• Applied Biological Chemistry
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• v.6
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• pp.79-87
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• 1965

The contents of insoluble protein nitrogen, water soluble protein nitrogen anti peptides' nitrogen were determined of the samples which were taken in seven and half hours intervals during soybean-koji preparation to study changes of soybean protein, and the contents of total nitrogen and amino nitrogen were measured for the fractions resulting from molecular sieving by using Dowex 50 having various cross linkages for the peptides from soybean-koji extracts. As the results of the studies, The followings were obtained: 1. The contents of insoluble protein nitrogen and peptides' nitrogen are fairy constant at the earlier stage, where the former decreased and the latter increased markedly as mycelia grow, then rate of the decreases and the increases of them become lower at later stage after sporulation. The contents of water soluble protein are also constant at the earlier stage until covering of mycelia over the koji and increased since then until the stage of sporulation and then decreased at the later stage. 2. The amount of peptides nitrogen in each fraction obtained by the molecular sieving was almost constant at the earlier stage and the values in fractions of X-16, X-12, X-8. X-4 and X-2 increased considerably together as mycelia grow. Then the values in the fractions showed almost plateaux, after sporulalion, where the effluent fraction showed markedly increased values throughout mycelia growth.

• Cross-Cultural Studies
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• v.37
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• pp.31-49
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• 2014

Peking has peculiar features as capital city, and has gone through various transformations, with its name changed from Peking to Peiping to Peking. Even when it did not serve as a capital city, it still played an unrivaled role in cultural aspects. Laoshe, a great writer of 'Peking flavour' literature, is famous for works full of cultural charms of Peking. In his works, which show the manners, norms, art, culture and optimistic life style of Peking, Peking culture is described as an extension of cultural traditions of Qiren. In addition, his critical view of reality is also expressed in the works. Linhaiyin's literary works show ordinary hutongs she experienced in the 1920s in Chengnan, the southern part of Peking, and the quiet and simple life of warm-hearted people living there. Her vague memories of Peking, along with her nostalgia for the city, let her describe the city with recreated happy memories of it instead of the harsh critical view. Her works express the city in her recreated memory full of hope, with her dark memories of the city being glossed over. As seen above, Laoshe realistically described the tragic and difficult life of low class people in hutongs of Peking as well as lower middle class people of the city. Meanwhile, in ChengnanJiushi, Linhaiyin expresses the daily routine and ordinary life of people in Peking from the perspective of middle class people. In addition, she showed the sympathetic view of middle class citizens towards their low-class neighbors. In Peking Menghualu, Wangdewei mentioned that the 'castle of memory' which old Peking people in Taiwan tried to establish fills an important gap for the continuity of Peking cultural history and cultural imagination. This indicates that the 'Peking castle of memories,' which Linhaiyin, a Taiwanese writer well known for 'Peking flavour,' has established plays a big role in filling part of such gap. ChengnanJiushi, Wuyigong's film based on Linhaiyin's novel of the same title, also describes the daily sceneries and culture of the southern Peking in the 1920s, which both Taiwanese and Chinese people miss, through sophisticated images with 'profound yearning tinted with calm sadness', accomplishing an artistic achievement different from that of the novel.

• Cross-Cultural Studies
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• v.45
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• pp.381-431
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• 2016

This paper deals with Slavic discourse deixis comparing Russian, Polish, Czech and Bulgarian demonstrative and personal pronouns. In general, the Slavic proximal pronouns have precedence over the distal ones. Proximal pronouns, such as Russian eto, Polish to, and Bulgarian tova, are employed more frequently and widely than their distal counterparts to, tamto and onova. The distance-neutral pronoun to in Modern Czech was also a proximal pronoun in the past. These Slavic proximal and former-proximal pronouns function as a discourse deixis marker, whereas, in most other languages, the discourse deixis is mainly a function of distal or non-proximal demonstrative pronouns. However, the Russian, Polish, Czech, and Bulgarian discourse deixis differs in distal demonstrative and personal pronouns. In general, the Polish and Czech discourse deixis does not employ the distal demonstrative pronoun tamto or the personal pronoun ono. The Russian distal demonstrative pronoun to is actively used as a discourse deixis marker, and the personal pronoun ono can also be used to refer to the preceding discourse, though it is not frequent. In Bulgarian the distal demonstrative pronoun onova is rarely used to refer to a discourse, but the personal pronoun to frequently indicates a discourse that is repeatedly referred to in a text. The discourse deixis, which is a peripheral deixis and can be both deixis and anaphora, reveals different characteristics in different Slavic languages. In Russian, where all of the proximal, distal, and personal pronouns function as a discourse deixis marker, the deixis itself plays a crucial role in distinguishing these three pronouns from each other, revealing the speaker's psychological, emotional, temporal, and cognitive proximity to or distance from a given discourse. In Bulgarian, the most analytic Slavic language, the personal pronoun is used more as a discourse deixis marker to reveal the highest givenness of a discourse, and it seems that Bulgarian discourse deixis is more anaphoric than the other Slavic discourse deixis is.

• Cross-Cultural Studies
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• v.25
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• pp.391-420
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• 2011

Christina Rossetti's novella Maude displays Tractarian influences in terms of Holy Eucharist, Puseyism, and the doctrine of Reserve. Tractarianism is High Church revival movement of nineteenth century. In the story a teenage girl, Maude went through hard time receiving Holy Eucharist due to self-consciousness and internal guilt according to Puseyism. She felt guilty when she enjoyed worldly things and outward beauty. Due to guilt Maude refused to receive Holy Communion, which is complete connection to God. Her cousin, Agnes suggested that in refusing Holy Communion Maude is following her own will not God's will. Later Maude overcame Puseyite thought of self-hatred and reconciled with her identity as a poet and a woman. Maude oscillates between concealing and revealing, secrecy and truth, sincerity and affectation, and modesty and display. Her marvelous poetic talent makes people praise her but she withholds private feelings and attempts to divert attention from herself. Like Maude herself, the meaning of her poems is at times reserved and withheld. This tendency goes with the doctrine of Reserve in Tractarianism. The doctrine of Reserve utilizes indirect methods to reveal divine attributes because finite human being can not accept infinite God. The doctrine of Reserve sees to it that the expression will be veiled, indirect, subdued and self-effacing. Rossetti adapts a poetic method of Reserve when Maude has anxiety over 'display and poetry' and generates the reticence, secrecy, mystery, renunciation, modesty and detachment. According to Mary Arseneau, by veiling and expressing herself through symbols she can rise above the self and employ the phenomenal to suggest a noumenal reality. Thus the poetry becomes an expression of longing for the divine. The poem "Three Nuns" exemplifies Maude's maturity and gradual progress in the relationship with God. Rossetti suggests the vision full of hopes and promises of reuniting with God. In conclusion, in some sense, authoritative and conservative Tractarianism affects Rossetti both ways. On the one hand, it makes Rossetti abnegate herself and leads her to asceticism, on the other hand, it makes Rossetti express her faith in God and write amazing devotional poems such as "Three Nuns". A poem within the poem has three voices that are in perfect harmony. In the poem the first and second nun show hesitation to fully commit to God's will and the desire for the world prevents them from having heavenly joy. Third nun reveals spiritual maturity and sings new life in God where their hopes and joys begin. Rossetti expresses the procedure of spiritual growth through the poem "Three Nuns". For Rossetti, self-abnegation and self-expression both are involved in the doctrine of Reserve, Puseyism and Holy Communion.

• Cross-Cultural Studies
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• v.35
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• pp.123-154
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• 2014

In the 17th and 18th centuries, when the Ryukyu kingdom had been invaded and controlled by Japan, some official texts about 'history' were documented. In that texts, there are some myths about the kings-Syunten(舜天), Eiso(英祖), Satto(察度), Syouhasi(尙巴志), Syouen(尙圓)-who founded dynasties of Ryukyu kingdom. This study attempts to delineate the features and meaning of those founder myths as a polotial discourse for kingship. The results of this study are as follows. 1. The founder myths are discourses to describe the genealogy of the Ryukyu kingdom as the result of Mandate of Heaven(T'ien Ming, 天命). 2. In ancient okinawa, the sun was a symbol of ruler. The king of Ryukyu kingdom was thought as 'son of the sun', 'Tedako(てだこ, 太陽子) in the time of Syou dynasty(尙王朝). But in the founder myths, the only one Tedako is Eiso. 3. In the myths, the 'historical' founders are described as the king for agriculture. They were said to make the farming instruments with iron and rule the spring water for farming. The iron and water for fariming was thought to represent the power of king and the kingship. 4. The writers of myths aimed to be separated from the mythical kingship of past Ryukyu(古琉球). So, they threw the idea of Tedako(=mythical kingship) into the prison of mythical ages by rewriting myth of King Eiso. Instead of it, they built up the new image of agriculture-king who rules and controlls the iron and water for good farming. The meaing of this change, from 'shiny sun' to 'cultural king', is that the abstract and general power of kingship was turned into a concrete and restricted power of kingship. On the bases of it, there was the confucian political ideas from China, T'ien Ming thought(天命論). Under the influence of not only China but also Japan, the writers of myths attempt to find a new way for their kingdom by reconstructing kingship with ruminating over the kingship of past. The myth of founders in the 17th and 18th Centuries shows the aspects of kingship of Ryukyu kingdom and tells us that those myths are the political discourses identifying kingship and Ryukyu kingdom.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Korean Journal of Social Welfare Studies
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• v.47 no.1
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• pp.151-178
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• 2016

The primary goal of the current study was to investigate the longitudinal relationship between household income, main caregiver depression, and youth aggression from the interactionist perspective. The data were derived by combining the 2006, 2009 and 2012 survey waves from the Korean Welfare Panel Study. This data set covered the full span of adolescence from elementary to high school. The study utilized 561 families as the final sample and conducted autoregressive cross-lagged analysis. As a result, the early income status, main caregiver depression and youth aggression were likely maintained over time. Second, the results provided support for a reciprocal relationship between income and main caregiver depression. On the other hand, the reciprocal relationship between main caregiver depression and youth aggression was not found in the current study. Finally, the mediating effect of main caregiver depression between income and youth aggression was not found in the present study. In conclusion, the results of this study support the interactionist model in that the association between family income and main caregiver depression involves reciprocity and mutual influence across time. These findings have major implications for policy and interventions in regards to low-income families.

• Cross-Cultural Studies
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• v.51
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• pp.25-44
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• 2018

Modern Japanese "Anti-war poetry" originates from Sino-Japanese war and Russo-Japanese war period. Sino-Japanese war was started by an Imperial rescript of war declared and ordered by the Japanese Emperor to the Japanese citizens. With this declaration, the Emperor gave a message to the population that Objection was not acceptable. This Declaration of Imperial Rescript (Shousho) became justified as being a Crusade or Holy war. Any Anti-war stance was considered an ideology of revolt against the Emperor and his order of Imperial rescript (Okotoba). This was why when Akiko Yosano's "Don't you dare lay down your life" (1904) was published, it received harsh criticisms such as "be punished in the name of the nation". Anti-war poetry as a way of free speech was suppressed. Short poem was especially targeted. Because it is seen as a minor genre, short poem has been passed over. It needs to be reappraised for its importance as a category of anti-war poetry. Notably, modern short poem (New Senryu) has been under oppression and relentless surveillance because of its stance of criticizing politics and society in general by making full use of satire and irony. A supreme example of satirizing of Imperial Rescript on education was the "An anti-war poetry" by Akiri Tsuru. This treatise is a study of how ironical technique from "An anti-war poetry" inverts the meaning of "Imperial decree" and "Imperial rescript".

• Cross-Cultural Studies
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• v.40
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• pp.213-238
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• 2015

This article attempts to correct errors in five words related to Shiji (The Grand Scribe's Records) Liezhuan (A Series of Biographies), which are presented in the Great Chinese-Korean Dictionary. The author analyses the problems with meaning interpretations of three words and additional meaning interpretations of two words. The main points of the study are presented in the following. First, in relation to the error correction in meaning interpretation, this study finds out that the explanations of "jiayu," "jiaochi," and "guancai" in the Great Chinese-Korean Dictionary are incorrect. Most of the cases include plausible interpretations of the words that are likely to cause readers to be confused with the meanings. Each of the words should be interpreted as "lend${\rightarrow}$give," "arrangement${\rightarrow}$new decoration, ornamentation, or embellishment after removing old one," and "accept something carefully or accept something after inspection${\rightarrow}$look over carefully or search for something." Second, as for the supplementary correction, this study points out that the explanations of "xiaoshi" and "shennian" are not sufficient. The following meanings for each word should be added, including "display skills" and " be trapped inside one's own mind." Furthermore, when comparing with the different translation versions by scholars at home and abroad, we can come to a following conclusion. The interpretations made by Zheng, Fan-Zhen are the most accurate for the "jiayu" item. With respect to the "jiaochi" item, the interpretations given by Piao, Yi- Feng; Wang, Li-Qi; Yang, Zhong-Xian; and Hao, Zhi-Da are relatively appropriate. The "guancai" item is adequately interpreted by Piao, Yi-Feng and Wang, Li-Qi. In the meaning interpretation of the "xiaoshi," Jin, Yuan- Zhong gave correct explanations. In addition, it is considered that Wang, Zhong provided the most ideal translations for the item "shennian."

• Cross-Cultural Studies
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• v.43
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• pp.377-404
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• 2016

In this paper, I intend to focus on the 1991 racial tension and violence portrayed in Anna Devear Smith's book Fires in the Mirror, which was published in book form in 1993. I make use of a series of interviews with many of those involved in the conflicts, which were based on the Jewish Holocaust and the history of African American enslavement. In Crown Heights, the black community and the Jewish community have each suffered terrible losses, but individuals and communities become rhetorically attached to foundational historical traumas that lie at the center of each group's cultural identity rather than try to understand each other's pain. Smith lets this rhetoric dominate Fires in the Mirror by putting contradictory monologues side by side in order to show how discourses on 'slavery' and 'the Holocaust' still have control over specific ethnic communities. My intention is not to delve into the conflict between the Jewish and black communities exclusively. Rather, I attempt to form an understanding of the problems of the critical/theoretical tenets proposed by 'the rhetoric of holocaust,' including the Jewish Holocaust and the black experience of enslavement. Such an understanding will help us see the failure in the theories, illuminating the ways that such rhetoric should have recognized its own violence and helped to forge a new relationship between racism and anti-Semitism. Fires in the Mirror mirrors back to us the ways that 'the Holocaust' betrays the possibility of error to indicate its own susceptibility to blindness. The cracks brought forth by conflicting narratives enable readers to observe wounds being healed and the possibility of new narrative looming up.