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2017, Vol., No.74

  • 1.

    Zili Teaching in Chinese Character Education : On the Role of “Shuowen Jiezi” in Zili Teaching

    王宁 | 2017, (74) | pp.5~19 | number of Cited : 0
    Abstract PDF
    Chinese language teaching, no matter as a native language or as a foreign language, can not ignore Chinese character teaching. There are many teaching methods of Chinese characters, like “rhyming character teaching”, “picture teaching”, “Chinese character-family teaching”. Somebody regard “Zili(Chinese character structure motivation) teaching”as a teaching method of Chinese characters, in equal position with others mentioned above. However, the other methods are only specific teaching patterns. Teaching of Zili (Chinese character structure motivation) is an important principle in Chinese character teaching, which need to be further clarified in theory.
  • 2.

    A Study on the Succession and Transformation in the Variety of traditional yue-fu poetrys “Wuyeti” and “Wuxiqu” from Tang dynasty.

    Suh, Yong-Jun | 2017, (74) | pp.21~59 | number of Cited : 0
    Abstract PDF
    Old style yuefu folks “Wuyeti” were the collage of some ballads of the feminine sensibility, which combined the eventual emotion of a woman who suffered distress from her unsuccessful love relations. From those old yuefu lyrics, two new yuefu of Southern dynasties style were divided. These Southern dynasties style yuefu were named as “Wuyetii- Crow crying night” and “Wuxiqu-Crow sleeping Night”. Traditionally the poets could recognize the difference of that two yuefus and they didn’t confuse the use of these poems. “Crow crying night” was tragic mood like old “Wuyeti”. “Crow sleeping night” was a lyrical romance of love adventure of southern province folk guys including noble ones. The loss of music had affected the status of these yuefus. Entering Song dynasty, No new lyric was produced by poets in literary space. A few ones had just reused some existing themes. The totality of these concrete remains of old folks makes us find the literary opinions of those ancient literary experts on the meaning of “Wuyeti” and “Wuxiqu”.
  • 3.

    Some Aspects of Quoting Poems in Liuyi Shihua

    So-Jin Liu | 2017, (74) | pp.61~90 | number of Cited : 0
    Abstract PDF
    Liuyi Shihua (六一詩話) is the first note on poets and poetry that was written by Ouyang Xiu(歐陽修). Ouyang Xiu quoted a lot of poems of other poets who had lived from the Tang(唐) dynasty to the early Song (宋) dynasty in this note. I studied the phrases of poems which was quoted in Liuyi Shihua in detail, and found out some aspects of quotation as below. (1) The poems of the early Song dynasty are more than the poems of the Tang dynasty. I think it is because Ouyang Xiu had more interest in the poems of nearer period to him. (2) Most of poems were quoted in couplet. I think it is because a couplet is the stablest and most efficient unit to comprehend and introduce a poem. (3) Liuyi Shihua is the original note on poets and poetry that contains a lot of lost poems. These poems maybe disappeared without this note, therefore we can say that Liuyi Shihua has the function of storing poems.
  • 4.

    Study on the characteristics of Poets of Su Men Literary Group’s prefaces

    김은경 | 2017, (74) | pp.91~114 | number of Cited : 0
    Abstract PDF
    Su Shi began to write Ci’s prefaces in earnest. From the middle and late Northern Song Dynasty to the Southern Song Dynasty, most of the poets have written the prefaces in their Ci. Ci’s prefaces is not the only factor of writing poetry, and also is a part of the Ci. Ci’s prefaces that started writing from Su Shi has become popular in the Southern Song Dynasty, there are poets of Su Men Literary Group at the center of its change. Compared with their contemporaries, Poets of Su Men Literary Group have written Ci’s prefaces more then them. They used it to create Ci’s prefaces which is all the things that happen in their daily life. Varying content of prefaces shows us the poet's daily life and has the value of historical materials too. Besides, they wrote the method of written Ci in the preface directly, that was caused a variety of Ci genre creation, expanded the creative mothed. Poets of Su Men Literary Group hold to “Follow the style(尊體)” and accept “Break the style(破體)”, they have Some complex Ci theories and independence of creative practice, have pursued the personalization of the preface. A long Ci-Preface was not written for Ci text, was not secondary things any more. It had its own firm position and meaning. One of Su Men Literary Group wrote the Ci-Preface like essays, other just wrote Ci-title based on facts quite simply, and the others who take the original character of Ci into consideration, only noted a few Ci’s prefaces. The characteristics of Ci’s Prefaces that Poets of Su Men Literary Group wrote were reflected in paying more attention to meaning than form and the regarding poetry as Ci of Su Shi’s theory. These characteristics of the prefaces bring about the innovation of Ci. Each of them shared their practice theory freely, extend creation of Ci’s prefaces. The creation of various contents and methods of their Ci’s prefaces played a role in the future that could lead to the Southern Song Dynasty. In addition, Poets of Su Men Literary Group and their Ci’s prefaces occupies an important position in discussing the development of Song Ci and Ci’s prefaces.
  • 5.

    The image of the dragon and the tiger in Jin Shengtan’s criticism of Water Margin

    肖大平 | 2017, (74) | pp.115~136 | number of Cited : 0
    Abstract PDF
    Jin Shengtan(金圣叹) criticized the novel Water Margin(水浒传) from many aspects by using the image of the dragon and the tiger. By using the image of the dragon’s transformation and change in the clouds, he criticized the plot content’s change and transformation, as well as the number of their plot’s dense. By using the image of the dragons’ swimming in the water, he criticized the plot’s convergence problem. By using the image of the dragon’s deeply diving in the water, he criticized foreshadowing problem on the plot’s design. By using the image of Shuanglongxizhu(双龙戏珠) he the criticized the problems on the plot’s arrangement and organization. Additionly,he also used the image of the dragon and tiger to comment the characters in the novel, and also used the image of the dragon and the tiger to criticize the narrative perspective. Besids all above, the image of the dragon and the tiger is also used to express his reading experience of the text. The search and application of the image of the dragon and the tiger is very suitable for criticing the design of the novel’s plot. Jin Shengtan’s using the image of the dragon and the tiger to criticize the novel Water Margin(水浒传) is not accidental. In my opinion, there are two reasons. Firstly, it is the result of the influence of the tradition of using the image of the dragon and tiger to criticize Chinese ancient poetry. Secondly, it is closely related to the characteristics of the novel Water Margin(水浒传),which is considered as an agglomeration works about the cluture of the dragon and the tiger.
  • 6.

    A Restricted View on The Biography Text of Xv Yezhao A Female Writer in the Qing Dynasty

    강유나 | 2017, (74) | pp.137~151 | number of Cited : 0
    Abstract PDF
    Chinese ancient female writers are good at poetry and not good at prose, it is our tradition for two thousand years. But with the research on the chinese ancient female writers to the depth, some female writers who were good at prose were found. The research object of this paper is just a female writer, called Xv Yezhao, who was good at biography. The target of her biography includes her family members, the women very close to her and the women future generations should remember. The content of her biography can be divided into two kinds. The first kind is writing for the women whose social status were lowly but character were noble, the second kind is to express her admiration to these people and commemorate them. Also, Xv Yezhao expounded the principles of writing biography: authenticity and no in one formula. Family education is the most important reason of her writing biography.
  • 7.

    A Study on Man-Han-Yan-Yi滿漢演義 Translation of the Chinese Modern Historical Novel Shenzhou-Guang-Fu-Zhi-Yan-Yi神州光復志演義

    Kim Young | 2017, (74) | pp.153~175 | number of Cited : 0
    Abstract PDF
    The Chinese modern historical novel Shenzhou-Guang-Fu-Zhi- Yan- Yi神州光復志演義, comprising 120 episodes, was published to celebrate the establishment of the Republic of China(中華民國) in 1912. This novel encompasses the historical events that happened during the 300 years of the period, from the Manchu leader Nurhaci’s conquest of the Ming dynasty(明) and the birth of the Qing dynasty(淸) to the decline of the Qing and Xinhai Revolution(辛亥革命) and the establishment of the Republic of China by the Han Chinese(漢族). This paper introduces a newly discovered version of Korean translation of Shenzhou-Guang-Fu-Zhi-Yan-Yi, titled Man-Han-Yan- Yi滿漢演義, and compares it to the previous Korean translation of Shenzhou-Guang-Fu-Zhi-Yan-Yi, currently archived in the National Library of Korea, to assess the differences between the two literary works. Man-Han-Yan-Yi, despite being an incomplete single set of books, contains a translator’s foreword which is not included in the original Chinese novel or Korean translation of it, housed in the National Library of Korea. The foreword reflects the intention of the translator to heighten the ethnic pride of the Koreans by contrasting the mournful atmosphere of the country that lost its sovereignty to Shenzhou-Guang-Fu-Zhi-Yan-Yi’s narrative of unification and independence. Furthermore, since Shenzhou-Guang-Fu-Zhi-Yan-Yi was banned by the Japanese colonialist, the translator appears to have tried to avoid using the word 光復(restoration of independence); instead he has used 滿(Man) and 漢(Han) to show the conflict and war between the Manchurians(滿洲族) and the Han(漢族) in the story. In conclusion, the novel seems to have been introduced to Korea and translated into Korean to heighten and bolster the spirit of independence among Koreans by telling a story of nearby China’s struggle for independence.
  • 8.

    Chinese Characters Cause word "Reanalysis"

    Yang Xi Peng | 2017, (74) | pp.177~185 | number of Cited : 0
    Abstract PDF
    Chinese characters, as writing symbols of the Chinese language, not only record Chinese language, but also have their impacts on the Chinese words. The writing format of particular Chinese characters may alter the inner construction and inner form of words that they represent which results in the reanalysis of inner construction and inner form of Chinese words.
  • 9.

    A study of [+ speculation] semantics of "ba" based on corpus

    진준화 | 2017, (74) | pp.187~208 | number of Cited : 2
    Abstract PDF
    This paper reanalyzes the meaning of ba used in utterance sentence and its meaning function more closely based on the concept of doubt and assurance presented in previous studies and this paper. The ba used in the sentence has the meaning of [+ speculation 1] in the sentence of [+ question], and [+ speculation 2] in the sentence of [- question]. The function of the meaning of “ba” is deeply related to “[±Yi/Wen]” and “[±Yi/Xin]”. “[±Yi/Wen]” “YouyiYouwen”, “YouyiWuwen”, “Wuyi Youwen”, “WuyiWuwen” have a correspondence relation. The meaning of “ba” is directly related to the function of “Yiduo Yu Xin, Xinduo Yu Yi”. In general, the main meaning function of “ba” is “[+ question] [+ speculation 1]”, meaning function of “YouyiYouwen, Yiduo Yu Xin”. However, according to the discourse environment, the meaning function of “ba” used in each utterance sentence can be judged according to the combination of “[±Yi/Wen]” and “[±Yi/Xin]”.
  • 10.

    A Study on the Meaning of "ne"

    Lee Hye Jung | 2017, (74) | pp.209~232 | number of Cited : 0
    Abstract PDF
    This paper reviews the existing viewpoint of the Sentence-Final Particle “ne” and examines its inherent meaning. The main conclusions of this paper are as follows: “Ne” has been generally regarded as a Interrogative particle. It is true that “ne” often appears in interrogative sentences, but it does not mean that “ne” is responsible for questioning function. Actually the interrogative pronoun in a sentence or the interrogative structure of sentence itself paly the questioning function. Therefore, “ne” can not be a interrogative modal particle. Some scholars have also argued that “ne” is a continuous mark of continuity. It is true that “ne” often associates with words such as “zhengzai”, “zai”, “zhe”, etc, but it can not appear in all sentences that indicate continuation. Therefore, it can not be called a continuous mark. In modern Chinese, there are a lot of sentence-final particles, and they are divided into four meaning categories according to the combination level: Aspect marker> Modality marker> Interrogative or imperative marker> speaker's attitude and emotion marker. Among them, “ne” represents a strong conviction of the speaker. Therefore, it belongs to Evidentiality and can be named as a certainty marker.
  • 11.

    Meaning of 'numeral+多+Classifier+noun' and 'numeral+Classifier+多+noun'

    JIN HYEON | 2017, (74) | pp.233~252 | number of Cited : 0
    Abstract PDF
    ‘多’ means ‘beyond that number’ after the number. We will analyze ‘numeral+多+Classifier+noun’ and ‘numeral+Classifier+多+noun’. We will identify the causes of Correct sentence and Wrong sentence through cognitive linguistic principles. Conceptually, if there is a lower-order digit, it is a correct sentence. Conceptually, if there are no lower-order digits, it is Wrong sentence. According to the above principle, the questions raised in the introduction can be easily answered. First, What is the cause of ‘十多个国家’ is a correct sentence. What is the cause of ‘七多个国家’ being a incorrect sentence? ‘十’ is because there are lower-order digits. So ‘十多个国家’ is a correct sentence. But ‘七’ does not have a lower-order digits. So ‘七多个国家’ is a incorrect sentence. Second, What is the cause of ‘一个多小时’ and ‘十个多小时’ is a correct sentence. What is the cause of ‘七个多国家’ and ‘十个多国家’ being a incorrect sentence? ‘小时’ is because there are lower-order digits. So ‘一个多小时’ and ‘十个多小时’ is a correct sentence. But ‘国家’ does not have a lower-order digits. So ‘七个多国家’ and ‘十个多国家’ is a incorrect sentence. Third, What is the cause of ‘吃了三块多蛋糕’ is a correct sentence. What is the cause of ‘买了三块多蛋糕’ being a incorrect sentence? ‘Eat a cake’ is because there are lower-order digits. So ‘吃了三块多蛋糕’ is a correct sentence. But ‘buy a cake’ does not have a lower-order digits. So ‘买了三块多蛋糕’ is a incorrect sentence.
  • 12.

    A Study of Impoliteness Expressions in Chinese

    OH HYUN JU | 2017, (74) | pp.253~273 | number of Cited : 1
    Abstract PDF
    This study established the concepts and types of impoliteness, analyzed the specific implementation aspects of impoliteness in Chinese, and presented markers of impoliteness in Chinese. The objective of this study is to provide information on impoliteness expressions to reduce pragmatic errors that may be made by Chinese language learners due to unawareness of Chinese language. Therefore, the discussion is developed by focusing on impoliteness markers representing impoliteness. This study presented the following four forms of impoliteness. First, not using politeness expressions Second, form of impoliteness markers ‘少’, ‘給我’ in plea letters Third, impolite meaning of ironic sentences Fourth, impoliteness of word repetitions With the goal of providing information on impoliteness expressions for Chinese language learners, this study discussed forms of impoliteness due to lack of knowledge or ignorance of Chinese language instead of strategic impoliteness with intention. All forms with impolite meaning or functions were intended to be covered as much as possible, but there are many limitations that will be complemented in the future.
  • 13.

    Study on the diagraming teaching method for the meaning classification of modern Chinese synonyms

    Park Seong Ha | 2017, (74) | pp.275~301 | number of Cited : 1
    Abstract PDF
    This study is to set up a main image for Chinese synonyms for meaning classification in order to help the Korean students who have difficulties in learning them and to suggest the use of image diagrams as a method to teach them. First, the main images were drawn for the pronouns ‘每(mei)’ and ‘各 (ge)’, verbs ‘经过(jingguo)’ and ‘通过(tongguo)’, prepositions ‘向(xiang)’ and ‘往(wang)’, ‘沿着(yanzhe)’ and ‘顺着(shunzhe)’, adverbs ‘常常 (changchang)’ and ‘往往(wangwang)’, ‘刚(gang)’ and ‘刚刚(ganggang)’, ‘终于(zhongyu)’ and ‘到底(daodi)’, ‘本来(benlai)’ and ‘原来(yuanlai)’ and the design of the diagram was carried out for classifying meaning and concept. Next, the design of the diagram was carried out to classify grammatical concepts such as adverbs for time, which shows ‘in progress’, conjunctions, representing ‘condition’, preposition, representing ‘location and direction’ and auxiliary verbs, representing 'wish'. In addition, the possibility of using diagrams in word order teaching for synonym adverbs was examined. In conclusion, this paper examined that the teaching method using diagrams can be used not only in vocabulary education but also in grammar education. In addition, it was found that the teaching method using diagrams was a great help in improving students' understanding.