• Cross-Cultural Studies
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• v.43
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• pp.327-354
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• 2016

Rimbaud's prose poem, Barbare in Illuminations, is known for its abstruseness with regard to forms, themes, metaphors. This paper first analyzes the poem's grammatical structure to make sense of such an inscrutable piece of work, then discusses its autotextuality in order to decipher its meaning by comparison with Rimbaud's other works. Autotextuality, a method of literary interpretation of Rimbaud's prose poem presented by Steve Murphy, refers to the intertextuality between the author's works. Despite some previous researches focusing on the intertextuality of Barbare, previous authors have failed not only to find its meaning but also to determine its significance. The abstruseness of Rimbaud's Barbare is sometimes considered an example of the meaningless of Rimbaud's work. However, examining the textual structure and the autotextuality builds meaning, rather than rendering the work meaningless. Barbare which consists entirely of noun phrases and metaphors means destruction, fusion and the pure power of regeneration in the original context of Rimbaud's work. This poem is Rimbaud's answer to Baudelaire's poetic question, Any of where out of World, and presents a strange scenery that uses 'the eternal female voice' to reach the Vulcan in the North Pole. Interpretation of Barbare could provide a methodology for reading the difficult Illuminations. The kind of analyses used are, for example, analysis of the text, analysis of verbal indicators, autotextuality, and an understanding of the joy and the solitude in the silence of the poem. Understanding Barbare may provide a method of interpreting the abstruseness of Illuminations. Through this approach, we can connect and combine every fragment of the Illuminations, so that we can reconstruct the story and the adventure contained therein.

• Cross-Cultural Studies
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• v.47
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• pp.217-240
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• 2017

This paper is based on a comparative analysis of the Korean act subject marks '-에게(한테), -로, -에' and Chinese passive marks '被[$b{\grave{e}}i$]/?[$r{\grave{a}}ng$]/叫[$ji{\grave{a}}o$]/?[$g{\check{e}}i$]'. Each distribution's aspects and characteristics were examined and corresponding relationships were analyzed by comparison of these forms. The method of this comparative analysis focused on three aspects such as tangible characteristics of the two languages, selective restrictions on the 'act subject' or 'passive subject' in the passive expression, and constraints on the use of the act subject (passive) marks in the Korean passive expression by '받다'. In this comparative analysis Korean act subject markers '-에게(한테), -로, -에' and Chinese passive markers '被/?/叫/?' are always as an adverb in passive expression in combination with the act subject. Despite this common point, some differences were revealed relative to the use of the two languages. First, we reveal that the 'act subject' and the conjoined manner follow the passive expression according to characteristics of the two languages. In addition, the act subject marks of Korean passive expressions '에게/한테, -에/로' only serve as an investigative role. They are limited only to [${\pm}animate$] of the act subject. But Chinese passive markers '被/?/叫/?' are often restricted by [${\pm}animate$] of passive subject, existence and non-existence of act subject. In the Korean passive expression by '받다', it is used as act subject marks '에게/한테, -에/로' but the Chinese passive marks are restricted by the meaning of lexical items in a sentence.

• Cross-Cultural Studies
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• v.43
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• pp.207-239
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• 2016

The Altai Humanities Belt connecting Siberia to Central Asia is very important to the history of civilization. It had a huge influence on the formation of an ancient civilization in the Korean Peninsula. Therefore, a variety of studies have been carried out in the field of folklore and anthropology as well as archeology. One of these studies is about the oral epic. The oral epic remains in the form of a unique transmission in Korea, but it wasn't that long ago when it was noted as the component of the Altai Humanities Belt. In that context, some epics from Central Asia, Mongolia, and Siberia were introduced to Korea. This preliminary investigation is conducted to introduce the oral epic Olonkho from Yakutia in Siberia to Korean academia. Although it was revealed recently, Olonkho is highly valued. The epic study has been buried from the Western point of view, but Olonkho is expected to provide a global perspective to the field of epic study. Above all, it contains a very significant clue to a new study because the content and the style of performance are considerably different from those of the West. Additionally, the original form is relatively well preserved. In particular, it explains how human thinking and behaviors have changed in the transition from the mythical age to the heroic age. This change appears in the ethnic history of Yakutia, as well as in the formation process for all Altai countries around the 10th century. Therefore, this preliminary investigation will be a foundation to facilitate the translation of the voluminous Olonkho into Korean, and to conduct full-fledged research on it. In particular, it can motivate a study on the differences and similarities in comparison to the tradition of oral epics between Central Asia and the Korean Peninsula. Furthermore, it will serve as a foundation for the formation of the Altai Humanities Belt.

• 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.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.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.

• Sim-seong Yeon-gu
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• v.28 no.2
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• pp.107-138
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• 2013

The purpose of this article is to awaken our colleagues to the culture and mind issues that have been forgotten or neglected by contemporary psychiatry under the prevalence of materialistic orientation. Cultural psychiatry too, though it has been contributed a great deal to widen the mental vision of psychiatry, has revealed several limitations in its approach. In the course of one sided search for culture specific factors in relation to mental health, conventional cultural psychiatry has neglected an effort to explore the common root underlying the different cultures and the common foundation of human mind. Cross sectional comparisons of the cultures alone have inevitably prevented the global considerations to culutre and mind in historical aspects and the dynamic interactions between mind and culture more in depth. The author suggested that the total view of mind and total approach of analytical psychology of C.G. Jung might be capable to replenish those limitations. Author explained the ways of C.G. Jung's observations and experiences of non-western culture and his concepts of culture and mind. The author demonstrated Jung's view of culture with the example of Filial Piety, Hyo, the Confucian moral norm which can be regarded as components of the collective consciousness though connected with archetypal patterns of behavior of intimacy between parent and child. In regard to the coexistence of multi-religious cultures in Korea the author made a proposal of 'culture spectrum' model for understanding value orientations of person in religious cultures. He identified in case of the Korean 4 types of cultural spectrums: Person with predominantly the Buddhist culture; with the Confucian; with the Shamanist; and with the Christian culture. The author also made an attempt to depict the dynamic interactions of different religious cultures in historical perspectives of Korea. Concepts of mind from the Eastern thoughts were reviewed in comparison with Jung's view of mind. The Dao of Lao Zi, One Mind by Wonhyo, the Korean Zen master from the 7th century, the Diagram of the Heaven's Decree by Toegye, a renowned Neo-Confucianist of Korea from the 16th century and his theory of Li-Ki, were explored and came to conclusion that they represent certainly the symbol of the Self in term of C.G. Jung. The goal of healing is 'the becoming whole person'. Becoming whole person means bringing the person as an individual to live not only within the specific culture but also to live in the world beyond the culture which is deeply rooted in the primordial foundation of human mind.

• Journal of Gifted/Talented Education
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• v.17 no.2
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• pp.365-391
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• 2007

As a previous study to investigate recognition gap of creativity between Korea and America, this study has examined Korean university students' implicit creativity toward Korea and America. The research method using in this study was as follows: The subject were university students in Korea, and they were asked to answer multiply for open-ended questions. For the analysis of the answers, a frequency analysis was used. The results were as follows: 1) It showed that Korean university students considered creativity trait as cognitive trait, personality, cultural trait, research and development areas and arts areas. This result means that Korean university students tend to recognize creativity similarly to the ways of established theories of creativity. 2) For the case of Korea, environmental trait like sociocultural background had great importance for all cases of creativity trait and non-creativity trait. 3) American creativity was recognized focused on individual tendency, on the while, community spirit was considered as creativity trait in Korean creativity. 4) It is considered that American culture had better condition for displaying creativity than Korean culture. 5) Traditional culture of Korea was recognized as creativity trait in terms of originality and superiority, and the possibility of modernistic use of Korean culture. 6) Creative people were ranked by artists, executives, rulers and scientists who were well-known to Korean university students. 7) In the comparison of creativity trait between the two countries revealed the traits of creative people, American creativity was reflected more than Korean creativity, This result seems that those people were favored by Korean university students who were familiar with American culture. In conclusion, this study has found another possibility of creativity of the East among cross-cultural creativity studies. Moreover, this study has suggested that traditional culture and tradition renewal, and values of the East are superior cultural resources which are not exist in the West, and those are expected to play a role in developing creativity.

• Cross-Cultural Studies
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• v.41
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• pp.415-442
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• 2015

Through the comparison of "Rendezvous with a Bird" with "Araby", there were found to be well-explained psychological causes of the boy's (Petya) behavior that closely discloses the concrete object of desperation and definitely confirmed the internal causes of heroes (vanity of the boys in "Araby" and "Rendezvous with bird"). Through the comparison of "Rendezvous with a Bird" with "A man in a boat" we also knew that Petya's indefinite fear of death was to some extent a sense of guilt. This study contains a full-scale review of Russian contemporary writer Tatyana Tolstaya's short story "Rendezvous with a Bird", which is one of the her earliest works. As many critics indicate, the works of Tatyana Tolstaya resonate with metaphor. "Rendezvous with a bird" plays an important role in understanding this metaphoric tendency. In order to understand the metaphoric tendency of her works we need our own reading strategy, and so we inquired into the grasp of the main motifs. Analysis of the main motifs can start from the understanding of meanings of the very figurative title 'Rendezvous with a Bird'. To understand the meanings of the title, we first of all analyzed the incidents of actual or figurative meetings with birds in this work, and through this we deduced two main motifs. We confirmed one main motif of 'desperation', which centers on the love of a young boy and woman. We confirmed the other motif as 'death', which developed into the rendezvous of the grandfather with inevitable death. Thus, the 'desperation' and 'death' with which we meet in childhood becomes a subject matter for the writer. To understand the deeper meanings of these main motifs, we compared "Rendezvous with Bird" with the short story "Araby" by James Joyce and with the short story "A man in a boat" by Eyvind Johnson, which very successfully deal with the motifs: 'desperation' and 'death'.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.57-66
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• 1997

This study was carried out to find out some similarities and differences of the ornamental technique and motifs in folk furniture between Denmark and Korea which had quite different background of development of folk furniture as one of a cross-cultural study. Furniture made and used in the 18th and 19th century was investigated in order to eliminate the influence of internationalism in the design area in the 20th century. This study was fulfilled by many study trips all over the districts in Denmark to identify Danish folk furniture as well as literature study. Study trips to folk museums. Insa-dong, Janghanpyung furniture market were done for Korean folk furniture. Characteristics of ornament in Danish folk furniture were as followings; Main materials of the Danish folk furniture were conifers, especially pine tree, as pine was very common and easy to get from their surroundings. The most popular and unique types of decoration in Danish folk furniture was painting. Colors used in painted furniture were very bright and vivid. This might be a reaction to the long and dark winter of Scandinavian countries. Motifs used in Danish folk furniture had been chosen to reflect their surroundings. Flowers, six-angular stars, animals, human figures and Biblical motifs were popular sources of decoration for Danish folk furniture. Characteristics of Korean folk furniture were as followings; Main materials of Korean folk furniture were broad-leaved trees as well as conifers, because of their beautiful wood grain. The Korean ways of decoration were different from Danish ones. The method of painting with bright from Danish ones. The method of painting with bright colors was hardly ever used in Korea, except only in lacquering. The most popular decoration method for Korean folk furniture was revealing the natural wood grain with transparent vegetable oil finish, instead of painting. Metal ornament was unique to Korean folk furniture. therefore a lot of metal ornaments were attached on the furniture. Motifs used in Korean folk furniture were more like symbolic than Danish ones. Korean people tried to express their longings and norms through the motifs, such as longevity, prosperity, good luck, and many sons, etc. Therefore, it was natural for Korean motifs to have special symbolic meanings.