KJC Korea
Journal Central

The history of Chinese Rhetoric has a deeply long origin as the same that of Western Rhetoric. From beginning they have parallel development in terms of their birth and growth. Especially in the 21 century we can look at many proves of rhetoric bloom in the many bookstore in Europe, America, China even in Korea. Using rhetorical methodology, many applied rhetoric contents have showed as the title like “How to get along”, “Ladder of Success Life”, “Compliment”, “Persuasion”, “Negotiation”, “Conversation” etc in the section of every big bookstore. So in the research and education of Chinese in Korea it is necessary to study the Chinese rhetoric and specially the method of teaching Chinese rhetoric, nowadays. It’s an urgent call for time. Fortunately our curriculum of Chinese department of some university we open the subject concerning Chinese rhetoric and teach students the Chinese rhetoric; a brief history, origin, definition, choice of vocabulary and syntax form etc. We propose to apply the useful communication theory of ‘SMCRE (Sender, Message, Channel, Receiver, Effect)’ in this paper in order to teach students the Chinese rhetoric. We also explain the purpose of studying Chinese rhetoric to students and how to well teach to them so as to teach the really efficient Chinese in the actual life in China. To study and teach the rhetoric, the most important thing is the “practice”. Because the practice itself is the main esprit and traditional value of rhetoric.

Discourse markers —“Zhebu” and“Nabu”in the spoken language or the discourse, which is from “Zhe bu shi ma？”、“Na bu shi ma？”to reduce the formation and the semantic grammaticalization. “zhebu”、“nabu” usually occurs in the middle of a speech turn, has the discourse function of proving by examples and explaining the result, “zhebu”、“nabu” occuring in the turn-opening has the discourse function making an explanation cause. As a discourse marker, “zhebu”“nabu”also has the pragmatic functions: identity function、explanation、emphatic function and the function of expressing the current things.

As the further development of globalization in economics and politics, especially the popularization of Internet, the global process of rhetorical communication and its acdemic studies is being accelerated. In this case, it becomes an academic topic for how to eliminate conflicts in international rhetorical communications and promote the amalgamation of regional rhetoric studies. The retoric of eastern Asia especially China, Korea and Japan and its studies formed their own tradition and showed different charactristics in the history before the 20th century which can be summarized as “individual rhetoric”, but it showed a new trend since 1990s which can be summarized as “public rhetoric”. In this paper, the author compares the different rhetorical tradition between the east and the west, investigates the new rhetorical phenomena and its new challenges in eastern Asia especially in China, Korea and Japan. He thinks that “public rhetoric” is the trend of retorical communication and its studies of eastern Asia especially China, Korea and Japan in the global and multiple-media times. This paper analyzes the definition, connotation, forms and significance of “public rhetoric”, and also point out the developmental currents of rhetoric studies in eastern Asia. “Public rhetoric” aims to deal with public policies, public interests and public affairs by gathering public opinions. The speakers of public rhetoric enjoy fair and free speech rights and democratic social system. “Individual rhetoric” mainly aims to deal with the individual interests and fates even though it induces the changes of public policies, public interests and public affairs. “Individual rhetoric” and “public rhetoric” are not only two forms of rhetorical phenomena, but also two traditions of rhetorical studies, two forms of culture, two forms of communicative system and social system. The currents of rhetoric studies in eastern Asia will develop from individual rhetoric to public rhetoric, from linguistic rhetoric to communicative rhetoric, from traditional media rhetoric to new media rhetoric, from people rhetoric to national rhetoric and also from domestic rhetoric to international rhetoric.

Based on event semantics, this paper will study the “subjective quantity” of the Modern Chinese adverb “cai”, and then re-examine the underlying semantics of “cai”. First, we think that it is biased that the subjective quantity of “cai” comes from the comparison of the numeral in the sentence. Secondly, through studying thematic theory, Conceptual Semantics and other theories related to “event”, we consider that the “event” acts as a subjective state of reality after processing the formation of the concept of psychological structure. On the basis of the event, we point out that the function of “cai” is to characterize the sequence between the sub-events that compose composite event. According to the properties of the sequence of events, “sequence” can be divided into two categories: one is characterized by events between the “natural order of events” ; the second is “subjective cognitive order” to stress the non-equilibrium relationship between the sub-events and this is the underlying motivation of “subjective quantity” of “cai”.

The conception of literature in early Tang is a conception under the literary morality of state governing. This is different from that of today to a large extent. In returning to the premise of politics and religions of Confucianism, the scholars of Early Tang had valued the literature before them reasonably and made theoretical advances significantly. The conception of literature of Early Tang was formed in the works of historiography and editorials of Five Classics at the years of Zhen Guan. The recruitment of able persons reinforced effectively the making of this conception also.

As a master of poetic theory in Ming Dynasty, Hu Yinglin’s ShiSou criticizes on Caozhi’s poem are typical. So in the article, statistical method is used to study it thoroughly, and also others researchers’ comments on Caozhi’s poem are also compared with Hu’s deeply. The main point of Hu’s Criticism on Caozhi’s poem could be summarized as several ones. One is advocation of BenSe’s distinctions; and he thinks that pattern of poem changes with dynasty, and also poetic style descends along with dynasties. Also he values the revivalist poetry. Hu Yinglin highly confirms Caozhi’s poetry on their style, and at the same time, he thinks that poem in Han dynasty are natural while artificial in Wei, including Caozhi’s poetry. To summarize, Hu and his contemporaneous poets’ distinguishing critics on Caozhi’s poem reflect the specialty in Ming Dynasty.

The interpretations of Qu Yuan’s works are limited to the traditional ones as established principles in accord with Jing (Confucian classics) and Influence （criticize those above）since Han Dynasty. However, XiaoTong proposed Sao Style besides Shi, Fu and Ci and respectfully named Qu Yuan’s works as “poet’s creation”，which not only clearly showed the character of his works---strongly expressing personal feelings and emotions but also made Sao become an independent style beyond the restriction of JingXue. It manifested the wake of an independent literature value.

According to the Jing Cang version of the Dream of Red Chamber, the notes by Juhusou on Chapter 13 says that the title of this chapter should be “Qinkeqing died at the Heavenly Fragrance House (West Sail House)”. It is because the author changed this to “Qinkeqing was entitled Longjinwei after her death” and the section of Heavenly Fragrance House was deleted. This leads to the death of Qinkejing a puzzle with its causes and consequences unsolved and various interpretations afterwards. Hence the judgement on Qinkejing is polarized. This paper attempts to use the current Qinggao version to analyze the funeral process of Qinkejing as a manifestations of the religious ceremony of Buddhism. The image of Qinkejing and the meaning of her death will be explored. In other words, this research will investigate the death of Qinkejing, the funeral ritual of Buddhist ceremony, the course and the deep meaning of life dimensions behind. This paper will be divided into 6 sessions. Firstly, the methodological foundations will be illustrated. Secondly, the causes of the manifestation of religious ceremony will be investigated. Thirdly, the disease and death of Qinkejing will be explored. Fourthly, the content of the religious ceremony will be reported. Fifthly, the meaningful of Qikejing’s death will be discussed through the paradox in the religious ceremony. And sixthly, there will be a conclusion.

Writing of city is an important issue on contemporary research projects of Taiwan prose. A strong sense of autobiography is to be found in Yindi’s prose writings, his prose works can be regarded as the transformation of personal history. His writings not only represent a personal history, but also reflect changes of Taipei City in terms of space, as the city marches with the times. The thesis intends to analyze the prose of Yindi, and the inner spirit found in the dialogue between time/space and personal history in his writing of Taipei City.

Mr. Tang Wenbiao of the “Draft History of Chinese Ancient Drama,” a book for the origin of Chinese Ancient Drama、of the evening to、features...... etc, detailed historical data as evidence and explain their views, further made ​​a number of suspected but not conclusive of the question for scholars. This book discusses many of the Yuan Dynasty, in particular the effect of drama performances and audience acceptance, and directly pointed out that the “meta-theater favorite joke is a doctor”. So this paper to this argument as a basis to explore the doctor’s writing to demonize the Yuan Dynasty.

Since the May Fourth Movement, the conflicts between Chinese and Western cultures were found in the path toward modern China, and also reflect the watershed in the ancient and modern China. Qian’s Chinese-western scholar background encourages him to write God’s Dream, expressing his comments and position of those conflicts. With the metaphor involved the situations of nation and race, the novel contains the spirit of national allegory. In the novel, Qian inverted the Holy God, and rebuilt the relationships between God, human and snake. By arranging a new plot, Qian aroused the conflict between the Evolution and God’s divinity, displaying the collision of those theories, refuting the Evolution. In the novel Evolution and Fables in Holy Bible resemble modern civilization and traditional religion respectively. Qian implied that to remove the difficulties of Chinese modernization, western prescription shall not always work, and the modern loneliness under culture conflicts.

Taiwanese writers Yǐndì（1937- ）and Léixiāng（1939）were all borned in Shanghai. When Yǐndì was 10 years old and Léixiāng was 9 years old, they moved to Taiwan with their parents. Yǐndì settled down in Taipei and established “Ěryă publisher”, and Léixiāng stayed in south of Taiwan. When Léixiāng was 16 years old, he studied in Taipei and settled down in the city till now. Léixiāng is a writer, a painter and also a documentary director of literature and art issues. Both Yǐndì and Léixiāng were lingered at “Míngxīngkāfēiwū” in Taipei in 60s, regarded so-called “artistic youth.” They wrote their autobiographies, the memories about Shanghai──“Zhàngcháorì（《漲潮日》，2000）and “Mùdìdì Shànghăi”（《目的地上海》，2007）。In order to discuss about two writers’ childhood in Shanghai, their family’s stories and collective memories, the author contrasts Yǐndì’s texts with Léixiāng’s in this thesis.

Xi Xi who started her journey as a writer since the 1950s, is one of the most prolific and prominent writers in Hong Kong. According to a survey done in 2006, Xi Xi was selected as the most representative writer of the metropolitan Hong Kong. In other words, she gained the highest recognition from the local readers. This article aims to discuss the formation of ‘Hong Kong consciousness’ in Xi Xi’s works of fiction. It also analyses how the writing of the common people’s daily life and the allegory of history contribute to the construction of her ‘Hong Kong identity’.