This paper reexamines ideas about linguistic relativity in the light of new interest in the theoretical climate. The original idea is based on the incommensurability of the semantic structures of different languages. On this view, language, thought, culture are deeply interconnected, so that each language might be associated with it a distinctive world view. Throughout this work I utilize the historico-epistemological standpoint to dissect the conceptual structure of this principle. In the introduction I will of for a justification of choice of the theme. Section 1 will address some essential definition of the linguistic principle and insist on the necessity to elaborate a typological spectrum of relativism and universalism. In the second section some important landmarks of linguistic relativity were marked from Plato to Humboldt via Condillac and Herder. 1 will subdivide the relativity hypothesis into 3 theses which are interlated. In the final section the epistemological structure of the linguistic principle will be analysed in some detail by providing my exposition of Sapir-Whorf hypothesis. By way of conclusion I will present the works of Wierzbicka who demonstrated the lexicons of different languages suggest different conceptual universes. By rejecting analytical tools derived from the English language she proposed instead a natural semantic metalanguage based on lexical universals, which is made up of universal semantic primitives. In this paper we attempted to construct a general problematics of linguistic relativity, focolizing on the Sapir-Whorf hypothesis. We devided this very problematic question into its ontological and epistemological dimensions. In particular the ambivalance of Whorf's relativity is discussed in some detail. Also, an archeological survey of this subtle question on the relation between language, thinking and culture was provided. (from Aristotle to Humboldt, via Condillac and Nitzche). In conclusion this investigation underlines the necessity of preparing the cultural linguistics to enlarge the scope of contempory linguistics.

This paper examines the concept of "tradition" for Indigenous Peoples as a construct of reality developed through the lens of Western scholarship and American Indian perspectives. The resulting notions of American Indian tradition constructed by a Western point of view, has been incorporated into the thinking of Western peoples as well as those of American Indians. Possible reasons for this include the lasting effects of colonialism and current mass media and the description of cultural "others" through the Western sciences of Anthropology and Musicology. A definition of what is valid or important in defining "traditional culture" for members of an Indigenous community may utilize significantly different measures than those of Western scholars. In order to illustrate this, the author uses two treatises focusing on the Indigenous American Indian cultures of communities in Eastern North America incorporating Indigenous points of view. One of these two books provides a focus on connections between language and culture and the other on ethnomusicology. From both of these perspectives, traditional identity is seen as continuing in the present day through persistent perceptions of reality, linked to community social performance. These perceptions and their accompanying indexes to tradition are still present despite the disappearance of or frequent changes in the surface forms of both language and manufactured cultural items. The emphasis on "legitimate" or "real" tradition is tied to performance within an ongoing cultural community rather than to Western constructions of what is real found in past descriptions of cultures. An alternative view of "valid" tradition and its relationship to Indigenous identity, needs to incorporate Indigenous perspectives rather than depend on constructions developed using non-Indigenous Western frameworks.

The historical facts usually remain in the linguistic records. The name of a place has been considered most useful among the records. The name of a place contains lots of information which help us analyzing and explaining the historical problems. The main purpose of this thesis is to account for the relation between language and history based on the data of the name of a place with the property just mentioned above. Firstly I will estimate the territory of the former period of Paek-Che (18B.C.~475A.D.) on the basis of the distribution of the old name of a place and show that the presumed shape of the territory could prove the fact that the unification of Shilla is 'the unification of two nations' but not 'the unification of three nations' Secondly the distribution of the old name of a place can bring light on the interrelation between Paek-Che language and Kara language and help us understand the relation of neighboring countries between two nations. Thirdly we can discuss the relation between the language of the former period of Paek-Che and of the old period of Japan: that is, how the language of Paek-Che came in the Japanese language. Also, the history of cultural domination between Paek-Che and Japan could be clarified if we can prove the linguistic similarity of two nations either to be genealogical relation or to be borrowing one.

This paper deals with a class of Middle English impersonal constructions that involve verbs of two-place argument structure. As is generally understood, the term 'impersonal' is notoriously murky, and after all those researches that have been performed in this area, quite a few issues still remain controversial. The issues we center around in the present study concern the following two. In the type of impersonal constructions we consider, the two arguments-Cause and Experiencer-are both expressed in oblique case, posing the problem of determining which of them functions as the grammatical subject. The issue, however. is not how an argument in oblique case can be taken as the subject: it is well blown that the so called 'dative subject Experiencer' already occurred in Old English. The real issue is why both of the arguments are syntactically realized as nonnominative. The other issue concerns the 3rd-person singular form of the verb. Here again, the crux of the problem may be blurred by the fact that impersonal construction is often defined as one in which the verb has 3rd-person singular form with no apparent nominative W controlling verb concord. But this definition is more nebulous than clear because the notion 'subjectless' is itself highly controversial. Thus, for an expression like me thinketh that-S, it may well be that the verb thinketh ('seems') is 3rd-person singular because the that-clause is the subject. What should be explained of the data brought up here is why the impersonal verb is 3rd-person singular when neither of the NPs associated with it is 3rd person or singular. I argue that we can account for our paradigm examples by looking upon them as 'mixed construction' in which semantic interpretation conflicts with syntactic parsing as a result of case syncretism and gradual establishment of SVO word order. This amounts to saying that the peculiarities of the construction originate with the confused use of impersonal verbs between the sense of 'give an impression' and that of 'receive and impression.'

Park Dujin has written the nature poems through his keen sense for light and the emotion of Sinmyeong(the excited and enthusiastic mind) from his early poetry to his later poetry. His poetic emotions, with the periods of his composition of poems, are expressed in the juxtaposition of the waiting for something or the existential agony with the devout faith. But he has pursued tile monistic nature through the emotion of light and Sinmeoung. Therefore all his poems are characterized as the nature poems which expose the artistic wholeness transcending the ideology and spirit of his times. Up to the present, Korean ecological poems have been absorbed in examining and criticizing the crisis for the environmental pollution and the destruction of ecosystem. Therefore Korean ecological poems could not get out of the dualistic ecological consciousness of the opposing environment confronting between man and nature. The ecological peculiarity in Park Dujin's nature poems is not the level of the man-oriented environment or bioecology but the monistic nature which man and nature are unified. This fact can be said to be caused by the approach to the objects on the basis of the sense for light and the emotion of Sinmyeong which perceive the transcendental nature.

Dong-Ri Kim's Shaphan's Cross, Do-Gi Paek's A Testimony about Judas Iscariot and Mun-Yeol Yi's Re Son of Man have a common point. In the three novels, Jesus Christ plays an important role. Shaphan's Cross researches the theme of Jesus's resurrection directly and minutely. Dong-Ri Kim shows the attitude of a sincere Philosopher in this work. A Testimony about Judas Iscariot avoids such a theme in treating Jesus Christ, but Do-Gi Paek is concerned only about the moral problem, showing the attitude of a sincere philosopher. Re Son of Man researches the theme of Jesus's resurrection directly and minutely like Shaphan's Cross, but Mun-Yeol Yi does not show the attitude of a sincere philosopher. He, instead, shows the property of a dilettante who enjoys an intellectual game. In short, these three novels play important roles in enlarging the territory of Korean literature.

This paper centers on the erstwhile novelist Kim Seung-ok with a focus not only on his watershed works of the 1960s, but also on his lesser-known works of the 1970s as well as on the circumstances and possible reasons for his decision to quit writing in the 1980s. His works from the 60s address certain basic human contradictions and are in this respect timeless, and these same works are also firmly grounded in their larger socio-cultural contexts of 1960s Korea. This article attempts to place the word firmly here sous rature. In new critical terms, the Kim's settings can not be understood as anything but Korea, in the then and now. This characteristic is shared, however, with highly ideological literature that at times seems to want to beat the reader over the head with the problems and author-sponsored solutions of then and now. In order to understand Kim's paradoxical position in Korean literary history, one must view his works from within the context of the debate between pure and engagement literature.

The purpose of this paper is to study on the aesthetic modernity of Baekseok's poetry. They say that Baekseok's poetry have the motives of the folk-customs and his native language which have been studied for the purpose of showing the subject character of Baekseok's poetry. Baekseok's poetry consisted of the dark imagery are based on the reality of our national loss and his lose living, so the approaching for the purpose of showing the subject character is more suitable for the understanding of the world of his poetry. But this paper Is approached by what the aesthetic modernity of Baekseok's poetry is, because the understanding of how the modem poetry are composed of is more important reading pattern on them. The special feature of his poetry is composed of the ironic poetics figured by the anti-subjectivity like the stylistic of the Imagism, the child narrator, and the pessimist narrator. His poetry written by the Imagism stand for the Apollo Modernism, and his poetry written by the child narrator and the pessimist narrator stand for the Dionysus Modernism. His poetry anti-subjected through the Imagism have been written with the motives of the home-nature and the native people, which have created the objective modernity. His poetry through the child narrator have been written with the motives of our folk-customs, and them through the pessimist narrator have been written with the paradoxical speech, which have created the subjective modernity. Especially, the Shamanism-poetry through the child narrator have created the aesthetik of the Schreckens. Others have created the ironic poetics through the anti-subjectivity and the exaggerated paradoxical rhetoric. In conclusion, it is more reasonable point of view that the special feature of Baekseok's poetry is based on the dual modernism like the Apollo and the Dionysus.

The paper develops the arguments as to how one should perceive modem theater and how one should categories it, not to mention how one may identify the traits of modern theater. The Contemporary Theater has changed in a way that it is no longer possible to define the genre relying on conventional definitions that we associated with it in the past. The paper in this regard proposes a perspective which by addressing the evolutions that one has seen in the theories of reception and other relevant literary fields may define the very nature of the theater as we Cow it today. The paper is largely based on the aesthetics of reception and the objectivity theory which is based on the decontextualisation, recontextualisation and contextextualisation method that is being more and more commonly used in the field of literary academics of today. The relevancy of this paper rests with the hypothesis that it is by and through using various theories of reception that it is the only true solution as to defining and identifying the characteristics of modem theater.

In the history of cinema, Sergei Eisenstein is always considered as a pioneer to conceive of cinema primarily as a form of expressing thought rather than as a representation of reality. For him, montage is the indispensable method to construct an open totality of thought and image in movement. It functions as a basic thread running through two poles of filmic composition, that is, the organic and the pathetic. The organic is concerned with the composition of the film structure as a whole, while the pathetic is involved in an ongoing process of registering a leaping point in various filmic sequences. The ultimate goal of montage for Eisenstein is to create the cinema of ideas which can synthesize both emotional and intellectual elements in the filmic composition. In his system of intellectual cinema, the identity of image and thought externalizes the sensory-motor unity of nature and man along the ascending spiral of centrifugal force of the film. Indeed, in both theory and practice, Eisenstein firmly argues that nature not only provides basic laws for the organic composition of the film, but also expresses itself in the form of the whole which brings out the experience of totality in the film text, the audience, and surely Eisenstein himself.

Either in music or in language, sound plays its role by taking up the fixed multi-spaces in one's consciousness. Music space differs from auditory space whose aim Is to perceive the positions and identities of the outer things. While auditory space is based on the interests of the outer things, music space is based on the indifference. We discuss the notion of space because it is where symbols reside. Categorial perception about the phonemic restoration describes the ability of a listener how to use his own intelligence to acknowledge and fill the missing points; however, musical perception can be explained as a positive regression to avoid colloquial logic and danger of segmentation in the course of auditory experience and phonation acquisition by an infant. About the question on the difference of the listening to the language sound and other sound, auditory mechanism proceeds language sound the same as other types of sound. But there are another theories which claim that brain proceeds the farmer differently from the latter. The function of music has not been discovered as clear as that of language; music has much more meanings in comparison with language.

The main purpose of this paper is to show how Jespersen analyzed the date of English compound related with reduplication. Especially dealing with the compound words he classified the examples related with reduplication as a separate part and attempted to account for the patters based on the structure of the first syllable constituting the initial part of the second element in a compound word. 1 tried to explain the peculiar shape of the reduplicational pattern in English based on the Optimality Theory, especially the method of 'melodic overwriting' of McCarthy(1997). According to the analysis the initial part of the second element of a compound has to be stipulated before reduplication occurs. When the reduplicant has to be decided at the first syllable of the second element, the form which is stipulated to take the position comes to appear at the post instead of repeating the morphemic shape of the first syllable at the first element of the word.