by analyzing the paratext and the body of If You Want to See a Whale. this study is about revealing the aspects of change in If You Want to See a Whale, what the translation strategy to drive that change is, and what regulations of the destination are that made them choose such translation strategy. In addition to that, this study also analyzed what kind of cultural and political effects can be produced. As a result of the analysis, paratext revealed the problems related in the organization of front and back covers, in the manufacturing method of hard cover and in the title, by pursuing commercial theory not considering the characters of the picture book as a media. The translator tried multiple translation strategies to improve readability according to skopos theory while translating the body. However, it resulted in ignoring the characteristics of picture book as a media and its poetic nature so the theme of ST was constructed in a different way at the final destination and the TT(Target Text) itself displayed internal crack in its meaning. While the boy in ST is an ethic subject who considers himself by self-control of desire, the subject of TT is close to the subject followed by a self-development book, dreaming success and settlement in the society of neo-liberalism. It is desperately needed in translating picture books to respect for the uniqueness of ST and to admit differences named ‘the ethics of difference.’

Since they were first introduced in the 1980s, picture book translations have dramatically increased in Korea. A significant number of translations has been from English and Japanese. The translations from these two languages reveal a difference in the translation of proper names, particularly names of characters. This paper delves into this phenomenon, investigates the reasons for the difference, and attempts to put it into perspective. In Japanese-Korean picture book translations, the character names are often changed into Korean names whereas in English-Korean translations original names are retained. The former reflects adult ideology in picture book translations: an aversion to Japanese names by Korean adults, and their view on whether ST-oriented or TT-oriented names are better for children. After Japanese colonial rule of Korea ended in 1945, extensive efforts were made to eliminate traces of the Japanese language from Korean. This avoidance of Japanese names in Korean translations can be viewed as a residue of such efforts. An alternate reason for the name-changing of characters in Japanese-Korean translations is the deemed familiarity of young Korean readers with Korean names. Nevertheless, this practice is gradually shifting towards the preserving of original Japanese names in translated picture books. Quantity and quality enhancement in both authentic and translated picture books in Korea, call for cultural diversity in Korean children’s literature translations, and rapid multiculturalization in the Korean society all lead towards more ST-oriented translation of character names in picture books.

In order to see how the figure of the woman is expressed in the process of translating Korean into Japanese, this paper reviewed female sentence-final words used in Target Text (TT) of the novel of the Hwang Seog-young as Source Text (ST). Firstly, this paper investigated the rate of the use of female sentence-final words in TT. The result is that the frequency rate of -wa, which almost disappeared from a real conversation, is very high and -noyo, which disappeared from women in their twenties, shows the highest frequency rate. This proves that there is a distance between the text of written language and a real conversation not only in a scenario but also in a translation. Secondly, this paper compared the TT and ST focusing on female sentence-final words ‘-noyo, wa, no, yo, ne’, which showed a high usage rate. Most frequently used sentence-final words are the haeyo style and the hae style in ST, nevertheless, in TT, the translatortranslates them in a variety of female sentence-final words in accordance with the context. Finally, this paper explored the effects of female sentence-final words on the character. The comparison between TT and ST revealed that the use of female sentence-final words was found to affect the femininity and familiarity.

The aim of this study is to analyze the reduced translation text(TT) in Korean subtitle translation between film and documentary genres. Subtitle is a specific form of TT that has many different codes including audio and visual signs. Principal operations in subtitling are condensing, elimination and quantitative reduction of TT. This study deals with five film works and four documentary programs. This study suggests there is a quantitative difference of reduced translation between film and documentary genres. This study employs three measurement units: word, syllable and character. From the analysis, the result shows there seem to be similar reduction rates on word level. However, there is more reduction rate on the character level in documentary genres. In conclusion, we find that there is a quantitative difference in subtitle translation according to the characteristic of genre and measurement unit.

The aim of this paper is to examine the presentation of speech and thought proposed by Leech and Short, to compare and analyze the source and the target text of Diary of a Vagabond on the framework of their presentation, and to discuss problems which narration shift between ST and TT may imply. The style of Diary of a Vagabond is striking, especially narration, the representation of character speech and/or character thought. But the stylistic effects of the ST usually disappear in the TT, for Free Direct Discourse and Free Indirect Discourse are changed into Direct Discourse (the norm for speech) and Indirect Discourse (the norm for thought). Free Direct forms are the removal of quotation marks or reporting clauses which accompany Direct forms. Free Direct Speech evokes the effect of vividness and speed, and Free Direct Thought evokes ‘stream of consciousness,’ ‘interior monologue.’ Free Indirect forms are ‘free’ in that it has no reporting clause, and indirect in that a character’s voice is filtered through the narrator’s viewpoint: this interweaving is ‘dual voice.’Following English norms rather than unique narration styles in the ST may imply three problems: the failure to capture the meaning of the ST; the loss of identity of Diary of a Vagabond as a Korean literature; lowering the status of a translator.

This paper presents that the translated deixis influences target readers to construct the frame of a story world (a text world) in a fictional text, which is concerned with the probability of a fiction. For this, first, text world (Werth 1995, 1999) and deictic shift (Galbraith 1995, Segal 1995) theories are explored focusing on the story-constructing process and identification of readers with the character. Second, “Nungil” (The Snowy Road) which is the short story of Lee Chungjun and the two types of target texts, are compared and analyzed concentrating on the relational or perceptional deixis. The deixis, ‘I’ and ‘the old man’ (in fact, the narrator’s mother), in the source text is translated into ‘I’ and ‘the old woman’ in the TT1, and ‘I’ and ‘my mother’ in the TT2. The two characters living in the text world of the TT1 have a distant relationship, which can maximize the love of a mother that ‘I’ will realize at the end of fiction. By contrast, though the two characters living in the text world of the TT2 have a close relationship, ‘I’ say “I owed nothing to my mother” and “a debt-free relationship” himself many times. Because of this inconsistency, the text world of the TT2 is not likely to be a probable world. Deixis such as the present verbs, ‘this’ and ‘today’ can represent the narrator’s consciousness and perception. Therefore, when deixis like this is reflected into the target text, it helps target readers to construct probable text worlds, immerse into the fictional world and identity with characters.

This study analyzes the translation strategies applied to signs that serve as clues in the process of deciphering cryptograph, a major narrative device in Edgar Allan Poe’s novel The Gold-Bug. The analysis divides the deciphering process into eight steps and classifies the key signs for each step as icons, indices, or symbols on the basis of Peirce’s typology. It then examines how four Korean translations of the novel (TT1, TT2, TT3, and TT4) handle these signs. The findings indicate that the translators used differing strategies, including omission, representation, and modification. With respect to each deciphering step, the strategy of omitting some steps appears prominent in TT1 and TT3. Regarding sign types, icon signs such as the images of the gold-bug, the skull, and the kid are generally maintained, while diagrammatic elements such as the character frequency table and alphabet substitution table tend to be either omitted or altered in their representation. Among the symbol signs, the deciphering process for wordplay is omitted in all translations except TT4, and the cryptograph appears only in TT2 and TT4. These results suggest that translators approach cryptographic signs differently depending on the target readers, the role and function of the target text, and the publisher’s intentions.

This paper studies translation strategies employed in the Japanese translation of the novel “Kim Ji-young, born 1982”, a so-called feminist novel, focusing on female sentence-final words used in the Target Text. The paper first gives clear definitions of female words and female sentence-final words and classifies sentence-final words spoken by female characters in accordance with ages and episodes. The result is as follows: the most frequently used sentence-final words are ‘yo, ne, no, mono, noyo, and wa’ with ‘yo’(51 times) and ‘ne’(42) showing the highest frequency followed by ‘noyo’(11), ‘no’(9), ‘mono’(9) and ‘wa’(3). The paper further compares most frequently used female sentence-final expressions in TT with equivalent expressions in ST. Based on the suggestions of Mizumoto (2007) stating that ‘yo’ is used to oppose, criticize or complain about the way the other character behaves and to assert one’s opinion or position to correct the other character’s behavior, the main character ‘Ji- young’ uses ‘yo’ 13 times and Oh Mi-sook, Ji-young’s mother, 20 times, respectively, showing much higher usage frequency compared to other female figures. The paper further explores for situations where ‘yo’ is used by Kim Ji-young and Oh Mi-sook according to ages and episodes based on high usage rate of the expression.

The paper aims to analyze changes in formality in literary translation. Informal texts including literary works and movie scripts are characterized by implicitness, flexibility, colloquialism, metaphorical expressions, and involvement as opposed to formal texts such as lectures, academic papers, or business letters which are more accurate, rigid, explicit, and complex. Thus, it is important for translators to decide the level of formality before they start translation. Because the Korean culture puts an emphasis on formality, social status, and the distance between people, the Korean language reflects this socio-cultural background. Moreover, translation process in its nature has a tendency to normalize and explicate the implicit meaning of the original for the TT(target text) reader. Previous research on English German translation shows formality and politeness between ST(source text) and TT differs because the translator followed the textual norms of TL(target language)(Hatim 1998: 69). However, according to Hatim, in persuasive text or literary text, where maintaining the atmosphere and socio-textual background of ST(source text) is important, the efforts to keep the level of ST formality intact should be appreciated(97). Thus, translators of literary texts should take both TL textual norms and the genre-specific character of literary translation into account. For the case study of formality, this paper analyzed slangs, idioms, metaphors and derogatory expressions in Catcher in the Rye, a young adult novel by J. D. Salinger. A first person narrative, this novel is known for its profanity, sarcasm, sexual content and informal style. As metaphors, idioms and slangs turned out to be important stylistic devices in the similar Korean literature as are in the English literature, translators could maintain ST formality without lowering the readability and acceptability of target readers. The analysis of four translated texts showed the formality of TTs rose significantly in all texts, although there were some variations among translations in terms of their usage of informal and colloquial language. Only 10-20% of slangs(‘goddam’, ‘as hell’) were translated into TL slangs and the force of expressive meanings, weakened. In the case of idiomatic and metaphorical expressions, only 20-30% of idioms were translated into idiomatic expressions and many rhetorical expressions were translated into conventional language. Translators tried to compensate for the omission in other parts of the text by adding new rhetorical and derogatory expressions. However, there need be more creative efforts to deliver the effect and atmosphere of ST. Explicitation, omission and normalization are not always the best translation technique in literary translation.

The concept of intertextuality in translation and Translation Studies is one constituent in textuality that should be dealt with importantly during the translation process to deliver the exact meaning of the ST. This is defined as a textual character which has a relationship between a particular text and other texts by sharing characteristics. In the translation process, the translator makes adjustments to deliver implicatures which the author intentionally puts, using expressions which were already used in other texts. The translator's duty to achieve equivalence in the TT in terms of intertextuality is divided into two parts: analysis and adjustment. The translator's first step is analysis to find intertextual elements including intended implicature in the ST. The translator has to have full knowledge of the ST itself, and its circumstantial things, such as its author's other works and another texts written in same language. In addition to analysis, the translator can use several strategies during translation to adjust implicatures, such as complement, literal translation, substitution, and transliteration.

이 글은 강호자연과 정치현실을 반복적으로 넘나든 고산(孤山) 윤선도(尹善道)의 삶과 그의 문학에 대해서 고찰한 것이다. 특히 강호와 조정의 두 현실에 대해서 어떤 인식 양상을 보이며, 작품에 어떻게 투영되어 나타나는가에 초점을 두어 살폈다. 그리고 이를 바탕으로 그의 문학관을 검토하였다. 먼저 정치적 시련의 시초가 된 상소문을 통해서 정치현실과 타협하지 않는 직선적 성격과 이에 내재된 강한 정치적 성향을 지적하고. 이를 출처관과 관련지어 논의하여 재설명하였다. 이에 두 면모는 각각 대결의식과 두 현실을 상황에 따라 넘나드는 모습으로 투영됨을 확인하였다. 그리고 윤선도가 주로 기거한 금쇄동(金鎖洞)의 산수 경관을 술회한 <금쇄동기(金鎖洞記)>의 내용을 분석하여 자연관의 총체가 '회심(會心)'으로 집약됨을 밝혔다. 이 회심에는 강호 생활에 대한 만족과 그에 따른 윤리의식이 내포되어 있는데, 이것이 그대로 작품에 투영되고 있다. 끝으로 단편적으로 문학에 대해 언급한 글을 살펴보고, 자연의 법칙과 윤리의식을 작품에 담아내야 한다는 것이 윤선도의 문학관이라고 규정하였다.

This study is about literature of Gosan Yn Sun-do(孤山 尹善道) and his life that haunted Gang-ho(江湖) natures and political realities repeatedly, Especially, it considers what aspect of cognition he had about two realities, Gang-ho(江湖) and the Imperial Court(朝廷) and how it throws image on his works. And through these, it is examined what his viewpoint of literature is. First of all, through a memorial to the Throne that put him in first political trial, we can know that he was so strict that he didn't compromise with political realities and at the same time, he has a strong political inclination hidden behind his character. These two aspects are reflected on his works as his confrontation will and his agony between the two realities two realities. And through analysing the contents of <金鎖洞記> tt recollect landscapes of 金鎖洞 where Yun Sun-do mostly stayed, it can be found that his total viewpoints of nature is complacency. This complacency including the satisfaction of Gang-ho life and his ethics is intactly reflected on his works. Finally, it is clearly revealed that he tried to embody the principle of nature and ethics in his literary works and his reference to the literary as well.

The aim of this paper is to look into the literature translation works and to investigate how faithfulness in translating Thomas Hardy's Tess of the D'urbervilles is fulfilled. This paper is to reconsider the notion of faithfulness in literary translation criticism, which has been, along with the notion of readability, the major standard of evaluating the quality of translated texts. There has been heated debate between literal translation and free translation with regard to fidelity to the source text. Much of western translation theory from Cicero to the twentieth century centered on the recurring debates as to whether translations should be faithful or readable. As for the subject of analysis we chose four Korean translations of Thomas Hardy's Tess of the D'urbervilles,which is famous for its main character's tragic factors. These translated texts are examined for their treatment of faithfulness. Faithfulness is to deliver SL message to TT readers without omission or addition, without distortion by translator. This paper shows examples of translated texts including unqualified translation in faithfulness and qualified translation in faithfulness. As a result of the analysis of this paper, literature translation should faithfully realize the value of SL literary work in the TL text.

The luxury is the expression of human being's ornament instinct. In this study, in order to grasp the moulding system of the Korean's personal ornaments, the process of luxury prohibition was reviewed to search for to which direction the ornaments developed in the frame of the prohibited style connected closely to the character of the personal ornaments. The proiod was fixed from the old society to the late Chosun dynasty era. The beginning of the luxury in Korea seems to be the start of the luxury burial at the time of funeral in the age of Koguryo., In the era of Koguryo, 10th year of King Dongmyung (B. C. 28), in the era of Baekje, 27th year of King Koi(260), the prohibition of dress regulation and the style of dress were conducted. The prohibition of personal ornaments in Silla was started from King Bup:Heung, and in the 9th year of King Heung-Duk, the prohibition was conducted in order to correct the luxury of the nobles and set up the social discipline. In the 11 th of King Il-Sung-Ni-Sa-Kum, the use of gold, silver and jade was prohibited in the civilian circles. The prohibition of Silla was succeeded to Koryo era, and in the 7th year of King Kwangjong(956), the system of Baekgwan Gongbok(uniform for government officials) was set up, and the system of Sasek Gongbok(four color official uniform) was set up in the 11 th year of the same King, and the prohibition of the personal ornaments such as crown and band is considred to have been conducted. The prohibition of gold and silver was conducted in the first year of King Sungjong(982), and in the 4th year of King Chungryul(l260), the order of wearing the dress and hat in accordance with the Yusan dynasty and the Mongolian customs were widely circulated in the royal court and vivilian circles. The strong influence of Mongolia made the taste of the traditional personal ornaments laste. The personal ornaments were used for the nobles until the age of the Unified Sillar but even the common people could use them in case they were rich, and such a circumstances made the use of foreign goods inflated. The prohibition of Koryo era was aimed at the prohibition of the foreign goods of luxury, and the classification of the social status.In the age of Chosun Dynasty, the production of gold and silver was feeble indeed but the oute reason of the prohibition was to eradicate the luxurious tendency, elevate the custom of eradicate the luxurious tendency, elevate the custom of thrift, and moreover, the gold, silver and jade were no the products of Korea and the prohibition was conducted but the true reason was afor the tribute tt China and the classification of status. The prohibition of Chosun dynasty was conducted first in the June of the 3rd year of King Taejo The major contents of prohibition was no use of gold, silver and jade, coral, agate, amber, etc. of th, wives of the Dang-Sang-Kwan (Court Nobleman) or their sons and daughters, and the same pheno menon was common even at the time of marriage. The people engaged in the secret trade there of wert beheaded. The personal ornaments in the prohibition were the pendent trinket, Binyo (crossbar) ceremonial ornamental hat, ring, earring, ornamental knife, hat string, hat ornament, belt, etc. Thl luxurious marriage expenses out of the luxury was severe, and lose of the marriageable age because 0 non-preparing the marriage goods was the national evil. The prohibition oC luxury was hard to bt kept to the nobles or rich people, the same as old days and present days. The prohibition of th{ luxury and personal ornaments of Korea had nothing to do with the commons, and it was limited tc the nobles and rich people. The prohibition was aimed to cultivating the custom of frugality by eradicating the luxurious atmosphere, but it was chiefly due to the tribute to the China and tht discrimination of the. status. We can say that the recent personal ornament was the flower of handi craft industry bloomed in th

Objectives：Neurobiological and pharmacological research has suggested that the dysregulation of the central noradrenergic systems might be involved in the pathophysiology of ADHD. The aim of this study was to examine the association of the alpha-1C-adrenergic receptor gene (ADRA1C) with ADHD in Korean subjects. Methods：In a case-control study, we assessed 186 DSM-IV ADHD probands and 150 normal controls. One hundred and eight trios were studied in a family-based association analysis. Psychiatric diagnoses were derived through structured diagnostic interviews. For the clinical evaluation of the ADHD subjects, the Child Behavior Checklist (CBCL), the ADHD Rating Scale-IV (ARS) and the Junior Temperament and Character Inventory (JTCI) were administered. A computerized continuous performance test (CPT) was used to measure the inattention and impulsivity of the ADHD children. Results：There were no significant differences in the genotype or allele frequencies of the ADRA1C PstI polymorphism between the ADHD and control group (p>0.05). The transmission disequilibrium test (TDT) analysis observed no evidence for biased transmission of any of the alleles of the PstI polymorphism. There were no significant differences in the CPT or JTCI profiles between those ADHD subjects with the CC genotype and those with the other (CT+TT) genotypes at the PstI polymorphism. Conclusion：The results of this study do not support the ADRA1C as a major genetic susceptibility factor in ADHD. (J Korean Neuropsychiatr Assoc 2008;47(1):73-80)