• (The)Study of the Eastern Classic
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• no.33
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• pp.413-435
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• 2008

This study is purposed to analyze the appearances and functions of ellipsis of case markers through the Hangul letters of Hyun-Poong Kwak's family in the early 17th century. Hangul letters appear more colloquial than typography, and ellipsis is the one of main features of it. Generally, 'ellipsis' occurs when a constituent of a sentence deliberately leaves out of a sentence, because it is repeated or can be deduced by the context or occasion. As Hangul letter is written for a specific person, 'ellipsis' occurs more often than typography written for unspecified individuals. The ellipsis of case markers are not an exception. The ellipsis has functions as follow. The first, function is 'brevity.' Communication can be more convenient by ellipsis. Next will be 'informality.' Informality caused by ellipsis can make people express their thoughts and feelings fluently and naturally. It is the reason that spoken language has more frequently occurred ellipses than written language. The third function is 'quickness.' The same information can be delivered more quickly by the sentence using ellipsis than not using. In the 21st Century, ellipsis is misused in netizen communication owing to the quickness. The last function should be 'the effect of a literary style.' The effects can embody through ellipsis such as 'rhythm effect', 'letter style effect', 'translation style effect.' As a result of analyzing ellipsis of case markers, frequency follows the order below.[subjective objective > Locative > Dative > Commutative > Instrumental]

• Cross-Cultural Studies
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• v.41
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• pp.57-84
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• 2015

During the Japanese rule, there was an abundance of Japanese writers using colonial Taiwan as the backdrop for their work. However, after Japan's surrender and Taiwan's independence, such writers became nearly invisible. With recent relations between Taiwan and Japan drawing closer, novels and films tracing the modern relationship of the two nations are continually being introduced. Tsushima Yuko's 2008 novel Too Savage and Yoshida Shuichi's 2009 work Road also sprout from the shift in the two countries' and East Asia's historic and political atmosphere. The two books are similar in the sense that they both use countries as the backdrop and recall colonial times. However, the perspectives of the two greatly differ. This paper will compare the meaning behind the narrative strategies that the two authors take in remembering colonial Taiwan and the relationship of the two countries. It will be quite meaningful for Koreans to research the recent works of Japanese writers depicting Taiwan, as Korea also shares a similar modern history. It will also be a good opportunity to ruminate on the entangled modern history of the East Asian region and review relevant literature and culture.

• (The) Research of the performance art and culture
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• no.36
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• pp.45-73
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• 2018

In this paper, I examine how the voice of Simcheong is reproduced and the meaning of it by examining the reconstruction method and characteristics of . And I tried to explore the possibilities and directions of contents based on classical literature by exploring the way in which this text reintermediation, and recreates the narrative of . This work deals with the story of ShimChung, and sees the problematic aspects of ShimChung's sacrifice and death through the gaze of the surrounding people such as the Namkyeong merchant and Guideok's mother while excluding the central characters Shimcheong and Shimbongsa. In the process, the voice of Simcheong was discovered as a victim and social hit. And It connects this with the discourse of filial duty and virtuous woman which regulates the life of women in the patriarchal society and establishes the place of social public opinion about the life of the women of the Joseon era. In this way, is presented the possibility of a new interpretation of . Also readers and audiences of present-day have an opportunity to reconsider the 'sacrifice' of social subordinate based on deep understanding of .

• Cross-Cultural Studies
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• v.53
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• pp.1-24
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• 2018

This following research is a study on the use of French and de-locality in the modern Korean poet Lee Sang's poetry (1910-1937). His hometown was Kyung Sung, Seoul. He mainly wrote his works in Korean, Chinese character, and Japanese, using the language of education and his native language at that time. So then, what was the spirit that he wanted to embody through use of French words? By using words like "ESQUISSE", "AMOUREUSE", Sang's French was not a one-time use of foreign words intended to amuse, but to him the words were as meticulously woven as his intentions. French words were harmonized with other non-poetic symbols such as "${\Box}$, ${\triangle}$, ${\nabla}$", and described as a type of typographical hieroglyphics. Instead of his mother-tongue language, French was applied as a surrealistic vocabulary that implemented the moral of infinite freedom and imagination, and expressed something new or extrasensory. Subsequently, the de-localized French (words) in his poetry can be seen as poetic words to implement a "new spirit", proposed by western avant-garde artists. Analysis of French in his poetry, showed a sense of yearning for the scientific civilization, calling for his sense of defeat and escape from the colonized inferior native land. Most of all, comparing his pursuit of western civilization and avant-garde art to French used in his poetry, is regarded as world-oriented poetry intended to implement the new tendency of the "the locomotive of modernity," transcending the territory of the native country.

• 한국노년학
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• v.36 no.3
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• pp.785-808
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• 2016

This study portraits the way of self-preparation for death among the elderly and examines the meaning and values attached to the elderly-care by their family and friends through the analysis of Kyung-ran Jo's novels. First, the author describes the difficulties and inner conflict of women who provide care for the elderly, especially those facing death in the near future. She also describes how the acceptance of death and self-discovery among the caregivers can be developed from the experience of long term care. These are consistent with the arguments by Ecofemnist on positive sides of providing caregiving in an aging society. In her novels, caregiving from young women is not described as the consequences of internalized gender norms of traditional Confucian culture. Rather, it is depicted as attitude toward a life in a commune where the meaning of life and death of elderly is shared between generations. In addition, struggles of the elderly figures against diseases and the process of their death provide an opportunity for young caregivers to overcome the trauma of other's death witnessed in their childhood. They lead the young caregivers to reflect themselves by raising ontologistic questions on life and death. The author shows the communication between generations presenting the self-preparation of death from the old generation undergoing irreversible aging and caregiving activities of significant others from the young generation. In doing so, the author points out the ethical grounds for diseases and death in old age given the condition of personalization of death in the modern society.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.377-382
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• 2021

《Mu Yang Ai Hua, 牧羊哀話》 is known as the first Korean-sanctioned novel in the history of modern Chinese literature, and is famous for a novel created by the author himself visiting Korea and being inspired. The translation of 《牧羊哀話》 is constantly being re-translated (4 types). These translations also reflect the characteristics of each period, and the translation strategies used have their own characteristics. The results of the comparative analysis of the four types of translations in this study are as follows. The role A was published during the Japanese colonial period, and some parts were reduced and omitted according to the intent of the translator, and a foreignization translation strategy was used. B, C, and D have implemented content equivalence by utilizing many of the localization translation strategies, and added supplementary explanations in part to help readers understand. Since translation is a process of communication, it should not just convert the source text to the target text, but the target reader's response to the work should be the same as that of the reader. Therefore, translation must be able to understand the environment of the times and the readership, and it must use all possible methods to elicit the same emotion and empathy as the reader has read the original text. Therefore, translators need to use their nationalization and foreignization strategies at the same time based on their understanding of the target language and the politics, economy, history, culture, etc. of the destination country.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.133-143
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• 2019

When writing historical dramas, there was an argument that restoring the language of the times was the responsibility of the playwright, but no full-scale research was done. There was no collaborative study between playwrights and Korean Language scholars. So far, many playwrights have considered it the responsibility of Korean Language scholars to discover and restore language. However, it is a medium that can easily meet the public like a play or movie, and it should have a great responsibility for creation. Language changes with time, so restoring the language of the time in plays and scenarios can lead to difficulties in communicating with modern audiences. However, the change of language according to the times means that it captures the social image and fashion of the time Therefore, language restoration in historical dream means that scenes and backgrounds can be described more realistically. Restore of language is not just necessary to improve the creative environment; it should be understood as the responsibility of the artist to meet the ability of the audience to understand the language of the times already learned. The playwright who writes the historical drama should not only learn the grammar of the background era, but also find out the lost pronunciation and the changed vocabulary so that he can use various dialogues.

• Iberoamérica
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• v.21 no.2
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• pp.25-52
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• 2019

Esperpento denotes a literary style in Spanish literature first established by Spanish author Ramón María del Valle Inclán that uses distorted descriptions of reality in order to criticize society. And esperpento's narrative strategy is similar in many ways to Mikhail Bakhtin's carnivalism. Especially Valle Inclán's first esperpentic theatre, Luces de Bohemia contained various carnivalistic elements of Bakhtin. The various techniques of Valle Inclán's esperpento used in Luces de Bohemia can be explained by Bachchin's carnivalist techniques. Therefore, this paper aims to re-examine the esperpentic techniques in Luces de Bohemia of Valle Inclán in terms of Bakhchin's carnivalism. Because the esperpentic tecniques of this play pursue the subversion of power or authority through the carnivalistic aspects such as polyphony, subversion of seriousness, parody, grotesque realism, plaza, ambivalence, anomalous structure of space, time and plot, etc. Esperpento and carnivalism serve as a tool to interpret the social reality, beyond criticism and satire of Spanish society. The characters act passively on all the external factors that determine human destiny, rather than actively carving their own destiny like the classic heroes. Modern man cannot defy or control the external situation of the modern civilization. So they are tragic. In this situation, the protagonist of the tragedy who challenges reality disappears and a puppet figure like Max Estrella, the protagonist of the Luces de Bohemia, takes his place on a satirical level. This is the satire and the true meaning of carnivalistic humor that Valle Inclán tried in his play.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.53-62
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• 2019

In recent years, South Korean has made a globally acknowledged achievement in movie industry. In terms of Art, films produced in South Korea obtained lots of awards in international movie festivals; in the business field, Korean movies are swiftly occupying the Asian or even the world film market. Extraordinary films with good reputations and high box office records are frequently launched and induced to a trend, which then forms into a cultural phenomenon and attributes to an important, major force in the so-called "Hallyu" culture. This, in part, benefits from the massive support of Korean government's cultural policies, and is also a product of the high degree of cultural consciousness of Korean movie producers. The Korean cultures, customs, and the underlying cultural elements of the East, that are presented in these movies, satisfy the audience and appeal their fondness. The Princess and the Matchmaker is a South Korean period romantic comedy film directed by Hong Chang-pyo and starred Shim Eun-kyung and Lee Seung-gi. The movie was presented on Feb 28th, 2018. It tells a story of Seo Do-yoon, the most proficient saju (fortune-teller) expert of the Joseon Era who selected a husband for Princess Song-Hwa based on her "fortune eight letters" (specifically, the time, day, month and year of her and her husbands' birth, normally in eight letters), in a hope of alleviating the rage of people following years of drought, and thus to resolve a national crisis. This paper takes The Princess and the Matchmaker as an example, from the aspects of cultural state, system, behavior and mentality, to analyze the traditional customs such as "fortune eight letters", "marriage by match" and the cultural concepts behind these phenomena, in order to explore the ways and methods of traditional culture in the modern cultural and artistic form of film.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.69-81
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• 2014

Herman $F{\ddot{u}}rst\;P{\ddot{u}}ckler-Muskau$ is one of important figures in German landscape architecture who designed both Muskau Park and Branitz Park and published garden book Andeutungen ${\ddot{u}}ber$ Landschaftgartenerei (Hints on Landscape Gardening) in 1834. He was a German nobleman who governed Muskau estates while working as both a writer and a landscape gardener. German landscape gardening was grounded on Romanticism, which was represented in diverse ways such as the reconciliation between man and nature, the liberation of reason, and the pursuit of liberty. The intellectuals came to have an interest on landscape gardening since the garden carried the cultural connotation such as the idealized epitome of nature. This study is to investigate how his idea of landscape gardening had been developed through his personal life and social background and to find out his landscape gardening theory and its unique gardening techniques. Finally, the inventive aspect of his garden theory and contemporary significances in practices were discussed. $P{\ddot{u}}cklers^{\prime}$ personal experience and social background provide us to understand the idea of garden. First, there was a mixture between reality and fantasy in his garden theory. It was due to the influence of Romanticism and literary garden. Second, his gardening mentality and technique were influenced by the late 18th century English garden practices, which emphasized the expressive aspects. Third, $P{\ddot{u}}cklers^{\prime}$ inner disposition and personal experience were represented in his garden design. Fourth, the intention of creating landscape garden for the local people might be a self realization of his contradictory characters between falling nobleman and liberal social leader. The significant value of $P{\ddot{u}}ckler^{\prime}s$ garden idea might be closely related in the dual nature of humanistic garden tradition and garden practice for social agenda. Therefore, his garden idea pursued of the comprehensive landscape strategies toward ideal communities and ethical spirits while concerning ecological, social, economic sustainable development of the region. Furthermore, his landscape gardening aims at the total landscape encompassing garden to region as well as the Gesamtkunst combing the beautiful with the useful. $P{\ddot{u}}ckler^{\prime}s$ holistic attitude gives us fresh insights and new directions to contemporary landscape theory and practice.