• Cross-Cultural Studies
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• v.41
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• pp.85-112
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• 2015

This article studies The Complete Story of JinTai(金臺全傳), a Korean and Chinese xylographic book, and wishes to makes a case for the value of this work. The Complete Story of JinTai, is an anonymous Xia-Yi (俠義) novel from the late Qing Dynasty. The oldest edition is at Nanjing Rare Book Library. This work was published in 1881 when Emperor Guangxu (光緖) ruled China. Currently, a copy of this book is at the Kookmin University Rare Book Library, however, it is somewhat different in form from that in the Nanjing Library. But it is almost the same story. The Complete Story of JinTai narratives the life story of the hero, Jintai (金臺). Jintai's appearance, alliance, ordeal, contribution, and return proceed sequentially, thus, the story gradually explicates Jintai's heroic aspects. Jintai is a young hero. Exceptionally, he married an official dancing girl. He values honor, hangs out with friends, slays a wicked villain, to the defense of the country, and eventually becomes a king. The hero of more than 500 is categorized as conductor, strategist, activist, intuitive type. They are from Geumsan Mountain, took a pledge of brotherhood, and try to resolve a national crisis. The remarkable Jintai fights wicked enemies and does battle with the villains in many conflicts.

• Cross-Cultural Studies
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• v.47
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• pp.241-260
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• 2017

A multitude of neologisms has entered the lexicon of modern Chinese society as a reflection of the changes modern Chinese society has undergone, and amid this trend, a variety of color terms has emerged. However, these neologisms of color terms in modern Chinese society are used somewhat differently from their roots. First, the achromatic color terms used in Chinese neologisms include black, white, and gray. The significance criteria generally used in these neologisms of color terms only partially express their meaning in the modern Chinese language. Second, the frequency usage of significant criteria of color terms that have emerged in Chinese neologisms reveals a relative distribution between color terms referring to black and white. The color term "black" is the most active neologism to connote its expanded meaning, followed by its basic meaning. However, the color term "white" is most actively used to connote its basic meaning, followed by its expanded meaning. Third, among the achromatic color terms used in Chinese neologisms, black and gray exhibit expansion of meaning. For example, in the context of neologisms, the color term "black" is used to symbolize "in disaster areas" and "socially discriminated against," while "gray" is used to symbolize the "social aspect."

• Cross-Cultural Studies
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• v.50
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• pp.425-451
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• 2018

In this paper, we examined the issues of the discussions on the subject of doublets. In general, as a definition, the use of doublets refer to a pair of words which have a common etymon, but also to a pair of words or grammatical morphemes that have the same meaning and similar forms of the word. In this paper, we have seen that a typical pairing word is a pair of words with a common etymology. Generally speaking, it is possible to divide doublets into subtypes depending on the identified similarities or differences in the meaning or form. The most distant type from the typical type of doublets is a pair of words that do not have a common etymon, but have the same meaning and are similar in form. The second issue about doublets is whether doublets include only words. For example, if some josas (postpositions or particles) have a common etymon, then it is noted that they can be accepted as a kind of doublets. In the case of suffixes, it may be possible to recognize the suffixes as doublets if they have a common etymon. In other words, it is not necessary to recognize the suffixes as doublets because the derivatives which are derived by the suffixes can be accepted as doublets. In the case of endings, it may be possible to recognize a pair of endings which have the same meaning and the common etymon as a doublet. Otherwise, the word forms to which the endings are combined can be accepted likewise as doublets. However, considering the fact that the endings typically in use in the Korean language may have syntactic properties, the endings should be considered as doublets rather than the words which have the endings. Finally, we conclude that there may be some debate as to whether stem doublets or ending doublets belong to a lexical item in the lexicon. It can be said that they are plural underlying forms and may be deserving of further research.

• Cross-Cultural Studies
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• v.49
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• pp.151-179
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• 2017

This paper explores envy and jealousy caused by conflicts between youth and old age in Philip Roth's The Dying Animal and Bumshin Park's Eungyo. In Roth's Novel, David became envious and jealous of a fictional man when he imagined "the pornography of jealousy." In this pornography, his imagined rival was a young man who was once David himself but was no longer young who might steal Consuela away from him. In this sense, David's envy towards this young rival can be called "self-envy." David considered sex an act of revenge on death. But his envy and jealousy undermined his power and effect. In Eungyo, envy and jealousy arose between Lee and Seo when they came into conflict because of Lee's literary talent and Eungyo. At first, Seo admired Lee. But he grew envious of Lee's talent when he gained popularity and success by publishing Lee's novels under his own name. He was engulfed in jealousy when he detected Lee's sexual desire for Eungyo. He even insulted Lee's old age, which enraged Lee. Lee's rage was mixed with his envy toward the young and his sense of betrayal against Seo. With Seo's death, all these negative feelings disappeared. Instead, Lee was captivated by the pulsing breath of life and its beauty he observed in Eungyo.

• Cross-Cultural Studies
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• v.47
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• pp.261-289
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• 2017

This article is a follow-up on the concept of philosopher/writer and its transformation in the Age of Enlightenment - 1. the dictionary meaning of the term 'philosopher/writer' and the origins of 'literary fields' of the Enlightenment era. In this article, we analyzed changes in the literary field in the late $17^{th}$ century after the expansion of the publishing market. We examined the conflict surrounding philosophers' identifying between modern and traditional philosophers. We have validated that the formation of new readers has made traditional philosophers more sensitive to the 'horizon of expectations' of readers. Some biographical works are also one of our concern. By the end of the $17^{th}$ century, philosophers and writers suddenly became objects of biographical works unlike in the past. Through our research, we found that readers have sought the arrival of a new hero, a great philosopher or a great writer, that will lead a new era, and due to this anticipation, it has led to the publication of biographical works. In this process, we have revealed conceptual changes about authors, writers, philosophers, and so on. In the next article, we will continue advanced discussion on the concept of philosopher/writer.

• 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.50
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• pp.1-29
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• 2018

In the contemporary American cinematic landscape, there is a distinctive tendency to depict the disturbing ways in which characters with brain damages perceive, remember, and think about the world. Despite its attempts to examine the socio-political implications of these characters' subjectivities, the previous scholarship on this trend of film was limited in being either too pessimistically deterministic or too euphorically optimistic. Critically reading neuroscientific discourses on the brain-damaged subject from the perspective of Giorgio Agamben's critique of biopolitics, this paper explores how the contemporary American cinema of the impaired brain attempts to mediate the neurologically inexplicable affects of those subjects who are in the neurological state of exception and to express their experiences of a becoming-nonhuman. By closely reading Darren Aronofsky's Black Swan and Alejandro $Gonz{\acute{a}}lez$ $I{\tilde{n}}{\acute{a}}rritu^{\prime}s$ Birdman in this regard, I show how the two films, by employing different sets of cinematic free indirect techniques, express the neurologically impaired subject's affective experience of a becoming-nonhuman animal in different ways, and thereby to a more or less extent act as 'profaned' neuro-biopolitical apparatuses.

• Cross-Cultural Studies
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• v.47
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• pp.53-76
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• 2017

This paper is a study on the tasks to be carried out by Tsushima clan who invited the envoy -the 38th Munwihaeng- from Korea in 1747, and the process and results. This envoy sent out for the purpose of congratulating Tokugawa, Yoshimune's retirement and Tsushima lord's return home, and also negotiate about Korean Diplomatic Envoys to Japan coming in the future. In late 1745, Yoshimune retired, and Ieshige inherited the position of Shogun. Then in 1746 the Edo Shogunate ordered the Tsushima clan to invite the Korean Diplomatic Envoy to Edo between April and May two years after. To the Korean Diplomatic Envoy's invitation, many stages were necessary. In additon, Korea insisted on following the precedent in exchange with Japan. This time, throne of this new Shogun occurred due to retirement of the former Shogun. In the last 100 years, the history that the former Shogun died and the new Shogun reigned continued. For that reason, Korea had no record of sending letters and gifts to the old Shogun who retired. Because there was no precedent, Korea was unable to smoothly respond to Japan's request. This paper considers the negotiation process with Korea and the Tsushima clan, makes a prestige of the shogunate, in order to be recognized from the shogunate.

• Review of Culture and Economy
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• v.20 no.1
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• pp.105-128
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• 2017

The purpose of this paper is to analyze the impact of distributors on the movie exhibition by distributor types. For the analysis, the concept 'screen elasticity of box office' is adopted. Using the weekly screening data of 94 hit movies released in Korea in 2014 and 2015, the panel analysis estimates the 'screen elasticity of box office' with the Hausman-Taylor estimator. The results show that the screen elasticity of box office is smaller for vertically integrated distributors(CJ E&M and Lotte Entertainment) and Hollywood distributors than the local distributors(Showbox and NEW) that do not own integrated cinemas. This means that exhibitors allocate a larger number of screens to vertically integrated distributors and Hollywood distributors. As the two distributor groups had higher market share during the period, the results imply that the screen elasticity is related to the market performance of distributors. Smaller screen elasticity of the vertically integrated distributors might be related not to the ownership to theaters but to higher market share of the distributors.

• Cross-Cultural Studies
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• v.48
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• pp.107-133
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• 2017

This study compares the history of modern Korean literature written in China with the history of South Korean literature, the history of North Korean literature and the history of national literature, explores aspects of narrative and therefore examines transcultural practice presented in such texts. There have hitherto been approximately 25 works on the history of Korean literature written in China, and 16 of 25 works are on the history of modern Korean literature. Regarding their purpose, the number of pedagogical works outstandingly exceeds the number of research works. In terms of perspective and contents, it can be divided into three categories; one that only embraces the history of South Korean literature, another embracing the history of North Korean literature only and the other embracing the history of South Korean and North Korean literature. This study has selected representative texts from each category and compared recognition and narrative aspects to that of the history of South Korean literature, the history of North Korean literature and the history of Chinese literature. It further examines loci of definitions' transfer and formation as well. As a result, this study reveals valuable understanding of recognition and narration of the history of Korean literature. First, this study offers an introspective attitude, as the history of modern Korean literature accentuates influence of only Western literature, overlooking influence of Chinese literature. Second, this study proposes a new narrative perspective on the history of Unified Korean literature through independent and objective identification of the history of North Korean literature. Last, it emphasizes popularization of literature - aside from pure literary-centrism - and expands possibilities of embracing distinct works relevant to multimedia.