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pISSN : 1598-8503 / eISSN : 2714-0067

2020 KCI Impact Factor : 0.23
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2020, Vol., No.47

  • 1.

    The Design and Direction of China’s Ocean Culture Policy in the 21st Century

    Kwon Ki Young | 2020, (47) | pp.1~28 | number of Cited : 0
    Abstract PDF
    In 2012, the Chinese government set the construction of an “ocean power” as a new national strategic goal. Among China’s future strategy of “The Belt and Road Initiative”, The Road was the ‘21st-Century Maritime Silk Road’. This paper aims to look at the framework and direction of the Chinese government’s “ocean culture policy” amid the rise of ‘ocean’ in China’s national strategy. The Chinese government’s ocean cultural policy consists largely of three policy categories: ocean cultural public service policy, ocean cultural industry policy and ocean culture foreign policy. China’s ocean cultural public service policy is striving to popularize ocean culture with the aim of expanding the public’s ocean consciousness. China’s ocean cultural industry policy is striving to build a ocean cultural industry cluster and develop ocean cultural content, with the focus of the ocean tourism industry. China’s foreign policy on ocean culture is pushing to globalize Chinese ocean culture by building an international exchange platform for ocean culture and revitalizing international cooperation in the ocean culture industry. China’s ocean cultural policy is still in its infancy, and this situation seems similar to Korea’s. South Korea has also established a “New Southern Policy” as a national strategy, which is closely related to the “oceanic”. At a time when the “oceanic” is increasingly highlighted in the national strategy of Korea and China around the same time, we expect that the design of policies related to ocean culture is one of the important national tasks and that it can be a cross-reference model between the two countries.
  • 2.

    Superstition and Existentialism: A Study of Luxun(魯迅)’s “The New-Year Sacrifice(祝福)”

    Wook-yon Lee | 2020, (47) | pp.29~54 | number of Cited : 0
    Abstract PDF
    The study analyzed Lu Xun’s novel “The New-Year Sacrifice” in terms of the existence of life. The study found that when Lu Xun was writing a novel in his novel collection “Pang Huang,” his thoughts on the existence of life stood out, and that “The New-Year Sacrifice” was a representative work. In this study, the novel consists of two stories of “I” and “Xianglin,” and sees the three characters: “I” and “Xianglin” and “Lusiye.” In this study, I saw the confrontation between Xianglin and the Lusiye as the confrontation between “fake intellectuals(僞士)” and “superstition(迷信)” as Lu Xun described it, and Xianglin fell into despair as the faith of “fake intellectuals” denied Xianglin’s superstition. While existing research mainly focused on revealing the cause of the tragedy Xianglin went through, this study analyzes the confrontation between Xianglin and the Lusiye according to Lu Xun’s religious view, and analyzes the reason why the narrator ‘I’ can’t answer the questions Xianglin has asked. In this study, the reason the narrator is unable to answer Xianglin’s question is because he interpreted Xianglin’s question as an existential question of life. The narrator, who stands in the existential position of life, is in a position where he cannot give Xianglin any one answer. In this study, the reason the narrator is in a situation where he cannot answer if there is a soul or not, and he cannot answer because he interprets the question Xianglin asked in terms of the existence of Xianglin’s life while he sympathized with Xianglin’s tragedy. In this study, I analyzed that this predicament of the narrator reflected Lu Xun’s thinking at the time of writing the collection “Pang Huang”, and that he could not answer Xianglin’s question because he sympathizes with Xianglin not in terms of enlightenment or religious position but in terms of existentialism.
  • 3.

    Domestic Acceptance of Suoyuan and Chosun Publication Liuxiang Suoyuan

    Suenghyun You | Min, Kwan Dong | 2020, (47) | pp.55~84 | number of Cited : 0
    Abstract PDF
    Before the book was published in China, appeared in the historical records of the Sinla period, and used its story six times. Since he studied in Tang Dynasty, he may have read the book. In the Goryeo Dynasty, there are three records that prove that the Goryeo government possessed Suoyuan. Also, the literary people of Goryeo used the contents of Suoyuan in their writings. In Joseon Dynasty, the publication of Chosun’s publication, a landmark event in the domestic acceptance of the Suoyuan, was published by Lee Geuk-Don in around 1492. Prior to the publication of the Chosun Publications, acceptance was limited, but after that, wide acceptance is given to monarchs and intellectuals. The direct mention of the title of the book and the taking of it in the form of a book greatly increase. Existing Chosun Publication Suoyuan include the National Library of Korea, Korea University, Yeungnam University, Chungjae Museum, and Hujodang. Andong Gunja Village Hujodang is the only place that possesses A complete edition. The National Library of Korea holds the second book, Korea University holds the first three books, Yeungnam University holds the third to four books, and the Chungjae Museum holds only the first book. As a result of reviewing these editions, the Chosun Publications were published many times after the first edition was printed, and some of the later disfigured pages of the first edition were revised and published on pages 35-38 and 105-112. The characteristics of the edition were examined. The paragraph format and number of pages were identified, and the sections that were not 18 letters and two lines of small letters annotation were found.
  • 4.

    The Study on Drama of Yuan Zaju 「DuLiucui」— Analytical-Psychological Approach to the Process of the Self- realization

    KwangYoungKim | 2020, (47) | pp.85~112 | number of Cited : 0
    Abstract PDF
    Drama of Yuan Zaju 「DuLiucui」 is Buddhism drama of transcendence. The heroine of this drama is Liucui. She after severe trial enters sacred world with the assistance of Yueming monk. Carl Gustav Jung 1875 – 1961) was a Swiss psychiatrist and psychoanalyst who founded analytical psychology Analytical-Psychology is Psychology of unconsciousness. Analytical-Psychology put emphasis on balance of consciousness and unconsciousness. Drama of Yuan Zaju 「DuLiucui」 and Analytical-Psychology is pretty similar in many ways. Among the central concepts of analytical psychology is individuation—the lifelong psychological process of differentiation of the self out of each individual’s conscious and unconscious elements. Jung considered it to be the main task of human development. He created some of the best known psychological concepts, including synchronicity, archetypal phenomena, the collective unconscious, the psychological complex, and extraversion and introversion Persona, defined as the up most external personality, involves social behavior playing a specific role to establish constant relationship with others in a society. In Drama of Yuan Zaju 「DuLiucui」 heroine Liucui is prostitute. Her Persona is prostitute. Shadow is the dark part of ego formed by the inferior and immature personality of unconsciousness and repression of consciousness of human psyche. In Drama of Yuan Zaju 「DuLiucui」 greed and sexual desire is her shadow. C. G. Jung insists that human being is bisexual in nature. Animus is the male aspect in the women’s collective unconscious and it is the archetype through which we generally communicate with the collective unconscious. It is also important to get into touch with the collective unconscious for self-realization. In Drama of Yuan Zaju 「DuLiucui」 the animus of Liucui is guide of wisdom. In Drama of Yuan Zaju 「DuLiucui」 self-realization is aim of heroine.
  • 5.

    Exiled Intellectual to Dong Bei District in Early Qing Dynasty: Focused on Han Ke and Poetry

    YoungSoon Park | 2020, (47) | pp.113~144 | number of Cited : 1
    Abstract PDF
    The first one banished, with literary persecution, to Shenyang(瀋陽) in Dong Bei district in early Qing Dynasty was Han Ke(函可: 1611-1660), a monk. In the time of Nan Ming(南明), he was banished to Shenyang In Shun Zhi (順治) 5th year (year 1648) with the trouble that he had written an unauthorized history, 『Zai Bian Ji(再變紀)』, which has become the first literary persecution happened in early Qing Dynasty. As an adherent of Ming Dynasty and an exile in early Qing Dynasty, Han Ke organized Bing Tian Shi She(氷天詩社) in Shenyang together with other exiles. In general, if you viewed a literary work as ‘knowledge’ produced by literature, this knowledge (such as Tian Shan Shi Ji) should be produced the producers (exiles) by a practice (poetic creation) in a particular case (literary persecution). From the point of view of this, this paper would like to take a loot into the knowledge production process of ‘knowledge-producer-practice-knowledge’ to understand the poets’ club of exiles, and its meaning, periodical and regional. The ultimate end of this paper is to come to understand what knowledge (works) was produced by the exiles (intellectuals) in the conception of ‘knowledge production (exile poetry) by exile literary persons group (Poets’ Club)’ in what a situation, and to grasp its meaning. For that purpose, this paper would take Han Ke as an example, to take a look into the life and poetry creation of the literary persons banished to Dong Bei district. 『Qian Shan Shi Ji(千山詩集)』, where the poems written by Han Ke are collected, is selected as the principal content for this study. The content is divided into three parts. First, the situation of banishment in the Qing Dynasty and the reasons for which Han Ke was banished would be examined. Second, analysing the poems written by Han Ke. Third, the influences of Han Ke to the literature of Dong Bei district and its evaluation be checked.  In addition, this paper would also take note on literary practices of the exiles, their poetic creation and feelings and others.
  • 6.

    Drama’s Gamification and Game’s Dramatization - Focusing on the Storytelling of the Chinese TV Drama

    SONG YUNOK | Moon Hyoun-sun | 2020, (47) | pp.145~171 | number of Cited : 1
    Abstract PDF
    In the digital cultural environment of the current generation, the convergence between media is no longer strange. This paper tried to analyze the mechanism of the crossover storytelling, its effect and its in-depth meaning, focusing on the interactive media associated with the game in the storytelling of the drama. This is because I think the mechanism and its medium of game, one of the most influential cultural genres, will be a part of a new strategy in the expansion of drama storytelling. When considering the storytelling of the game with the narrative structure of the drama, the two basically matched the hero’s narrative but showed a differentness in the second act. This is because storytelling elements, such as the setting of characters and events, showed self-selected and repeated characteristics by users in the game. When analyzing the story of the game in terms of the narrative structure of a drama, the back story is similar to the first and second episode of the drama, and the ideal story corresponds to the ending of the drama. However, the game’s random story is individual and nonlinear narrative, which is unique characteristic of game. As such, games and dramas have similarities and differences, respectively, showing the potential for media crossing possibilities among the media. This paper analyzed the correlation between the narrative of Chinese TV drama <Love O2O(微微一笑很倾城)> and that of the online role-playing game <A Chinese Ghost Story(新倩女幽魂)>. The drama uses the game-playing elements of “Tutorial, Ludus-type Competition” as a plot, turning the Playing Media into Showing Media. Meanwhile, in the game <A Chinese Ghost Story(新倩女幽魂)>, the simulations corresponding to the layers of random story portrays the characteristics of male and female characters in the drama and creates conflicts in the case. Game simulations advocate ‘dramas for games’ while actively engaging in the drama’s values and worldviews. The drama <Love O2O(微微一笑很倾城)> is the attempt of both the ‘game-style storytelling of dramas’ and the ‘drama-style storytelling of games’, and also it is the new experiment of the cultural content industry. It also proves that dramas and games can expand each other’s storytelling, form mutual marketing partnerships and reap huge value-added values. This will be a good example that will meet the demands of the era of digital storytelling and be applied to the inter-media crossing.
  • 7.

    A Study on the Nationalization of the Modern Popular Songs in Korea and China - Around ‘Shin Min-yo’ and ‘Shin Min-ga’

    CHOI MYUNG SOOK | 2020, (47) | pp.173~196 | number of Cited : 0
    Abstract PDF
    From the 1920s to the 1940s, Korean and Chinese pop songs were in full bloom and enjoyed by the public. Recognizing that Korean and Chinese pop music has not been placed on the comparative list of studies together despite their historically close correlation, this study aims to reveal the development patterns of modern pop songs in Korea and China and explore new areas of research. The invasion of Western powers, which began at the end of the 19th century, opened the doors of China, and Korea also began to undergo drastic social changes due to Japanese aggression and colonial rule. In the process of spreading capitalist culture centered on Western Europe and Japan, Korean and Chinese pop music developed into diverse forms through fusion and harmony, not the dichotomy between traditional and foreign styles. In the 1930s, K-pop and Chinese pop developed with the popularity of ‘Shin Minyo’ and ‘Shin Min-ga’ based on their respectively traditional folk songs. In this text, we will look at the musical content of Korea’s “Shin Minyo” and China’s “Shin Min-ga,” which were widely sung in the 1930s and 40s and is an important part of pop music. At Japanese colonial period, <ours> exist in the two countries pop songs which fill with the public longing and desire, strive to succeed the trails of the traditional folk songs and attach meaning to look at nationalization of pop songs and Popularization and Cultural Phenomenon. In particular, the two genres are have in common with emerging in historical backdrop of the Japanese colonial period, so wo can say, it is a more precious tasks.
  • 8.

    A Study of <Yellow Earth>— Awareness and Cinematic Reconstruction of the Era of the Chenkaige’s Generation

    Ahn, Youngyeun | 2020, (47) | pp.197~218 | number of Cited : 0
    Abstract PDF
    From the superficial perspective, the film has the aspect of the government promoted Main Theme Movies. Of course, this is not a film for socialist propaganda or ideological propaganda. After co-operation between the Kuoming Party and the Communist Party, Mao Zedong’s Communist Party became a new political force and made efforts to win the support of the people. During this process, Communist Party collect folk songs, through which they learn about the people and create new folk songs to spread communist ideology. Gu Qing is a member of the Eighth Route Army and is responsible for collecting folk songs. the In the sense that the Chinese Communist Party intends to practice the revolution for the people, the film basically reflects the mood of the government promoted Main Theme Movies. On the other hand, It cannot be overlooked that the film was created in the context of cultural root-seeking in the atmosphere of cultural fever in the 80s, which is an intellectual effort to find the logic of responding to the challenge. Seeking cultural roots also means discovering and inheriting superior Chinese cultural traditions, but if you can further think about it, we can extend the meaning to the active dimension of rebuilding and rewriting traditions from a critical angle. This paper is to talk about <Yellow Earth> in these three levels (the government promoted Main Theme Movies, cultural root-seeking , cultural reflection).
  • 9.

    On the Origin of the Momentum Word “Du”

    Liu Jie | 2020, (47) | pp.219~248 | number of Cited : 0
    Abstract PDF
    If the research on the diachronic and synchronic development and evolution of individual momentum words can be carried out in a comprehensive, accurate and in-depth way, the overall development and evolution of momentum word system can get more comprehensive and accurate investigation and description. However, the current research in this field in academia still needs further study, which is a long way to go. Take the verb Quantifier “Du” for example. Although the generation and development of the momentum word “Du” has been discussed in some dating quantifier research works and special book quantifier research works, there has not been a specific research on the momentum word “Du”. For example, when it comes to the origin of the momentum word “Du”, it is generally accepted in academia as “Verb Theory”. According to the view of “Verb Theory”, the momentum word “Du” comes from the verb usage which shows the meaning of “crossing”, but there is only one use case. After further investigation and analysis, we believe that the “Du” in this example still has a clear and real meaning of “crossing” as a verb, and it is followed by noun object, so it is used as the predicate in the sentence, which does not mean the measurement of action. In addition, the only example recognized by the academic community does not conform to the gradualness of grammaticalization and the cohesion of the historical process of language. After a comprehensive and detailed study of the literature, we find that the nominal meaning of “Du” in the table of “celestial motion unit” is frequently used in the structure of “go / move + number + Du” in the history of language, which provides a grammatical basis for the process of “Du” momentum word virtualization, and the frequent occurrence of this structure, together with “Du” in some language environments, The semantic fuzziness and inseparability make the nominal meaning of the concrete operation unit of the surface objects gradually become virtual. The astronomical calendar in ancient China comes from the observation and measurement of the movement of celestial bodies, the heavenly stems and earthly branches, the five elements of yin and Yang, which are endless, and the human body’s rule is natural, especially in some medical materials classics with the core of nature according to the nature’s rule, the “Du” of the displacement process unit of celestial bodies is metaphorized to the movement of human meridians and Qi and blood as well as the healing process of medical treatment, so as to express the “Du” concretely The nominal meaning of celestial movement unit is gradually virtualized, and it is gradually used to measure the semantic category of verbs related to time characteristics. At the latest, we can find that all kinds of use cases of the momentum word “Du” is in the medical classics of the Eastern Han Dynasty. In the period of Wei, Jin, southern and Northern Dynasties, the use of the momentum word “Du” was more extensive, and the combination of the verb meaning and the grammatical functions it undertook was also greatly enriched and improved. In Sui, Tang and Five Dynasties, the use frequency of momentum word “Du” increased greatly. In Song Dynasty, the development of momentum word “Du” showed a trend of polarization. In the highly spoken literature, the use of momentum word “Du” declined sharply, but in the “all Song Ci” with a strong color of written philology, the use case of momentum word “Du” was the highest. In the period of yuan, Ming and Qing Dynasties, “Du” continued the development trend of Song Dynasty, rarely seen in the spoken literature However, it is still used in the written Chinese offering with strong literary color, and this state continues to the present in modern Chinese.
  • 10.

    A Study on the Word Family of Internet Appellation “X帝”

    Wang, Hui | Heungsoo Park | 2020, (47) | pp.249~275 | number of Cited : 0
    Abstract PDF
    With the rapid development of the Internet, some changes in the vocabulary system begin to take the Internet as the starting point and then gradually enter into people's real life. The generation of the quasi affix “帝” has gone through such a process. From “影帝” and “视帝”in the 1980s, to “李毅大帝” of the beginning of this century, to the “章鱼帝” and “预测帝” that have gained popularity n the Internet because of their high prediction accuracy, until now, “X帝” has become a more active word family, playing a certain title role in the lexical system. The origin of the Chinese character “帝” is still uncertain because of its long history. However, from the perspective of semantic transformation, the meaning of “emperor” has roughly gone through several changing processes, such as“审帝”、“祭天”、“天帝”、“帝王、皇帝”. With the semantic change of “帝”, “帝”gradually has the characteristics of semantic virtualization, fixed position and production. As an quasi affix, “帝”can be composed of monosyllabic, double-syllable, multi-syllable and non-Chinese components, and “X” can be not only a noun component, a verb component, but also an adjective component. In a sentence, “X帝”can serve as the syntactic components of subject, object, attribute and so on. The emergence and development of “X帝” has the function of semantic expansion and generalization in language, the promotion of rapid social development, and the influence of language users’ social psychology.