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This article summarizes in brief the results of surveys on Korean Romanization systems conducted by the Presidential Council of National Competitiveness in 2009 and by the Ministry of Culture, Sports, and Tourism in 2010. The acceptance rate in 2009 ranges from 20-22.4% in the western countries. The overall acceptance rate was reported as 46.89% in 2010. This article points out the reasons for the low acceptance rates of the current system of Korean Romaziation. It further suggests how it ought to be revised and supplemented to be the international norm. Lack of the rules for surnames and spacing is two of the most fatal deficiency of the current system that the author points out in this article. He suggests also that the voicing of consonantal onset should be reflected properly and the Romanization of high and mid central vowels should be revised to be pronounced more accurately by non-Korean speakers although Romanization does not have to be phonetically transcriptive.

This article covers a contrastive analysis on liquids in Korean and Chinese, and then explores its teaching strategies. The results of this study are as follows:[표]irstly, there are four allophones in Korean liquids, such as [ɾ], [l], [ɭ], [ʎ] and four allophones in Chinese liquids, such as [ʐ], [ɻ], [ɹ], [l]. Secondly, the [l] is a same sound in Korean and Chinese liquids, but the [l] of Korean liquids only occurs in ending constants, whereas Chinese liquids only occurs in intial constants. Thirdly, teaching strategies are to understand characteristics of phonemes, allophones, places of articulation, manners of articulation, and then are to practice English speaking and listening skills in Chinese liquids.

Modality is a semantic category that indicates the subjective attitude of the speaker towards the proposition. As a kind of modality, epistemic modality indicates the speaker’s speculation about the possibility of the proposition, and can be further divided into [necessity], [probability], and [possibility] according to the degree of the speaker’s commitment. The method of expression of modality differs from one language to another. This paper illustrates the modal expressions of the Chinese and Korean languages, which are different from each other. It then classifies the epistemic modal expressions into three types, according to the speaker’s commitment, as mentioned above. Based on the analysis results, how the Chinese modal expressions correspond to the Korean modal expressions is discussed. The corresponding relations between the Chinese and Korean modal expressions are as follows:[표]The following conclusions can be drawn from the above analysis results. First, the Chinese auxiliary verbs that belong to [necessity] and [probability] correspond to “-겠-(-gess-)” and “-ㄹ 것이다(-l geos-ida), ” which belong to [necessity]. Second, the Chinese auxiliary verbs that belong to [possibility] correspond to “-ㄹ 것 같다(-l geos gatda), ” “-ㄹ 듯싶다(-l deus-sipda), ” and “-ㄹ 듯하다(-l deushada), ” which belong to [probability]. Third, the Korean modal expressions that belong to [possibility] have a conditional relation with the Chinese modal adverbs, such as “可能(keneng)” and “也许(yexu).”

General noun can directly modify verb without a help of preposition in Chinese and adverbial case marker can be added after general noun for modifying verb in Korean. For Korean form for “N+地+V”, one of structures general noun modifies verb, there are “adjective+ge”，“derivative adjective+ge”, “N+postposition”, “N+jeok+euro”, etc. This research shows that noun before verb (hanja) has meaning of properties or description through the analysis on “地”and “－jeok”, “derivational suffix”. Based on it, this researcher examined adjectival assignment of “N” in the structure of “N+地+V”, furthermore, verified that most of nouns which are used for the structure of “N+地+V” move the category of adjectives.

The word ”shi” which is often used in Chinese as a verb to connect the subject and object to express different relations is very important, but it is frequently misused by Korean students while learning Chinese. On the basis of the inter - language corpus, the paper collects a great deal of sentences with errors made by Korean students while using“shi”and analyzes the acquisition condition of the different uses of ‘shi’. Through an adequate analysis of such data, the author attempts to explore the way of thinking in Korean students’ acquisition of Chinese and to reveal the features of their inter language system in order to improve the pertinent teaching strategies. By comparing the target language Chinese and the mother language Korean, the paper also explores reasons for the errors, and proposes the corresponding teaching strategies as well1.

From the perspective of Construction Grammar Theory, emphasizing the coevolution and interaction of form and meaning of a construction, this paper considers so-called three respective kinds of passive sentences as a single Passive Construction that undergoes the same grammaticalization process. Specifically, the development of the construction indicates phenomenon of form-meaning coevolution during the process. On the one hand, there is a clear pattern of semantic change which includes four steps of rights-transferring: possession, freedom, reputation and disposition. On the other hand, the similar syntax changes which interact with semantic change show more complex and differential characteristics. In a word, the form and meaning of the construction chase each other in order to be matched, resulting in the emergence of the Passive Construction. Furthermore, Form-Meaning Coevolution is a basic feature, also as a cause and a research method of construction grammaticalization.

This article was written to study the various symbols of the pine tree in ancient Chinese poetry. Pines are evergreen, coniferous resinous trees (or rarely shrubs) growing 3–80m tall, with the majority of species reaching 15–45m tall. There are so many pine trees in China, and the tree was received full of love by all the people. The various symbols of the pine tree in ancient Chinese poetry are summarized as that :The first, the pine tree maintain evergreen appearance all the way and it means that the pine tree is full of expression of clearness, and the poems of pine tree are generally expressed the symbol of elegant, noble, highbrow. The second, the pine tree have the strong will of survive and ability of live to a great age, so the poems of pine tree are express as the symbol of will of survive. In ancient Chinese poetry, the pine trees are represented in the expression of poet’s resistance to injustice, fight against trial. The attribute of pine tree’s live to a great age means like the wish of human’s long life, so the pine trees are often expressed with the ten traditional Symbols of Longevity as symbol of long life and unchangeable in Ancient Chinese Poetry. The third, the pine tree also have attribute of cold hardness and strength, so the poems of pine tree are very often means of the expression of patience and endurance. The poets took off their hat to pine trees’ perseverance, and can get powerful feelings of endurance by composing the poems about pine trees. The fourth, the pine tree also have the symbol of a distinctive ability, as cause of the tree grows well even in barren soil comparing with other trees hard to grow in such bad soil. This attribute, sometimes, makes the pine tree have solitary atmosphere, and the poets often describe this attribute of solitary by thinking of his lonely conditions and emotion.

Ruan Ji’s Yong Huai Poetry uses metaphorical and symbolic ways to express one’s complaint and anger or to indirectly satirize the irrationality of the society. As most of the critics say, if the true meanings are hard to decipher due to its metaphorical and symbolic nature, the best solution to this problem would be to study and research the image that consistently appear in the satirizeing both comparision policy which pursue the beauty of metaphors. Through an ideal study of the body, it is clear that the means of description of satirizeing both comparision in Yong Huai Poetry follows the traditional ways of <Chu Ci>’s “the art annexing satirizeing both comparision”. Ruan ji used reality, history, and myths which transcend time and space to metaphorically compare the people living in their cruel reality. The people that he compared to included himself as well as people like petty people who flatter themselves and wise-man/hermit who did not meet his time. Furthermore, the images that appeared the most in Yong Huai Poetry were plants and flying birds. The plants very effectively described the satire of the society, the disappointment of the times spent in vain, lamentation of life and death and Ruan ji’s philosophy and his way of life that could not be described with word. The image of the flying birds described Ruan ji’s lonely and insecure circumstances and his noble ego.

Lu Wenchao is one of the most important scholars and emendators of the time. There are more than 250 books he emendated in his life. His way of checking and collating was to collect different versions what we can get and to choose the best of them. In 1777, Lu Wenchao and other scholars proofread Comprehensive Discussions in the White Tiger Hall and published it. It’s called Baojingtang Edition(抱经堂本), one of the most important editions of Comprehensive Discussions in the White Tiger Hall, which gave the scholars at that time a good edition to read and study. Until now, it is still one of the most important editions of Comprehensive Discussions in the White Tiger Hall. At the same time, Lu Wenchao put forward his opinions in several prefaces about the study of the book, such as the Concept of Yin Yang and Five Elements which were sharply criticized a lot at different times before. He insisted that, not like us, there’s not so much tradition to study and the Heaven is what our ancestor learns from. So the Concept of Yin Yang and Five Elements is a way of knowing the world. It should be the premise when scholars read and research the book. Not like all those oversimplified criticisms, his opinion is more objective and rational, which is still inspiring to us nowadays when we look into Comprehensive Discussions in the White Tiger Hall again. As we can see, Lu Wenchao is quite a distinctive man in the publication and study history of Comprehensive Discussions in the White Tiger Hall, who deserves our deeper understanding.

“Poem without a title” by Li Shangyin, in classical chinese poetry, are featured by pursuit of desolate romance, intolerable loneliness, sad atmosphere, aspiration, obscure and abundant symbolizations, refined language among which the No title Poems are the most extraordinary and thought evoking. Focusing mostly on love, these poems represent suppressed Ego which is caused by pent-up feelings. And these poems bear quite obviously implication of modernism in the view of present literary theories. Most conventional critics had attempted to interpret even the most obscure poetic allusions in Li Shangyin’s No Title poems as a mirror of his private and official life. Viewing them only at this angle is an impressionistic attitude that has logical problems in itself, because it is not based on objective and tangible evidence and thus in danger of being subjective and prejudicial. This paper will go on more step further than this conventional method and attempt to approach Li Shangyin’s poetic world in a more substantial way of basing it’s argument on the proper interpretations of his poems itself using methods of psychoanalysis of Freud. Freudian school have made a concrete analyse on Id Ego Superego. And this psychoanalysis are widely used for the analysis of the inner world of literary work and seem to be an effective method to draw near to the world of spirit of Li Shangyin. This paper contains four part. 1. Clash of Id and Ego 2. Sublimation of libido 3. Free association 4. Dream and attainment of desire.

This article summarized and combed the studies on how Chinese 3 operatic works which influenced South Korea most widely -The Romance of West Chamber, The Story of Wulunquan and The Romance of a Hairpin- been accepted in South Korea. The acceptance of “The Romance of West Chamber” has been mainly embodied in “The Romance of East Chamber”, “The River of Red” and “Legend of Chun Hyang”. “The Story of Wulunquan” has Korean translated version, and later Chinese version novel which been abbreviated a lot appeared again. It also has proverb explanation version used as Chinese teaching material. The novel “Wangshipeng biography” has both Korean and Chinese version, which created from “The Romance of a Hairpin” as copy. The method of South Korea to accept Chinese operatic works is many by novel. This is because Chinese operatic works is too long and the colloq style is hard to understand. Due to Korea don’t have similar literary form corresponding to colloq style, the novel has been often used to compile to a compressed version. The studies on some of these works made some breakthrough by joint effect between Chinese and Korean scholars, so this kind of joint research should be reinforced more in future.

In modern Korean literary circles, the translation or creation of “Heroes” emerged in succession from 1906 to 1910. Looking at the period in Korea when the literary form of “Heroes” was on the rise and becoming popularized, the literary form’s progress is inseparable from the influence of Liang Qichao’s “Heroes” onmodern day Korea. For supporting the grounds of this argument, one can see that Modern Korean literati not only translated Mr. Liang’s “Heroes”, but also reprinted works and published second editions whilespreading the literature far and wide and gaining a large reader base. As one can well imagine, Mr. Liang’s “Heroes” heavily influenced Modern Korean literary circles. Korean literati were also greatly inspired by Mr. Liang’s “Heroes”. This can be seen not only with repeated publications of related post-reading reactions, commentaries and editorials in major newspapers and periodicals, but even more fundamentally with the start of large-scale production of using chronicles of Korean historical figures as material for the “Hero Biographies”. From this, we can clearly see that the purpose for Modern Korean literati translating or creating “Heroes” isclosely related to Liang Qichao’s influence.

Before the liberation, Juyo-seop is one of the most active Korean literati in Shanghai. In order to attract the attention of society, he joined “Xing” group of education departmentof Hujiang University and denied Christianity. During his stay in Shanghai, he achieved fruitful results in literature: a total of 28 pieces of works in different genres such as fictions, poetries, drama and reviews. Most fictions created by Juyo-seop in Shanghai expose the poor life of the grass roots, and also outline a vision of the good life in the future to the masses. Besides the first work Cold Night created in Shanghai, the other works revealing the grassroots life are Rickshaw Pullers, Paradise, Dog Food, Murder and Eternal Life. Both poor life of the masses and denial of Christianity appear in his works at the same time. In Rickshaw Pullers, Paradise, and Dog Food, he mainly expresses the idea that Christian is “worthless and cheap comforts”. Based on life of the grass roots, Juyo-seop creates works with a strong sense of social reality. Meanwhile, his first piece of work voices the theme “love” and manifests his search for creation techniques. His only novella created in Shanghai-First Love is a good illustration in this aspect.

Lu_Xun is the most renowned figure in Chinese literature in the 20th century. His friction “Call to Arms”(1923) and “Wandering”(1926) arouses much research interests in the academic field. A large body research has been conducted mainly on a few famous pieces of his work from the perspectives of national independence, anti-traditional values. In this essay, I, with an innovative perspective, use the negative image mentioned in the friction, such as death, disgrace, sarcasm, horror and bloodiness along with the grotesque art to narrate the main theme. Aesthetic angle is used to analyze grotesque elements created in Lu_Xun’s social ideology, such as “moonlight”, “man-eating” and “decapitation” revealing the social awareness conveyed in his work: 1. The deep-rooted inferiority of the citizens, 2. Death is not the end, 3. “save the children”

The Xueheng school was a famous group of the Cultural Conservatism in 1920’s. In the debates about the vernacular of the New Culture Movement，they focused on the linguistic form, the conflict of the Cultural Radicalism and the Cultural Conservatism, the new morality and the traditional morality. The Xueheng school pointed out that the aesthetical standard of the poetry wasn’t in the form of vernacular words accumulation, and should inherit the traditional poetic rhythm and the artistic conception, accord with the traditional ethics and make their aesthetic appeal gentle and moderatamente. The Xueheng school thought this was the development and the ideal goal of the new poetry.

The direct connection between literature and politics could be considered as the most prominent feature of modern Chinese literature between 1928 and 1976. It could be discussed according to four different stages. First, from 1928 to 1936, it was featured by the free association and two-way choice between the two. Second, politics became the major constraint and weather vane of literature from 1937 to 1949. Third, party politics and national politics became an integrated one，literature was totally under the control of politics between 1949 and 1966. Fourth, from 1966 to 1976，the control that politics imposed on literature reach the climax. At last, it leaves us the question that what is the correct way for literature to process the relationship with politics.

Literature is the art of language, the ideological contents, forms and techniques of any literature works are ultimately to be implemented on language. This paper uses the concept of “language” in a broad sense, not only referring to the characters themselves, but also including the artistic symbols composed by the characters based on a certain structuring approach--sentence, sentence group and even the text. Born in a very complicated language background, the Miao minority writers in Chongqing keep a potential connection with their mother language on one hand, and live in the Chinese mandarin environment on the other hand, furthermore, their creation is also deeply influenced by the western literature context, consequently, they have gained a sharp perception on language, their enriching and updating of the language symbol system is an arrestive question; their treatment and creation of the language symbol reflects a more and more mature text narrating model created by contemporary Chinese minority groups.

In his first several short stories depicting his early life in the countryside as sent-down educated youth, we may see that Shi Tiesheng was ready for pondering the Christian spirits later. Among these stories many thematic concerns were repeatedly adopted later, such as suffering, love, Original Sin and so on. The early life experience and writings became the base for his thinking of divinity and his belief in Christianity in his later days. If the experience of being sent down to a village as an educated youth and his writing about this period of life experience and how he cherished it established his faith in love that made his ideas perfectly fit the Christian spirit. Meanwhile, “disease” or “disability”, which represents human beings’ everlasting weakness and imperfection, became his motivation to admire and approach God. He started thinking of the meaning of sufferings because of his “disease” and “disability” and issues related to “love;” whereas his “sent-down” experiences not only made him profoundly go through suffering but also understand the everlasting power of love and its warmth. Shi Tiesheng’s early works already touched upon issues like Christianity, God, and church, but his works, which really reflected his thinking of the spirit of Christianity and approaching closely the divinity, are Random Writings during Sick Time, (1998) and My Trip to Dingyi (2005). The author’s approaching God and belief in Love are reflected through his thinking focusing on four questions: “disability”, “love”, “original sin- repentance- redemption”, and its “process.” Some of Shi Tiesheng’s novels tended to be “meta-fiction, ” in which some distinctive elements of “meta-fiction” are discernible such as mocking imitation of the literary tradition and the use of parodies. His novel My Trip to Dingyi is the best example, which foundation is Bible. In sum, Shi Tiesheng’s fiction is not “pure” Christian literature, but as Karl Josef Kuschel (contemporary theologist) said, it is “fiction with the spirit of Christianity.”

The body of poetic works by Boyang is in fact not large and amounts to only over than sixty pieces including Ci. As the traditional forms of Chinese poetry goes out of fashion, Boyang’s poems written in traditional forms become unique amongst all the poems written in new forms nowadays. Boyang did not hesitate in venting the injustice in the prisons in his descriptions of what he saw and heard. From Taipei San-Zhang-Li Investigative Detention Cells to the Ministry of Defense’s Prison on Green Island, every account of his entering and exiting of each prison is filled with torture and suffering. Boyang’s lyric poetry illustrates that unreasonable institutions can become a form of violence that suppresses human potentials, and result in damage, violation, and deprivation of personal freedom. Therefore, the literary works of Boyang is his way of dealing with the suppression imposed upon him by the institution, order and law constructed upon an irrational subject. Boyang was a critical man in his time. His poetry is often referred to as poetry of resistance, not because it represents his own resistance to the violence he encountered but the resistance that the general public had to do perform at his time. In other words, Boyang’s personal depiction of his fight against violence can in effect represent that of the anonymous public. In Boyang Shi, a collection of Boyang’s poems, the various themes depicted are all tragic. After suffering the political suppression that ended in his arrest and imprisonment, Boyang documented his long years of life behind the bars and emerged as a destructed tragic hero in his poetry. His poetry is unique and significant not in that it manifests more graphic depictions of scenes or that the struggles he had gone through were particularly extraordinary, but that, instilled with his life experiences, it creates such a powerful roar that evokes touching inspirations unmatched by others. That powerful roar in his poetry was created with the strength of his whole body. This paper examines the tragic reality and the transcendence of will power represented in Boyang's poems in the Boyang Shi published in July, 2001 with the purpose to observe his illustration of suffering in his writings.

This paper explores the meaning of life and existence by analyzing the dialogue in Gao Xingjian’s One Man’s Bible and Milan Kundera’s The Unbearable Lightness of Being. Roland Barthes deems that every text holds intertextualness in various forms with different presentations. Eliot comments that the literature writers should observe literature in historical contexts of which in order to get more inspirations. Gao and Kundera convey existentialism in a multidimensional space. However, the themes expressed in Kundera’s The Unbearable Lightness of Being are less transparent and meaningful than Gao’s One Man’s Bible. The Unbearable Lightness of Being encompasses the life of a few individual characters and introduces philosophical thoughts through their choices of life. For example, the reminiscence of the past, custom rituals, oblivion and the co-incidenceness of time are analyzed. However, Gao’s One Man’s Bible depicts the turmoil in Cultural Revolution, which has been experienced by different parties, but not a single individual. Although both Gao and Kundera have inherited the core philosophies of Sartre’s existentialism, Gao opposes to the social functions of literature. For Kundera, he tends to achieve self-actualization through the literature and investigate the meaning of life.

A place is the result of effects of time. Places are made up of memories which are the accumulation of history. The meanings of traditional places are based on the various experiences when those places became one with people. Producing the nature of a certain place through memories of these experiences is called "Sense of Place." Architecture is the realization of a place's meaning. Because literature is the development of life's beauty, sense of place, which is the accumulation of life's history and information, can become a type of dialogue which acts as the architecture of literature. In this case, architecture comes to have a literary sense of place through an internal context rather than an outside symbol. In China, there have been many pieces of literature which embody the sense of place of traditional architecture. However, after the formation of modern space, many authors felt the shock of liquid modernity. Through interpretation of this new space, these authors were able to escape traditional places and move to a new sense of place. Although China's modern architecture has a short history and was formed during a period of colonization, authors were able to create a layered sense of place in their literary works through various interpretations. In the larger literary cultural topos, Chinese modern space reveals many cross sections through literary sense of place progressed through architecture. The realization of sense of place is more related to collective experiences than individual experiences. These collective memories are inseparable from cultural regionality. Therefore, sense of place is the driving force behind treating regionality as the central focus of culture discourse. The Chinese have recently instigated a restoration project of urban space of the early modern period based on these characteristics of space. This is not merely a project to restore the historic landscape, but it also contains the strategy of local governments to sell their regional cultural places. Therefore, regional historic sites of literature undergo a remembrance making process and receive a new sense of place. These places are then consumed as literary places to satisfy the nostalgia of the people. This article was written based on the social actions which arise due to the connection of literature and architecture. This article creates two categories of sense of place expressed through literature and place making of historical sites of literature and examines Chinese sense of place of modern Chinese architecture as seen in modern literature. Because this article is a diachronic examination of sense of place, the quoted examples are compositions which run parallel to the concept of sense of place rather than causal relationships with literary history.