KJC Korea
Journal Central

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.

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.

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.

Su Shi(蘇軾) liked to use allusion when writing poetry and prose. He accepted the philosophy of Zhuangzi (莊子) and quoted a lot of words from it, because he liked the book a lot and usually enjoyed reading it. So I assumed that several studies had already been done on quotations from Zhuangzi (莊子) in Su Shi(蘇軾)’s poetry. However, contrary to my expectations, there were few related prior studies. So I studied at how Su Shi(蘇軾) accepted and used the philosophy and the words of Zhuangzi (莊子) when writing poetry. And through the analysis of Su Shi(蘇軾)’s poetry, I also studied specifically at how it worked on the aesthetic effects of his poetry. As a result of this study, I found the following facts. Firstly, Su Shi (蘇軾) actively accepted the philosophy of Zhuangzi (莊子) and he reflected this in his poetry, and it had the aesthetic effect of giving broad-minded style to his poetry. Secondly, Su Shi(蘇軾) not only enhanced the implication of his poetry by using the words of Zhuangzi (莊子), but also gained the aesthetic effect of adding humorous tastes to his poetry by simply borrowing the words of Zhuangzi (莊子).

Jeondeung Shinwha is a work that revived literary tradition of romance which had almost disappeared since the Tang Dynasty in the history of Chinese novel. Geumoh Shinwha is the first novel in Korea to create the genre custom of romance, so it can be said to be very important work in Josen Dynasty novel history. As for the female shape of Geumoh Shinwha and Jeondeung Shinwha, the female figure with tragic fate accounts for the majority of female figures. In extreme terms, the mixed affection stories of a female figure with a sad fate and a male figure who sympathize with it make up main part of the story. Why did Gu-Woo and Kim-Siseop create such tragic female protagonists? Of course, in the case of Gu-Woo, it is not that there is no affection folklore that ends with a happy ending. However, when viewed as a whole, it seems that the two writers are putting great emphasis on the tragic of affection and creation of the tragic female shape. This study analyzes the literary psyche of Gu-Woo and Kim-Siseup, and the creation a tragic female shape from various aspect, also comparatively analyzes the features of the female shape in the works.

This article proposed an analysis of the locative phrase which is formed from personal pronouns plus locative particles. In Mandarin Chinese, locative particles Zher(here) and Nar(there) can be combined with preceding personal pronouns to express the localization. The forms of ‘PPs+Zher/Nar’ is ambiguous between two main types of meaning: denoting space and person, which has different syntactic-semantic properties, the phrase like ‘WoZheli(I here)’ can be translated to English in many ways(‘my place’, ‘here’, or ‘me’ etc.). As for the syntactic structure, ‘PPs+Zher/Nar’ can be analyzed in a definite co-reference structure with the implying predicate are implied in this form. As for the meaning of spatial, ‘PPs+Zher/Nar’ denotes a specific space where the person is being in someplace, or it can be understood to refer to possession meaning. If the form denotes person, it reveals the speaker's subjective or psychological distance which has some pragmatic interpretations like expressing the position of the speaker.

In previous studies, there are still some deficiencies in the explanation of indirect negation speech act and there are still some doubts about the nature and the cause of indirect negation phenomenon in previous studies. This article believes the Game Theory provides a better perspective for the emergence of indirect negation. The purpose of this article is to explain that the carrier of the negative meaning of indirect negation is a kind of non-correspondence. This non-correspondence reflects the following three aspects: the non-correspondence of communicative intentions between communicators, the non-correspondence of the directedness of the focus of proposition, and the non-correspondence between the language table and utterance meaning. The reason for this non-correspondence is that the communicator chooses a “profit maximization” strategy through the calculation and comparison of costs and benefits. This article, from the perspective of game theory, fully reflects the essential characteristics of the phenomenon of indirect negation, which is a kind of game theoretical strategy to communication based on the non-correspondence.

The purpose of this paper is to examine and analyze “Chufei(除非)” Conditional Sentences in Korean-Chinese Correspondence syntactic features and logic functions. They have many similarities in semantic relations, conveyed as well in their grammatical meaning, causing confusion between semantic biases. In the analysis, the similarities and differences between “Chufei(除非) p  Cai(才) q” and “p –eoya(-어야) q” in their use will be analyzed from the per -spective of logical semantics. In this paper, By analyzing four corpora from China’s University websites, based on statistical data,  analyze the “non-sentence” errors of Korean students living in China to organize the internal structure and pattern of errors, find the underlying error type, and find out the cause. This contrasting analysis has the educational significance that contributes to reducing errors in the usage of “Chufei(除非)” by Korean Chinese learners.

The prototype and extended meanings of Chinese verb ‘炒’ From the perspective of cognitive linguistics, this paper analyzes the prototypical meaning currently actually used for the Chinese culinary verb ‘炒’ and the expanded meaning through conceptual metaphors through conceptual hybrid theory. Through the corpus, you can see that the Chinese culinary verb ‘炒’ is expanded from the original meaning of cooking to ‘to speculate’, ‘to manipulate’, ‘to fire’, and ‘to expose’. there was. This tendency of extended meaning has mostly negative colors, and it can be found that it becomes a vocabulary. In addition, this aspect of meaning expansion is synchronized through interaction with social and cultural changes, and shows a trend of expanding into an abstract and pragmatic meaning. I hope that it will be helpful in teaching Chinese by looking at the expanded meaning and aspect of the Chinese culinary verb ‘炒’, which is actually used now.

This paper is a research about the relationship between prosodic and syntactic-semantic structure, based on the analysis of sentences with consecutive third tone which include Chinese adverb “ye” that have separate semantic direction. The following results were obtained from this study; First, when the third tone occurs consecutively in Chinese phrases or sentences, disyllable first form one foot, and then the rest of the foots are determined at lexical level. Second, in normal tempo, the most basic prosodic domain is disyllable or trisyllable, and the same applies to sentences or phrases with adverb “ye”. Third, in fast tempo, phrases or sentences including “ye” appear the same result as the consecutive third tone sandhi in fast tempo. Given the results above, Chinese adverb “ye” doesn’t make any prosodical change when it indicates a subject or object. Semantic difference of “ye” appears through syntactic difference, not prosodical change, therefore subjects are essential while objectives can be omitted in the latter part of a sentence when “ye” indicate a subject, and the subjects must be omitted and the object must be presented when “ye” indicate object.

This thesis is a comparative analysis of the translation of Korean mimetic words in the Mainland Chinese and Taiwanese versions of Kim Young-ha’s “The Empire of Light ”. In the two translations, the mimetic words of the source text are translated into various forms using verbs, adjectives, overlapping adjectives, adverbs, quantifiers, idioms, and resultative complements. The Mainland Chinese version has been translated 309 times, but 87 of those times, the mimetic words, which appear 396 times in the original text, were not translated. The Taiwanese version has been translated 321 times, and the mimetic words were not translated 75 times. There are 138 types of mimetic words used in the source text, of which 17 were omitted and not translated in either type of translations. There are more varied translations in both types of translations than translations of the same mimetic words, and there are a few mimetic words that have been omitted. Therefore, it is necessary to establish standardized mimetic word translation guidelines that can be used for Korean-Chinese translations.

This paper conducted a Chinese-Korean contrastive analysis of modern Chinese ‘X-rán(然)’ and its equivalent Sino-Korean words from a distributed morphology perspective. The results are as follows. First, in the modern Chinese ‘X-rán(然)’ structure, ‘-rán(然)’ is not only used as an adjective and adverbial suffix, but is also used as a suffix to form nouns, verbs, distinctions, and conjunctions. Second, in Sino-Korean words, the ‘X-rán(然)’ structure is projected as root and root phrase, and then combined again with functional categories to generate synthetic compounds. Its functional categories were shown as zero form(adverbals, nouns), ‘-ha-’ (adjectives), ‘-hi’(adverbals), ‘-ko’(adverbals), and ‘-jeog’(determiners, nouns). Third, the ‘X-rán(然)’ structure has the characteristics of synthetic compounds, which are generated in a distributed morphological manner in both Chinese and Korean. Chinese is generated in the manner of covert distributed morphology, but Korean is generated in the manner of overt distributed morphology. Recognizing this, if Koreans learn Chinese, they can rule out more interferences, which will enhance the effectiveness of teaching.