KJC Korea
Journal Central

It is common knowledge in the academic circles that Kong Anguo(孔安國) served as the doctor of JinWen “Shangshu”(今文≪尚書≫), and this is also a major problem in the history of Confucian classics. Based on many documents such as “Historical Records: Biography of Scholars”, this article re-examines this issue from different perspectives. This article points out that Kong Anguo did not hold the post of doctor of Shangshu during Emperor Wu of the Han Dynasty, but took the post of doctor of Lu Shi, about 30 years old at the time. It was also during this period that I met Ni Kuan(兒寬) who had mastered the Jinwen “Shangshu” and came to the school to study. At that time, the scholar of Jinwen “Shangshu” who was a doctor with Kong Anguo at that time should have experienced the two dynasties of Emperor Jing of the Han Dynasty and Emperor Wu of the Han Dynasty.

When evaluating domestic poets, Goryeo Poetry talks(高麗詩話)often compares them with the poetry of ancient Chinese poets. It’s not only preserving the essence of domestic poetics, but also evaluating many famous ancient Chinese poets and poems. In the context of the rise of the “Dongpo fever” in Goryeo Dynasty, the evaluation of Su –Shi’s poetry was particularly important. Goryeo critics summarized the characteristics of Su's poetry as “The spirit of bold and generous, the style of rich and luxuriant”, and provided theoretical explanations from the dimensions of spirit(氣), way(法), and mind(意). These distinctive reviews not only showcase the literary trends and poetic characteristics of the Goryeo dynasty, but also provide an “exotic eyes” to understand Su’s poetry from another dimension.

As a result of examining the aspect of quoting Su Shi(蘇軾) in Kim Soohang(金壽恒)’s poetry, I found that even though he had a hostile relationship with Su Shi because he was ideologically inclined to absolutely regard Zhu Xi(朱熹), but he often borrowed the words and phrases used in Su Shi’s literary works and he also frequently used some episodes related to Su Shi when he wrote poems. And most of them were very closely related to Su Shi’s poetry in terms of creative background and creative motivation. Kim Soohang was able to use Su Shi’s literary works in the right place because he usually enjoyed reading Su Shi’s literary works and liked them so much. In particular, Kim Soohang enjoyed reading Su Shi’s literature even more whenever he faced various hardships, such as political frustration caused by exile or personal trials caused by his children’s premature death. He even showed his admiration for Su Shi in his poems, and he also showed a tendency to identify himself with Su Shi, I think that he tried to overcome trials and frustrations and heal the pain through this identification process. In other words, it can be said that Su Shi was a true friend who understood him more than anyone else to Kim Soohang, because Kim Soohang desperately needed warm comfort and someone to share his heart to overcome his hardships and frustrations, and Su Shi’s literary works were excellent prescriptions for healing his pain.

Liang Qichao's old style poems and Kim Taek-young's Chinese poems were influenced by Du Fu's poetry in both content and art, so their poems showed the characteristics of “depression and frustration”. In terms of content, the strong emotion laid the foundation for Du Fu's poetry's “depression and frustration”. Liang Qichao and Kim Taek- young also wrote their poems about patriotism and nationalism in exile, so their poems both showed the characteristics of “depression”. The difference is that Liang Qichao's poems add a more tragic color to the “depression” foundation. For Kim Taek-young, the reality of the country's demise makes his poems more melancholy. In art, the use of implicit rhetoric and the poetic style of rhythm has contributed greatly to Du Fu's poetry's “depression and frustration”. The poems of Liang Qichao and Kim Taek-young also show similar characteristics. First of all, they both like to use the implicit rhetorical technique of combining false with true. Liang Qichao's old style poems also use symbolic implicit rhetoric techniques. Kim Taek-young's “depression and frustration” of Chinese poetry is also due to the extensive use of allusions. Secondly, Liang Qichao and Kim Taek-young both prefer metrical poetry.

The ideological ‘conversion’ of modern Chinese intellectuals in the 1930s has a very important significance. Ding Ling was at the center of change among the Chinese intellectuals at the time. One of the keywords that must be mentioned to explain Ding Ling is ‘conversion’. As such, Ding Ling's ideological, literary, and identity conversion is a very important part of understanding Ding Ling's literary world. What is to be noted here is the rediscovery of Ding Ling as a boundary person created by her multi-layered identity. Ding Ling's In the Hospital is a work that reveals Ding Ling's thought and psychological state during this period. Furthermore, it can be said that the situation in which Lu Ping is placed, the main character in this work, was not only Ding Ling faced, but also the modern Chinese intellectuals at the time. Therefore, the analysis of this is also very important. In order to examine the above, this paper seeks to analyze the narrative allegory and various meanings of the work from the symbolic meaning of the image of “disease”, the space of obstetrics and gynecology as a borderline space, and the status of doctors in it to reveal identity as a marginal person.

This paper examines the development history of Chinese animation and the recent trends in the animation market. After the reform and opening up, the concept of culture as an industry spread in earnest in Chinese society, which became economically relaxed. And the Chinese government has established a long-term project to become a cultural powerhouse. In 2004, it announced a policy for fostering the animation industry, which is one of the policies for ‘cultural rise’. In 2005, as the government policy, which was in earnest in the animation industry, was reflected, it began to focus on producing animations in its own country. The government's mandate to strengthen soft power while encouraging emerging cultural industries during the 12th and 5th periods became the driving force for developing the animation industry. Since then, the Chinese animation market has developed by leaps and bounds, and it can be seen that the scale is rapidly growing and expanding. As the size of the animation market grows, China also has an awareness of IP rights and is gradually establishing its system. In the midst of this, the Chinese animation industry has recently produced many classic epic IP works such as myths and legends. This seems to be an attempt by the Chinese animation industry to use their traditional culture, classic narratives, to develop and brand their works based on stable box office income in the market.

This study aims to reveal the phonetic relationships of initial consonants between characters of Yinzhuan(音轉) in Guangya Shuzheng(廣雅疏證). According to Wu Zeshun(2006: 4-5)'s definition of Yinzhuan(音轉), it refers to the phenomenon of phonetic transformation in Chinese characters due to various reasons such as historical factors, regional factors, and linguistic factors. Through the study of Yinzhuan(音轉) between characters, we can examine their etymology and phonetic relationships. Yinzhuan(音轉) has also attracted the attention of many scholars. However, based on existing research on Yinzhuan(音轉), most of the phonetic analysis are based on Wang Li's Old Chinese phonology. Over time, the limitations of Wang Li's Old Chinese phonological system have gradually become apparent. Since his system does not support consonant Clusters, the use of Wang Li's system to analyze Yinzhuan(音轉) is inevitably limited and will have an impact on existing research results. Therefore, this paper will adopt the Old Chinese phonology system proposed by Zheng-Zhang Shangfang(2013), which references a large amount of materials such as Xiesheng(諧聲)，loan characters, transcriptions etc. By breaking through the limitations of current research in phonology, this paper will conduct a specific phonetic analysis of Yinzhuan(音轉) in Guangya shuzheng. The focus will be on analyzing the phonetic relationships of initial consonants between characters of Yinzhuan(音轉) to elucidate how phonetic transformations occur between these characters.

Based on the misuse of Collective nouns representing the relationship by learners who learning Chinese as a second language, this paper analyzes the structural and semantic features of relational Collective nouns,and investigates the acceptance of the construction “plural subject + (dou) + Shi + relative collective nouns” by Chinese native speakers using of Symmetric Relational Collective Nouns. According to the survey data, this paper uses SPSS to analyze the data and explains the influence of each component of the construction “plural subject + (dou) + Shi + relative collective nouns” on the construction acceptance and the reasons. Through the analysis, it is pointed out that the existence of “dou” has a great influence on the acceptability of the construction, and “dou” emphasizes the individual common attributes of the plural subject. The interaction between “dou” and the number of subjects and the types of relational collective nouns in the construction has an impact on the acceptability of the sentence. At the same time, the relational collective nouns in the construction have two functions: expressing the relationship between both sides and expressing the relationship of common collective attributes. It is hoped that this study will provide a basis for learners who learning Chinese as a second language to use relational collective nouns accurately, and also provide a basis for teaching relational collective nouns and reasonably explain the misuse.

“A2 de(得) bu xiang hua(不像话)” is an emerging high-frequency construction in modern Chinese. It expresses that the cognitive stress subject makes a subjective maximum evaluation that a trait of a subject in line with and far beyond their own psychological expectations.​ Variable “A2” of the construction is mainly monosyllabic and disyllabic positive adjectives. This construction mainly as a predicate or a separate sentence is a typical declarative construction. Most constructive use cases have positive evaluation semantics. This construction is a rhetorical construction formed by the grammatical construction “V1 de(得) bu xiang hua(不像话)” through multiple interactions.​ At the same time, it is accompanied by the quasi-degree adverbization of “bu xiang hua(不像话)”.​ In addition, the article also discusses the similarities and differences between “A de(得) bu xiang hua(不像话)” and “A dao(到) bu xiang hua (不像话)”.

There are various grammatical means of expressing counter-expectation categories in Korean and Chinese, adverbs are one of the important means of counter-expectation expression, and adverbs with counter- expectation properties often have more prominent commentary attributes. This paper mainly makes a comparative analysis of the counter- expectation adverbs ‘Dodaeche’ and ‘Dàodǐ’ with similar semantics, focusing on the distribution of the two expressions and the characteristics of expectations. All of these expressions can be used in declarative sentences, interrogative sentences, and exclamatory sentences, and the two kinds of expressions both present the semantic continuum of ‘general doubt-slight anger-stronger criticism and accusation’ in interrogative expressions; The greater the degree, the stronger the negative emotional attitude expressed by the speaker. Second, in terms of differences, in declarative sentences, Korean ‘Dodaeche’ does not have a relatively fixed construction to represent the relieved counter-expectation semantics, while Chinese ‘Dàodǐ’ expresses counter-expectation semantics is more prominent and has a relatively fixed expression form; in interrogative sentences, Korean ‘Dodaeche’ represents a general question with a strong objective attribute, and the objective attribute of Chinese ‘Dàodǐ’ is relatively weak, and the distribution is relatively small; and in the question expression with blame and slight anger, the distribution of Chinese ‘Dàodǐ’ is more prominent than that of Korean ‘Dodaeche’; in exclamatory sentences, Korean ‘Dodaeche’ often appears in the form of ‘Dodaeche+olma……?’, while Chinese ‘Dàodǐ’ mostly appears with ‘!’ in it. Third, the motivations for the above similarities and differences between Korean and Chinese, we preliminarily believe that they are closely related to their respective semantic associations and mechanisms, subjectivity levels, ‘question-deny-couter-expectaiton’ conversion, and the complementary mechanism of language economy.

There are a lot of tasks to develop textbooks or reference books and train teachers before two years when the 2022 Revised Curriculum (notified on December 22 2022) is subject to be applied to first-year students in high schools. In order to prepare them this study analyzed the contents of general and detailed remarks of the 2022 Revised Curriculum with the comparison between the 2015 and the 2022 Revised Curriculums and presented the directions of the ‘Chinese cultures’ subject. The 2022 Revised Curriculum of Chinese in high schools is related to full implementation of the 2025 Credit System in high schools. Under the credit system students are subject to choose necessary subjects for themselves to enhance self-direction learning. The selected subjects are classified into ‘general･career･integrated options’. The ‘integrated options’ are a supplementation of the 2015 Revised Curriculum and include ‘Chinese cultures’. The ‘Chinese cultures’ subject was categorized as ‘career options’ in the 2015 Revised Curriculum. It is inevitable to change the role and direction of appropriate subjects. The 2022 Revised Curriculum is set to deal with unpredictable changes in upcoming societies and circumstances. For the purpose, the ‘Chinese cultures’ subject should give an opportunity in which students strengthen the ability to use various media and cooperative communication and have their own careers. This study suggested a project through integrated education as a way to realize the goal for diverse careers of students. The ‘Chinese cultures’ could accept a variety of educational needs from students by connecting and integrating many studies. The ‘Chinese cultures’ could also be a subject to help students preparing university entrance exams by relating the activities to personal school records. The ‘Chinese cultures’ is expected to be a small milestone in its direction.