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2010, Vol., No.24

  • 1.

    Rhetoric Explanations Could not be Neglected on the Literary Selections Annotation in “Ancient Chinese”

    崔泰吉 | 2010, (24) | pp.3~22 | number of Cited : 0
    Abstract PDF
    The rhetoric is a frequent language phenomenon which appears in the “Ancient Chinese” literary selections. Although this language phenomenon has a close relationship with glossary and grammar, it actually has its own characteristics. If we don’t know the rhetoric, it is also very difficult to understand the ancient book truly, even though we have rich knowledge of the Ancient Chinese’s glossary and the grammar. If we just explain the rhetoric phenomenon in literary selections in “the Ancient times Chinese”from the angle of word meaning and the grammar, but not analyze from the rhetoric angle, it is difficult to receive satisfied effect of the explanation, even without knowing where to begin thoroughly. But most rhetoric phenomenon appeared in the literary selections of “Ancient Chinese” put aside its rhetoric significance completely, only made the simple explanation to the word meaning or the syntax. It is very difficult to study literary selections, and it affects improving student’s reading ability. We have to do nothing but to sigh for it. Teaching material’s of literary selections annotation and the literary selections in “Ancient Chinese” only have some explanations of the word meaning and the grammar, but do not explain the rhetoric. From the requirement of improving student’s reading ancient books ability, equal attentions should be paid to the word meaning explanations, syntax analysis and the rhetoric explanations. This essay points out the necessity that in “Ancient Chinese”, we just emphasize on the word meaning and the grammar explanations, but neglect the importance of rhetoric explanations in the literary selections annotation.We demonstrate the necessity of adding rhetoric explanation in the literary selections annotation with contrastive analysis’s method. The article has some references to the teaching material’s compilation and teaching of literary selections in “Ancient Chinese”.
  • 2.

    A Brief Introduction to the Research on the Chinese Rhetoric in Korea Since 2005

    Na, Min Gu | 2010, (24) | pp.23~34 | number of Cited : 0
    Abstract PDF
    At present, the public interest and studies related to rhetoric are increasing day by day. Though rhetoric has been developed both in the East and the West in parallel, the aspects of its development are different from each other. In the West,centered on Europe, a variety of studies have been actively conducted on the basis of long tradition of rhetoric from the days of Aristotle in ancient Greece and to the present day. On the other hand, China, who represents the East, also has maintained her long tradition of ancient rhetoric. Modern rhetoric was emerged as an academic subject in China in 1938 ‐‐ quite late compared with the West ‐‐ when Chen Wangdao published An Introduction to Rhetoric; from that time on, the basic framework of modern Chinese rhetoric had been set up, establishing serious academic systems. Nowadays, Chinese rhetoric is making up for its idiosyncrasy by dint of conducting studies on the theories of rhetoric and exchanging ideas with other academic fields,also providing other investigators in closely‐related academic subjects with a breakthrough that allows them to overcome their academic constraints. The number of the books and papers that have been published in Korea in relation to Chinese rhetoric over the last 5 years in the 2000s is not so big. However, they can be regarded as remarkable achievements compared with the research achievements accrued over the past a few decades. Given the huge scale of communication going on between nations, people, and academics, the studies on Chinese rhetoric in Korea are expected to prevail in the future. Consequently, it is high time that the more active exchange with local Chinese scholars be highly necessary.
  • 3.

    “XING”(行)as General Verb and Its Syntactic Limitation

    JIAO YUMEI | 2010, (24) | pp.35~47 | number of Cited : 0
    Abstract PDF
    General verb are a special kind of narrow classification verb in Chinese. “XING”(行)is a prime example of the general verb. At first, this thesis makes a review of the history about the senses generalization. Secondly, on the basis of a comprehensive description of the typical general verb, It sums up its main features and syntactic limitation. It briefly puts forward the directive significance of general verbs to the work practices, and hopes it will be of some helpto the further studies of general verbs in the academic circles.
  • 4.

    Language Contact between Korean and Chinese for 2, 200 Years

    Eom, Ik-sang | 2010, (24) | pp.49~66 | number of Cited : 0
    Abstract PDF
    This article deals with the following topics:a. The transmission time of Chinese characters to old Korea b. The transmission routes of Chinese characters to old Korea c. Language contacts between Korean and Old Chinese, Middle Chinese, Old Mandarin and Modern Mandarin It claims that Chinese characters were first transmitted to old Koreans at latest by the second century B.C. during the Weiman Choson period. This is a century earlier than the conventional view, which considers the first century B.C. as the time of transmission because of the four commanderies that were founded by the Han dynasty during that time. Concerning the routes of transmission, this article follows the conventional views, which can be summarized as Koguryo borrowed Chinese characters from northern China, while Paekche did from southeastern China. Silla accepted Chinese characters from Koguryo. This article presents some examples of language contact between Korean and Old Chinese in (2)‐(5), Korean and Middle Chinese in (6), Korean and Old Mandarin in (8)‐(9), and Korean and Modern Mandarin in (13). Based upon these examples, the author claims that Sino‐Korean and/or Korean have been in close contact with Chinese from the earliest time to the present. This view is different from that from some Korean linguists who claim that Sino‐Korean has been somewhat fossilized since their pronunciations were established sometime in the past. It is true that Sino‐Korean has experienced less change than the native Korean. However, it does not sound plausible to claim that Sino‐Korean is a dead component that was fossilized in the Korean language.
  • 5.

    he Teaching Model of Business General knowledge: Based on the Teaching of Chinese as a Foreign Language Education

    方珍平 | 2010, (24) | pp.67~98 | number of Cited : 0
    Abstract PDF
    The education of the Teaching of Chinese as A Foreign Language has been forwarding to professional,industry‐oriented development,including business Chinese language teaching as the pacesetter.In this paper,Chinese language teaching model for business general knowledge has been set up based on the theoretical study,in which education location and education content built upon the department of Chinese as a foreign language teaching departments and colleges.
  • 6.

    Investigation of the Tang Dynasty Song

    Xu wen wu | 2010, (24) | pp.101~118 | number of Cited : 0
    Abstract PDF
    Since the Han Dynasty, the army’s music had already started to spread,HengChuiQu one of them. Sui Dynasty, when there are four departments in charge of music in the Tang Dynasty, there are five departments manage music. In the Tang Dynasty is very complicated, because a lot of music in the name of the inconsistency. Documented in the literature are not the same. Chen Yang’s 《YueShu》are more reliable than the New Book of Tang records, New Book of Tang proved to be wrong, but 《YueShu》is the right book. Ultimately prove to be, music recorded in the book is the real song name.
  • 7.

    A Brief Review on the Friendship Poems Exchanged Between Ancient Writers in China and Korea

    이충양 | 2010, (24) | pp.119~139 | number of Cited : 0
    Abstract PDF
    In this study, the origin of friendship poems exchanged between ancient intellectuals and writers in Korea and China, and the historical aspects and the characteristics of the poems during their heyday, and their historical value were reviewed. In doing so, the fact that the ancestors in Korea and China had exchanged letters and contracted friendship with one another was traced in depth by investigating references. Especially, being prosperous, the Tang Dynasty opened the door to foreigners and attracted and supported lots of foreign students. For that reason, many scholars and monks came to China in order to study overseas, and quite a few of famous figures contracted friendship with Chinese friends by exchanging poems between them. Tang emperor, the King Xuan, wrote a poem on his own writing to the King of Silla who consoled the emperor when he took refuge during An Lüshan’s rebellion,and Li Bai also wrote Goguryeo that described Korean culture. In Korea, the writers, led by Gyogak Kim, Hyecho, Chiwon Choi and more, replied to the Chinese friends with earnest friendship poems.
  • 8.

    On three types of emotional gradation through repetitive inversion in the “Ch’ing chen chi” by Chou Pang‐yen (Ⅱ) - Meaning inversion of image and dislocation of time and space

    楊晉綺 | 2010, (24) | pp.141~174 | number of Cited : 0
    Abstract PDF
    Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”(過片) Zhou’s work showed elegant, deliberate and reserved style. This paper,Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”(過片) Zhou’s work showed elegant, deliberate and reserved style.focusing on the second type of emotional gradation through repetitive inversion,discusses the meaning contrast of images and the structure of spatial and temporal jump in the “Ch’ing chen chi”.
  • 9.

    On the Tang Dansty Style in Goryeo Poet Kwookeong Kim’s poems

    刘志峰 | 윤윤진 | 2010, (24) | pp.175~188 | number of Cited : 0
    Abstract PDF
    Kwookeong Kim was a famous poet of Chinese in Goryeo period, whose poems were regarded having both Tang and Song’s style. Kim lived in the period when the poems of Song Dynasty poets like Su Shi, Huang Tingjian and Lu You rushed into Korea, and when Su Shi’s writings were honored highly. Thus, his poems were certainly influenced more or less by Song culture. However, after careful study, we find out that Kim’s poems mainly belong to Tang style. For example, his plain and fresh style is like Chen Zi ang, Wang Wei, Li Bai and Du Fu of Tang Danasty; his Taoism and hermitage is similar to Wang Wei and Meng Haoran; his poems on frontier, on ancient times and Odes had Tang style as well. We draw the conclusion that Kim chiefly studied the poems in the flourishing period of Tang and his poems were closely related to those of Li Bai, Du Fu, Wang Wei and Mei Haoran of that period.
  • 10.

    To Read Modesty in 『Lao-zi』

    Kwon, Hyek-seok | 2010, (24) | pp.189~219 | number of Cited : 0
    Abstract PDF
    『Lao-zi』is equivalent to the Bible in Taoism. This book describes chaotic circumstances during the Spring and Autumn Period. The themes in the book can be understood in various manners depending on difference of perspective such as Non-action, No Desire, Selfless, Emptiness, Simple and Unadorned, Frugal, Loving,Kenosis, Weak, Feminine, Infant, Indisputable and Private as Selfless. This paper has been written based on the perspective that 『Lao-zi』was released as one solution to get over the chaos of the Spring and Autumn Period. Based on this point of view,this paper has chosen ‘modesty’ as the topic of 『Lao-zi』. Modesty could be the most effective means to overcome the chaotic era which was created by selfishness and competition. The modesty in 『Lao-zi』can be divided into three stages. First,it is a posture stage. Specifically, it is a stage of eliminating selfish mind, which is a prerequisite to practice modesty. For example, Non-action, No Desire, Selfless,Emptiness, Simple and Unadorned, Frugal and Loving are associated with this stage. Second, it is a stage regarding the relationship with others. Specifically, we lower ourselves before others, which is the basic step of modesty. For example, Kenosis,Weak, Feminine and Infant are included in this stage. Third, it is a stage of social utility. In other words, we develop and grow together with others. Indisputable and Private as Selfless are included in this stage. After all, it is modesty to remove selfish mind, lower ourselves to others and finally develop together with others. Modesty in 『Lao-zi』is prescription on individualism which was widespread during the Spring and Autumn Period. Therefore, modesty could be one solution to build an ideal society in which all people live in perfect harmony.
  • 11.

    Walking in the Balance Beam Between Struggle and Solidarity: Examining the Leftist Intellectual Debates from a symposium on Lu Xun

    解志熙 | 2010, (24) | pp.221~267 | number of Cited : 0
    Abstract PDF
    Zhou En’lai and Hu Feng delivered speech respectively at the symposium in memory of Lu xun’s 9th anniversary happened in October 1945 at Chongqing. This paper firstly explains the differences between them, and then inquired into the similarities and differences between the Partisan Left which aims at the social/political revolution and the Enlightenment Left which concerns about cultural/intellectual revolution. Furthermore, the paper traces the origins of Subjective Struggling Spirit which is characterized by Hu Feng Group as Enlightenment Left, and explores the critical reasons of its contradictions with the Partisan Left. Finally, the paper analyzes historically the causes of the Hu Feng Group’s disasters and the ending of leftist literary movement.
  • 12.

    Studies on contemporary netizen’s cognitive to Lu Xun —— based on the investigate about Lu Xun in Chinese network

    葛濤 | 2010, (24) | pp.269~284 | number of Cited : 0
    Abstract PDF
    This paper introducts and comments on the investigate about Lu Xun in Chinese network, points out these network investigation about Lu Xun reflected the contemporary netizen’s cognitive to Lu Xun in a certain extent. This paper thinks, for heighten the level of netizen’s cognition to Lu Xun,education department should adjust those Lu Xun’s works in middle school’s Chinese textbook and the teaching way of those Lu Xun ‘s works, Lu Xun researcher should do more for propagation Lu Xun’s works in the network too.
  • 13.

    A Study on Guo Mo Ruo’s Historical Literature

    Han, Jiyeon | 2010, (24) | pp.285~318 | number of Cited : 0
    Abstract PDF
    The purpose of this paper is to review Guo Mo Ruo’s Historical Literature. During the years 1920‐1940 Guo Mo Ruo not only devoted himself to writing his historical drama but also wrote the historical novel. The gist of the paper is divided into three categories. 1. The changes of the past thirty years have the effect of encouraging the creation of Guo Mo Ruo’s works. 2. Relationship on the Guo Mo Ruo’s Historical Literature and a book of his ancient history. 3. The inter‐textually of Guo Mo Ruo’s Historical novel and Historical drama. I think it is expected that the review on Guo Mo Ruo’s Historical Literature will be able to provide a topic from a new viewpoint.
  • 14.

    On the Death of Women Described by the Modern Chinese Female Writer Xiao Hong

    林敏洁 | 2010, (24) | pp.319~338 | number of Cited : 0
    Abstract PDF
    The present study analyses the “women’s death” defined by XiaoHong by referring to all of XiaoHong’s works published between 1933 and 1941. Thereby,the present study aims to elucidate the motivation that drove XiaoHong to writing,her philosophy, and XiaoHong’s unique perception of her miserable life. The author believes that the “death of women” in China in XiaoHong’s era was caused by suppression by the war and social classes, and sexual discrimination. Furthermore, the author believes the predicament of women still exists in a different form in the current society. The author concludes that XiaoHong’s works are worthy of re‐appreciation as they reflect the hardships of women of not only old and feudal societies but also modern society.
  • 15.

    Two Descriptions of women subaltern’s participation in revolution

    Kim YeongMyeong | Park Jae Woo | 2010, (24) | pp.339~359 | number of Cited : 0
    Abstract PDF
    This article analyzed “the woman in exile”, the short novel by Kim mal‐bong and “when i was in XIACUN” by Ding‐ling using parallel comparison method. Korean women under the rule of Japan had to suffer the double subordination as women as well as colonists. This article tried to compare the release outlet of the Korean ‐chinese women who were in the subordinate position through the subaltern theory of Gayatri Chakravorty Spivak. Kim mal‐bong tried to bring the matter of women’s subordinate position through the idea of women’s liberation like sexual equality and congenial spirits with the appearance of a male intellectual, not through the Christian preaching. Ding‐ling developed the story through the equal conversation between the female intellectuals and female subordinates
  • 16.

    Existence and Time space image on ‐ Shang Qin’s Fifties and Sixties’ surrealistic poems

    김상호 | 2010, (24) | pp.361~380 | number of Cited : 0
    Abstract PDF
    Shang Qin is an exceptional surrealistic poet. In sixty years of two hundred poems, Shang Qin exposes poetry’s cutting edge and his distinctive observation to sketch the vivid image existing in the time and space. If we ignore the meanings,his poetry emphasizes the concept of existence and its substitute. Time and space are the prerequisite to form the cosmos and are also the basic elements for the objects to live in. Shang’s past years were marked by escape. After his body has lost the possibility of escape, other form of escape is into his poems. But in the poems, he tries to escape from the readers. The motives of Shang’s creation are from solitude, uneasiness and emptiness. The poetry full of solitary and anxiousness in the early stage is surrealistic, which entangles between consciousness and unconsciousness. Even until now for almost sixty years of creation, one of the important themes again and again shown in the poetry is to inform us how to escape from the solitude. He concerns the relationship between “ego” and “community.” Furthermore, the surrealist in style derived from the tangle of consciousness and unconsciousness is also to tell the meanings of time and his heart. We cannot deny the significance. Though the poems are diverse and difficult to understand, there is no single m7ethod to interpret fully. If we insist, the misinterpretation will be occurred. In short, his poems have been known for their unique rhythm, imagined and lively spirits, and also the aesthetic. From the views of western contemporary philosophy of life and existence, the people nowadays are compressed and seduced by the worldly desire and are full of rational thinking of materials. The mind is getting apathetic and flagging. On the other hand, the people nowadays with strong awareness and imagine should behighly admired because the awareness and image are not only involved with the psychology level of daily life but also the philosophy level itself. Shang Qin’s poems are equipped with philosophical critics and his prudent writing attitude can be acquired from within. The paper will focus on Shang Qin’s poetry Between Dream and Dawn published in 1969. From existential phenomenology and the consciousness of time and space elimination, we will find out and explain what the real intention of his surrealist poems want to reflect.
  • 17.

    Captivity and Escape: The co construction ‐ of the person and the same being in the poetry of Shang Chin

    丁旭輝 | 2010, (24) | pp.381~397 | number of Cited : 0
    Abstract PDF
    In the poetry of Shang Chin, 28 poems were existed in the co‐construction of the person and the same being, where 18 of them presented the corresponding relationships of “the person‐captivity‐the reality” and “the same being‐escape‐the hyper‐reality”. The person in the poems was imprisoned in the reality, while the same being played the role in escape that presented the method and weapon of breaking through the reality of captivity. Captivity and escape demonstrated the models of escaping from self‐captivity, escaping from the sad and dreary reality,and escaping from confined spaces. Captivity was the reality, and the desire of escape was another reality in mind that the two co‐constructed the hyper‐reality,a more authentic reality. With the co‐construction of the person and the same being, Shang Chin completed his construction of hyper‐reality, gave expression to the collective spirits of the ridiculous and miserable time he had experienced, as well as called the power for self‐healing and rescue out of the collective spirits.
  • 18.

    The moon in the water and the image out of the land:the theory by changing skills in virtual and concrete images of Shang‐Chin

    李翠瑛 | 2010, (24) | pp.399~420 | number of Cited : 0
    Abstract PDF
    Shang‐Chin is good at a prose poem, which is full of the strange and changeful images. His styles of prose poem have intersected the virtual and concrete images and these would be his main style influenced by Surrealism. Although Shang‐Chin doesn’t admit he is belong to the Surrealism, he still arouse by Surrealism in those virtual and concrete images. This paper, expect the foreword and the conclusion, the second part discusses how the images changing and the skill expressing by the poem of Shang‐Chin. And the skill comes from the Rhetoric called for “in images”(形象化)of “轉化”. The third part shows the reasons of the skills are the influence of Surrealism, personal environment, and the results of Shang‐Chin’s creative press. This paper used many theories, such as psychology, Literature theory, and other theory to discuss the virtual and concrete images of Shang‐Chin’s poem skill, and build the basic theory of the change skills in his poem. In a word, this paper expresses the sources and the reasons of the skills by the changing of virtual and concrete imagines in the poem of Shang‐Chin. By the theory discussing in this paper, we know the skills and the theory, the changing of in virtual and concrete images, in Shang‐Chin.
  • 19.

    Lai, Wood Yan: Nietzschean Proposition like Nihility and Will to Power: A Study of the Poetry of Shang Qin

    黎活仁 | 2010, (24) | pp.421~443 | number of Cited : 2
    Abstract PDF
    This paper employs the philosophy of will of Nietzsche to analyze the themes concerning will, Nihilism, prison, offensiveness and sex in the poetry of Shang Qin. The theory of ascending and descending in Bachelard’s poetics of four elements (earth, water, fire and air) will be applied also. In the early works of Shang Qin,Nietzschean vocabulary like nihility, meta‐physics and will are used. Therefore,works of the thinkers who are influenced by Nietzsche like Martin Heidegger,Gilles Louis Réné Deleuze, Michel Foucault and Jacques Derrida are also referred to. The thought of Shang Qin shows a direction to return to the goodness from a total negation, which is a direction that Nietzsche opposes. Another characteristic of Shang Qin is continuous ascending. It is supposed to be related to guard standing during his service in the army
  • 20.

    Life and Reality: On the Poetry by Shang Qin

    ·Cheng Chun Wai | 2010, (24) | pp.445~470 | number of Cited : 0
    Abstract PDF
    Most critics considered Shang Qin as a surrealist poet. However, it was denied by Shang Qin. He reiterated that his style was rather realistic in many occasions. Because of this contrasting idea, the author intends to examine how the poet is inspired by daily lives and activities. This article starts with the discussion of stanza repetition in the poet’s work. Jung’s theories of persona, shadow and animus are applied in examining the imageries of shadow and coughing sound appeared in the poems. The symobolic meanings of domestic animals elucidated in The Cat, Dog, and Horse Lectures, and the Beyond, authored by Barbara Hannah (1891‐1986), are also introduced to analyse the imageries of of cats and dogs in Shang’s poems, as animals represent the dvinie side of the human psyche in Jung’s theory. Lastly, Shang Qin’s experience in war was referred to in exploring his hatred and nostalgia sentiments in the poems. The author concluded that the poet attempted to explore his inner world through his creative work.
  • 21.

    Phenomenology of crisis : ‘Human’s death’ in contemporary Chinese stories in late 1980’s - FangFang(方方)’s <Landscape(风景)>, ChiLi(池莉)’s <Life in anguish(烦恼人生)> and LiuZhenYun(刘震云)’s <Unit(单位)>

    박민호 | 2010, (24) | pp.471~493 | number of Cited : 2
    Abstract PDF
    This study analyze the contemporary Chinese stories in late 1980’s throughout a concept ‘Human’s death’. The phenomenon of ‘Human’s death’ have been much generalized in Europe since nineteenth Century. Also it had an effect Shanghai(上海) in 1930’s and the contemporary Chinese literary world after Cultural Revolution. Especialy, ‘New-realism(新写实主义)’ is one of the literary trend often express decadence and nihilism in their stories. The characters in them,constantly show their frustrated and pessimistic emotion come from the irrational social structure and financial incompetent. This tendency results from expansion of the market economy and secular material civilization.
  • 22.

    Introduction to the Martial arts novels of Jin Yong and the two “Modernity” consciousness

    王乐 | 2010, (24) | pp.495~509 | number of Cited : 0
    Abstract PDF
    From the Modernity of Man, the modernity of creative thinking and modern novel of social criticism of two aspects of the historical process, this article demonstrated two kinds of modernity in Jin Yong ‘s Novel. It against the formulation of traditional society standard which are the good and evil, grudge standards. Against arbitrary killings, “Willful hatred”, and questioned to the thousands of years challenge traditional standards and reflection. About the way of the creation perspective, Jin Yong’s martial arts is not just Characters in writing to explain through the concept of modern, and classical style of the characters appearance coupled with the inherent character of modern man. In short, the Jin Yong novel is the conversion of the spirit of traditional culture, as well as to realize the tragic social history, which is a deep recognition of traditional Chinese civilization, while in the modernization of traditional Chinese appear in the slow process of the shortcomings of the criticism, presents a picture of modern Chinese history and culture in truly.
  • 23.

  • 24.

    A Study for Cultural Communication of Overseas Confucius Institute –‐ Focus on Cultural Activities

    권현정 | 2010, (24) | pp.537~551 | number of Cited : 0
    Abstract PDF
    Every country has certain ways to build up the national images and raise up the cultural communications abilities, like China’s Confucius Institute, have aroused widespread interests of the people in the world. The Confucius Institute has become one of the important intermediaries on Chinese language and culture. The overseas Confucius Institute has joined in local communities, held plenty of Chinese cultural activities to organize various cultural activities that achieved exciting results. Through cultural activities for local residents to understand Chinese culture have not only created excellent Chinese language teaching conditions, but also enhanced the close relation between two countries. Currently, overseas Confucius Institute is taking this mission in various cultural activities. The articles on the Confucius Institute devoted to cultural activities were less to be discussed. In this paper, by methods of contents analysis for “The third Confucius Institute Conference Reference Materials” and “The Fourth Confucius Institute Conference Reference Materials” are relating to culture and cultural activities to reveal the status of overseas Confucius Institute. Finally,some suggestions for the developments of overseas Confucius Institute are being provided.