Academic literature on the topic 'Korean mythology'

Gon and Woo are mythological persons who were born in China and who performed all their tasks there. That is why they are present in Korean myths from time to time, for instance in the myth about Dangun or the kingdom Goguryeo, and finally they achieve universality and credibility. On the other hand the holy mother Seondo was the daughter of the Chinese emperor who acquired supernatural powers and went to Korea where she stayed. Consequently Koreans did not know much about what she did in China. As a result she became accepted by Koreans as the common goddess of mountains called differently in different regions. From the point of view of the Korean nation Ju Wonjang and Seol Ingwi are heroes from China but at the same time despite being persons of low birth as commonalty they managed to become heroes. It is an extremely important aspect for Koreans. Although they actually attacked Goguryeo and forced Korea to obey China, for the Korean commonalty such historical experiences could be of different significance. As far as myths about Chinese heroes are concerned, the Korean commonalty seemed to be interested first and foremost in their skills and strength, which were so great that there was no authority in Korea powerful enough to withstand it. In my opinion for the Korean commonalty the concept of nation was something in the form of an imaginary community, which should arise at any moment by chance and should unify people strongly. The Korean commonality expressed in legends and folktales its strong will to identify themselves with people beyond national divisions in order to save themselves from their hard everyday life. Folktales usually do not present any issue fully. They only present a specific situation or a particular day or something typical of China, etc. By treating Chinese heroes as if they were their own, the Korean commonalty took advantage of them in some sense. I think it was their strategy enabling them to fulfil their dreams by living the life of others.

The traditional culture of the Korean people is not considerably studied in Ukrainian historiography, compared to Chinese or Japanese mythologies. While Korean traditional culture has much in common with the nations of the East Asia region, it also has many unique socio-cultural phenomena that are very perspective for research. The mythology of the Korean people has come down to our time thanks to traditional Korean shamanism, which was greatly influenced by Buddhism and Taoism. This unical confluence of religious systems deserves attention from researchers. Korean mythology does not have a strict hierarchy of gods, as is the case in Western mythologies. Despite this, it is full of original plots and characters, which can have many different versions. Cosmogonic legends in Korean mythology are represented in many variations of sacred shamanic stories, recorded from the mouths of Korean shamans Mu. After the partition of the Korean Peninsula in 1945, ethnographic science suffered greatly. While traditional Korean shamanism still exists legally in South Korea, it is outlawed in the North, and many shamans – important carriers of ethnographic material – have been subjected to political repression. Most of the stories studied in this article were written before the partition of Korea in the 1920–1930s. Some of the stories were also recorded in South Korea in the 1970–1980s. The article analyzes in detail the cosmogony narratives in Korean sacred shamanic stories; classifies, explores and compares various legends about the creation of the universe and highlights the main features of traditional Korean cosmogony. Also, the article reveals the chronological and geographical boundaries of ethnographic research in Korea, during which stories were recorded that contain traditional cosmogonic plots.

PurposeThe purpose of this study is to identify and explore what leadership characteristics constitute humanistic leadership in the South Korean context. Moreover, this study examines how these leadership characteristics are connected to Korean culture.Design/methodology/approachBased on the information gathered from semi-structured interviews and other sources, including books, case study articles and news articles, this study captures a more comprehensive perspective of Mr. Kook-Hyun Moon, the former CEO of Yuhan–Kimberly.FindingsThe key characteristics of Mr. Moon's humanistic leadership that are identified in this study are: respect for all mankind, benevolence (seeking the greater good), sincerity (building trusting relationships with stakeholders) and continuous learning and innovation (developing self and others). These key characteristics set Mr. Moon apart from other leaders and are connected to the fundamental values and philosophies of Korean culture.Originality/valueThis study contributes to the current leadership literature by identifying and exploring Mr. Moon's humanistic leadership characteristics that enable him to gain respect and contribute to communities and society in the South Korean context. This study also finds that the humanistic leadership characteristics of Mr. Moon reflect three major attributes of Korean culture: the ideology of the Dangun mythology, the principle of Neo-Confucianism in Korea and jeong – an indigenous cultural concept in Korea (these attributes will be discussed in detail in the South Korean values and philosophies section). Such reflection suggests that investigating how humanistic leadership characteristics are connected to local cultural roots is important to enhance the understanding of humanistic leadership.

The purpose of this paper is to present the story of Heo Hwang-ok, a character in the Gaya Founding Mythology, recorded in the History of the Three Kingdoms, to the Korean Second language education for marriage immigrants. To this end, we first examine the current status of old stories covered in Korean textbooks for marriage immigrants and present features that can be used through Heo Hwang-ok's story in Korean Second language education for marriage immigrants. In Korean language education, old stories have been used as a way to learn Korean values and lifestyles or to compare them with old stories in the learner's motherland. Accordingly, this paper presents the story of Heo Hwang-ok, a character in the Gaya founding myth of the Three Kingdoms recorded in the History of the Three Kingdoms, as a material for Korean Second language education for marriage immigrants. There are a total of three materials presented in this paper: narrative cultural elements, character cultural elements, and usable content materials. The narrative cultural element is about the cultural element that existed in ancient Korea and is about the faith of ancient Korea. The character culture elements are about the characteristics of Heo Hwang-ok and King Suro, the main characters, and are about cultural phenomena dealt with in modern Korea through their characteristics. Content materials are content projects conducted by Gimhae-si and Internet materials that can be used for learning. Based on the data presented later, the educational plan is presented in a general manner.

Тhe purpose of this article is to analyze the degree of archaeological and scientific knowledge on the territory of the Republic of Korea of the site and culture of Sanxingdui, discovered in 1986 in the Sichuan province of the People’s Republic of China. The Sanxingdui site entered world historiography due to the finds of magnificent bronze objects – such as face masks, human statues and “sacred trees”. The sources of the work were 28 printed works published in the Republic of Korea, the authors or translators of which were South Korean specialists. As a result of the analysis of South Korean publications that used materials from the Sanxingdui site or culture, the following conclusions can be drawn. The site and culture of Sanxingdui did not go without deserved attention in South Korean historiography. The main types of publication of Sanxingdui materials are chapters in general works on the history and culture of ancient China, as well as articles on Chinese and East Asian mythology and linguistics. A whole series of research projects under the leadership of Professors Kim Hyunja and Kim Seonja is devoted to the reflection of mythological images in the Sanxingdui culture. Also in the Republic of Korea, two Masters thesis were defended in which materials from the Sanxingdui site were used to solve applied problems. The site and culture of Sanxingdui have left a clear mark on South Korean historiography, though not always original.

Myths can provide a cross-section of human views in ancient societies. This study compared Zeus in Greek mythology and Hwanung in Korean mythology. This study also analyzed Lore Olympus and Baro-Jamneun-Sunaebo to derive their views of human beings. As a result, this study derived the following findings: First, it is confirmed that the Zeus and Hwanung who appear in the webtoons are similar to their prototypes. However, the Zeus and Hwanung in webtoons live and dress in the context of the modern era. Second, there was a difference between the two cultures in how humans are viewed in the two myths and webtoons. Lore Olympus shows that humans, as seen through Zeus, are imperfect beings with divine origins and nature and the relationship between humans and gods is vertical. In addition, human beings worship heroes who must endure hardships while constantly learning in a person-centered way. This study also reveals that in Baro-Jamneun-Sunaebo, based on Korean mythology, human beings examined through Hwanung prioritize community, value moral life, and grow through training and overcoming hardships because they are beings who can become gods themselves. This study presents the human view of the two cultures through the analysis of webtoon characters, which is expected to contribute academically and practically to understanding different cultures.

In Greek mythology, the human world and the afterlife are strictly separated. On the other hand, in Korean mythology, gods appear between this world and the afterlife. Representative entities include Bari from 〈Princess Bari〉 and Ganglim from 〈Chasabonpuri〉. Previous studies mainly looked at the mythological meanings and perspectives on the underworld/death shown in these people’s underworld adventures and travels. On the other hand, this study attempted to examine the view of death in Korean mythology through the occurrence of various death incidents in mythological texts and the relationship between death incidents, that is, the intersection of human death and divine death that seeks to resolve it. Human death in the mythical world is God’s punishment for humans and a gateway to growth. On the other hand, divine death is a way to examine the cause of human death and solve death as a problem, and is an opportunity for ontological change to become a god. Specifically, the shamanic myths 〈Chasabonpuri〉 and 〈Princess Bari〉 give the concept of ‘justice’ to the continuity of life and death or the principle by which the events of life and death are composed. During human life, one must act righteously based on the standards of right and wrong, and if one is greedy, he or she will be punished by death. In this process, we can see that life and death are causal and cyclical, and are linked to concerns about how humans should live. The aspects of death that appear in the shamanic myths 〈Princess Bari〉 and 〈Chasabonpuri〉, such as violent death, punitive death, and instrumental death, are a world of shamanic mythology that unravels the origin of justice through the occurrence of various death incidents and their relationships. It tells you that you are paying.

In order to create an orderly state, the first imperial chronicles emerged in the early 8th century in the territory of modern Japan through the integration and systematization of mythical elements that proved the legitimacy of the government and the descent of the imperial Yamato lineage from the supreme deity of the Shinto pantheon - the Great Sun Goddess Amaterasu. This mythic paradigm was created on the existing mytho-historical foundations fostered by cultural and political contacts with the Korean kingdoms and the Chinese empire. There is evidence that the cult of the solar deity, originally portrayed as a male principle, originated in a corpus outside the Yamato mythological system. And since male-female pairs of rulers were common (first it was the gods, later the ruler and the shamaness), it is possible that at some point the distinction between the sexes was blurred and then the female side prevailed. However, the female ancestral deity does not indicate a period of matriarchy. This symbolic type of goddess, who initiates a patrimonial lineage with rare female exceptions, was created by members of a privileged group of powerful men to legitimize their own power structures. Moreover, the cult of the mother goddess is not limited to the solar principle, but is associated with weaving, silk production, and agriculture. Thus, the simple assertion that the Yamato imperial lineage descended from the goddess Amaterasu raises numerous questions and doubts, which this essay attempts to answer.

The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.

Notre questionnement porte sur l’imaginaire coréen, et plus largement sur l’apport de l’anthropologie culturelle éclairant l’imaginaire sociétal et culturel coréen. Notre méthodologie est bâtie sur les écoles philosophiques et mythologiques françaises du XXe siècle pour la raison qu’elles sont le mieux à même de nourrir notre réflexion et de révéler sous un jour inédit et complémentaire les travaux sur ces questions déjà effectués en Corée. Nous pouvons ainsi démontrer que les symboles coréens ont une portée universelle. Notre corpus réunit des œuvres littéraires coréennes desquelles sont tirées des images archétypales. L’analyse en est faite à partir des conceptions de G. Bachelard (1884-1962) sur l’image symbolique et sur l’anthropologie de l’imaginaire de G. Durand (1921-2012). Tout en décrivant la rationalité scientifique, Bachelard valorise l’image mentale en la considérant comme une force créative et pas seulement comme un obstacle épistémologique. Il évoque plusieurs « complexes » dans son œuvre sur l’imaginaire poétique dans une conception proche de celle de C. G. Jung pour qui le complexe ne se ramène pas à un blocage psychique mais inclut la créativité. Le complexe bachelardien ne se sépare ainsi pas de la pensée freudienne du pansexualisme. Quant à Durand, dans Les Structures anthropologiques de l’imaginaire (1960), il élabore une grammaire de l’imaginaire en proposant une trentaine de complexes qui viennent enrichir ceux établis par Bachelard, O. Rank (1884-1939), M. Bonaparte (1882-1962) ou C. Baudouin (1893-1963). Pour Durand, la notion de complexe s’apparente à celle du mythème, comme étant la plus petite unité du discours et est mythiquement significative en révélant un symptôme psychique de l’inconscient collectif. Durand développe sa Mythodologie dans sa deuxième période avec les deux concepts de mythocritique et de mythanalyse. La mythocritique est une méthode de critique littéraire et la mythanalyse une méthode d’analyse socio-culturelle de l’imaginaire. Notre exploration de l’image littéraire de l’Antiquité au début du XXe siècle intègre ainsi les mythes, les contes populaires, les légendes et les chansons folkloriques afin de cerner l’identité culturelle du peuple coréen et montrer son caractère d’universalité. Les deux axes qui caractérisent la mythologie coréenne sont le mythe de fondation de l’État et le mythe chamanique. Pour le premier, la grande œuvre du Samguk yusa (1283) est indispensable car elle relate deux mythes de fondation notamment, le mythe de fondation de l’État du royaume de Kojosŏn et celui de Koguryŏ. Ces deux mythes sont référents à cause de leurs figures archétypales qui se déclinent par le mythème de l’ours et celui de l’œuf et les personnages féminins divins d’Ungnyŏ et d’Yu-hwa qui sont en relation avec ces mythèmes. Nous observons leurs redondances dans les époques ultérieures, notamment dans les récits sur les souffrances endurées par les femmes. L’histoire de Changhwa et de Hongnyŏn sont exemplaires car elles induisent un fait social marquant la dynastie Chosŏn et qui typifie ainsi la société coréenne en faisant de la figure féminine un bouc-émissaire du pouvoir masculin pris dans le système du patriarcat confucéen. Ce motif apparaît dans le récit de la « princesse Pari » qui est un chant chamanique et dans le récit de « Sim Ch’ŏng » qui est l’expression d'un rite chamanique, ou p’ansori, ou roman. Parmi les chansons folkloriques, la plus célèbre est l’Arirang ou sijipsarinorae qui reprend également le même schéma du dépassement des souffrances moyennant un sentiment particulier et proprement coréen, le han (恨). Le Han a la particularité d’être dynamique et contradictoire en étant fondé sur une dialectique subtile qui introduit une force vitale contre la dépression ou l’anxiété. Le Han a une fonction de régulation de la société en tant que figure de l’imagination symbolique et qui apparaît comme universelle
The purpose of our investigation is the Korean imaginary, and more broadly the contribution of cultural anthropology illuminating social imaginary and Korean culture. Our methodology integrates the contribution of French philosophical and mythological studies of the 20th century, because they are the best ones to nourish our reflection and show in a new and complementary way the work already done in Korea. We can therefore show that Korean symbols are universal in scope. Our study material incorporates Korean literary work which comes from archetypical images. To analyze them, we will rely on the conceptions of symbolic imaginary thinking from G. Bachelard on symbolic images and on the anthropological of the imaginary elaborated by G. Durand. All the while describing scientific rationality, Bachelard valued the mental image, considering it as a creative force and not only as an epistemological obstacle. He evoked several “complexes” in his work on poetic imaginary in a conception close to that of C.G. Jung for whom the notion of complex does not amount to a psychic block but includes creativity. The Bachelardian idea of complex therefore does not demarcate from Freudian thinking on pansexuality. According to Durand, in The Anthropological Structures of the Imaginary (1960), the author elaborated a grammar of the imaginary by proposing thirty complexes that came to enrich those established by Bachelard, O. Rank, M. Bonaparte and C. Baudouin. For Durand, the notion of complex is similar to that of the mytheme, as the smallest unit of discourse mythically significant, that reveals a psychic symptom of the collective unconscious. Durand develops his methodology in his second period with two concepts: mythocriticism and mythanalysis. Mythocriticism is a method of literary criticism, or rather a method of literary studies, and mythanalysis is a method of socio-cultural analysis of the imaginary, the two complementing the other. Our exploration of the literary image from Antiquity to the start of the 20th century integrates myths, popular tales and legends, allowing us to determine the cultural identity of the Korean people and show its universality. The two axes that characterize Korean mythology are the foundation of the state and the shamanic myth (the narrative song of the shaman). For the first axis, the great work of Samguk Yusa (1283) remains essential as it relates two foundational myths, notably the myth of the foundation of the Kingdom of Kojosŏn and that of Koguryŏ. These two myths are references because their archetypal figures take the form of the mytheme of the bear and that of the egg and the divine feminine characters of Ungnyŏ and Yu-hwa in relationship to these mythemes. We observe their repetitions in ulterior epochs, notably in the stories of suffering endured by women. The story of Changhwa and Hongnyŏn are exemplary as they induce social facts of the Chosŏn Dynasty, which marks Korean society by making the female figure a scapegoat for masculine power in the Confusion patriarchal system. This motif appears in the story of the “Princess Pari” in the form of a Shamanic song but also in the story of “Sim Ch’ŏng” expressed in the form of shamanic rite, or the p’ansori, or the novel. Among folkloric songs, the most famous are those of Arirang or Sijipsarinorae which equally pick up on the same patterns of overcoming suffering through a particular and properly Korean feeling, the “han (恨)”. The Han has that distinction of being dynamic and contradictory as it is founded on a subtle dialectic that introduces a vital force against resignation, depression, and anxiety. The Han serves a societal regulatory function as a figure of imaginary symbolism and that appears as universal

碩士
東吳大學
中國文學系
93
Ju mong is not only a mythical, well know figure in Korea, but also the founder of ancient Korea. There are so many differences about his mythical records between Chinese and Korean historical data.There in, the hero’s life is just like a dramatic event, which is from his unique and remarkable way of birth, many kinds of suffering and adventure, even to his successful accomplishments finally. Because of his hardworking, we can see “Man’s determination will conquer Nature.” After all the hardships endure, the happy sunny days are coming－a perfect ending of his colorful life.

碩士
中國文化大學
韓國語文研究所
95
ABSTRACT A Study on the Mysticalness of Korean Ancient Founder’s Mythology in the 「Samkukyusa」 Lee li-Meen Department of Korean Language and Literature Graduate School of Chinese Culture University The aim of this thesis is to discuss the sanctity of the mysticalness of Korean ancient founder’s birth and the character, which includes explanations of the mysticalness of founder’s extraction(sacred decent, mostly descending from heaven), ability and appearance, as depicted in the「Samkukyusa」. Whatever processes of civilization country may have, nearly all countries have their own founder’s mythology. The founder’s mythology has one object, mainly found by depiction of the place of birth and the establishment of the dynasty: that is, strengthening the sanctity of foundation of a country. This thesis attempts to analyze the specific meanings of the mysticalness of the birth of the Korean Ancient founder and the process of the establishment of the dynasty written in ‘Samkukyusa’. The Korean Ancient founder’s mythology includes ‘Ancient Joseon’ founder’s mythology, ‘North Buyeo’ founder’s mythology, ‘East Buyeo’ founder’s mythology, ‘Goguryeo’ founder’s mythology, ‘Silla’ founder’s mythology and ‘Garakkuk’ founder’s mythology, etc. All of these mythologies have one common, that is, the birth of the founder’s been interfered by the god of heaven and by the god of earth, which was suggested by previous studies, in order to emphasize the sanctity and orthodox of the extraction. First of all this thesis attempts to describe the contents of each founder’s mythology individually, and then it attempts to make an analysis on the mysticalness of each founder’s mythology. Besides, it tries to explain the characters of each founder’s extraction, birth, ability and appearance. This thesis tries to go deep into elaborately combining all the past study results and finding the new aspects of the mysticalness of the founder’s mythology, and eventually proves how these findings of mysticalness regarding the founder’s mythology make contributions to strengthen the theoretical approach of the sanctity. That is, the birth process of the founder holds the key to claiming the sanctity and the sacred decent regarding the Korean founder’s mythology.

碩士
中國文化大學
韓國語文研究所
91
Abstract The comparison of the rising mythology both from Korean (Three dynasty’s tales) and Chinese classical literature Lin, Chia-chun The Department of Korean Language and Literature The graduate School of Chinese Culture University The essay mainly deals with the comparison of the rising mythology both from Korean classical literature and also Chinese classical literature. I try to focus on the similarities and dissimilarities of both ethnic rising mythology. My research includes zoological mythology, dragon mythology, oviparous mythology, solar mythology, lunar mythology, luminous mythology and deific mythology. First chapter is an introduction of the motivations and outlines of the research and it also covers the bibliography which I have consult. The second chapter examines the rising mythologies which are related to animals. I mention that both Korean and Chinese use the images of animals to lucubrate the rising mythologies in order to sanctify the birth of the kings. To compare with the two countries’ mythologies, the similarities are: (1) both Korea and China have the rising mythology which is related to animals; (2) both Korea and China show great respect to the “bear” images. And the dissimilarity is: in the ways of describing the relationship between King Mother and animals, Korean and Chinese are not the same. Chinese use symbolical or indirect ways while deal with the theme. On the other hand, Korean will mention about the concrete bed activities. The third chapter discusses the rising mythologies which are related to dragons. I mention that dragon mythologies rise because of dragons are the symbols of sacrosanctity, dignity, and auspice. By using the sacred image, the kings can raise their power. To compare with the two countries’ dragon mythology, the similarities are: (1) both Korea and China have lots of rising mythologies which are related to dragons for dragon images symbolize the orthodox power to the two countries’ people. In order to tell the differences between royalty and common people and also to meet the needs of governance, kings like to use the sacred images to sanctify their position; (2) both Korean and Chinese rising mythologies describe the copulation of King Mothers and dragons. And the dissimilarities are(To aim at the mythologies of China’s Liu Ban and Korean’s king Pei Ze Mu : (1) Chinese and Korean use different ways while describing the copulation of King Mother and dragons; (2) there are difference in the record of the birth of kings in the two countries’ dragon mythology. Chapter four is a research of rising mythologies which are related to ovipara. The chapter mentions the classification of oviparous mythology in this essay is based on the Japan mythologist Mitsushina’s work. The classification includes: (1) ornithic oviparous mythology; (2) human-liked bearing mythology; (3) heavenly embryogenic mythology. To compare the two countries’ oviparous mythology, the similarities are: (1) both countries have the oviparous mythology; (2) in both China’s king(Xu-Yan) and Korean’s king(Zu-mon) mythologies, the embryos are once abandoned but then protected. Such as, in China we have the story of Shiu Yan Wan.And in Korea, we have the story of Si Tuo Jie; (3) in the mythology of Shiu Yan Wan and Si Tuo Jie, the both embryos are abandoned and then drifted by the current. And the dissimilarities are: (1) the types of oviparous mythology are not the same. China has more mythologies which are in the content of ornithic oviparous mythology; however, Korea has more mythologies which are about human-liked bearing mythology and embryogenic mythology; (2) There are obvious differences between China’s ornithic oviparous mythology and Korea’s embryogenic mythology. In China’s ornithic oviparous mythology, one gets pregnant after eating the egg. On the other hand, Korea’s embryogenic mythology is that the egg comes from heaven and it hatches without nourishing by the womb;(3) there are huge differences between ornithic oviparous mythology and human-liked bearing mythology. In China’s ornithic oviparous mythology, one gets pregnant and gives birth to the king after eating the egg. On the contrary, in Korea’s mythology, the egg is born by human but then the egg hatches by itself. The fifth chapter is an investigation about the solar mythology, lunar mythology and luminous mythology. I mention that the western scholar Lipus once said,”Solar mythology represents the eternal soul of every race. All races consider their own great man as immortal as the sun . Therefore, people will use the sun image to show their feeling toward their great man.” As to the other two mythologies( lunar mythology and luminous mythology),they mostly hold an auxiliary position. To compare Korean and Chinese solar mythology, lunar mythology and luminous mythology, there is a similarity which is that both countries have the solar mythology. As to the dissimilarities, there are three points: (1) the timing of King Mother’s pregnancy is not the same. In Chinese mythology, the King Mother gets pregnant after dreaming the sun at night. However, the Korean King Mother gets pregnant after exposing to the sun in the daytime; (2) the ways of giving birth are not the same. The King mother’s pregnancy is much more complicated in Chinese mythology. But it is more simple and unified in Korean mythology; (3)in luminous mythology, the place of the unusual light is not the same. In Chinese mythology, there is usually an indoor light or the light will come inside from outside. And in Korean mythology, the unusual light usually appears outdoors. Chapter six examines the rising mythologies which are related to gods. I bring up that every race has its own culture therefore they all have their own belief and religion. And their religion will direct their ways of living style and also enrich their cultural development. Thus, here we have the deific mythology. I follow Korean scholar Yi Ji Yon’s classification toward deific mythology, dividing the mythology into two types. The first type is a holy marriage hold by a male from the heaven and a female from the earth. The second type only focuses on the holy marriage and it does not emphasize on the couple’s parents. To compare with Korean and Chinese deific mythology, the similarities are (1) gods appear in both contries’rising mythology of kings; (2)the first type of deific mythology shows up in both countries’ mythology. And the dissimilarity is that in Chinese deific mythology, we have the kind of mythology which is a female comes from the heaven and marries a male from the earth. For instance, the North Wei dynasty’s rising mythology Tuo Ba Li Wei. Chapter seven is a conclusion of the essay. I sum up the main points in previous chapters.

The purpose of this thesis is to analyse storytelling in Korean online games, mainly represented by MMORPG genre. The first chapter introduces five essential Korean MMORPGs that will be subjected to the analyses throughout the thesis. Next chapters research storytelling in MMORPGs and its instruments, which are used to anchor the story inside the game. Main practical part then analyses mentioned online games and searches for motives based on Asian mythology, history and culture. For better comprehension a technical vocabulary related to gaming industry is also included at the end of the thesis. Because of technical reasons, all mentioned games are analysed in their European versions. Key words Korean online games, MMORPG, storytelling, mythology, multiplayer, asian motives, Heterocosmica

The thesis entitled Comparative Semiotic Analysis of Czech and Korean version of Elle Magazine Advertisings deals with the comparison of advertisings in the Czech and South Korean versions of global lifestyle magazine ELLE in terms of semiotic analysis. The thesis is structured in classical terms with theoretical starting points representing three key areas needed for analysis. The first part deals with the concept of the media, media product and its content. It also provides information about the ELLE magazine and its internationalization with special emphasis on South Korean cultural specificities. Also it cannot be forgotten the chapter devoted to the theory of socail construction of reality based on the work of Peter Berger and Thomas Luckmann. The second part is key because it brings knowledge about the semiotics and the main representatives of the field. The thesis thus represents Charles Sanders Peirce, Ferdinand de Saussure and especially the mythology of Roland Barthes. The last theoretical part looked at the essence of marketing communication and advertising and the use of celebrities in advertising campaigns. The analysis part as based on the theoretical basis focuses on the semiotic analysis of advertisements targeting the Czech and South Korean markets, with almost 470 campaigns in the...