• 비교문화연구
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• 제23권
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• pp.419-437
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• 2011

In China, elder brother's wife is called 'Sao' or 'Saozi' and younger brother's wife is called 'Fu' or 'Difu', etc. On the other hand, In Korea is called 'Hyeongsu' and 'Jesu'. This paper aims to find that Korean and Chinese kinship terminology 'Hyeongsu' and 'Jesu's origin and characteristics. And considerd reason that Korean kinship terms different changed with Chineses and investigated whether the presence of native language. In China, Kinship term reflected strict species act. Therefore, for elder brother's wife to give dignity 'Sao' in the title that made separately. In other hand, sister-in-law used 'Fu that means submission. The first was to use the same type of Kinship terms in the Korean and Chinese. Because Korea accept of the China's relative terms. But gradually confusion about the meaning of the original issued 'Sao' and wrong term 'Jesu' appeared. In response, 'Hyeongsu' as a two-syllable terms was shown whence they came. Also through literature shows that '아??마', '아??마니 is called native tongue.

• 비교문화연구
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• 제21권
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• pp.31-52
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• 2010

Even though Chilean writer Roberto $Bola{\tilde{n}}o^{\prime}s$ novel Amulet was inspired by a historical account, it significantly rewrites the story as well as redefines the people who witnessed the history. This novel focuses on the Uruguayan poet Auxilio Lacouture, the self-anointed "mother of Mexican Poetry". She is trapped in a bathroom at the UNAM in Mexico City for thirteen days while the army storms the campus for the repression of the student movement, which was decreed by the sinister Díaz Ordaz and culminated in the holocaust of Tlatelolco. In the space isolated from the outside world, Auxilio attempts to reconstruct the past and to describe the future through an illogical exercise of times. In the meantime, her temporal recollections finally approach the definition of a generation whose historical experience is crucially marked by the key year of 1968, when the novel is set. The only one who remained on the campus, she defends the university's autonomy only by reading and writing poetry. The novel ends in a scene densely imbued with allegorical imagination, by which the author endeavors to justify her generation, more concretely, "the peoples without history", as defined by bohemian poets. The protagonist represents, in some sense, an allegory of the innocence and truth of the history. Her existence per se manifestly demonstrates the power of literature because the literature within this novel in short becomes the most resilient amulet resisting the political violence in an era of increasing madness.

• 비교문화연구
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• 제37권
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• pp.109-130
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• 2014

In 1920s, Russian society was unstable and tremendous. After the 1917 Revolution, Russian government had initiated "New Economic Policy" embedded in a partial market system in these times. Also, Russian culture had been exposed to a new trend of culture, for instance, Russian Modernism. In the field of Russian literature, satirical comedy became very popular. One of famous satirical comedy writers was V. Mayakovsky who was trying to express his ideal society which consisted of both tensions and harmonies between the old and the new periods. In this context, V. Mayakovsky was recognized as a poet with futurism who loved to write a comedy expressing social suburbanity and governmental bureaucracy. His two comedies, "Bug" and "Bath" were his famous comedies, dealing with Russian modernistic historics and theatricality in 1920s. In this article, authors try to look into their artistic characteristics of 1920s Russian literature involving a new trend of social change, for instance, Grotesque and Tragicomic features. In the same context, this article focused on its inner dilemma of satirical comedy which had been existed in 1920s Russian literature.

• 비교문화연구
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• 제37권
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• pp.131-156
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• 2014

This article attempts to explore the literature of Catherine the second, focusing on her comedies in the light of anti-freemasonry in the late 18th-centuryof Russia. Her main idea towards social morals was consistently expressed from in her early comedies during 1770s, such as 'Oh! times!'(1772), to her late counterparts during 1880s, such as so called 'anti-freemason trilogy,' which includes 'the deceiver'(1785), 'the deceived one'(1785) and 'Siberian shaman'(1786). By depicting antagonists-freemasons in her own trilogy, only as alchemists, shamans, fallacious chemists, hypocritical medical doctors, and so on, Caterine the second intended to undermine the mason influence against Russian Empire, which had ideationally attracted Russian nobles and intellectuals and furthermore to reinforce her political control over the intellectuals as well as the public. The above literacy attempts by Catherine can be said to aim to found morals of her own era through the utilization of social discourse, rather than through the political or governmental control.

• 비교문화연구
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• 제28권
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• pp.37-53
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• 2012

This paper examines 'an active nihilism' in Suk-je Sung's novels in detail. The focus of this study is formed from the critical mind in a critical perspective that in Korean novels before and after 2000s, characters who embody 'problematic individuals' of $Luk{\acute{a}}cs$ have disappeared and those close to 'active nihilists' has become the mainstream. The most representative example of this phenomenon is Suk-je Sung's novels. 'Active nihilists' in his novels are described as 'ascetics' who mastered various spheres such as 'billiard', 'baduk gambling', 'alcohol', 'dance', and 'book collecting', and so on. In the sense that they reject the transcendental conditions of the modern world and live in the space and time of play in which they can display their passion and potentiality to the maximum, they beings jumping over the 'reality principle'. Also, what they want to repeat is not the endless exchange of labor and capital according to the capitalist system of exchange but rather the repeated existence of their power and passion. This 'anthropology of power and passion' is 'active nihilism' which could be expressed as the 'subject of creating new value' and 'Dionysian affirmation' by Nietzsche. Suk-je Sung's novels sharply prove the stylistic essence of 'a novel' which has to create its own form every time, constantly renewing the narrative style of the past ideal model. In this respect, they are very problematic and his innovation of a form draws the attention. Further, this will certainly be the important object of research in the diachronic dimension of contemporary Korean novel.

• 비교문화연구
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• 제37권
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• pp.157-183
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• 2014

Although Marguerite Yourcenar, a representative French woman writer, lived 47 years in the United States from 1939 to 1987, the American influence on her life has not been studied either at home or abroad. The purpose of this study is to examine chronologically the American influence on the following three literary works of Yourcenar: The Little Mermaid (1942), River Deep, Dark River (1966) and Recluse (1982). The Little Mermaid is a drama, presented in musical format, about the identity crisis and inner conflict of Yourcenar. Unlike the little mermaid who burst like a bubble in Hans Christian Andersen's fairy tale, Yourcenar associates her death with the image of ascension. River Deep, dark river is a translation of the Negro spiritual expressing the suffering of African Americans. Recluse, her last novel, deals with the life story of a simple man living in nature on a small island. This novel shows Yourcenar's desire for a pure world that is not defiled by human greed. Yourcenar sponsored major human rights organizations and environmental groups in her life, and donated her entire fortune for human rights and the protection of Wild Fauna and Flora. The American influence on the literary works of Yourcenar can be summarized as a "great turning point", because she was transformed from a humanistic writer into an intellectual actor.

• 비교문화연구
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• 제37권
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• pp.185-209
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• 2014

This paper is a study on The Korea Magzine. The magazine has a series. One of them is KOREA'S NOTED WOMEN. This is the women who are all Chinese women. They are Yo-WHA-SI(여와씨), A-WHANG, YU-YUNG(아황과 여영), T'AI-IM AND T'AI-SA(태임과 태사), WANG SO-KOON(왕소군), Su Wang Mo(서왕모), Yang Kwi-pi(양귀비), SU-SI(서시), TAK MOON-KOON(탁문군). The story of the women in the magazine were studied in a series of articles of reasons. First, it is because the Chinese women living in the hearts of Koreans. Second, the Koreans because these women want to love passionately, and be like. Third, because the Chinese women was also well-known in Korea as well known in East Asia. Was This series is used in any way. Features shown in the description was investigated. It explains how to understand what they Korea. Deliberately omitted, and were also added. I also used the analogy and comparison. This does not make sense but were accepted. Finally, we fully understand and take advantage of the literature.

• 비교문화연구
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• 제29권
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• pp.233-256
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• 2012

This paper aims to look into various symbolic meanings of the body shown in the film, Avatar (2009, James Cameron), and to ponder over a variety of media strategies carried by the pursuit of the corporality shown in this film. In a nutshell, the body in Avatar is a symbol of primitiveness rather than civilization, and the body language is a fundamental and effective means of communication much better than verbal language. A variety of physical contacts that appeared in many scenes of the movie emphasizes the role of the body as a means of real communication. Also, in the composition of the film dominated by the confrontation of civilization, numerous creatures in the planet Pandora with a variety of colors as well as a number of agencies and large body sizes express primitive richness. The narrative of the film telling the story of a 'moving' body ultimately emphasizes the superiority of the body with respect to consciousness, unlike the narrative of conventional movies dealing with the problems of the body. In addition, the corporality pursued by this film implies several important media strategies. It may reveal a self-reflection of the material civilization and the imperialism, or, on the contrary, an attempt to conceal or dilute them. It may also represent a self-reflection of the overdeveloped media technology, or simply the dilution of it. Finally, it may be an attempt to recover the feeling of "presence", not fully supported by the 3D technology, by the identification of the spectator's body and the character's body.

• 비교문화연구
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• 제28권
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• pp.67-86
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• 2012

Metaphors were conceived of as a figure of speech whose role consisted in merely ornamenting the language. However, with their seminal book Metaphors we live by (1980), Lakoff and Johnson have revolutionized the conception of metaphors by placing them as central to human language, thought and action. Cognitive linguists argue that humans tend to conceptualize abstract concepts, such as time, through more experiential and tangible concepts. For instance, it has been observed that the abstract concept of time is conceptualized as space in several unrelated languages. According to the Conceptual Metaphor Theory (CMT), TIME AS SPACE metaphor covers two more specific metaphors: (1) The MOVING TIME metaphor wherein the observer is conceived as a stationary entity, as in The end of the academic year is getting closer; and (2) The TIME AS A LOCATION metaphor wherein times are conceived as stationary points and the observer is conceived as moving relative to these locations, as in We are first approaching the end of the year. This paper aims at probing the validity of the CMT representations of time on the basis of an analysis of time metaphors in two languages: English and French. This analysis is conducted within the framework of CMT. The results corroborate the CMT representations of time, suggesting that in both languages the abstract concept of time is expressed in spatial terms. In English, as in French, time is conceptualized as a moving entity and as having extension in space. In both languages, time can be seen as bounded; therefore, one can perform actions within defined limits of time.

• 비교문화연구
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• 제37권
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• pp.335-360
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• 2014

The purpose of this paper is to investigate whether high-level(level 6) essay-writing questions in Test of Proficiency in Korean (TOPIK) have been presented appropriately so as to enable foreign test-takers to display their Korean writing ability properly, and to provide some suggestions on how those questions need to be changed. To accomplish this purpose, all the essay-writing questions were collected from the 33 TOPIK tests, from the 2nd in 1998 to the 35thin 2014, and analyzed from the perspectives of their topics and formats. The results are that high-level TOPIK essay-writing questions showed a strong tendency to take as their topics Korean sociocultural structures and phenomena, or current issues in Korea, and that they frequently employed guided writing formats by providing preset ideas or/and contexts for test-takers to write in a guided way; such tendencies were analyzed to shed a negative influence on test-takers displaying their writing ability and creativity, because those topics and preset ideas or contexts provided do not allow them to express their own opinions or positions freely. It is suggested that TOPIK essay-writing questions should be changed to deal with objective and general topics which enable test-takers to write freely and logically in Korean based on their experience, because TOPIK is not a test to check whether they have enough background knowledge about the Korean society and culture, but a test to assess their Korean proficiency.