• Cross-Cultural Studies
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• v.43
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• pp.265-288
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• 2016

This essay begins by discussing the issue of the definition of a catastrophe as a trauma by visual media and the problems that result. We assume a concrete approach towards these problems by examining the process through which 9/11 was defined as a "national trauma" in the exclusion of images of bodies falling from towers, which were some of the most shocking images in the media coverage of 9/11. The choice to exclude images of falling men from American visual media representations of 9/11 goes hand in hand with the tendencies of a contemporary trauma theory. This essay assumes that the representations in the U.S visual media depend on "antimimetic theory," one of the leading contemporary trauma theories, in order to validate its logic, and examines the limitations and problems of the theory. This work aims to examine the issue of the definition of a catastrophe as trauma by visual media on the basis on the "antimimetic theory" and the danger that results. Because the antimimetic theory, which the visual media in the United States uses to define 9/11 as trauma, emphasizes literal and unmediated representation of an external event, it lacks an understanding of the human aspects of the event. There is no way to intervene in the construction and interpretation of the trauma. As a result, the theory discourages active attempts to find a solution to the problems of the people directly connected with the event. Thus, it provides an opening for manipulative intervention of an external power. This essay attempts to provide a critical analysis of the "antimimetic theory" in order to help people who witness catastrophic events through various types of visual media, and to seek an alternative means of experiencing and responding to the trauma, that does not stem from the perspective of specific media outlets or external powers.

• Cross-Cultural Studies
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• v.42
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• pp.505-524
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• 2016

This study examines the ways District 9, a film released in 2009, reworks the sci-fi genre to explore the human encounter with "other" alien populations. Like Avatar, released in the same year, District 9 addresses the tropes of conflict over land and human-alien hybridity and introduces non-humans and aliens, not as invaders, but as objects of human oppression and cruelty. Unlike many other science fiction films where the encounter between humans and non-humans occurs in an unidentifiable future time and location, District 9 crosses genre barriers to engage with urban realism, producing a social critique of contemporary urban population problems. The arrival of aliens in District 9 occurs as part of the recorded human past and the film's action is carried out in the present time in the specifically identified city of Johannesburg. A distinctly anti-Hollywood film that locates the action at the street level, District 9 plays out human anxieties about contact with others by referencing the divisions and conflicts historically attached to South Africa's sprawling metropolis and its current problems of urban poverty and illegal immigrants. Focusing on how this particular urban setting frames the film, the study investigates the ways Blomkamp's sci-fi film about extra-terrestrials presents a curious postcolonial mix of aliens and immigrants surviving in abject conditions in an urban slum and forces a realistic examination of the contemporary social problems faced by South Africa's largest city and by extension other major global cities. The paper also examines the film's representation of the human-alien hybrid and its potential as a force to resist human exploitation of the other. It also claims that though the setting is highly local, District 9 speaks to a wider global audience by making obvious the exploitative practices of profit-seeking multinationals. A sci-fi film that is keen on making a social commentary on urban population conflicts, District 9 resonates with the wider sense of insecurity and fear of others that form the horizon of the uncertain and potentially violent contemporary human world.

• Cross-Cultural Studies
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• v.52
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• pp.133-164
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• 2018

This purpose of this paper is to focus on anti-Japanese literature and pro-Japanese literature skills among Korean literary history written in Japan, and to observe the differences between Korean and Japanese perception surrounding anti-Japanese and pro-Japanese literature. Analyzed texts are "Taste Korean Literature" by Saegusa Dosikatsu and "The Footsteps of Modern Literature of Chosun" by Shirakawa Yutaka, the earnest modern Korean literary historians written from the perspective of Japanese writers, and though there's no overall written history of literature, they were seen through with the perspective of Omura Masuo, at the forefront of Japanese researchers in modern and contemporary Korean literature. The main results of the review are as follow: First, In Korean literary history by Japan, the frame "pro-Japanese literature" is clearly embedded. It is clearly distinctive from the aspect of China or North Korea, and though it follows the narration system of South Korean literature, it also forms the breaking (turning) point of anti-Japanese and pro-Japanese literature relative to anti-Japanese and pro-Japanese literature. Second, even if it follows the narration system of South Korean literature, that question was constantly raised on existing Korean academic evaluation of anti-Japanese and pro-Japanese literature, and different interpretations of reading were practiced. For example, Korean academic circles highly regard literature of writers such as Kim, Jong han or Lee, Seok hoon, while Korean academics do not place much importance on Lee, Gwang Soo's pro-Japanese elements that are important. The third point is that generous marks are credited to writers with outstanding Japanese or to Japanese creative writing. As a result, they dissolve internal logic in different pro-Japanese collaborators such as Chang, Hyuk Ju, Kim, Sa Ryang, Lee, Seok hoon, or Kim, Yong Jae by melting the same "Japanese literature" in a cage. The last point is reading different inner thoughts of Kim, Jong-han or Lee, Seok-hoon unlike outspoken pro-Japanese collaborators such as Lee, Gwang soo, Jang, Hyuk Joo or Kim, Yong je. These points require more in-depth analysis, and will be continued in follow-up tasks.

• Cross-Cultural Studies
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• v.52
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• pp.165-194
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• 2018

Employing Fairclough's critical discourse analysis (CDA), the purpose of this study was to analyze linguistically significant features, intertextuality, and sociocultural practice focusing on selected editorials of The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào on the 2018 United States-China Trade War. The editorial titled "With the strong will of 'the War to Resist America and Aid Chosun,' let us go through the trade war against America" focused on the use of 'war' related vocabulary in the frame of 'war.' First, "Trade War" and "War to Resist America and Aid Chosun" are examples that reveal metaphors and a war frame. Second, "Strategy" is used positively for China but negatively towards America. Third, various war related words are used. Fourth, cases of allusion illustrate war. Intertextuality in terms of discourse practice pertains to two findings. First, The Global Times, $Hu{\acute{a}}nqi{\acute{u}}$ Shíbào repeatedly uses the phrase 'equivalent revenge.' That is because the expression enables China to justify their counterattack and such war that China may wage can be interpreted as just counterattack much like a self-defense mechanism. Second, the expression, 'the counterattack is not intended but it is not fearful' is repeated in several editorials of the newspaper. The reasons are the following: 1) it is used to appeal to the public, 2) by invoking the feeling of fear, the public should be understand why they should unite, and 3) the expression, "it is not fearful" is used to preserve China's global image and "the counterattack is not intended" is used to signal China's will to America. The whole expression is a good example of intertextuality that repetitively illustrates the intended meaning of China in nine editorials in the newspaper within three months, March 23-June 17, 2018. Finally, sociocultural practice is manipulated through the editorial for disseminating the Chinese government's hegemonic ideology. First, it is clear that the core national project, "China Manufacturing 2025" cannot be abandoned. Second, by calling for "War to Resist America and Aid Chosun" the editorial is manipulated to condemn and intimidate America, avoid dissent of the people, appeal to the people, and empower the government. Third, China somehow wants to open up the possibility of negotiation with the United Sates.

• Cross-Cultural Studies
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• v.51
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• pp.329-356
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• 2018

Types of emotional expressions are comprised of vocabulary that describes emotion and composition of sentences to express emotion such as an exclamatory sentence and a rhetorical question, expressions of interjection, adverbs of attitude for an idea, and a style of writing. This study is focused on vocabulary that describes emotion and analyzes the aspect of translation when emotional expression of 'Kyo(驚)' is shown in "Kokoro". As a result, the aspect of translation for expression of 'Kyo(驚)' showed that it was translated to vocabulary as suggested in the dictionary in some cases. However, it was not always translated as suggested in the dictionary. Vocabulary that describes the emotion of 'Kyo(驚)' in Japanese sentences is mostly translated to corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Different vocabulary was added or used to maximize emotion. However, the corresponding part of speech in English was different from Korean. Examples of Japanese sentences expressing 'Kyo(驚)' by verbs were translated to expression of participles for passive verbs such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Idioms were also translated with focus on the function of sentences rather than the form of sentences. Those expressed in adverbs did not accompany verbs of 'Kyo(驚)'. They were translated to expression of participles for passive verbs and adjectives such as 'surprise' 'astonish' 'amaze' 'shock' 'frighten' 'stun' in many cases. Main agents of emotion were showat the first person and the third person in simple sentences. Translation of emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as in Korean. However, adverbs of time and adverbs of degree were ended to be added. The first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or causes of events were positioned at the place of subject in some cases to show the degree of 'Kyo(驚)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without the main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily human who was the main agent of emotion. They could be things or causes of events that specified the expression of emotion.

• Cross-Cultural Studies
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• v.53
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• pp.131-161
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• 2018

Emotional expressions are expressions that show the internal condition of mind or consciousness. Types of emotional expressions include vocabulary that describes emotion, the composition of sentences that expresses emotion such as an exclamatory sentence and rhetorical question, expressions of interjection, appellation, causative, passive, adverbs of attitude for an idea, and a style of writing. This study focuses on vocabulary that describes emotion and analyzes the aspect of translation when emotional expressions of 'Hu(怖)' is shown on "Kokoro". The aspect of translation was analyzed by three categories as follows; a part of speech, handling of subjects, and classification of meanings. As a result, the aspect of translation for expressions of Hu(怖)' showed that they were translated to vocabulary as they were suggested in the dictionary in some cases. However, they were not always translated as they were suggested in the dictionary. Vocabulary that described the emotion of 'Hu(怖)' in Japanese sentences were mostly translated to their corresponding parts of speech in Korean. Some adverbs needed to add 'verbs' when they were translated. Also, different vocabulary was added or used to maximize emotion. However, the correspondence of a part of speech in English was different from Korean. Examples of Japanese sentences that expressed 'Hu(怖)' by verbs were translated to expression of participles for passive verbs such as 'fear', 'dread', 'worry', and 'terrify' in many cases. Also, idioms were translated with focus on the function of sentences rather than the form of sentences. Examples, what was expressed in adverbs did not accompany verbs of 'Hu (怖)'. Instead, it was translated to the expression of participles for passive verbs and adjectives such as 'dread', 'worry', and 'terrify' in many cases. The main agents of emotion were shown in the first person and the third person in simple sentences. The translation on emotional expressions when a main agent was the first person showed that the fundamental word order of Japanese was translated as it was in Korean. However, adverbs of time and adverbs of degree tended to be added. Also, the first person as the main agent of emotion was positioned at the place of subject when it was translated in English. However, things or the cause of events were positioned at the place of subject in some cases to show the degree of 'Hu(怖)' which the main agent experienced. The expression of conjecture and supposition or a certain visual and auditory basis was added to translate the expression of emotion when the main agent of emotion was the third person. Simple sentences without a main agent of emotion showed that their subjects could be omitted even if they were essential components because they could be known through context in Korean. These omitted subjects were found and translated in English. Those subjects were not necessarily humans who were the main agents of emotion. They could be things or causes of events that specified the expression of emotion.

• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

• Cross-Cultural Studies
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• v.46
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• pp.327-353
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• 2017

This study analyzed how an aspect of translation can be shown on the 'Kureru type(くれる類)' verbs in "Kokoro", which was a Japanese modern novel when it was reproduced by translators. It focused on 'the use in accordance with a subject of expression and the other person' and 'the object of movement'. 'The use in accordance with a subject of expression and the other person' could be summarized as follows: The 'Kureru type' verbs were not translated only in accordance with the use of vocabulary in a dictionary. 'Kudasaru' was used in many examples of letter writing when 'the giver' was younger and it was translated to a polite form in Korean. 'Kureru' had a characteristic when 'the giver' was older in Korean translation. The act of parents was translated to an honorific form if parents were 'givers' regardless of whether a listener was an internal character or an external character in parent-child relationships. The degree of politeness was different in English translation when the 'Kureru type' verbs were used for asking a favor request command. 'Please' was used more for 'Kudasaru' than 'Kureru'. An aspect of translation in accordance with 'the object of movement' could be summarized as follows: The 'Kureru type' verbs were used as main verbs. 'Kureru' and 'Kudasaru' were translated to 'Juda' 'Jusida' in Korean translation, but they were translated to various vocabulary words in accordance with the characteristic of 'the object of movement' and were translated to imply a specific act, the process of possession and the result of possession in English translation. The 'Kureru type' verbs were also used as auxiliary verbs. The translated vocabulary words for Korean translation and English translation were different in accordance with whether the movement of things other than the movement of act was included or not. Examples were translated predominantly to expressions of profit such as '-Jada' '-Dalla' '-Jusida' when there was a movement of act as well as specific things in Korean translation. Also, some examples were translated to expressions of profit when there was the movement of act with an abstract matter and there was only the act of the object of movement, but many examples were translated to the act of first verbs. Examples were translated predominantly to the act of first verbs when there was the movement which included specific things and abstract matters or there was only the movement of act in English translation. Expressions of asking a favor request such as 'Kureru' and 'Kudasaru' were translated to '-Dalla' '-Juseyo' in Korean translation, but they were translated to expressions which specify an act while focusing on the structure of sentences or the function of language, such as 'must', 'ask', 'wish', 'would', and 'would like to' 'please' in English translation.

• Cross-Cultural Studies
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• v.44
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• pp.315-342
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• 2016

There exists a general misunderstanding of the Musical as being both a dramatic genre and a musical genre. This misunderstanding lies in the fact that music fills the role of the drama. In other words, there exist a series of narrative episodes that help the development of the drama and music generates the ambience that corresponds to each episode. In this case, music is subordinated to the drama and thus becomes secondary. However, this paper seeks to show that in the Musical, musical composition is so strongly linked to the development of the drama that it is through the musical development that the drama unfolds. This paper seeks to explore this view through one of the most successful musicals of our time, Les $Mis{\acute{e}}rables$. A musical adapted from a novel is not the retrenchment of a series of episodes from the original novel. The process of dramatizing the novel compels the musical creators to observe what to draw out as a dramatic action. The interesting points of a musical consist of how the musical creator has reflected his understanding of the fiction through the composition of the music. This is why this paper has created a table analyzing the forty musical compositions in Les $Mis{\acute{e}}rables$. This table is meant to visualize the musical motifs employed in this play in order to explain the relationship between the musical composition and the development of the drama. The theme of Les $Mis{\acute{e}}rables$ lies in the transformation of Jean Valjean. His change includes the process of transformation from a thief to finding Jesus and his denial of being a sinner to his confessions of sinning. This paper explores the transformation of the dramatic action of Jean Valjean, which is symbolized by such themes as Misery, Love and Name established in musical form. The dramatic conflict between Jean Valjean and Javert as well as between Jean Valjean and $Th{\acute{e}}nardier$ is also explored through the composition of music. The success of Les $Mis{\acute{e}}rables$ lies in its successful constitution of music that embodies the in depth interpretation of the original play.

• The Critical Review of Religion and Culture
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• no.32
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• pp.13-54
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• 2017

The Ise Grand Shrine(伊勢神宮) dedicated to the sun goddess Amaterasu (天照大神), located in the city of Ise(伊勢市), Mie Prefecture of Japan, is a center of Japanese Shinto Shrines and composed of a large number of Shinto shrines centered on two main shrines, Naiku(內宮=皇大神宮) and Geku(外宮= 豊受大神宮). Historically it has kept very close relationship with Emperor, because its enshrined deity Amaterasu is generally said to be the ancestor of Imperial Family. The food and alcohol offering to the gods in Japanese Shinto rites are called Shinsen(神饌, ambrosia). Main subjects of this essay dealing with Shinsen are the various matsuri (rites) of Ise Grand Shrine and Emperor, such as Higoto-asayu-omike-sai(日別朝夕大御饌祭, offering repasts to the gods in the moring and evening everyday), Kan-name-sai(神嘗祭, offering of the year's new rice harvest), Shikinen-sengu-sai(式年遷宮祭, year of the ceremony), Nii-name-sai(新嘗祭, Ceremonial offering by the Emperor of newly-harvested rice to the gods), and Daijo-sai(大嘗祭, first ceremonial offering of rice by newly-enthroned Emperor). Then, the purpose of this essay is to examine not only the social, religious, and political but also cultural meaning of Shinsen especially in relation to Korea, basically introducing some types and characteristics of Shinsen with its mythological background and historical development. In so doing, I will show the concrete list of items and processes of Shinsen in those rites. For example, the social meaning of Shinsen might be examined in association with agricultural features, ancient dietary life, Japanese food, and its contemporary context etc. Besides, its religious meaning can be mentioned especially from the perspective of divine nature, life and rebirth etc. On the other hand, the politics was in ancient Japan originally called Matsurigoto which means the ancestral rites for gods. This suggests the political meaning of Shinsen that the politics in Japan has originated from Shinsen.