• Cross-Cultural Studies
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• v.34
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• pp.115-146
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• 2014

Cyclical stories on Caucasus and Sebastopol Sketches, including War and Peace, have generally been said as masterpieces dealing with the theme of war in Leo Tolstoy's literature. Among them, it is no doubt that War and Peace is absolutely the best one describing the grand panorama of people's lives and war itself. The plot of this novel consists of the so-called Napoleonic War of 1812 and of diverse lives both from the upper class and lower class, more essentially it dramatically presents how these pictures made all literary participants experienced their destiny and lives. Throughout these texts, war, including of its cause and effects and participants, re-considers and re-evaluates all of each features. The most important themes in War and Peace is war itself as the novel's title says. Rather than a just backdrop to the novel, the war plays a significant role in providing the reader with various realistic, philosophic, moral and existentialist perspectives. Moreover, War and Peace for the writer shows contradictory two views about war; he severally criticizes the Napoleonic war of 1812 in the sense that it violets people's reason and nature. At the same time, however, Tolstoy considers that the war as liberation is justified and necessary for guarding people's nation, otechestvo in Russian. What the writer attempts to show from this novel, however, goes beyond the simple descriptions which were done above. Leo Tolstoy successfully offers and what he tries to show in the long run is that how people go through all kinds of sufferings and hardship and their spiritual resurrection, thereby leading to the vital force making history. For the writer, the essential force that makes history and people's lives is not heroic military leader like Napoleon, but those common people. And the novel serves a wonderful prelude expecting the Decembrist revolt in 1825, because all of the vital and active streams that Tolstoy emphasizes turn out true in Russian history.

• Cross-Cultural Studies
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• v.26
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• pp.445-463
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• 2012

Beltenebros is Antonio Mu?oz Molina's third novel. Its plot originates in a criminal act. Darman, the main character, arrives in Madrid to kill a traitor of the undercover organization to which he himself belongs. Treason is paid with death and Darman is in charge of the executions. The intricate story of espionage and intrigue is absorbing. Unlike other novels of the genre, in Beltenebros we can witness a unique psychological development of the main character. In his fiftieth anniversary, Darman becomes conscious of the painful and devastating effects of his criminal acts on the lives of the people he has crossed paths with. Then, for the first time, he acts like a Romanesque heroe by killing Valdivia-Ugarte, a deceitful mole who has been manipulating the strings of the plot to his own benefit. The story unfolds along an almost uniform progression of chronological time, only interrupted by random memories of a past that twenty years ago destroyed Walter's life, and in which Darman and the rest of the characters are all implicated. Few references to the Spanish Civil War inserted in the discourse are, however, of paramount importance as the depiction of a historical trauma, as a triggering force for the episodes of the novel, or as justification to Darman'scrimes as well as those of the clandestine Comunist Party. Indeed they were the victims of the conflict and the winners inflicted upon them hatred, repression, treason and disloyalty. As in other Mu?oz Molina's novels, the literary space, in this case Madrid, propels the development of the plot, and plays a protagonist role only equal to that of the main characters. It is in Madrid where Darman lives until he becomes prisoner of the enemy army, or where the symmetrical deaths of Walter and Andrade take place. Other spaces inhabit Madrid: the Universal Cinema, symbolic territory of the secret and hidden, where the story, as well as the relationships of the characters start and end the warehouse; or the Bo?te Tab? the nightclub that frequents Valdivia-Ugarte through secret passages connected with the Universal Cinema.

• Cross-Cultural Studies
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• v.22
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• pp.223-277
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• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.

• Cross-Cultural Studies
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• v.49
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• pp.33-58
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• 2017

As a living space, house constitutes a good part of inhabitants' life, making the rhythm of life. This rhythm tends to be reflected into the house, establishing a sort of intercommunications between the house and its inhabitants. Becoming a living element, the house can endow the writer with literary resources. It is interrelated with its inhabitants. Thus, Duras' work preserves many invisible and fusional traces of links between her characters and the house. With her writing, the house displays important traces of life, with which a body of meaning is to be formed. It implies habits, imprints, links, and so on. Here, its projection into the imaginary also takes place for our writer. With this perspective in view, Duras is supposed to objectify her characters as physical and imaginary bodies. This introduces the passage from the real to the imaginary and vice versa. Unknown stories hidden behind the living places can come to manifest themselves through her writing.

• Cross-Cultural Studies
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• v.33
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• pp.407-459
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• 2013

The paper pragmatically analyzes ellipsis in Russian and Polish colloquial and informal texts. The famous Polish writer Sławomir $Mro{\dot{z}}ek^{\prime}s$ "Exit to the South", written in Polish and Russian is used as a material for the analysis. Russian and Polish ellipsis in colloquial and informal texts have in common that the givenness and subjecthood of the elliptical co-referent play a crucial role. However, the ellipsis in two languages also has differences in many ways. Above all, in the Polish texts of colloquial and informal style, a theme is likely to be elliptical and the coreferential relation reaches to an extra-sentential antecedent, while the ellipsis in analysed Russian texts in most cases requires coordinate, subordinate or relative clauses, and the elliptical co-referent tends to have an intra-sentential antecedent. The ellipsis of the theme-subject is unmarked in Polish, where every verbal form has an ending denoting person. Unlike formal style which often allows explicit noun subject, Polish text of colloquial and informal style prefer null form of the subject in most cases. If Polish sentences have explicit theme-subjects, they disambiguate intervening and main themes, and indicate the contrast, the focus, the introduction of new narratives or the change of speaker's point of view. Sometimes direct speeches and deictic pronouns also need explicit theme-subjects in Polish sentences. On the other hand, the ellipsis of the theme-subject is marked in Russian even in colloquial and informal texts. The theme-subject can be deleted in Russian colloquial and informal texts, if the subject is a form of the first or the second person, or if the aspect and the tense of the antecedent sentence's verb are the same as those of the given sentence's verb and both the antecedent and the coreferential word have the nominative case.

• Cross-Cultural Studies
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• v.37
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• pp.51-79
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• 2014

Seriously depressed by the failure in the first performance of his own drama ${\ll}$The Government Inspector${\gg}$, N. Gogol sought out a space, Italy, which is obviously a turning point for the writer. Here in Italy, the writer could be able to explore an essential foundation for the national identity as well as self-identification of Russian traditional culture, all of which have already been epitomized in the Renaissance period in Italy. The city Rome itself provided Gogol with its grandness and harmonious perfectness, influencing something 'spiritual being' upon the writer. The work under discussion, "Rome," is thus created through these literary circumstances. Though it is made under the different title as "Annuntiata" and it delivers a love story between lovers, the story lines gradually turned into a fiction about the city, Rome. In comparison with city Paris, Gogol himself presents a negative view of the French metropolitan, saying that it is nothing but a by-product of the 19th century civilization. Interestingly enough, Rome for Gogol is totally different; it is the place of sublimity, that is a locus of harmonious, holy, and eternal city. Likewise, this pattern can be said of another description on the two contradictory cities: Paris and Rome. Again, Gogol fully pictures the city Paris as centripetal and Rome as centrifugal, in which the main protagonist makes the reader indulge in his own world. Throughout the story the writer tells us a transformation experienced by his character, and the work ends with an open denouement. Like Jerusalem, Rome is the city of resurrection for Gogol. Yet, this kind of possibility of transformation in the story is exposed to the hero, and it arguably depends on the extent to which he explores the readiness for encountering of 'eternity' in this "eternal city."

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• Cross-Cultural Studies
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• v.46
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• pp.113-142
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• 2017

The goal of this paper is to analyze the vocabularies and cases related to Kimchi as a cultural history. For this purpose, we extract the vocabularies of Kimchi from the records of Korean Literary Collection in Classical Chinese, Annals of the Choson Dynasty, Records of Daily Reflection, and Diary of the Royal Secretariat. The existing literatures related to Kimchi are confined to some cookbooks, but in this study, we attempt to overcome the existing limitations and adopt a comprehensive and systematic approach. The classic literatures of the Choson Dynasty are mainly recorded in traditional Chinese characters; therefore, the readability is poor, and it is presupposed that a lot of time and effort will be needed for the translation work after securing the data. Therefore, we performed this research with a focus on this part. Next, we tried to reconstruct the archetype of Kimchi culture in the Choson Dynasty by classifying the above materials according to the subject and literature sources.

• Cross-Cultural Studies
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• v.40
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• pp.133-158
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• 2015

This study aims to analyse the conversation structure on Talking Culture("說漢語 淡文化") that is one of the conversation textbooks about Chinese culture and investigate Chinese textbooks published in Korea and Japan from a integration point of view among language, literature and culture for improving upon the problems on Talking Culture. For this purpose, this study, before analysing and investigating, considered the concept of language socialization on learning Chinese as a foreign language, and on the basis of it, analysed the conversation structure of Talking Culture. And then this study examined how we should organize the structures and contents when making conversations in Chinese textbook related with culture in compared with the Chinese textbooks published in Korea and Japan. In conclusion, this study argues that when composing a conversation textbook with culture, we not only need to pay attention not to have an inclination for conversation structure, but need to make use of the contents in Chinese literary and culture works for organizing conversations from the perspective of integration among language, literature and culture.

• Journal of the Korea Convergence Society
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• v.10 no.9
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• pp.153-159
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• 2019

With the development of related industries, there is a growing demand for the training of beauty professionals. At a time when there is a growing social interest in Cosmetology, there is a need to review functional Beauty Education. Generation Z, born after 1995, has the characteristics of a 'Digital Native' and is expected to be the main driver of future consumption. This study is intended to propose the orientation of Beauty Education of University considering the characteristics of the digital generation, Generation Z, in an era of declining school-age population. The results from the preceding and literary studies are as follows: First, Generation Z regards cosmetology as fun tool for self-realization. Second, Beauty Education of University should be designed as a creative curriculum combined with psychology, philosophy, aesthetics, etc., as well as acquiring professional skills. Third, it is believed that the learner-centered Beauty Education method using mobile video contents will be effective. Since the discussion of Beauty Education considering the characteristics of Generation Z is still in its early stages, further research on the direction of Education needs to be made in the future.