| 9 |
Vol.18 No.2 |
Contents |
Contents |
Oct. 2018 |
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92
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| 8 |
Vol.18No.2 |
Note from the Editor-in-Chief |
Ross King |
Oct. 2018 |
|
91
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|
| 7 |
Vol.18No.2 |
The Earliest Statements of Christian Faith in China? A Critique of the Conventional Chronology of The Messiah Sutra and On One God* |
Jianqiang SUN |
Oct. 2018 |
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104
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| 6 |
Vol.18No.2 |
The “Lion and Kunlun Slave” Image: A Motif of Buddhist Art Found in Unified Silla Funerary Sculpture |
Youngae LIM |
Oct. 2018 |
|
103
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| 5 |
Vol.18No.2 |
Memory and Reproduction: A Study of 1980s Chinese Ethnic Korean Revolutionary Narratives Focusing on Yun Ilsan’s The Roaring Mudan River |
Haiying LI and Mingjie REN |
Oct. 2018 |
|
74
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| 4 |
Vol.18No.2 |
Literary Representation of a Proxy-Test Taker: Focusing on “The Tale of Yu Kwangŏk” |
Youme KIM |
Oct. 2018 |
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81
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| 3 |
Vol.18No.2 |
How did the Weaker Actor Defeat the Stronger Actor? Koguryŏ’s War with Sui (612−614) Revisited |
Jinwung KIM, Spencer C. TUCKER, and Grace H. KIM |
Oct. 2018 |
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88
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| 2 |
Vol.18No.2 |
Mishima Yukio’s Modern Noh Play Sotoba Komachi: Nietzsche’s Influence and the Ideal Post-war Artist |
Junghee KIM |
Oct. 2018 |
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77
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| 1 |
Vol.18No.2 |
Kyōdaisei Onokun no senryōki gokuchū nikki (University of Kyōto student Ono’s occupation-era prison diary) |
Mark E. CAPRIO |
Oct. 2018 |
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92
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