This article maintains that language not only connects the domains of objectivity and subjectivity but simultaneously occupies its own autonomous realm and creates the two domains as well. This means that the role of language in recognizing things in the universe is more important than we usually think, and that the system of language exists independently of the human thinking and objective reality. In this respect, study of language stands as a core subject in humanities, making itself a common denominator for full understanding of philosophy, theology, history, psychology, and arts.

This essay seeks new possibilities in experimental thinking and to find ways in which philosophy can aid humanistic imagination. In emphasizing logical precision, philosophy has so far ignored the role of imagination in philosophical logic and limited itself to deductive logic. Despite the obvious fact that no degree of logical precision can fully account for, nor provide complete expression for, the vast range of human thought, other modes of thinking have suffered in the shadow of deductive logic. But these non-deductive models of thinking can in many cases better explain the emotive, aesthetic logic of the humanities. The kinds of models (deductive and non-deductive) in humanistic thinking include dialectic, abductive, analogic, pragmatic, inductive, and deductive logic. Each mode of logical thinking may be assigned a color that represents its emotive characteristics: red for dialectics (opposition): blue for abduction (transcendence); yellow for analogy (flexibility); green for pragmatics (peace); violet/purple for induction (fantasy); and finally orange for deduction (trust). And each mode can also be keyed to major areas in humanistic thought, making up the following connections: dialectic-red-history; abduction-blue-literature; analogy-yellow-philosophy ; pragmatics-green-religion ; induction-violet/purple-arts; and deduction-orange-science. These connections serve to illustrate the interrelationship between emotion and intelligence, leading us toward considerations of emotional intelligence and intelligent emotion. The former is increasingly gaining attention, as the effect of 'mood space' on intelligence is being scrutinized. That the rate of suicide among mathematicians is very high points to the need for careful study of the reverse relationship between emotion and intelligence, intelligent emotion. The need for the latter is all the more pressing, as the emergence of new technology is allowing, even forcing, us more and more to experience the world intellectually (i.e., sans emotive experience) through a new virtual space called cyberspace.

This article does not deal with a theory or theories in the usual sense of the term but rather harks back to its etymological source, theorein ' to look at.' The phrase 'theory of language' thus purports a 'view of language' and does not carry the force of scientific explication of language. In fact, the word ' scientific' or 'science' per se originates from scire 'to know' and is here to be considered not so much in regard to some kind of positivistic methodology as a form of knowledge. If this exposition sounds unduly ingenious, that is because one is caught up in all kinds of presuppositions about the words under consideration. Sometimes, when we come to grips with an issue that strikes our mind as truly important, our language, by the light of which we hope to proceed safely, plays the will-o'-the-wisp instead and leaves us in the middle of a murky maze, twisting what was at first blush a mere cinch into a Gordian knot. On such occasions, etymology comes along the way and sends us back to itself as its own principle: Resort to etymos logos 'original, true word'! The main thrust of the present study is that alongside the quantitative, positivistic thought there is another equally valuable mode of qualitative and humanistic thinking that makes a whole gamut of new and concrete investigations possible, that an integrated theory of language is Possible by way of a happy amalgamation of diversified, humanistic views of language. With this idea as the leitmotif we explore two models of theory which typically set themselves up for a 'scientific' approach to language: analytic philosophy that delves into what it calls logical simples, and contemporary linguistics that stubbornly teeters around some formal rigor or other. It is argued that they are both characterized by a looking away from the fluid, ill-definable aspects of language, giving a preference to segments and isolated facts as a means to avoid those larger wholes and totalities which if they had to be seen would in the long run lead to an uncomfortable state of mind. Language, in the final analysis, is a Protean entity: so capricious and multifarious, and yet so noetic and prophetic, that we should catch sight of its picturesque images in their entirety to give form to an integrated theory of language.

현대사회는 인문학을 향하여 양면성을 보이고 있다고 생각된다. 한편으로는 현대 사회에 드리워진 어두운 모습을 보면서 인문학이 어떤 희망을 보여주어야 한다고 기대하면서, 다른 한편으로는 현대사회가 이미 돌이킬 수 없을 정도로 다원화되고 양화되고 사물화되어 버린 현실에 대해 인문학이 무엇을 제공할 수 있을까라는 의문을 품는 것이다. 소위 '인문학의 위기'라는 것은 사회가 인문학에 대해 가지는 양면성 안에 배태되어 있다고 보인다. $\ulcorner$표현인문학$\lrcorner$(생각의 나무, 2000년, 421면)의 공동 저자들(박이문, 유종호, 김치수, 김주연, 정덕애, 이규성, 최성만)은 사회의 양면성을 이중성으로 간주하지 않는다. 오히려 이 양면성을 심각한 과제로 인식하여 그 기대와 의문을 인문학이 성취하고 풀어야 하는 반성의 계기로 선택한다. 이 책은 그러한 과제를 향한 하나의 서설이다. 하나의 가능한 방향을 나타내고자 한 것이다. 공동 저자의 한 사람으로 이 책의 개요를 네 개의 명제로 제시하고자 한다.

In his discussion of some desirable tuning points in comparative literary studies, Henry H. H. Remark has emphasized the importance of literary approach to other forms of art. Understanding the significance of such a method of comparative literature, the present study focusses on three contemporary Korean poets who have transferred Mark Chagall′s paintings into their poetry: Youngtae Kim, Chunsoo Kim, and Sunghun Lee. They are usually evaluated as surrealist/modernist in our literary circles. In transforming Chagall′s paintings into his poems, Youngtae Kim has incorporated a variety of surrealist mosaic techniques such as montage and collage. The resultant peculiarity of his poetry makes it hard to lay bare the correspondence or similarities between his poetic world and the world of Chagall′s artistry. It is nonetheless possible to see how Kim, as a poet and painter, had interpreted Chagall′s world with a bird′s-eye view of it. Chunsoo Kim′s "Snow Falling on the Village of Chagall" relates specially to one of Chagall′s paintings, "I and My Village." The present study has taken notice of this correlation in sorting out some basic elements of poetic transfiguration. One of the techniques employed in the poem under discussion is that of juxtaposing the Russian village of Chagall and the Korean village the poet visualizes, with the effect of putting two national traditions in contrast. A reading of the poem reveals that it is not so much the result of a detailed analysis of the painting as a revival of its lingering impression as a whole. In Sunghun Lee′s poetry, surrealist techniques are again a hallmark. But his method of transferring the images of the paintings into his poems falls somewhere between those of Youngtae Kim′s and Chunsoo Kim′s: it is akin to the ′bird′s-eye method′ of the former and shares the impressionistic touch with the latter, but at the same time Lee is analytical by disposition and opts for concrete descriptions. ′Love,′ ′farm,′ and ′time′ are the keywords that are brought under discussion in the present study. There is a growing demand in the current international comparative literary studies for broadening the area of comparative literature. This study hopes to be a small contribution to endorsing the importance of comparative approach to fine arts.

This paper surveys the meaning of the pen name ′Yi Sang(李箱)′ in the light of the arbitariness of language and the relationship among names, observing in three ways how the images of ′Sang′ (Box) appear differently in his works. In Particular, we look into (1) the relationship between a box and its inner boxes, (2) the divisional relationship in the box, and (3) the relationship between the box and an outer box. In Yi Sang′s work, image (1) gives shape to the relationship between the writer himself and his ancestors who are responsible for his present existence. Image (2) gives shape to two internally divided Yi Sangs, and is symbolized as a mirror that reflects two selves. Image (3) gives shape to a relationship between himself in the closed world and other people and/or a bigger outside world. All these symbolic relationships are fully represented in his work "Nalgae" (The Wing)". What is interesting is that Yi Sang has already employed these box images in his earlier poetry "Geonchuk-muhan-yukmyeon-gaucho" (Infinite Architectural Hexagon). furthermore, by visualizing his name as a sqaure($\square$), he means to suggest the intentional image of his pen name as a ′box′.

In this paper, I propose that the figurative structure of Tongjoo Yoon′s "One Night, Counting the Stars" reflects the poet′s anguish over the colonial reality of Korea in the later stages of the Japanese occupation, especially regarding the forced adoption of Japanese names in 1939. The poet Yoon himself registered at Yonhi College with an adopted Japanese name. In the second half of the poem, the speaker alludes to this historical fact when he confesses that "On a hill lit by myriads of stars / I spelled my name / And covered it over with dirt," and that he "laments (his) shameful name." In the simile of the last stanza, the speaker continues to allude to the "buried" name: "But past winter, come spring to my star, / As green grass sprouts on a grave mound, / So will it spread with pride / On the hill where my name is buried." The longing and the yearning, expressed so simply and in child-like manner in the first half of the poem, become in the second half an urgent need for something that should have been but cannot be, and yet will be in the future-for a world that should be, now lost but to be regained. The poem contains the poet′s earnest belief that the inherited Korean names that were then so shamefully taken away will one day be recovered. It is almost impossible to find any other work written in Korean (despite the most suppressive measures against the use of the Korean language) that also alludes to the adoption of Japanese names. In this respect, "One Night, Counting the Stars" has a unique value in the history of modem Korean literature.

According to John Crowe Ransom, "the poem is a loose logical structure with an irrelevant local texture." As is implied in the opposition between "structure" and "texture," Ransom′s is a dualistic, that is, non-organic, theory of poetry, in which the poem′s sound does not have any expressive function while its figurative language always goes beyond the realm of abstract meaning and celebrates the ontological density of the world. His theory relies heavily upon a series of oppositions-poetry and prose, art and science, concrete and universal, artistic and utilitarian, to name only a few-in order to uphold the humanistic value of poetry ("poetry as knowledge"). There is, however, a sense that his theoretical consistency derives from a determined refusal to see the blurry borderline between the oppositions. It is more or less easy to point out where Ransom′s theory falters, but more critical efforts should be made to probe into the personal and cultural significance of his persistent dualistic viewpoint. For Ransom the southerner, life demands the precarious balance between the oppositions as the very precondition for its existence and his dualism represents a way to understand man′s fallen state at the realistic level.

The purpose of this paper is twofold. On the one hand it takes issue with Engstrom's claim that conceptual metaphors are propositional; on the other, it aims to demonstrate that the mathematical term 'mapping' is inappropriate for the analysis of metaphors. To my mind, the propositional analysis of metaphors, a wrong analysis for that matter, originates in the notion 'mapping' I argue that partial 'mapping' between propositional meanings and metaphorical meanings is either mental or psychological, with no concomitant 'truth' value. When concept metaphors represent propositionality, they lose metaphoricity; when they obtain metaphoricity, they are free of propositionality. The mathematical terms 'mapping' and 'proposition,' it is stressed, should be avoided in the analysis of concept metaphors like 'A is B' because they are confusing when applied to linguistic expression. 1 suggest that the term 'mapping' be replaced by phrases such as 'interaction between two domains,' projection from source-domain to target domain,' or 'understanding the properties of two domains between A and B,' etc. This would amount to proposing a pragmatic or cognitive theory of metaphor.

춈스키의 언어 이론에 따르면, 인간은 무한한 수의 어법에 맞는 문장을 말하고 이해할 수 있다. 언어 창조성이라고 하는 이러한 능력은 이상화된 언어 능력을 전제한다. 사람들이 실제로 언어를 사용하여 의사 소통을 할 때는 단기 기억이나 주의 집중이라는 인지 능력의 한계로 인해 이러한 창조성에 많은 제약이 따른다. 하지만 언어의 창조성은 이러한 언어 실행 능력과는 관계없는 순수 언어 능력을 고려할 때 이해된다고 춈스키는 주장한다. 충분한 시간과 기억 능력이 보장된다면, 인간 언어능력이 제약될 이유가 없다. 언어 창조성은 마치 덧셈을 하는 인간의 능력과 비교된다. 국민학교 산수를 공부한 학생은 덧셈을 할 수 있다. 덧셈 능력이 인간의 마음에 자리를 잡으면 어떤 숫자를 놓고도 덧셈을 할 수 있다. 물론 실제로 엄청난 숫자를 덧셈하는 데는 문제가 많다. 하지만 충분한 시간과 연필과 종이가 있다면 원칙상 어떤 숫자를 놓고도 덧셈을 할 수 있다. 본 논문에서는 필자는 이러한 언어 능력이 필요 이상 이상화되었음을 중앙 삽입형 문장들을 고찰함으로써 지적하고자 한다. 중앙 삽입형 문장 (center embedded sentences) 또는 양파 문장 (onion sentences) 들은 이상화된 언어능력의 측면에서는 문법적일지 모르지만 실제로 사람들은 이 문장들을 거의 사용하고 있지 않으며 거의 이해하고 있지도 않는 문장들이다. 그 이유는, 춈스키에 의하면, 비언어적 인지 능력의 제약 때문이다. 기억력이나 주의 집중력이 모자라서 그런 문장을 잘 쓰지 않지만 그런 조건이 따라 주면 그런 문장들이 무엇을 뜻하는 지 다 알 수 있다는 것이다. 따라서 이 문법적인 문장을 사용하지 않는다는 것이 언어 창조성에 대한도전이 될 수 없다고 그는 주장한다. 필자는 이 문장들이 단순한 단기 기억이나 주의 집중의 문제가 아니라 실제로 인간 언어 능력의 제약을 보여 줄 수 있는 인지적 조건들을 보여 주고 있다고 생각한다. 따라서 인간의 언어 능력이 무한수의 문장을 구성하고 이해할 수 있다는 주장은 언어 능력의 인지적 제약을 고려하지 못한 주장이다.

This paper examines the history of Korean names, focusing on the structural characteristics and the literal meanings of those for kings and ordinary people. Roughly speaking, the Korean surname system traces its source to China. Historical records show that the Chinese were already using their family names around 1000 B.C. After a millennium or so, the Korean began to follow suit. Initially, however, surnames were in regular use among kings and their kin only: it was not until the late Shilla dynasty, around A.D. 800, that the commoners began to have Heir surnames. And yet, surnames still tended to be limited to men of noble birth, until around A.D. 1000. Though the Korean surname system may be said to have its origin in Chinese, there are no lack of native surnames that have as long a history, e.g., Hae, Bak, Sok, Sol, Ul, and Ol. Typical surnames of Chinese origin that are found during the late Shilla dynasty, around A.D. 900, include Jang (as in Jang Bogo) and Choi (as in Choi Chiwon). Unlike those of Chinese origin, typical Korean names during the age of Three Nations tended to allude to nature or natural phenomena, as can be witnessed in Bit 'light,' Balgum 'bright,' Nuri 'world,' and Soidori where soi means 'steel' and dol 'stone,' Other surnames abound that have to do with river, stream, field, prairie, and so on. King Muryong's original name was Sama, a variant of som 'island,' indicating where he was born. A person skilled in archery was called Jumong or Hwalbo. Baembo was so called because he 'crawls like a snake, baem,' In these last two examples, bo, as well as its variant bu, functions as a suffix, and is also found in Cochilbu, Isabu, Babo, Nolbu, Hungbu, etc. The tradition of using this kind of native Korean names has gradually disappeared, giving place to the names of Chinese style-although very recently we see an on-going movement toward using native names.

This article aims to define the nature of proverbs from a polyphonic point of view and examine different readings of the complement involved in the combination of a proverb with a verb of personal opinion. An utterer of a proverb is not himself the author of the proverb. He may well be a 'speaker' of a proverb, but from a polyphonic view point he is not an 'enunciator' of the principle that underlies it. When we say that a speaker of a proverb is not its enunciator, we do not simply mean that he is not the author of the 'content' of the proverb he speaks: we mean that he is not the author of its 'form' either. The fact that a proverb loses its proverbial character when one paraphrases it proves that its form is not at the speaker's disposal. But a single factor cannot be held responsible for what a proverb is. As an indicator of the 'wisdom of the nation,' or vox populi, a proverb is the achievement of the 'collective enunciator.' The polyphony inherent in the proverb pits a particular speaker against a collective enunciator. This collective character of the proverb as a vox populi comes from its character as a phrasal denomination. Given that a proverb reflects a collective judgment and not a personal opinion, how do we interpret the combination of a proverb with a verb of personal opinion such as I think that ...\ulcorner Such a combination gives rise to readings at distinct levels: two types of metalinguistic reading and a reading based on the content of the proverb. The first level of reading, being applicative in nature, can be local or general, depending on the speaker's opinion as to the applicability of the proverb to a situation, particular or general. These applicative readings always involve polyphonic dissociation between the speaker and the enunciator. The second level of reading, which depends on the content of the proverb, is the result of the operation of deproverbialization, which makes the proverb lose its denominative status to preserve only its status as a generic phrase. The proverb, thus deproverbialized, looks like the series 'NP + VP.' For this reading, the speaker of the proverb takes into consideration the possibility of attributing a predicate to a nominal syntagm. Here occurs an identity between the speaker and the enunciator. It is not the case, however, that one can deproverbialize just any proverbs. In approaching to a locally typifying generic phrase, a proverb admits of being deproverbialized by an opinion verb only when its form does not render it difficult, either syntactically or metaphorically, to incorporate that proverb into the relevant combination, and when the proverb intrinsically possesses the traits that meet the conditions for the use of the opinion verb at hand. One can also maintain, based on the notion of deproverbialization, that a proverb expresses a collective judgment, a deproverbialized individual judgment.

This paper attempts to demonstrate how the linguistic and mythological features of the shamanic language make it incantatory, or ′enchanting′. Passages used in shamanic rites manifest linguistic characteristics that point to their own norms and conventions, as well as some mythological features that contribute to the undecipherablity of the shamanic language. Focusing on the estranged linguistic and mythological features, I propose that shamanic languages can be best interpreted in terms of the linguistic hierarchization, a notion that has been developed since Roman Jakobson′s poetics. The present study adopts Eisele′s framework that reinterprets Jakobsonian hierarchization into a slightly revised notion on the basis of the "degree of combinatorial freedom" and the "degree of semantic immediacy", looking into a set of paradigm examples in search of some parallel structures characterizing the shamanic language. The enchanting effect of this peculiar form of language, it is argued, is due mostly to the frequent use of lexical parallelism, which works in the reverse direction of the normal process of interpretation.

My purpose in this paper is to construct what I call "the space of hope" for the individual′s unfettered interpretation of the world and examine its ethical and political potential. 1 discuss the network of context to define the nature and scope of the space and also suggest that the individual′s interpretation of the world should be deemed a form of ethical practice or commitment. 1 would like to add that the term context, which refers, among other things, to the organic and dynamic relationship between individual and community, is meant to be strategic: it presupposes productive malleability, even slipperiness, in order to destabilize the institutional or ideological hierarchy between center and margin and enhance the individual′s self-conscious negotiation with his or her own community. It is my contention that every act of interpretation is always under some kind of contextual pressure and that the individual is able, in turn, to define and construct the context. This interaction represents a way to guard against the inimical force of totalization in the realms of theory and practice and can be summed up, that is, tentatively and strategically, in the idea of positionality.