This paper intends to consider 'non-representative images' in Kim Jong-sam's poems based on 'sense' and 'time'. His poems refuse to represent at the level of reality and are mainly focused on searching for potential levels. In 'Flow of Repetitive Sensation and Trauma Experience', we looked at the process of encountering objects with symbols through trauma that functions as a medium between macro and micro perceptions. This is a way of expression that allows us to experience trauma that cannot be defined in language through repetitive sense of micro perception. 'Coexistence of various levels and the narrative of lies' explored the potential of time. 'Time' in Kim Jong-sam's poems leads to narrative through 'false power' by deconstructing the past-present, 'fantasy-reality' and 'false-fact' layers. The false narrative that dismantles life and death can be seen as a potential generating process that raises the capacity of life or death to the maximum.

In this paper, I contrasted the American film 12 Angry Men, which shows the essence of a court play, using the spatial constraint properties of a Grand hotel style film that tracks the psychological trends and motive of characters in a limited space and the Japanese film 12 Sweet Japanese which parodies it. Through this, it is confirmed 12 Sweet Japanese is different from the Chinese film 12 Citizens, which is simply a remake of the stage in China and the Russian film 12 People's Jury, whose original characteristics are diluted with excessive political colors and sociality. While adhering to the original essence of the Grand hotel style, it was examined that the original work was creatively reconstructed.
Like the original 12 Angry Men, which specifically visualizes the psychological trends of characters sharing jury room, the same spatial background by commanding of various camera-work, 12 Sweet Japanese adheres to the formal characteristics of the Grand hotel style film by capturing the psychological curves of various characters amid tension and conflict in closed space. However, following the replacement of the title (Angry), which symbolizes the extraversion of the Americans, with the title (Sweet), which symbolizes the introverted temperament of Japanese, the heavy theme of the original work, which pinpoints the problem of universal human consciousness, which is swept away by irrational agitation is microscopically expressed as a daily issue of Japanese called “interhumanism”. Through this, while maintaining the form of the original work, it is proceeding to a parody of substituting a heterogeneous theme or content. Accordingly, it seems that No. 2, who alone pleads guilty and confronted the remaining 11 people, mimics the original protagonist No. 8. In fact, however, his role is reversed as an antagonist, resulting in a satirical transformation of the character whose status is exchanged between the guiltist and the innocent. Thus, it ultimately triggers a transformation of the plot by replacing the grim court play in which a fierce legal battle is unfolded over the truth of the murder case with a chat play with a light atmosphere that reveals the daily thoughts and lifestyles of Japanese.
Through this, it was confirmed that 12 Sweet Japanese is enhancing new artistic value by adhering to the formal characteristics of the original 12 Angry Men as a grand hotel-style film, but also by making satirical variations on themes and other elements.

This study examines the Eumdok Gugyeol, the phonetical Gugyeol reading, in 『Neungeomgyeong Vol 8·9』Eumdok Gugyeol Data, which have not yet been disclosed among the Buddist scriptures published during the Goryeo dynasty. This data consists of two volumes and one book, with only 8 and 9 volumes remaining. The study looks at the chracteristics of Eumdok Gugyeol in the edition of 'Girimsa Temple' published in the Goryeo Dynasty through a comparative analysis with the edition of 'Nam Kwon-hee(A)'.
A brief summary of what has been discussed above is as follows.
First, considering the form and bibliographic aspects of this book, it is estimated that the pubication date is from the 12th to 13th century.
Second, there are 55 total types of Gugyeol recorded in this data. Among these, there are a total of 53 Gugyeol types written in Volume 8, and a total of 38 Gugyeol types written in Volume 9.
Third, there are 275 combined types of Gugyeol recorded in this data. Among them, there are 212 types of combination in Volume 8 and 161 types in Volume 9.
Fourth, by comparing and analyzing 『Neungeomgyung』, the different edition of Eumdok Gugyeol and 『Neungeomgyung Eonhae』, the Korean translation of Eumdok Gugyeol from the end of the Goryeo dynasty to the early Joseon dynasty, the usage was examined focused on the types of combination such as '-□-', '-□-', '□(□)□□[딧ᄒᆞ-]', '-□□[-ㅅ다]', '□□[ᄒᆞ사]', '□[셔]', '□□□□□[ᄒᆞ여드샤가]' and so on, which are considered to be a characteristic of 'the edition of Girimsa Temple'.

The Legendary of the Waking Marriage depicts a strange and bizarre picture of life in all its forms. The author's creation of the novel has attracted a lot of "dream" imagery, which not only plays an important role in the construction of the entire book, but also brings a psychedelic and bizarre artistic colour to the novel as a whole. The author attempts to warn the world through dreams by means of ghosts and spirits and to persuade people to practise goodness and virtue; he uses religious theories of good and evil to educate people and to awaken them to life, hoping that the power of illusory dreams will turn the tide and safeguard the decaying traditional patriarchal order. However, due to the constraints of the social environment, the system and the author's narrow world view, the blueprint of the Peach Blossom Garden he depicts can only be realised in his novel, and the social ideal of 'waking up' can only be a fantasy dream that cannot be realised in the end.

The xiehouyu is an allegorical saying consisting of two parts or phrases, the first of which is descriptive - a sort of riddle, while the second part reveals the underlying meaning or explains the first part - the solution to the riddle. Often only the first part is said, or after the first part is said there is a long pause allowing those listening to chew over the possible meaning. After this pause for thought, the second part is then said... Xiehouyu are characteristically lively and often very humourous and full of flavour.
The enigmatic fold similes with “animal-noun” as subjects showed themost frequency of occurrence. Others with “ 'lao'+ animal-noun” as subjects showed the second frequency of occurrence. The least occurrence was the enigmatic fold similes with “animal-noun+measure word” or “quantity-word + animal-noun”.
This study can be helpful to deepen and enrich the the Chinese linguistic theories about enigmatic fold similes and provide further materials to Chinese language education or the teaching of Chinese as a foreign language, especially to the compilation of lexicographical work.

King Taejong of the Tang Dynasty said to abolish King Seondeok of Silla. because King Seondeok was a woman. This is an official statement to the envoy of Silla. The envoys would have come to Silla and delivered the words of King Taejong of Tang. In the Samguksagi(三國史記), there is no discussion related to the words of King Taejong. However, in the records of the nine-story pagoda at Hwangnyongsa Temple in the Samgukyousa(三國遺事), it was said that if the nine-story pagoda was built at Hwangnyongsa Temple, Guhan(九韓) would come and pay tribute. In this way, if the king of Silla receives tribute from Guhan, it must be sacred.
This sacredness of King Seondeok can be seen by the words of the the Bodhisattva of wisdom. Bodhisattva of wisdom said: The king of Silla is the royal family of India. The king of Silla was different from the barbarians in the east because of the Buddha's record. Bodhisattva of wisdom said that the king of Silla was sacred.
In the end, King Taejong of the Tang Dynasty said there was a problem because King of Silla was a woman. This logic of King Taejong of the Tang Dynasty is refuted by the words of the Bodhisattva of wisdom.
However, the phrase of the Hwangnyongsa Pagoda in Samgukyousa(三國遺事) is the same as the Guhan(九韓) cited in Dongdoseungribgi(東都成立記). The Guhan(九韓) cited in Dongdoseungribgi(東都成立記) are Japan, Zhonghua(中華), Owel(吳越) and others. Here, attention is paid to Zhonghua (中華) and Owel(吳越). Zhonghua refers to the Tang Dynasty of the reign of King Seondeok of Silla, and Owel refers to South China, which the Tang has as a territory.
A spiritual person told Jajang(慈藏) that if Silla built a nine-story pagoda in Hwangryongsa Temple, Goohan would come and pay tribute. At the suggestion of Jajang, King Seondeok built a nine-story pagoda at Hwangnyongsa Temple. This was the will to receive tribute from the Tang, which is expressed in Junghoa(中華) and Oweal(吳越). The fact that Junghoa (中華) and Oweal(吳越) will pay tribute shows the independence of Silla. There is an event that caused this record to appear. It was the logic of Tang Taejong that a woman could not be a king.

The purpose of this paper is to compare, analyze, and synthesize the elements of critical thinking disposition. Critical thinking researchers presented various elements of critical thinking disposition. It is necessary to synthesize this elements.
To this end, the study was divided into two step. First step, I investigated the elements of thinking disposition suggested by Richard Paul, Robert Ennis, Kim Kwang-soo and others.
Second step, based on the Paul's elements, I compared and analyzed the elements of thinking disposition. Through this process, I was able to synthesize the seven elements : 'Openness, Objectivity, Fairness, Sincerity, Practicality, Exploration, and Skepticism'.
Through this study, I was able to narrow the gap between the elements of critical thinking disposition suggested by various researchers. And I think this study will contribute to education for critical thinking disposition.

Project class can be defined as learning through the performance of a project that is centered on learners and proceeds with cooperative work to solve actual problems or tasks.
This study analyzed the operational cases by applying 'Project-based Learning (PBL)' to 'Understanding Northeast Asia Cooperation'. The subjects of 'Understanding Northeast Asian Cooperation' are 47 students. They are distributed from the first grade to the fourth grade. The team members were asked to join the band, and each team was discussed and the project was carried out through the band.
Each team selected its own representatives. When the professors presented various projects on Northeast Asian cooperation, they selected the project through their own meetings, designed the project, and prepared the performance plan. Then, each team surveyed the Internet and various materials to carry out the project. And each team made it announcement in various ways such as PPT, video, picture, photo, etc, and conducted self evaluation, peer evaluation, and teacher evaluation.
Finally, the survey was conducted to investigate the students' satisfaction. The survey shows that project instruction has more educational effects than traditional teaching methods.