The new biography of Jin Yunqiao published in the 19th year of Si De of Vietnam (1866) is the earliest version of “The New Jin Yun Qiao Biography” discovered at present. The text of “The New Jin Yun Qiao Biography” is divided into two columns, the upper column is a six-character poem, and the lower column is an eight-character poem, with a total of 2390 sentences and 16724 muttering words. The relationship between Nom characters in the book and Vietnamese recorded is complex. Through investigation, there are three situations: one word with many words, one word with many words and one word with one word. There are many words in a word, which can be subdivided into homophones, near sounds and different meanings, and near sounds and near meanings according to the sound and meaning relationship between words. According to the relationship between characters and their use functions, the word multi-character can be subdivided into “native use-native use”, “native use-borrowing” and “borrowing use-borrowing”. Word by word, according to the different use attributes, can be divided into two categories: “original use” and “borrowing”. The reason for the complex relationship between words and characters is related to the low standardization of Nom and Vietnamese. A Nom has many written variants, and a Vietnamese vocabulary has many phonetic expressions.

인터넷 시대를 맞아 온라인 콘텐츠 플랫폼은 텔레비전 미디어 시대의 송년 매체 의식을 변화시켰고, 기수 매체의 변화 중의 의식 활동을 분석 하여 새로운 환경을 제공하였다.　따라서 본 연구에서는 온라인 콘텐츠 플랫폼에서 개최하는 송년회를 분석 대상으로 선정하여 온라인 커뮤니티 의 의식 활동을 연구하였다. 이론적인 측면으로 본 연구는 매체 의식의 이론적 관점에서 참여형 문화 이론과 결합하여 커뮤니티의 매체 의식 실 천을 분석하고, 참여형 매체 의식을 사용하여 온라인 콘텐츠 플랫폼에서 커뮤니티의 역할에 응한다. 본 연구는 콘텐츠의 협력 공동창작 및 커뮤 니티 사용자 참여 등 두 가지 관점에서 온라인 커뮤니티의 송년 행사와 다른 미디어 플랫폼이 창출하고 주도하는 송년 행사의 차이점을 분석한 다. 본 연구의 핵심 목적은 온라인 콘텐츠 플랫폼의 송년 활동의 혁신을 분석하고, 온라인 커뮤니티가 매체 의식 활동을 만들고 기획하는 방법을 더 잘 이해하고, 대중문화와 커뮤니티 사용자가 콘텐츠 공동창출을 통해 커뮤니티의 단결을 만들고 커뮤니티의 응집 효과를 강화하며 상호 작용 에 참여하여 의식 상호 작용을 촉진할 수 있는 아이디어를 제공하는 것 이다.　본 연구에서는 콘텐츠 창작 과정에서 온라인 콘텐츠 플랫폼에서 커뮤니티 네트워크의 주도적 위치를 지적했다. 따라서 콘텐츠 서사 단계 에서는 시청자에게 주의를 기울이고 매체 전반에 걸쳐 참여감을 부여하 고 플랫폼은 미디어 의식의 장이자 중개자가 된다.

1924년 발표된 루쉰의 소설 ｢축복(祝福)｣에는 유교와 민간신앙이라는 두 가지 전 통적 가치체계가 등장한다. 그리고 현대지식인을 대표하는 ‘나’는 이 두 전통적 가치 에 대해 관찰자적 입장에서 비판적인 시선으로 서술한다. 그러나 유교와 민간신앙 모두로부터 배제되어 절망한 샹린댁이 ‘나’에게 영혼과 지옥의 존재에 대해 묻는 순 간부터 ‘나’는 ｢축복｣의 관찰자가 아니라 주인공이다. 샹린댁의 질문은 도와달라는 신호와 마찬가지였지만 ‘나’는 철저하게 외면한다. 뿐만 아니라 영혼의 존재에 대해 확실히 말하지 않으면서도 자신은 ‘축복’ 제의 속에서 천지신명의 존재를 느끼며 위 안을 얻는다. ‘나’는 샹린댁의 도움 요청을 외면함으로써 샹린댁의 비극에 책임이 있 는 가해자 중 한 사람이 된다.

The purpose of this study is to analyze the characteristics of political discourse between South and North Korea in a 2019 New Year Message. To this end, 13we analyzed the text structure of the New Year Message and looked at strategies to persuade the audience in each stage of construction. The text structure of the New Year message is basically a form of persuasive text. However, the persuasion strategies shown in the two texts have commonalities and differences at the same. Both texts commonly take an emotional approach in the introductory and closing sections, but persuade the audience in a rational approach in the main section. However, as there are differences in the way of defining the speaker's position, there are differences in overall tone, paragraph composition, and vocabulary usage. In President Moon’s New Year Message, he defines the president as a supporter of the people, and accordingly maintains the tone of treating people with high honors. In addition, it was an easy-to-understand expression that aimed to win people's hearts through simple but sometimes firm sentences. In contrast, Kim's New Year Message reflects the vertical hierarchy of North Korean society, and the speaker maintains an authoritative tone by defining himself as the highest leader that the people believe and follow. This attitude contributes internally to concretely dictate the tasks to be undertaken by the people and externally to the declaration of the will and position of North Korea.

The Committee has, for the 9th consecutive year, compiled statistics of embryos collected and transferred worldwide. Geographically, all regions have participated in the survey; however, there are still some places where it has been impossible to retrieve such data (particularly in Asia). The statistics, therefore, are partially underestimated. By contrast, in other areas, the system has proven to be more efficient than before, particularly in North and South America. This has resulted in the present report, which gives a somewhat more satisfactory picture of the current situation of the ET industry. For the second year, it has also been possible to collect data for several species other than cattle. In cattle, the number of in vivo-derived embryos collected and transferred has once again increased with more than half a million embryos trans-ferred in 1999(520,712), a new record. The number of bovine in vitro-produced embryos has remained stable this year as compared with the previous year(approximately 30,000 embryos transferred). However, there are still teams that have not Yet reported their data. More than 10,000 embryos in each of the ovine and caprine species and close to 2,000 cervid embryos were reported transferred in 1999. Some 500 embryos of the equine species and a few thousand in the porcine and rabbit species have also been transferred in 1999. It is concluded that the ET industry continues to be very active, and, in many species, it encompasses a larger segment of the livestock population overall, which is to the farmer s benefit.

Suzhou Taohuawu Year Painting is one of the four major Year Paintings in China, which is a symbol of Jiangnan urban Year Painting. During the past years, it experienced fire in Taiping Heavenly Kingdom, Cultural Revolution and the impact when offset printing replaced traditional woodcut Year Painting, covered all over with scars. Trying to start from the history of Year Painting, this article analyzes the difficulties in inheritance and innovation of Taohuawu, interprets the evolution of Taohuawu Year Painting from style, theme, skills, etc. Taohuawu Year Painting is a development hi-story of Year Painting, also a reflection of cultural development in Suzhou.