KJC Korea
Journal Central

Poetic is the one of the main content of the Chinese classical literary criticism. As a result of this paper, it is known that the argumentation of poetic has already begun consciously in the Wei Jin Southern and Northern Dynasties which was an era of independent literature. The content of the Wei Jin Southern and Northern Dynasties' poetics was mainly a standard and principle being relevant to the element of the works and specific writing, and the discussion of the bad writing habits. In this Paper, We discussed on the each argument about the writing method, syntax, diction, parallelism, metres, allusion, metaphor and analogy, exaggeration etc. at that time. During this period, there were many poems who pursued the formal beauty and thought overmuch about the skill specially, but not many people left their argument about the poetic. Except for the special and complete argumentation of Liu Xie, Lu Ji and Zhong Rong, there were a lot of works which were short, simple and not comprehensive. However, it means a great development of the poetic with the poetical consciousness, and makes great influence to the following generations, especially for the Tang Dynasty. At the beginning of Chinese poetic, the argumentation of this period should be highly appreciated on its character and meaning.

It can be said that Zhang Xian was beginning to write the preface of Ci. But in general, the starting point of the development and creative of Ci's preface was Su Shi. Xin Qiji was at the crest of writing Ci's preface. They also have an important position in the development process of Song Ci's prefaces. The poet wrote down at the preface such as time, place, figures and events. This helped the reader understand the work, also has become a basis information to know the poet's past and exchanges. Su Shi and Xin Qiji have something in common, they worte the Ci's preface in front of every Social Intercourse Ci. The most contents of the Ci's preface is send to someone, but that target is not the same. Su Shi send to people of every condition, comparably Xin Qiji usually send to social celebrity. Although they lived in different times, but they have a common experience which was the life of relegation and seclusion. After they were relieved of there office, expressed the emotions and the feelings they have inside in Ci and Ci's prefaces. They enjoyed life to the full, also felt a sense of emptiness and loss of life, wrote complex emotions out in Ci's prefaces. With the development of the Ci and the Ci's preface, the prefaces had literary merit as the short essay. Su Shi has a talent for writing, naturally wrote the preface to display his ability. Xin Qiji also in the way of his own wrote the preface. According to this study, can find out one side of the Ci's preface development process.

Zhen Zhong Ji(a story in a pillow) is a very famous Tang legends which was adapted into many miscellaneous dramas and opera in later ages. This paper mainly studies on the prototype, development and purport of this work. This paper holds that Zhen Zhong Ji was emerged from the story of “the pillow in the Jiaohu Temple” in Sou Shen Ji and the myth in Liezi. But the author expanded the meaning of it. Since Tang Dynasty Zhen Zhong Ji had been adapted into many miscellaneous dramas and operas and these works had two systems. The purport of Zhen Zhong Ji is that life is just like a dream, However, analyzed at a deeper level, it reflected the contradictory mentality of chinese ancient scholars: the desire of pursuing vanity, wealth or rank and this desire is very hard to fulfill.

The describtion of “copper head and iron forehead(铜头铁额)” firstly is used to describe the image of Chiyou(蚩尤),who firstly mastered the technology of smelting the copper, and copperinvented the copper weapon and decorated his tribe with the copper motorbiketo win the wars with other tribes in the distant past.The describtion of “copper head and iron forehead(铜头铁额)” firstly is just a record of the historic detail.But till Yang Jingxian(杨景贤) who lived during the end of Yuan Dynasty and the beginning of Ming Dynasty,the describtion of “copper head and iron forehead(铜头铁额)” is used to describe the image of Sun Wukong. And later, Wu Chengen acceded Yang Jingxian’s describtion of “copper head and iron forehead(铜头铁额)” and paid so much attention on Sun Wukong’s external character- “copper head and iron forehead(铜头铁额)” in his work <Story of a Journey to the West(西游记)>. Eventually the charactor of “copper head and iron forehead(铜头铁额)” is known as a tipical charactor of Sun Wukong by the readers of <Story of a Journey to the West(西游记)>. The fisrt one who discribed the “the fire and golden eyes(火眼金睛)” is <Xuanzang(大唐三藏取经诗话)>. But the discribtion of “the fire and golden eyes(火眼金睛)” is just a kind of stylized discribtion of the animals emerged in the works. But this kind of stylized discribtion is used for reference in Yang Jingxian’s zaju(杂剧) works <Story of a Journey to the West(西游记)>. In his works, the hero Sun Wukong reminded his external character- “the fire and golden eyes(火眼金睛)” for four times, but it’s just a kind of mention. Later till Ming Dynasty, the writter Wu Chengen acceded and developed this kind of discribtion. In his works, he made “the fire and golden eyes(火眼金睛)” become a typical charactor of Sun Wukong by three ways. The fisrt way is by the hreo Sun Wukong’s self-introduction, the second way is by the characters’ introduction or retails in the works, the third way is by the writter’s direct narrattaion.

To modern people Sechaek(세책, 貰冊), book lending in traditional Korea, has features that provide fresh and interesting subject matter. That it had only been prevalent in Seoul, one of many cities at the time, the regular customers were women, who had to make up the living in houses, brought out there furnishings and made debts to participate, the contents were not that of housewives' morality but foul and therefore created anxiety of the ruling class, were enough aspects to focus on Sechaek, one of numerous historical events. This study started from the fact that this kind of book lending did exist in China in the name of ‘Seseo’. And only because it has not been receiving much of attention, the academy misconceived that the data of ‘Seseo’ seldom exist. And this study is trying to break its misunderstandings. ‘Seseo’ in China, unlike its cognition until now, in addition to Seseopo, the rental houses, existed in many forms such as 書船(Seoseon) and 貨郞(hwanang), which were book selling stalls. Furthermore, the user of Sechaek were not only in noble class but also in government officials, soldiers, merchants and lower class of people and this is the same in Chinese Seseo. Additionally, in the comparison in women only, it is very similar in many aspects except the class of readers and few special features in cultural aspects. Conclusionally, the reason for difference in propotion of studies in Sechaek and Seseo was the difference of publishing and press situations between the countries. In other words, we must not overlook the fact that Korean publishing was very limited compared to that of Chinese at the time. No matter the amount and area, the publishing, circulation and consumption of books in China grew explosively and on the other hand, those in Korea were not. The dependence of Sechaeck had to be high, and therefore it has been seen as a peculiar cultural phenomenon in Chosun Dynasty. However in China, it was just a natural part of circulation process because the distinction between buying the book and borrowing it was not necessary. Accordingly, we should acknowledge the fact that book lending in China did exist enough and expect follow-up studies for the explanation for the characterized and limited place called ‘Seoul’.

This study considers ‘Dailiness’ with the aspects of characters in Neo-realism. Neo-realism that appeared in the late 1980’s has different context from either realistic or modernistic novels. Neo-realism deals with dailiness and depicts objective facts. Also, the contents are mostly about trivial things happening in everyday life. Advanced researchers generally deemed that Neo-realism represented incoherence in everyday life or intellects’ helplessness. The purpose of this study is to explore Neo-realism by approaching it with a brand new perspective of ‘Affirming Dailiness’. Though ‘Sorim’ was seen as a helpless intellect previously, this researcher regards ‘Sorim’ as a person representing those who affirm dailiness. Based on a series of research, this study has drawn the following conclusions: First, dailiness is even firmer than our imagination. Even though Sorim does sometimes justify his own behavior, he is, in fact, a type of person who affirms his own daily needs and constantly reflects on himself for the better. Second, Sorim’s life is painful and agonized just like 'Sisyphus’ in ‘the Myth of Sisyphus’, he also has realized the teachings of going down the mountain like Sisyphus. That is why he can also go down the mountain everyday with joy. Also, this study analyzes not only liuzhenyun but Neo-realism briefly. However, the degree of dailiness in each of the works could not be examined deeply enough. To complement this limitation, more profound research will have to be conducted afterwards.

This thesis looks into a mother showing her maternal instinct, identifying herself as a daughter's mother depicted in Chenlan and Xuxiaobin's works. The mother sacrificing herself for and dedicating herself to her daughter shows typical mothers mystified in a patriarchal society. Chenlan and Xuxiaobin, however, pay attention to different aspects of maternal instinct on the other side of maternal sacrifice and dedication. By depicting a mother wanting to own her daughter, and projecting her own desire in her daughter, Xuxiaobin reveals that the love shown ‘on behalf of her daughter’ actually started with the fear for losing her existential values, egoistic love-based desire for power and dominance. That is, her love is a result of narcism disguised in the name of maternal love. Narcism-motivated maternal love is infested with control, dominance and the desire for possession, inflicting misery upon both's lives. This proves that maternal love for children is, in fact, falsity. Especially, the authors demystify the maternal ideology by revealing that maternal dedication and love can become an object of terror to children. The maternal love with unconditional dedication or sacrifice as its attributes is questionable.

Chinese characters assimilated into Koreans have been built on the pronunciation environment of the Korean to the needs of contemporary language preferences. They have been passed through hosts of selection process and then have been formed into the sounds of Modern Sino Korean characters. In this paper, we see the characters of XIE SHE YI DENG & ER DENG(蟹攝 1等･2等)’s vowels, and analyse the formation background of Vowels sounds in Modern SinoKorean character in phonetical points, and also examine the three reasons of the formation background as follows. Those are transformation of pronunciation in China, polyphone in Chinese, and characteristic transformation of pronunciation in Korea. First we analyse six different types in the reason of pronunciation transformation in China. First, Characters of HA･JIA･JIE･TAI･GUAI(哈･佳･皆･泰･夬韻) in KAI KOU YI DENG & ER DENG (開口1･2等)’s combined pronunciation “ㅐ”; Second, Characters of JIA･TAI(佳･泰) in KAIKOU(開口)’s divided pronunciation ‘ㅖ’ in MING and Qing dynasty. Third, Characters of JIA･JIE･TAI･GUAI(佳･皆･泰･夬韻) in HE KOU YI DENG & ER DENG(合口 1･2等)’s combined pronunciation “ㅙ”; Fourth, Characters of JIA(佳) in HE KOU(合口)’s ivided pronun- ciation “ㅘ”; Fifth, Characters of JIE･TAI(皆･泰) in HE KOU(合口)’s reflected pronuncitaion “ㅚ”; Sixth, Characters JIA(佳) and JIE(街) of JIA(佳) in KAI KOU ER DENG(開口二等) with JIAN(見)’s pronunciation “ㅏ”. In the acceptance process of polyphone in Chinese, it had been selected only a few of pronunciations in Korea. In the transformation process of characteristics pronunciation in Korea, we especially analyse the three different types, considering easy of pronunciation of Korean people and language environment of Modern SinoKorean characters situation. First, vowel “ㆎ” changed into “ㅐ”; Second, KAI KOU HUA(開口化) in HE KOU YI DENG(合口1等) of TAI YUN(泰韻) with consonants DUAN·TOU·DING(端透定); Third, Characters in KAI KOU(開口) changed into HE KOU(合口).

This paper investigates the diachronic evolution of the verbs of wipe “fu”(拂), “shi”(拭), “kai”(揩), “mo”(抹), “ca”(擦). It is claimed that “fu”(拂) was the dominant word in ancient times. “shi(拭)” had turned into dominant word for the concept of “wipe” from Wei Jin Southern and Northern Dynasties to Song Dynasty. The new word “mo(抹)” emerged in Song Dynasty and took over “shi”(拭) from Yuan Dynasty to Ming Dynasty. “ca”(擦) emerged in Yuan Dynasty and took over “mo”(抹) from Qing Dynasty. This paper also with formation of synonymy coordinate disyllables as the object of the research, described that monosyllabic verb was how to develop a synonymy coordinate disyllables. In addition, This paper Showed the regional divergence between the South and the North of verbs of wipe.

This study is intended to examine synesthetic metaphor shown in Korean and Chinese advertisement from the viewpoint of cognitive linguistics, and to discuss the characteristics of both Korean and Chinese language and culture. This paper surveyed and compared the occurrence patterns of Korean and Chinese synesthetic transfer according to the category of business. Besides, an attempt was made to find out the characteristics of advertising language by contrasting those with synesthetic transfer pattern of sensory adjective shown in normal language, not advertising language. First, the categories of business that actively used the synesthetic transfer included food, cosmetics, information and communication, electrical and electronics business, and the like. And these categories of businesses are closely related to specific sense in the cause of the features of products. Accordingly, these can be regarded as cases where the sense is emphasized and expressed in the advertisement as well. On the other hand, the category of business, where synesthetic metaphor was not shown, included pharmaceutical (medical) business, financial (insurance) business, company (construction business), and the like. Second, synesthetic metaphor shown in an advertisement was shown in much more diverse and active patterns in the Korean language according to the survey. With regard to TV commercials, in Korea, the synesthetic transfer was shown in all of 6 categories of businesses to be surveyed by this study, including the food business. However, in China, it was possible to check that there was synesthetic transfer in 4 categories of businesses such as food, cosmetics, information and communication, and electrical and electronics business. Too, there were quite a few cases. This can be said to show that the Korean language more actively utilizes synesthetic transfer in an advertisement than the Chinese language in general. Third, the synesthetic transfer shown in an advertisement is generally similar to the synesthetic transfer pattern of sensory adjective shown in normal language. It should be thought that, besides the scope of sensory language, the particularity of advertising language also causes the synesthetic transfer to be shown in an advertisement, which is not shown in some sensory adjectives.

Textbooks are even a more influential teaching material than any other ones in schools. There is therefore the necessity for the continuous quality control of textbooks. The purpose of this study is to compare the differences between Korean and American Chinese textbooks in high school and to make recommendations as to which be more suitable for the Korean-Chinese learner. For this purpose, each textbook was analyzed based on the following two steps: holistic analysis, deep analysis of tasks. First step, the study assessed and analyzed the textbooks holistically by Chinese textbook evaluation criteria for selecting which is composed of five evaluation categories: curriculum, content, student, teacher, appearance system. Second, the tasks of each textbook are analyzed by the five criteria of deep analysis based on Littlejohn's criteria. The present study suggested the ways to figure out effective and systematic methods of Chinese teaching and studying, based on comparison and analysis of high school Chinese textbooks of Korea and America.

The film concepts of the fifth generation Chinese directors presented roughly such an evolution track: From the “one and eight” and “Yellow Earth” beginning, the “exploring movies” committed grand humanistic reflection and image exploration; as a symbol, the “red Sorghum” appearing in 1987, the fifth generation directors went through the change of film concepts for the first time, starting to focus on the film's narrative and ornamental; roughly from 1992's “Story of Qiu Ju” beginning, the fifth Generation started again the transformation of concepts, emphasizing the center of film art should be turned to characterization. Moreover, they thought that the film's artistic creation, image building, and forms innovation should organically be combined. Thus, about a decade's time from the early 1980s to the early 1990s, through continuous exploration and reflection, the fifth generation film directors gradually pushed the contemporary Chinese film concepts into mature.