Korean | English

pISSN : 1225-083x

2019 KCI Impact Factor : 0.2
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) : 0.19
  • Centrality Index(3yr) : 0.458
  • Immediacy Index : 0.0769

Current Issue : 2021, Vol., No.86

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  • A Study on the Succession and Transformation in The stories of Wu-zixu : Focusing on Shijiwuzixuliezhuan

    leesik kim | 2021, (86) | pp.5~28 | number of Cited : 0
    Abstract PDF
    The stories of Wu-zixu have been transformed and inherited into various literary genres for a long time in Chinese literature. The prototype of them fragmentarily remains in ‘Lishisanwen’(歷史散文) and ‘Zhuzisanwen’ (諸子散文) in the Pre-Qin Dynasty. Sima-qian, through the editing and sometimes deleting and adding these data, made the stories of Wu-zixu a perfect work. This paper analyzes how Sima-qian completed Shijiwuzixuliezhuan using these materials. In addition, I discussed not only how the stories Wu-zixu have been transformed and inherited in terms of the reasons of incidents, asylum, perseverance and his death but also how his creative consciousness was reflected in it.
  • A Study on Characteristics of Palace-style in Xu Ling's Poetry

    Kwon, Hyek-seok | 2021, (86) | pp.29~58 | number of Cited : 0
    Abstract PDF
    Until now, Xu Ling has been known as the representative writer of Palace Style Poetry. This is because he worked with Xiao Gang, the representative writer of Palace Style Poetry, and also compiled “Yu Tai Xin Yong” to expand the appearance of Palace Style Poetry according to the purpose of Xiao Gang. The name Palace Style Poetry was never originated from Xu Ling, and the period of Xiao Gang centered creation of Palace Style Poetry was also short throughout its life. In addition, his strong character, which is handed down in his biography, does not fit with the representative writer of Palace Style Poetry with amorous content. And his literary perspective, which values both the substance of the content and the beauty of the form, does not fit with Palace Style Poetry of poor content. The contents of his poems vary widely. Although there are also works of amorous content, which is typical of Palace Style Poetry, there are also poems of various contents, including Frontier Poetry, Scenery Poetry, and Farewell Poetry, it has the closest form of modern style poetry compared to other poets of its time. In conclusion, Xu Ling's poem contains the formal characteristics of Palace Style Poetry rather than the content characteristics of Palace Style Poetry, and the content is also far from the amorous content of Gungche City, which are the focus of criticism. Xu Ling is not a typical poet of Palace Style Poetry, and even if Xu Ling's poems are included in Palace Style Poetry, his poems are a pioneer of modern style poetry, which is the literary significance of Xu Ling's poetry.
  • The color of the Immortals in the poem of Li Bai -A Review of the meaning and some visual effects of Li Bai’s seven-character-quatrain “Viewing the Waterfall at Mount Lu”

    Suh, Yong-Jun | 2021, (86) | pp.59~84 | number of Cited : 0
    Abstract PDF
    Li Bai’s poems “Viewing the Waterfall at Mount Lu”are currently delivered under the same name by five-character-ancient-verse and seven-character-quatrain. Among them, the five-character-ancient-verse “Viewing the Waterfall at Mount Lu”was first known to the world and has been highly praised for its physical length and literary value. However, after the Song Dynasty, the seven-character-quatrain “Viewing the Waterfall at Mount Lu” became known to the world, and after the famous literati of Song Dyansty-Su shi(蘇軾) praised this seven-characterquatrain work, it has continued its reputation as a representative quatrain work of Li Bai until now. Excluding the controversy over its origin, Evaluating the independent literary value of the seven-character-quatrain “Viewing the Waterfall at Mount Lu” now must include identifying what characteristics the poem shares with the five-character-ancient-verse “Viewing the Waterfall at Mount Lu” and what characteristics it possesses independently. Compared to the various colorful and significant expressions of the five-characterancient-verse “Viewing the Waterfall at Mount Lu”, although the sevencharacter-quatrain “Viewing the Waterfall at Mount Lu” developed the exaggeration of the expression, Its poetic world is thought to be immersed only in the enormous appearance of the waterfall at Mount Lu and overlooked for other poetic possibilities. Contrary to the main interpretation so far, this paper concluded that the seven-character-quatrain “Viewing the Waterfall at Mount Lu” summarizes the huge development of the contents structure of the five-character-ancient-verse “Viewing the Waterfall at Mount Lu”, which seems to be the previous work. And in its content composition, the seven-character-quatrain “Viewing the Waterfall at Mount Lu” implies a typical literary form of Li Bai, which was not seen in the five-characterancient-verse works. and this paper proved conclusively that this poetic spatial structure is being completed by the purple smoke from the incense burner of the first line, which has been neglected so far.
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