• Cross-Cultural Studies
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• v.45
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• pp.245-268
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• 2016

Tokyo! is a 2008 French / Japanese / South Korean / German anthology film containing "Interior Design" by Michel Gondry, "Merde" by Leos Carax, and "Shaking Tokyo" by Joon-ho Bong, all of which were filmed in Tokyo. This cinematic triptych of three Tokyo-set stories is concerned with how the experience of self-alienation is related to urban life, that is, how to survive in a city as a self. The problem of life is the struggle for self-preservation. In Tokyo! the three film directors have shown that urban life is both self-deconstructing and self-preserving. In this paper, our purpose is to examine different modes of urban life by using two concepts reformulated by the French philosopher Jacques Derrida: the urban ipseity and auto-immunity. According to Derrida, ipseity is a system subjected to a circular structure. Such a system cannot avoid the general logic of auto-immunity; i.e., the structure of ipseity functions as both self-deconstructing and self-preserving. The three episodes contained in Tokyo! testify, each in its own way, to the function of that logic. In bringing to light the three modes of self: appropriation, dis-appropriation, and in-appropriation, we claim that the modality of urban life is confronted with the autoimmune reaction.

• Cross-Cultural Studies
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• v.46
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• pp.227-251
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• 2017

This article is designed to study the conceptualization process of one of the ancient Chinese classical literature heritages, the so-called, the Triple Virtue(三達尊). By showing the principle meanings and the newly embodied symbolism of this Triple Virtue, this article is prepared to encourage revitalization of the moral virtues and self-identical pride among the elderly and to promote the young people's social consciousness of respecting the elderly. The author identifies the philosophical origins of the Triple Virtue, implying that the virtuous trinity is composed of morality, position and age, by analyzing poems in "Daya(大雅)", "Xiaoya(小雅)" of the Book of Odes and archives in "Zhoushu(周書)" of the Book of Documents(尙書). The author especially emphasizes that the concept of Triple Virtue was created by governing classes for meeting the political needs in the Zhou Dynasty. Moreover, by regarding King Wen of the Zhou Dynasty as the symbolic representation in the beginning era of the Western Zhou Dynasty and Shao BoHu as the embodiness representation in the end of the Western Zhou Dynasty, the author performs an in-depth study related to the above two great men. Finally, the author sheds lights on how symbolic and embodiness representations had played significant roles in formulating a typical model of the Triple Virtue in the following generations.

• Cross-Cultural Studies
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• v.52
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• pp.223-251
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• 2018

This paper comparatively considered how Korea and Japan address the concept of 'postwar' in descriptions of their literary history. In Japan, 'postwar' refers to the period after World War II (Asia-Pacific War). This word implies a variety of contexts such as collapse, poverty, confusion, calendar reform, reconstruction and restoration as well as a series of historical events such as war, war defeat, and American occupation; and so it has been treated in Japanese society a significant period. In the history of Korean literature, it is after national liberation that the word 'postwar' appeared; however, it has usually indicated 'the period after the Korean War.' The question is that although the term of postwar refers to periods after different wars, Koreans used the term of postwar also in the same way as Japan, and their concept of postwar overlaps with the concept of prewar or postwar used in Japan, and accordingly, side effects are produced that fail to grasp properly the independent characteristics and significance of the Korean War. In conclusion, the Korean War brought about contrasting effects on the history of Korean and Japanese literature. While the Korean War meant a start after the war in Korean literature, it became a turning point marking the end of postwar in Japanese literature. Such different perceptions on postwar also have major implications in that perceptions represent postwar discourses in today's Korea and Japan.

• Cross-Cultural Studies
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• v.44
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• pp.239-281
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• 2016

This article explores the fate of futurism not only by tracing the entire process from the birth and decline of Russian futurism in the early 20th century and the so-called "Korean futurism" in the early 21st century, but also by delving into how their characteristics were shaped. In the first chapter, we investigate four groups of Russian futurism - Ego-Futurism, Cubo-Futurism, Tsentrifuga, and the Mezzanine of poetry, which were born in the age of utopianism before the Revolution. In the opera Victory Over the Sun, which was the culmination of the Zaum project of Cubo-futurists, we can find the initial shortcomings at the levels of language (Kruchenykh), music (Matyushin) and decoration and costume design (Malevich). In the second chapter, we examine chronologically how the term 'futurism' appeared in Korean literature history. In Korea, the term 'futurism' was born following the naming and classification of critic Kwon Heok-Woong, not by the voluntary manifestation of experimental poets such as Hwang Byong-Seung, thus this specific situation provoked stormy polemics between critics for futurism and critics against futurism in the Korean literary world. These polemics on futurist poetics have led to considerations of the relation of criticism to poetry.

• Cross-Cultural Studies
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• v.42
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• pp.343-369
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• 2016

This is an attempt to analyze original films of ChunHyang Jun that Shin Sang-Ok filmed in North and South Korea, focusing on the character of MongYong. These films were made during political transition periods of North and South Korea. Sung ChunHyang was made during the second republic of South Korea, which was established after the collapse of Rhee SyngMan government; and Love, Love, My Love was made in North Korea during the period of power transfer from Kim Il-Sung to Kim Jong-Un. Considering these political changes, the character of MongYong seems to represent the figure of authority North and South Korean society of the time had in mind. First, MongYong in Sung ChunHyang has a strong image of a lover who repays ChunHyang's devotion and sacrifice with romantic affection. As an authoritative figure, he has the aspect of a democratic leader or mediator. On the other hand, MongYong's image in Love, Love, My Love is a heroic authority figure of the revolutionary class. He is a subversive reformer who shows love for the people and treats them favorably, gaining public desire. This research is expected to inspire more studies on the meanings of hit movies based on classic literature under synchronic terms.

• Cross-Cultural Studies
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• v.46
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• pp.297-325
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• 2017

In this paper, I would like to reconsider the evidential category (or the mediation category) in languages with language specific values, especially in Korean and French evidentials. We tried to analyze how the evidentials are represented in both languages including their linguistic markers (grammatical, lexical or discursive) and their semantic meanings. According to the precedent studies from the general linguistic point of view, we would like to reconsider the semantic meanings of both languages' grammatical markers, the so-called Korean retrospective marker '-te-' and French conditionals in the framework of the enunciative operation theory suggested by $Descl{\acute{e}}s$ & $Guentch{\acute{e}}va$ (2000), which proposed to classify the type of discourse by the language-independent description tools conceived after the enunciation theory suggested by Bally (1965), Benveniste (1956), Culioli (1973). Through this approach, we would like to contribute to establishing the linguistic basis not only for the general linguistic research to determine the invariant meaning of linguistic evidentials and their system, but also for the applied linguistics to the language engineering field.

• Cross-Cultural Studies
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• v.41
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• pp.381-413
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• 2015

This article aims to trace a historical trajectory of "Humanism" as a Modern scientific concept in the light of Michel Foucault's genealogy. Generally, we believe that Humanism is a natural and eternal idea for mankind, because no one doubts that he or she is not included in the category of a "Human Being." On the contrary, according to French philosopher Foucault, the Idea of Humanism, or anthropocentrism, appeared only in the Modern Age, from the 16th century downward. Before the Renaissance, human beings did not occupy the most important status in Nature, and only existed as natural beings. As soon as mankind was liberated from the superstitious of fear and religious dogma, the concept of "Human Being" is supplied with new meanings and values. The famous maxim, such as, "Man is the lord of creation" constitutes modern human science as an inviolable category of modernity. However, Foucault tried to illuminate the hidden sides of humanism, and gave us the strict warning on the end of the human beings, which turned out to be an object of Modern knowledge. If there would be no reason to maintain a knowledge system of Modernity, in other words, Modernity as knowledge would lose its validity and we could give up Humanism as a heavy burden. Moreover, it is very clear that we are confronted with the critical moments of radical skepticism on the meaning and value for Humanity. That means that we need to think about the new transformations of Human Beings, which will probably appear in the forms of "Non-Humans," "Machines (Deleuze & Guattari)," or "Post-Humans" etc. At the present time, we cannot know if it will be positive, or negative for mankind. We should look back at the history of Humanism from a genealogical perspective, which is why we have to investigate the conceptual trajectory of Humanism in this moment.

• Cross-Cultural Studies
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• v.43
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• pp.171-206
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• 2016

Russian anarchist thinker P. A. Kropotkin had a significant impact on the school of thought, the literary field and the anarchist movement in East Asia in the early 20th century. This paper examines the history of the translation of Kropotkin in terms of the routes and paths of translation in colonial Korea in comparison with those in Japan and China. It is a known fact that the acceptance of Kropotkin in colonial Korea is owed to pioneering translation works in Japan, but it appears that there have been various transformations and magnetizations in the process of translating the texts into the Korean language. Despite a disturbing censorship, the works of Kropotkin, such as "I appeal to the youth ("Aux Jeunes Gens" in French)", were imported, translated and distributed by various routes throughout the 1920s and there were various versions of translated Korean texts. At this point, it is noteworthy that there are works which were translated from Chinese texts about Kropotkin, such as the works of Yu Seo (柳絮), and it can be said that there is a relationship between Korean translations and Chinese original texts. Since the 1930s, the phenomenon of the appropriation of Kropotkin as a litterateur and critic rather than an anarchist thinker is particularly apparent, and this allows us to understand that Kropotkin became a major pathway to interpret Russian literature in East Asia. In colonial Korea, translations of Kropotkin were generally via Japan and China, but the process of translation also showed the struggle to accept and adapt 'the foreign text' into the Korean language.

• Cross-Cultural Studies
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• v.43
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• pp.241-264
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• 2016

The purpose of this study is to devise teaching goals for Liberal Literature Lessons in college through the class . Lots of domestic and foreign novels have recently been turned into films or TV series. As cinematized novels become hits in movie theaters, the original stories ascend to the bestseller list due to the success in the box-office, which proves once again how powerful the visual media is. In this study, 10 works of cinematized literature were explored for one semester in a Liberal Literature class called , aimed at increasing students' interest in novels in the era of digital images. The literary works chosen for the study were novels that had won the Akutagawa Prize, which is given to writers in the field of pure literature, the Naoki Prize, which is awarded in the field of popular literature, and the Japanese Bookstore Grand Prize, which the employees at Japanese bookstores award to the novel they want to sell most. Afterward, a survey was conducted on students in the class to determine their satisfaction with the lectures. Despite the fact that they had little interest in Japanese Literature before taking this lecture, they indicated greater interest in Japanese movies and culture as well as novels due to the class.

• Cross-Cultural Studies
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• v.46
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• pp.355-377
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• 2017

Compared with other Altaic languages, Japanese and Korean languages are much closer to each other in grammar, and also to Ryukyuan language. According to the literature, Korean people are the first foreigners to record Ryukyuan language in a written form. In the passage "pronunciation interpreting the Ryukyuan Kingdom" from A Journey to the Eastern Countries (1512), Korean people perfectly preserved the pronunciation and meanings of words and sentences in Ryukyuan language in both Korean and Chinese languages, which is an extremely valuable material. Unfortunately, the later time period witnessed stagnation after a prominent beginning. In order to clarify the language family to which Korean belongs to, it is necessary to thoroughly compare Korean language with Japanese and Ryukyuan languages. Different from lexis, grammar underwent a slow and gradual process of variation. A comparative study of the three languages can provide strong evidence for defining the language family of Korean. Based on this rationale, this paper starts from the comparison of grammar elements of these three languages, aiming at case markers including the nominative case markers and the accusative case markers, and observes the procedures and functions diachronically. Based on the examples from the medieval data, it is found that the nominative case markers and the accusative case markers of these three languages vary from each other in forms and origins. Although they show some similarities in functions, it can be conjectured that there is no cognate for the three languages in the history.