Korean | English

pISSN : 1225-083X

http://journal.kci.go.kr/clsyn
Aims & Scope
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  《Journal of Chinese Language and Literature(中國語文學)》 is an academic journal published by Chinese Literary Society of Yeungnam, registered in the National Research Foundation of Korea. It deals with research papers, translations, book reviews, reports on academic activities and research data on Chinese literature and Korea-China comparative literature, publishing original papers with creativity and academic values, which meet the format of academic paper, translations and annotations based on new interpretations of Chinese literary classics or academic writings with an urgent need to be introduced to the Korean academic world. Since a Digital Object Identifier (DOI) is given to the paper published in our academic journal, anyone can search and cite that very easily from all over the world. It is published three times a year, at the end of April, the end of August and the end of December, and the 85th volume was published in 2020.
Editor-in-Chief
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Chan-Soon An

(Kyungpook National University)

Citation Index
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  • KCI IF(2yr) : 0.2
  • KCI IF(5yr) : 0.23
  • Centrality Index(3yr) : 0.429
  • Immediacy Index : 0.125

Current Issue : 2022, Vol., No.89

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  • A Study on the correlation between traditional musical dance and lyrics in Tang Dynasty: Looking for Zhongyuan Baizhu-Ge(中原白紵歌)

    SooHee Kim | 2022, (89) | pp.5~28 | number of Cited : 0
    Abstract PDF
    This paper examines the traditional musical dance of the Tang Dynasty, ‘Baizhu-Wu’, and its lyrics. ‘Baizhu-Wu’ is ‘Qingshang-Musical Dance’, which is declining due to foreign musicals, but the song is still sung by the public. When some writers of the early Tang Dynasty write the lyrics, they reject the ‘SishiBaizhu-song’ of the Southern dynasties, and inherit the ‘Zhongyuan Baizhu-song’ in the Wei and Jin periods. Therefore, Tang Dynasty’s ‘Baizhu-song’ uses three lines of seven characters to a line in terms of form, and sometimes combines the 3・3・7 verse pattern. This is the aspect of early folk songs. In terms of content, it connects Wu Dynasty’s famous beauty, Xishi with the fall of the Wu Dynasty and expresses a criticism of this. This is the aspect of the ‘Baizhu-song’ in Tang Dynasty, which is because it inherited the ‘Zhongyuan Baizhu-song’. In this way, we can reveal the new aspect of lyrics literature through musical dance.
  • A review of the evaluation of Li Bai(李白)’s prose Feasting in the Peach-plum Garden in Spring Night(春夜宴桃李園序) and the interpretation of ‘the floating life(浮生)’

    Suh, Yong-jun | 2022, (89) | pp.29~54 | number of Cited : 0
    Abstract PDF
    This thesis is a literary analysis of Li-Bai's prose “Feasting in the Peach-plum Garden in Spring Night”. In the process, this thesis pointed out that the existing interpretation misread this “Feasting in the Peach- plum Garden in Spring Night”. “Feasting in the Peach-plum Garden in Spring Night” was a work in which poet Li-Bai's personal and literary sense of self clearly appeared and this literary poet was a person with extremely arrogant pride. On the other hand, there is a point where real and literary poets disagree with each other in the “Feasting in the Peach-plum Garden in Spring Night”. His humility, which does not fit the content of the article, means the breakdown of the prose content. Focusing on this phenomenon, this thesis argued that “The Floating life” in “The floating life is like a dream, and how brief the enjoyment is?” which is the famous phrases of the article that already had a great reputation can be interpreted as a life that pursues and strives to the end, not just an inevitable passive life.
  • A Study on the Ci(詞)-Poetry of Li Wen(李雯), a Ciren of Yunjian(雲間詞人): With a focus on the sorrow of intellectuals during the Ming-Qing transition

    Kim Hanee | 2022, (89) | pp.55~96 | number of Cited : 0
    Abstract PDF
    This study focused on the Ci-poetry of Li Wen, one of “Yunjian Sanzi” that were active to create Ci-poetry those days, examined the meanings of his Ci-poetry as a deposit of sorrow, and tried to demonstrate that it already showed the developmental possibilities of Qing Ci-poetry. In other words, Li Wen personally witnessed the Ming-Qing transition and underwent complicated emotional changes, which were reflected on his Ci-poetry. Li Wen could not resist the Qing Dynasty like Chen Zilong and held a government post in the new dynasty. Unlike Song Zhengyu who led a stable life as a government official, however, he kept having shame and conflict, which changed the thematic consciousness of his Ci-poetry. It shows the possibilities that Ci-poetry could serve as a means of literature to deposit the sorrow of intellectuals undergoing a huge historical event that was a change of dynasty beyond the literature for simple amusement.
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