KJC Korea
Journal Central

The idiom, which is a special kind of Chinese vocabulary structure, reflects people’s wisdom and it is the fixed phrase with the characteristics of stable patterns, frequent uses, historic and racial traits. Human body is very essential in their cognition development. Body metaphor is an important means for people to understand the world. So this paper choose body as a research subject. This paper mostly examines the marks of the body idioms with four syllables in Chinese. The body morphemes in Chinese are ‘xin(心)’, ‘mu(目)⋅yan(眼)’, ‘tou(頭)⋅shou(首), ‘kou(口)⋅zui(嘴), ‘shou(手)’. The aim is to summarize the body morpheme and its outside form by analyzing the rules of the body idioms in Chinese. There are four chapters in this essay. ChapterⅠ, General Introduction. This chapter introduce the object, the scope, the methods. ChapterⅡ is about “The Component on the Body Idioms with four syllables in Chinese”. It mainly discusses a component of Body Idioms in Chinese, ‘xin(心)’, ‘mu(目)⋅yan(眼)’, ‘tou(頭)⋅shou(首), ‘kou(口)⋅zui(嘴), ‘shou(手)’. ChapterⅢ is about “The Outside form on the Body Idioms with four syllables in Chinese”. It respectively discusses “When the Body morphemes are used alone” and “When the Body morphemes are used together”. Finally, a paper reference appendix is attached.

In this study, we have examined the types and implications of the 『LAOZI』 opposition structure. The opposition structure can be divided into four types. The first is a positive equal opposition structure of ‘A-B’ type. The meaning types and units of the two opposing pairs are the same. Second, there is a positive analogous opposition structure of ‘A-b’ type. The semantic type and unit are not the same, and the opposite result, method (b), etc. for a single opposite (A), are mainly shown. Third is the negative equal opposition structure of ‘A-不A’. It is composed of affirmative and irregular forms for one opposition. Finally, it is a negative analogous opposition structure of ‘A-不a’ type. The implications of the opposition structure can be seen from three points of view. First, it is a viewpoint of the value difference of the two opposites. This implies the implication of the ‘去彼取此’ and ‘本末’. Next, it is a viewpoint of the value equal, which conveys four messages. The Meaningless for the relative distinction between the two opposites, the recognition of this natural value, complementarity, and dialectical motility. Finally, it shows the perception and results that are contradictory to the present. It also shows the contradictory perceptions and results of the ‘道’`s attributes or the ‘道者’`s acts and may also represent contradictory results, methods, and attributes of the present behavior or event.

According to PAM, categorization assimilation is happened at the very short period of learning. That’s why we need to know how Korean listen and comprehend Chinese sound when they haven’t learn Chinese. It is important to know the naive Korean’s perception to Chinese initial consonants. Because only after we know how they choose the category of the Chinese consonants, we might be able to presume how the Korean Chinese language learner construct Chinese consonants category in their cognitive system. If we know know how naive Korean choose the category of a certain Chinese consonant, and if we observe the Chinese language learner’s choice for consonant category we can compare the results and find out whether there are any differences. Then it might be more easy to deduce how Korean listen and comprehend Chinese consonant sounds or it is possible for us to assume there will be difficulty to learn that sounds or not. However, in Korea, there are almost no research has been done to the naive Korean who doesn’t have Chinese Experience. In this article, we will review the previous phonetic researches of Korean and Chinese consonant. Then, we carry on the perceptual experiment to 100 Koreans and we analyze what characteristic Korean have when categorizing Chinese consonants. As a result, this paper proved two facts related to the previous research. First, there are difficulties in choosing a category of ‘c, ch, l, r, sh, z, zh’, which can lead to listening comprehension difficulties even at the learning stage. Second, unlike to the result of previous studies, Koreans perceived the Chinese plosive as a fortis regardless of Tones.

Xin Qiji is a warrior-writer of historical consciousness, thinking that Central Plains’s recovery is a national task that gives priority to anything and is his ideal. Due to the reality of South-North confrontation, he frequently visualized the situation of the Southern Song Dynasty in relation to the historically most similar the Southern Dynasties, in his works, in a number of ways. In his career, he experienced the history of the North-South and metaphors the reality of the Southern Song Dynasty in the context of the Southern Dynasties of history and geography, and in particular among the historical figures of himself the person of the Southern Dynasties. The history of the South Dynasty has always been an object to be wary of as a teacher to him as opposed to history. The history of such Southern Dynasties was replayed again at the Southern Song Dynasty, but the fear could not delay him alertness in reality, and it is a work that reflects this and is constantly deceiving from various angles It was shaped into a sense. Among the historical figures, not only the teacher, but also the front teacher, Tao Yuanming, in particular, transformed from an irresponsible the hermit to an increasingly patriotic patriot. It was his high sense of mission and sense of responsibility that Xin Qiji reminiscent of the history of the South Dynasty in the form of the Southern Song Dynasty. Of course, I did not recognize the Southern Dynasties in his historical awareness, especially I recognized the Southern Dynasties remarkably, I imagined in each direction, the history situation and the geographical environment are best with the Southern Song Dynasty Because it was similar. As you can see, Xin Qiji, the historical consciousness trying to restore the practice in the era when the South and the North confronted, the geographical features of the Southern Song Dynasty, the recall on historic ruins, the popular heroic person such as the Southern Song Dynasty I recognized that it was in the same state as the Southern Dynasties. From the situation of the Southern Song Dynasty the Eastern Jin Dynasty gave the historic Déjàvu a strong feel, urging the Southern Song Dynasty to do its best to not reproduce the history of the defense like the Southern Dynasties. These historic Déjàvu and historical recognition became the basis of Xin Qiji’s fundamental reality recognition and appeared as being shaped into Haofang Ci. This was one of the reasons why Xin Qiji had a clearer work world than any other poet.

This study has noticed that the shape of the 「Mulanshi(木蘭詩)」 of the Bei-Wei(北魏) was remarkably reproduced in the Yuan(元) Dynasty as a religious figure, object of objection, and worship, and it was considered necessary to consider it from a socio-cultural perspective. The noticed texts are the two inscriptions of the Yuan(元) Dynasty, 「Hanxiaoyuejiangjunji(漢孝烈將軍記)」(至順3(1332)) written by Da-shian(達世安) and 「Xiaoliejiangjuncixiangbianzhengji(孝烈將軍祠像辨正記)」(元統2(1334)) written by Hou-youzhao(侯有造). In each of the inscriptions, Mulan was worshiped as a ‘goddess’ like Nuwa that is said to have made human or revered as a sacred image of ‘virtuous woman’. This study is worth because the form of ‘female divinity’ and ‘a chaste lady’ of the two inscriptions are an important mechanism that can simultaneously reflect the religious viewpoint and the gender view of the Yuan(元) Dynasty. This study refers to the existing Mongolian documents such as 『Secret history of the Mongolian(蒙古秘史)』, 『Jangar』, 『Geser』, the Mongolian heroic Epics, and related works on Mongolian folklore and tradition, discusses the form from the viewpoint of ‘religious culture’, ‘gender notion’ and ‘cultural phenomenon’. First, the ‘goddess’ Mulan shows that the beliefs and shamanistic traditions of the Mongolian tribe are changing to conform to the national system of the Yuan(元) Empire. This is an interesting change that illustrates the process by which the characteristics of races are absorbed into the imperial system. Second, ‘a chaste lady’ can be understood as a dualistic gender phenomenon in which the different value system of nomadic and Confucianism, which are represented by martialism and fidelity. Third, the formation of the ‘Mulan culture’ can be regarded as the early stage of the cultural contents cultivated by the characteristics of place and genre, such as shrines and inscriptions. The examination of the process from two Mongolian Yuan(元) Dynasty inscriptions to the value of the ‘goddess’, the ‘a chaste lady’, and the ‘cultural products’, the work that can see how the literature and culture affects society’s group, values ​​and policy to be. Literature can be confirmed through the various images of two inscriptions that it is the organic existence of the times and breathing and creates new value through open ending and changes.

The producer of Documentary 『Deng Xiaoping』 can utilize his archives of many interviews, screens of materials and documents and those materials are being a good report of his whole life as a political leader. Though they are attempting humane approach, because that the documentary is proceeded with explanations of narration on his works and the recollections about his achievements, which are remembered by the interviewee, most of them, regardless of their rank, are the people who had the relations with him in the past works, it gives us somewhat sturdy feelings as we are seeing news on Deng Xiaoping. On the other hand, 『Deng Xiaoping of 100years』 has collected not only appreciations and recollections on Deng Xiaoping as a politician from the diplomats, officers, reporters, college students, publishers, but remembered him introducing humane episodes in his everyday life experienced by his family, family members of neighbor leaders, cooks, crews, nurses of his private train, house manager, barber, etc. 『Deng Xiaoping in historical turn』 naturally made a display of Xi Zhongxun, the father of Xi Jinping as one of the important people who had leaded the reform in the years of Deng Xiaoping with him and it looks an association of ideas that Xi Jinping is the very people to carry on his family line and expand China’s reform and opening up. Those documentaries could be understood as a way of cultural politics through media to acquire the support of people and the future rule and policy strongly embossing Deng Xiaoping’s affirmative side, to remind communist achievements through reform and opening up, Aside from his put down of 6.4 Tiananmen riot, Deng Xiaopingas a Chinese leader advocating ‘socialism’, could not escape from the critics that he made a reform assuming regional inequality, especially social unfairness such as farmers registration followed by duality of agriculture and urban community. None the less, the reality that the Chinese Communist attached only to beautifying and utilizing him for activating culture politics breed a matter of concern that it is a circumstantial evidence that they are lack of will to solve the difficulties left with the Chinese society by deep reflection and analysis.

A Bite of China, a food documentary aired in China in 2012, attracted Chinese viewers’ attention. Distinguished from previous studies, this article spotlights the social context surrounding the documentary’s appearance, specifically economic development and the growth of the middle class that have created a new interest in gourmet. Among the documentary’s three seasons, season 1, which captured the change of Chinese society for the first time, will be the focus of this paper. First, the documentary limits its target viewers to the urban middle class by portraying reality from their perspective. It also describes the ideal space—a place close to nature where the value of labor is appreciated and tradition is preserved— as opposed to the reality and thereby showing the gap between the ideal and the real. It well captures both the yearning for a healthy life of the urban middle class and their anxiety about food safety behind it. This anxiety is relieved in an imaginary way in the documentary. First, the scenes of food transportation from rural areas to city centers give an impression that natural foods can be delivered intact to the city. Second, by emphasizing spiritual values of food, the middle class is able to give a new meaning to their consumption behavior. For example, after the airing of A Bite of China, the commercialization of ‘huangmomo’ provided an opportunity for the middle class to elevate their simple consumption to conscious behavior of recognizing the value of others’ labor. This leads not only to the identity reaffirmation of the middle class but also to their imaginary reconciliation with reality.

For a long time, sound as a dimension of film art has been concerned and studied, focusing on the selection and combination of sound elements in the film, the relationship between sound and painting, aesthetic tendencies and artistic effects etc. The rise of the study of auditory culture promotes the study of sound in movies to have a new orientation and possibility, and because of the intentional emphasis on sound elements and cultural infiltration in many movies, auditory image has a different meaning, and then presents a more novel and unique role of cultural implication and memory extension than visual image. Wang Xiaoshuai’s Three Line Trilogy：Crimson Red (2005), I 11 (2012) and Intruder (2014), trying to evoke some sort of painful collective memory with the pain of individual life, and trying to reveal some kind of historical role that the ethnic group should have by refining the sound image, and further making the film a far-reaching but particularly true historical echo. Consciously using sound image make “Three Line Trilogy” to be a meaningful auditory landscape; The film also establishes the identity and spiritual background of the “three-line people” with special historical and cultural connotations; The Three Line Trilogy expresses the complex homesick feelings of “third-line people”, and considers the possible redemption of this group. To a certain extent, it forms an in-depth narrative about memory and reflection.

The fandom cultural activities, gradually moving from off-line to on-line since the Internet has become the main stage where their discourse and meaning being produced, have now broken its isolated state and formed different large-scale virtual fandom community. Among them, as a key member, The ACGN fandom community is involving controversy for its reproduction of film and television texts. This article try to integrate into the ACGN fandom community and follow their reproduction activities, analyze their textual strategies and features in the context of new media, and discus how new media is changing the fandom cultural study nowadays.

The status quo of marriage tends to reflect the culture and value of a society. Marriage Law, as the restriction and guarantee of the marriage often reflects the mainstream culture and value of the society in which the marriage is constituted. Based on the analysis of the dispute clause of the Marriage Law of China, established and put into effect in 2011, the article analyzes contentious clauses of Judicial Interpretation of Marriage Law(3) in combination with its practice. The article mainly concentrates on the problem of the division of property and reproductive rights. The Judicial Interpretation of Marriage Law (3) follows the principle of property belonging to the Property Law and emphasizes equality between men and women. Women have been given greater options and autonomy in terms of reproductive rights. This paper looks to analyze the concepts behind the dispute, with high emphasis, in regards concerning the specific aspects of social culture and looks to explore the attitude of Chinese people to recent legal modifications therein. Furthermore, it looks to concrete on the reflection and influence of the legal modification on the Chinese people’s concept overall concept of marriage in both a modern as well as historical sense. The Chinese people believe that equal and independent relationship between men and women is the premise of establishing a working marriage relationship, which can also manifest the essence of the marital relationship. The marriage House property is no longer a material guarantee for taking risks in the marriage. Marriage tends to be free, and people’s attitude towards marriage of tends to be faint. The old conception of fertility under the influence of Confucianism has greatly changed over time. In order to maintain the independent economic and social status, the decision of the Chinese female with regards to reproductive choice has become more greatly strengthened than perhaps any other time in the countries long history. Child rearing and the establishment of the family has long been an accelerator for promoting（harmonious） the development of marital relationships, which it can be argued has propelled society forward and yet is not essential for all relationships. In this regard, the interpretation of the Judicial Interpretation of Marriage Law(3) shows that the country level encourages women to be on an equal footing with their male counterparts when entering into the union of marriage. The specific provisions of China Marriage Law reflect growing respect for and protection of women’s rights and interests.

The definition of genres in Taiwan literature has undergone significant change in recent years. The transformation from “prose” to “non-fiction writing” manifests not only the confirmation of authenticity in the content, but also the innovation of expression in literary form. This paper discusses the emerging “Construction Site Writing” in Non-fiction writing and analyzes the formal expression of Lin Li-Ching (林立青) and Tseng Wen-Chang (曾文昌)'s works: Lin inherits the narrative skills from realistic literature and expresses the reality on construction sites through dialogue, vocabulary, dramatic structure, ending with negative sentences; Tseng represents his own construction site experience through a consistent narrator “I”, the chronological structure, and the use of words which are to make readers at the scene. Through the investigation of these two authors, it can be known that the focus of the Construction Site Writing should not be the issue of qualification of its writers, but rather, we should focus on how literary form is used to reflect the reality on the construction sites and how it presents the life situation on the sites.