KJC Korea
Journal Central

The communications among international cultures are getting more and more frequent with the process of the globalization. As a part of these communications, films play the role of a bridge. Thus, accurate translation of films’ titles undoubtedly would contribute to the international communication of films. However, the translations of the films’ titles happen to have many problems. In this paper, the focus is the Korean translations of Chinese films’ titles which released in Korea in recent years. The author did a brief analysis on the translation and summed up the types and methods used of translation ;also,pointed out the mistranslated parts and the possible reasons for mistranslation. The author believes that the translation of films’ title can be divided into transliteration, translation, free translation etc. Some of the mistranslation is due to the ignorance and misunderstanding a particular culture. The translation of films’ tile should focus on cultural differences and other factors. This study would contribute to a better propagation, with right knowledge of Chinese films in Korea.

“Jihu” and “jianzhi”are one couple frequently used adverbs in modern Chinese that can be utilized across, which bring foreign students troubles in certain degree in study Chinese. This thesis mainly starting research from the text, and probes into the difference between them from semantics pragmatics and cognition point, generalizes their respective conditions of use, analyzes their replication conditions and reasons and offers a more scientific view in category ascription of the two adverbs in modern Chinese. At last, this thesis explains the difference utilities between the two adverbs in cognition view and gives reasonable suggestions for the teaching of Chinese as foreign language

Fuzziness of language doesn’t originate from finiteness of language’s units or fuzziness of the objective world. It comes from cognitive styles and conceptual structures of human brain. The processes of comparison and conceptualization are the keys to the emergence of fuzziness. Logical concept is defined by the connotation. Once it is defined, the denotation is clear. Cognitive concept is based on distinctive features and its denotation is usually fuzzy. Accuracy and fuzziness are dialectical.

In China's Tang dynasty, predecessors recognized Li'ao（李翱） and Huangfushi（皇甫湜）are inheritors of Hanyu（韩愈） paleography(古文) and evaluated that “Li'ao succeeded to the purity and Huangfushi was initiated into unique, too. On the other hand, Guoshaoyu（郭绍虞） was also succeeded to Hanyu's paleography by two following of disciples who are Li'ao and Huangfushi. Moreover, the literature and creation of Huangfushi was focused on language's unique and Li'ao's literature was emphatic on the’ wenyimingdao（文以明道）’ or simple language（平易）, etc. However, after our examining conscientiously on Li'ao & Huangfushi's main opinions about their literature & theory, we find that two scholars are confident they was initiated in different characteristics of Hanyu's archaic literature each other, but we know predecessors evaluated that two scholars made big contribution in comparative evaluation. In general, two scholars's literature and theory have something in common that they are overly weighted toward Wen(文) than Tao（道）. As Guoshaoyu mentioned, the literature & theory of Li'ao have been recognized that he emphasized the ’ wenyimingdao（文以明道）’ or simple language（平易）, etc. but when I examine carefully, there is no such insistence or emphasis. Therefore, I guess Guoshaoyu misunderstand that the creation trend of Li'ao insisted on the literature & theory itself. Generally, two scholars are sure of different two trends of the literature, but they was surely interested in archaic writers' literature & theory in Sung dynasty rather than succeeded to Hanyu's literal arts opinions.

Food is the earliest gift in social etiquette and presentation system and becomes a scholar daily keeping company way since dietary and food culture prosperous development in Soong Dynasty. In pace with long official traveling, food flavor and poetry are interweaving in time and space variations while causes and sentiments of social presentation and intercourses are changing accordingly. The subjects of recreation and request are appeared incessantly resulting in a unique scholar teasing aesthetic of violation of common sense but in line with the nature of things. In this paper, author intends to observe how Soong Dynasty scholars demonstrate their life esthetic of easy enjoying in dietary and food presentation and intercourses system from Mei Yao-Chin, Su Shi, and Huang Ting-Chgan’s social life. The aforementioned presentation and intercourse system, then, turn out to be a life philosophy of violation of common sense but in line with the nature of things in which scholars are able to wisecrack and make fun each other to extricate themselves from a difficult position and settle down body and mind.

The cultural exchange between Korea and China has historically been incessant, except the period of short lapse during the 20th century due to political and military reasons. Starting from the 1970’s, the Korean publishing circles began to widen the scope of understanding China by introducing a body of Chinese literature, but its overall effect was rather limited. What triggered the cultural exchange between the two countries was the restoration of diplomatic relations between the two in 1992. However, the exchange in literature was vitalized only after the onset of the 21th century when a large body of literary works began to be translated and published. Especially, the booming of publishing Chinese literary works, triggered by the repeated visits by representative contemporary Chinese authors, can be seen as a major achievement. It is regretable, however, that most of the contemporary Chinese writers and their works are still unknown to the Korean public, except a small number of prominent writers such as Sutong(蘇童), Yuhua(余華), Moyan(莫言).

In 20th century, China is a country in the abyss of catastrophe. Natural disasters, man-made disaster and war are very frequently. In order to sum up historical, literature in the first ten years of the new period has been suffering narrate. The paper studies the literary themes of 1977-1989 year. The literature of the ten years is rich, colorful, but the basic theme with a “suffering narrate” to sum up. The paper mainly studies the politics suffering narrate、the live suffering narrate、the family and national suffering narrative. In these suffering narratives, humanitarian rise again. Writers reflect on the history、on the political, purpose is a reflect on people’s tragedy. Study on suffering narrate of Chinese literature in the 1980’s to helps us better understand the life in those times people’s living conditions and mental status, see these writers in the face of suffering when the efforts made and try. So the suffering narrate research also has a special significance and value in Chinese literary history.

CaoYu’s work, <Thunderstorm> is very famous in Korea. <Thunderstorm> was first staged in the National Theater of Korea in 1950. Thirty eight years later, the actor-turned-director HaerangLee rearranged the show and it was once again enacted upon the stage of the National Theater. The adaptation directed by HaerangLee did not follow the original manuscript. Still, CijinYu cut and embellished Lee’s adaptation. However, Yu’s adaptation is not considered asuccessful adaptation the personalities of some of the characters were not emphasized while others’ were completely altered. Also, the stage sets and application of technology did not have any new breakthroughs. The popularity of the drama was significantly decreased. The lack of technological improvements is also another factor to the films’ mediocrity. The film would not attract a larg audience either --especially during the 80’s where mass media flourished. CaoYu wrote in a prologue and epilogue to maintain the distance of the audience with the characters. Most of the involved directors, including HaerangLee, decided to completely cut out these parts. In fact, there were already issues between the culture and society of China and Korea as he was directing <Thunderstorm>. Distance could be kept even without the prologue and epilogue and this part of the processing was possibly the best of the show for HaerangLee. From a general point of view, the performance of 1988 was a performance without originality with an average state set and sound system that imitated the 1950 show. However, the show in 1950 had produced an artificial thunderstorm to attract large numbers, and the 1988 performance did not reproduce the shocking and exhilarating thunderstorm. The performance, with the multitude of aforementioned reasons, can be stated as a failure of a work of theater.

There are three fictions with the same theme of “homeland” in the beginning of 20 century, which are written by LuXun, Tshirikov and Hyun jin-gun. Hujii shyozo compared the fictions written by LuXun and Tshirikov,in addition, Jeon Hyung-Jun compared these two fictions with Hyun jin-gun’s writing. Their comparative studies have the same consciousness of “East Asia” and also different viewpoints and academic paradigms, which embodied the complexity of East Asian Luxun.

The academic study of Dr. Lai Wood-yan has led to the birth of a systematic poetic of deceleration. In this article, the parts of the poetic in sight of Roland Barthes’ hermeneutic code and the Russian Formalism are used to discuss Chi Li’s “Guess What are the Fictions of the Arsenic and Recipe” (“Caicai Caipu he Pishuang shi Zuo Shenma Yong di”) in order to deeply explore the artistic skills of its narration and ending.

Environment is one of the factors of artistic development, the relationship between the mankind and the nature has become the common concern of a sensitive and urgent topic. From the perspective of ecological ethics theory, this paper, which based on the carding and analysis of Bai Ling’s ecological poetry, is trying to explore the relationship between the mankind and the nature through his contemplation, describing the animal survival condition, showing his ecological consciousness on the animal humane care, and seeking the intellectuals’ responsibility and mission in the ecological crisis is more and more serious today.

This study aims to discuss Zhou Fen-ling’s literary perspective as well as the author’s feminist writing aesthetics through the texts of Ru-Se and Shi Jie Shi Qiang Wei De. The author’s approach to literature and her awareness of times and values are further discussed from construction and deconstruction of her feminist writing. The characteristic features of detachment and variation in contemporary literature are further explored through the text analysis of Lan Hua Ci and Za Zhong. This study concludes with the revelation of spiritual essence implied through various genres. The ultimate questions and absolute truths are discussed in terms of their philosophy of life and their genuine values for the era. It is the hidden depth of Ru Se and Shi Jie Shi Qiang Wei De and the resonance with time in Lan Hua Ci and Za Zhong that characterize the era of “time of peace” and “Time of Reason” at the turn of the century.

Reviewing from the comprehensive survey of ancient Chinese literature studies in the Greater China Areas (mainland China, Taiwan and Hong Kong), the Ming Dynasty’s literature studies have attracted much attention in these research categories, especially on the hotspots of the Ming Dynasty’s novels and dramas in the past two decades. This article, though basing on the plentiful research results of the Ming Dynasty’s literature, hasn’t been able to elaborate the detailed overview of the related studies on this topic in the Greater China Areas because of the obstructs in the time limit. Therefore, this article attempts to take the Ming Dynasty’s literature studies in Taiwan in the past two decades(1990-2010) as the subjects of observation first, and to focus on the subjects on novels and dramas, taking the Ming Dynasty’s novels and dramas as the core topics of this research. With the prevailing research on the Ming Dynasty’s literature and the elaboration of the novels and dramas in the Ming Dynasty, this research proposes three findings: showing the necessity of literature discussion, providing the criticism approach of critical thinking, and stressing on the approaches and theories as the means of academic exchange among the scholars researching on the Ming Dynasty’s novels and dramas studies.

Bai Ling, a poet of Taiwan, reveals the social evils, the defect and weakness of human nature by using satire, absurd, witty language writing in his poetry in order to reflect the absurdity and nothingness of human nature. He described the “ugliness” to express his thinking about destiny of people and to pursuit goodness. He gave more details to express his felling about that such as his irony towards war and political events, criticism on social events, reflection on the “Modernity” in science, concerning for the natural ecological crisis, and exposing on education malpractice. Reading his poems, we can feel the deep concerning for humanity and realize the deepest compassionate feelings in his poetry.

从中外古文献的研究中，可以发现先秦时期中国西南与缅甸、印度和中亚已存在以商业活动为主要内容的交通线。事实上，从对考古新资料海贝和象牙进行重新分析的角度看，商周时代中国西南与印度的交通就已经明确存在，并且通过印度至中亚、伊朗和西亚的交通线，吸收采借了近东文明的若干因素。

Miao epic has the value of research, it relates to many disciplines .This article focus on the Miao epic inheritance people, a special group, they live in the villages and they are advanced in years. With the development of social economy and the changes of culture, the heritage of Miao epic becomes a serious problem and wanes gradually, the protection of Miao epic is very urgent. The author mainly pays attention to the social humanity environment and the situation of heritage, permeate into the core area of Miao epic perform site, listening to the Miao epic and watching the performance personally, the studies those Miao epic inheritance people.