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2008, Vol., No.18

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    Differentiation and Combination of Chinese character from "Jia Jie"

    Heungsoo Park | 나진희 | 2008, (18) | pp.73~90 | number of Cited : 0
    Abstract PDF
    The differentiation of Chinese character is the result of "Yin Shen (to extend in meaning)" "Jia Jie (to make use of; to borrow)" and changed shape of character. This article will mention differentiation and combination of Chinese character from "Jia Jie". Differentiation of a letter has been always continuous in order to clarify meaning because each character has become to have more than two meanings and phonemes through development of language. Also combination of characters, based on differentiation of characters, has continuously occurred in order to simplify the number and shape of characters. Combination of characters is that one character gives its own function to another character. Therefore, "Jia Jie" is the main cause for differentiation and combination of characters. This article is mainly composed with "Differentiation of Characters from Jia Jie" and "Combination of Characters from Jia Jie".
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    现代汉语副词“其实”与“当然”语篇使用差异及交际意图分析

    冯传强 | 2008, (18) | pp.91~110 | number of Cited : 0
    Abstract PDF
    The differences of the modern Chinese adverbs, 'qishi' and 'dangran', in the intention of intercourse and use in context  Feng chuanqiang  Throughout the contextual level,this paper discussed the differences of the modern Chinese adverbs, 'qishi' and 'dangran', used with 转折词语,语气副词,and 语气词. It also well explained how do the differences become. Meanwhile,by using the theory of pragmatics, this paper analysed the differences of speakers' intention of intercourse of using these two adverbs. This paper expected to advance the study of modern Chinese adverbs, and help foreign students' deep understanding of these two adverbs.
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    Literature and Creation On the Essence of the Literature and the Creative Thinking

    夏辇生 | 2008, (18) | pp.111~127 | number of Cited : 1
    Abstract PDF
    According to the experience and understanding accumulated by more than 30 years career of literature creation and more than 20 years studying in new thoughts teaching, Mrs. Xia, a Chinese writer, proposes this new topic “literature and creation”. The author tries to reveal the origin of her thinking on literature and creation from her hundreds of speeches which have a common theme. Furthermore, this article discusses author’s outlook on literature creation, the thought mode with novelty, difference and variety in chinese teaching, and the importance and social value of new thoughts education by pursuing the nature of literature, studying the essence of Chinese language, Interpreting the Chinese characters intellectively, and deciphering the creative thoughts in a new way.
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    Talking about the Strange: An Analysis of the "Tanyi" 談異 Chapters of Wang Shizhen's Chi bei ou tan 池北偶談

    Park Ji Hyun | 2008, (18) | pp.128~145 | number of Cited : 1
    Abstract PDF
    This paper examines the characteristics of the biji 筆記 narrative as storytelling discourse, focusing on the concept of "the strange" in the "Tanyi" 談異 (Talking about the strange) chapter of Chi bei ou tan 池北偶談 (Casual talks on the north of the pond). In China, the tradition of "strange" stories goes back to zhiguai 志怪 and chuanqi 傳奇. Biji is in the tradition of zhiguai, the intellectual narrative discourse, and thus is distinguished from chuanqi, the literary narrative discourse. However, there is a significant difference between zhiguai and biji: while the goal of zhiguai is to explore "the other world" that contrasts with "this world" and construct a self-contained system of signs of that world, the goal of biji is to grasp the "otherworldliness hidden in this world" and create discourses on its secondary cultural meanings. In this sense, we may consider zhiguai as religious discourse that focuses on "the other world," and biji as social discourse that focuses on "this world." In terms of the change in the boundary of "the strange," biji narrative's interest in "this world" means the extension of the boundary drawn by zhiguai, which focuses on "the other world." It also signifies the internalization of the boundary in the sense that the direction of the extension is inward rather than outward. At the center of this change is the secularization of the narrative interest: while the narrators of zhiguai aspire to recognize and apprehend "the other world," i.e. the world of "you" and "the unknown" as opposed to the world of "I" and "the known," the narrators of biji have a strong desire to culturally assimilate the otherworldliness that exists in the subjective space. Also worth noting is that, in the Ming-Qing period, the formation of the biji discourse seems to enabled the literati, the subject of narration, to constitute the context and discourse of the world, and thus have formed the foundation of the usual intellectual communication. Moreover, it is very plausible that the biji discourse functioned as the major site of public opinion during the pre-modern era. It is probably because the biji tradition was deeply embedded in Chinese society that modern Chinese newspapers in the late 19th century, formed under strong Western influences, seems to be not very far from the literati biji in terms of the composition of discourse and the contents.
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    Having no way out when you awake From "Shangshi" to see Lu Xun’s unique thinking of the women's liberation during the "May 4th" Period. 

    洪永春 | 2008, (18) | pp.146~247 | number of Cited : 0
    Abstract PDF
    By analyzing the love tragedy of Juan Sheng and Zi Jun who are the dramatis personae in "Shangshi", this paper reveals Lu Xun's deep thinking for the women's liberation during "May 4th" period: Love Style, Family Style and their subjective shdrtages. Thus, let people learn the crux of the problem more clearly. 
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    Relationship between the Revolutionary Poetry of the 1920s and Its Social Context

    WANG Ye | 2008, (18) | pp.248~259 | number of Cited : 0
    Abstract PDF
    The revolutionary poetry of the 1920s, though long mentioned in modern literature history, has never received comprehensive, in depth research. The revolutionary doctrines and romantic poetic style which prevailed in the 1920s constituted the social context of the revolutionary poetry of the 1920s and shaped the prominent historic character of revolutionary poetry.
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    “文革”中的魯迅

    葛濤 | 2008, (18) | pp.260~277 | number of Cited : 0
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    本文主要從歷史的角度研究魯迅對“文革”時期的中國政治和文化所產生的深遠影響,認為魯迅不僅在政治層面極大地影響到“文革”之後的中國社會的轉型,而且也在文化層面和思想層面深遠地影響了“文革”之後的中國文學創作和藝術創作。
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    Comparative Study on Formation of New Women in the Korean and Chinese Novel at the Beginning of Modern Times - Focus on Na Hye-Seok's 「Kyoung-Hee」and BingXin's 「Two homes」-

    손미령 | 2008, (18) | pp.278~309 | number of Cited : 0
    Abstract PDF
    Korea and China get into modernization through the situation of a colony and semicolonialism. New women who is educated appear in this moment and they argue mot only impartiality between men and women, but also women's liberation. Na Hye-Seok and BingXin, as new women instructed under the new education system in the beginning of modern times, realize that the home under feudalism is unreasonable, and they unveil the problems about home, women education, equality of sexes, financial independence. Na Hye-Seok indicate a new portrait of wise mother and good wife different from existing one. And BingXin present a new portrait of new women as a dedicated and loyal wife. The male superiority, a social trend at that time, still occupies dominant status. So, the women need to fight for own liberation through getting over conflicts and frustrations. But they finally expose the limitations of womanism emphasizing the roles in a home. Even though they fail to bring up a more modernistic women's image, it is a limitation of the times that a woman writer cannot jump over. They deserve to praise beginning modern women's movement through the stories.
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    鲁迅与1920—30年代中国陀思妥耶夫斯基的接受 ―在与同时代日本·西欧的关系之背景下―

    白井澄世 | 2008, (18) | pp.310~324 | number of Cited : 0
    Abstract PDF
    Lu Xun andthe reception of the Dostoevsks LiteratureinChina in the1920‐30s Focusing on the relation withcontemporar Japan and Europe.Shirai Sumiy (Baijing ChengshiKeyword Lu Xu,Dostoevsky, Japan,roletarian literaturIn this article, I arranged the situation of the reception of the Dostoevsks Literature in the 1920‐30s in China, especially in relation withcontemporar Japan and Europe, andanalyze the role that Lu Xu鲁 carried out in it. n May FourthEr, Dostoevsky was introduced as“ humanistic write by leaders ofChines new literature.u Xun didt refer to Dostoevsks Literature carefully then, but he had a stronginteres in it.Poorpeople” whic was the first book translated by Wei Congw韦丛in China was published by aid of Lu Xun. In the 1930s, various theories of Dostoevsks Literature were brought into China,especiall, Japanesevariou theories of it were flowed into China. Actually, in Japan, there were the decline of the Proletarian literature and a trend of the Renaissance in the background of Japanese Dostoevsks fever. But in China,Chines intellectual didt“choose” th theories butreceive thecotemporar various theories at a time. In this situation, Lu Xunannouncd his original opinion for Dostoevsks Literature as aChines reader. The word of Lu Xun had depth in opposite to the contemporaryChines Dostoevsks fever.
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    The Comparative Study on Yu Dafu and Hyeon Jin-goen‘s novel structure of the narrative

    이신동 | 2008, (18) | pp.325~335 | number of Cited : 0
    Abstract PDF
    Yu Dafu and Hyeon Jin-goen are pioneers of modern literature of China and korea. They have a common social background, similar life experiences, similar to the concept of literature and literary road. Therefore, the personal experience and work characteristics are very similar, the two authors, from the perspective of comparative literature, it is feasible to conduct research and necessary. Therefore, this paper analysis of the Yu Dafu and Hyeon Jin-goen‘s novel structure of the narrative, comparative study between the similarity in this regard and to explore the creative writers of the two features, with a view to a more comprehensive and objective study of Yu Dafu and Hyeon Jin-goen and provide a useful experiment. Yu Dafu and Hyeon Jin-goen‘s novel structure of the narrative have some common points and different points, both from their different literary knowledge, the pursuit of art and life experiences, but also from their respective social, environmental different times. The layout of their works reflects the personality characteristics and significance of the aspirations of their own and created a literary form.
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    The experiences and recognition of China showed in Kim Sa-Ryang's『Nomamanri(駑馬萬里)』

    NamYong Park | 박민호 | 2008, (18) | pp.353~378 | number of Cited : 2
    Abstract PDF
    Kim Sa-Ryang is a Korean fictionist played an active part in the literary world in the period of the Japanese rule in Korea. He couldn't endure the ages of Japanese oppression, extricate himself from homeland to Yun-An(延安) in 1945. 『No'ma'manri(駑馬萬里)』is his long piece travel sketch published in 1947, It describes the Beijing, Chinese farm villages, and the Chinese Communists anti-Japanese struggled in Yun-An. It is important work in that it has been the first realistic document of Yun-An in China written by Korean writer. Moreover he expressed national consciousness and social criticism in his work, so we can understand how the intellectual of Korea viewed the matters of contemporary China.
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    From Mao Zedong’s Thought of Independence and Self-reliance to Roh Moohyun’s Idea of “A Balancer in Northeast Asia”

    장홍추 | 2008, (18) | pp.379~387 | number of Cited : 0
    Abstract PDF
    In 2005 South Korean President Roh Moohyun formally claimed that South Korea should play the role of “a balancer in Northeast Asia”. This is not only a vision of President Roh and his aides, but also an attempt of putting the Korean left-wing dream into practice. Korean left wing has dreamed the independence and self-reliance of Korea over a long period of time. President Roh has been ridiculed by the Korean right wing as the loyalest student of Lee Younghee, who is the forerunner of contemporary Korean left movement and whose thought has exerted an influence on the thought of President Roh, including Roh’s diplomatic idea of “a balancer in Northeast Asia”. Therefore, through Lee Younghee Roh’s idea of “a balancer in Northeast Asia” not only relates to the Korean left-wing tradition but also relates to the era of Mao Zedong and the thought of Mao.
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    From Mao Zedong’s Thought of Independence and Self-reliance to Roh Moohyun’s Idea of “A Balancer in Northeast Asia”

    장홍추 | 2008, (18) | pp.388~402 | number of Cited : 0
    Abstract PDF
    In 2005 South Korean President Roh Moohyun formally claimed that South Korea should play the role of “a balancer in Northeast Asia”. This is not only a vision of President Roh and his aides, but also an attempt of putting the Korean left-wing dream into practice. Korean left wing has dreamed the independence and self-reliance of Korea over a long period of time. President Roh has been ridiculed by the Korean right wing as the loyalest student of Lee Younghee, who is the forerunner of contemporary Korean left movement and whose thought has exerted an influence on the thought of President Roh, including Roh’s diplomatic idea of “a balancer in Northeast Asia”. Therefore, through Lee Younghee Roh’s idea of “a balancer in Northeast Asia” not only relates to the Korean left-wing tradition but also relates to the era of Mao Zedong and the thought of Mao.
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    The Inflow of Hong Kong Films into Korea : Its History and Present

    김정은 | 2008, (18) | pp.403~412 | number of Cited : 1
    Abstract PDF
    For about 20 years, from 1970s to 1990s, the movies from Hong Kong had been loved dearly by Korean and close enough as a part of their lives. Although the films has popularity and great effects, the research on the inflow of Hong Kong films into Korea is at the very beginning. Particularly, there is no discussion about when the first Hong Kong movie landed and what the first released Hong Kong movie was. Therefore, based on various sources, this paper aims to study on the time that very first Hong Kong movie arrived and the inflow history and present of Hong Kong movies dividing it into five stages: Formation, Growth, Development, Golden age and Decline.