• 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.

• Physical Therapy Korea
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• v.17 no.1
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• pp.43-52
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• 2010

The Dynamic Gait Index (DGI) was developed and widely used as a clinical tool to assess balance performance during gait. The purpose of this study was to validate the Korean translated DGI using Rasch analysis. A total of 105 community-dwelling elderly was participated in this study (age range = 65~95 years; mean = 78.0 years). The translated DGI showed sound item psychometric properties, and the 8 items were arranged in order of difficulty for the total participants. The most difficult item was 'Steps' and the easiest item was 'Level surface'. Also, each of the original 4 rating scale categories satisfied the Linacre's essential criteria suggestions for optimal rating scale category effectiveness. Although, thirty eight person (36.2%) showed the maximal high score, but the most of them was no history of fall in the preceding year. For subjects who has falling history, all of the person's ability was arranged within the item's difficulty. The 8-item Korean translated DGI can be used to measure gain in elderly person with balance disorders without compromising important clinical measurement characteristics in Korea.

• The Journal of the Society of Korean Medicine Diagnostics
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• v.14 no.2
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• pp.43-50
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• 2010

Background and Objectives: Cardiff Acne Disability Index(CADI) is one tool used internationally to measure the quality of life of acne sufferers. There, however, is a necessity of developing Korean version of CADI, as the questionnaires of the original one are written in English, making it hard to apply for Korean patients. So as a first step, we conducted a cross-cultural translation of CADI into Korean and verification of face validity. Methods: After properly translating CADI questionnaires into Korean up to guidelines for cross-cultural adaptation of health related quality-of-life measures, we conducted a survey with 122 undergraduates to get face validity, using the translated questionnaires. Results: About the translated CADI questionnaires, 86 out of 107 undergraduates replied that they had no difficulty understanding them, while 21 offered ideas about ambiguous expressions of them. Upon further examination of two oriental doctors, two sentences were additionally modified in the translated version. Conclusions: Firstly, we created the Korean version of CADI, one of the most effective methods in the world to measure acne sufferers' quality of life, by properly translated the original version into Korean. Then we conducted a survey for face validity with the translated questionnaires and gathered opinions from those questioned. After going through some examining and correcting procedures based on the opinions, we finalized the Korean version of CADI. It will also require a follow-up verification process to prove credibility and validity of the final version of Korean CADI.

• Acta Via Serica
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• v.3 no.2
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• pp.151-160
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• 2018

There is a variety of opinions about the first translation activities within the Turkic Empire. It is widely believed that some Buddhist sutras were translated into the Turkic language in the period of Taspar Qagan (572-581). This theory is based on certain arguments: Some Turks practiced Buddhism, Buddhist monks translated sutras in the center of the Turkic Empire, Taspar brought sutras from China and had them translated, and the monarch of Northern Qi had a sutra translated and sent to Taspar. However, in my opinion, these arguments lack credibility. This article, which is based on primary Chinese sources, will question the likelihood of such translation activities having occurred. Some Chinese records for these claims exist: Da Tang Nei Dian Lu (大唐內典錄) and Xu Gao Seng Chuan (續高僧傳) by the Buddhist monk Jinagupta and the records of Hui Lin in Sui Shu (隋書) and Wen Xian Tong Kao (文獻通考). These are known as "primary sources." Secondary sources, namely contemporary history and language studies, such as those in books and articles, must be based on primary sources. It can be seen that claims relating to the first Turkic translation activities at the time of Taspar are mainly derived from secondary sources, and that the arguments in these secondary sources vary. Sometimes researchers make suppositions on the existence of information that is not referred to in primary sources. However, this is not normal practice. If a researcher relies on unknowns for the evidence of information existing, it can cause false information, ideas and anachronisms to be created. It is important that primary sources, such as the Chinese sources mentioned above, be translated correctly in language and history studies. If only a word is mistranslated, very different results may occur. Mistranslating or misinterpreting a primary source allows conclusions to be reached that are not supported by dissemination of information from primary sources. This can mislead experts and result in information that is not correct being considered as being true. As well as helping to prevent such misinterpretations occurring, another aim of this paper is to question the interpretations of the first Turkic translations in contemporary studies on history and language. The origin of such assessments will be explored and the validity of that information will be examined.

• Child Studies in Asia-Pacific Contexts
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• v.4 no.1
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• pp.65-76
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• 2014

This study aims to explore the characteristics of translated picture books in South Korea and their cultural meanings over a five-decade period. This time can broadly be divided into three periods, being the Settlement Period (pre-1990), the Flourishing Years (1991-2000) and Globalization (post-2001). During the Settlement Period, picture books in South Korea were derived mainly from Japan and America and tended to be informational in nature or based on folk tales. These were translated into Korean to meet the public's curiosity for foreign cultures or for scientific information. The Flourishing Years were characterised by the availability of picture books on a wide variety on themes and forms from all over the world. In this period, the translation of books into Korean focused on a literal rendition of the meanings and sounds of names from the original text. There was also a proliferation of audiotapes, videos and TV programs based on famous picture books. In the current period of Globalization, Korean publishers, who have built confidence through studying foreign picture books over time, have increased efforts to produce their own picture books and export them abroad.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.2
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• pp.20-30
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• 1997

This study compared Korean names of 449 herbaceous landscape plants with Chinese and Japanese names to identify the origin of their Korean names. The results were as follow ; 1. Korean herbaceous plants named after Chinese names were 71 species. They could be classified into 4 typical groups of their origin : plants named from slight or partial changes of Chinese names, plants with a prefix or suffix attached to Chinese names, plants having names translated from Chinese names, and plants with the same names as Chinese. 2. Korean herbaceous plants derived from Japanese names were 378 species. They also could be classified into 4 typical groups of their origin; plants with new names in partial combination of Japaneses and Korean names, plant having names directly translated from Japaneses names, plants with the same names as Japanese, and plants having names erroneously translated from Japaneses names.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.421-446
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• 2012

The purpose of this paper is to shed light onto the historical significance and limitations of the Tsukiji Little Theater's modern performances. The Tsukiji Little Theater holds a position of great importance to the history of both Japanese and Korean modern theater. Some, however, are under the completely opposite impression. There are also mixed opinions about whether the Tsukiji Little Theater is a "model example" of the modern theatrical movement or a "bad example". Based on this controversy, we look into the definitive characteristics of the Tsukiji Little Theater based mostly on "the controversy over translated foreign plays", "the controversy of foreign plays versus original plays", "the value of kabuki" and "Shinpa as a rival". This paper looked into the differences in controversy over translated foreign plays in the Tsukiji Little Theater and the controversy in existing translated foreign plays. It mostly looks at the "casuistry of foreign plays" and the "cultural engineering theory of foreign plays"to get a grasp on the controversy surrounding existing translated foreign plays. Meanwhile, the "internally critical meaning" towards the original plays of renowned writers was strong in the controversy of foreign plays in the Tsukiji Little Theater. Kaoru Osanai defined the 1920s as a dark period, and persisted that because of the activity of the Shingeki movement, foreign plays were needed instead of low-level original plays. This study examines the characteristics of original plays and foreign plays publicly performed at the Tsukiji Little Theater to analyze the "controversy of translated foreign plays versus original plays". The Tsukiji Little Theater mostly put on shows with a strong sense of resistance or that defied the old times. This caused there to be a lot of emphasis put on the rebellious mindset towards old conventions and ideologies for most of the plays, both foreign and original, and the problem arises that little mind was paid to the integrity or beauty of the works. In looking at the "value of kabuki", this paper looked into Kaoru Osanai, who was deeply involved in kabuki actors. He evaluated traditional Japanese arts highly not because of the literary value of their scripts, but because he recognized the value of how they were performed. In order to create a new spectacle, music, dance and mime was taken in from countries around the world, and kabuki was regarded highly as a means of expression on stage. Finally, we also examine the recognized reasons for treating Shinpa as a rival. There is a relationship between these reasons and a complex about the audiences they drew. The Shinpa performances always had many spectators and were successful, but those at the Tsukiji Little Theater were so unpopular with the public that it was hard for them to financially run their theater group. The empty seats in their theater constantly made the modern intellectuals in the Shingeki movement feel inferior.

• Journal of applied mathematics & informatics
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• v.25 no.1_2
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• pp.533-540
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• 2007

For a certain open set G in the complex plane $\mathbb{C}$, we construct a transcendental entire function f, such that whose translated family {$f(2^nz)$} is finitely normal exactly on the set G.

• Journal of applied mathematics & informatics
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• v.17 no.1_2_3
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• pp.573-583
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• 2005

For a certain set G in the complex plane, we construct a transcendental entire function f whose translated family ${f(2^{n}z)}$ is normal only at z in G and establish the relation between the normal family and the Julia direction of f(z).