KJC Korea
Journal Central

This paper is the study aims to create a semantic map of ‘YI(以)’ associated with the tool that appears in the oracle bone and bronze inscriptions. For this purpose, first are those through the oracle bone inscriptions to determine and present the font and original meaning of ‘YI(以)’. Next, examine the various meanings and usages of ‘以’ associated with the tool presented in the study and they were arranged in a time sequence. Then painted each time the meaning and usage of ‘以’ extracted from oracle bone and bronze inscriptions on the conceptual space that was defined by previous studies. Finally, it collected the semantic map of ‘YI(以)’ associated with the tool of all time on one conceptual space area. Through this map, we will know the relation between the expansion means and the use of the path between the various meaning and usage of ‘YI(以)’ associated with the tool.

The modern Chinese adverb ‘dou(都)’ has two kinds of basic meaning. The first meaning of ‘dou(都1)’, as a scope adverb, comprehensively represents actions, behaviors or properties which all entities or phenomena embraced within the defined scope have in common. The second meaning of ‘dou(都2)’ has emerged through grammaticalization during the transitional process in meaning. The main semantic function of ‘dou(都2)’ is ‘emphasis’, and it may symbolize the abnormality of a certain behavior, phenomenon or property, and may manifest a great difference between expectation and reality. ‘dou(都2)’ also shows the subjective cognition of a speaker on the volume of an object, time or degree. While ‘dou(都1)’ provides an objective description, ‘dou(都2)’ is one of the methods which shows an subjective representation. ‘dou(都2)’ not only represents the subjective view of a speaker in ‘lian(连)’ Construction in modern Chinese, but also has the same function in ‘ba(把)’ Construction and ‘bi(比)’ Construction, where, by reducing the typical disposal function of ‘ba(把)’ Construction or the comparison function of ‘bi(比)’ Construction, it expresses a variety of subtle nuances in terms of exaggeration and modification in the sentence.

“Jianyuju”(‘N1 + V1 + N2 + V2’) is a predicate type that arouses people’s constant discussion. In Modern Chinese “Jianyuju” means a sentence with its object plays as subject of the second verb simultaneously. The first verb in a “Jianyuju” has meaning of incurring and results in appearance of the second verb. This paper intends to have a semantic feature analysis and grammatical error pattern of “Jianyuju(兼語句)” in Modern Chinese. In respect of syntax, ‘V1’ of this construct is a combination of object and subject, in respect of semantic ‘N1’ is the conductor of ‘V1’, ‘N2’ is the receiver of ‘V1’ and conductor of ‘V2’, and there is a controlling relation between ‘N1’ and ‘N2’. This paper focus on [-致使] semantic feature and compare with “Shi Jianyuju(使兼語句)” and “Ling Jianyuju(令兼語句)”. After analyzing the errors of students, the essay classifies the errors into four types: lack of elements, redundant adding of elements, errors of elements, errors of the structure. Since the main problems concentrating on the usage of the first type of “Jianyuju” structure, the essay analyzes the errors of each type and gives some possible reasons for them.

This thesis, focused on the ‘Qing(青)’ of the Chinese Traditional Five Colors, and uses the contrastive analysis to study the similarities and differences between Chinese ‘Qing(青)’ and Korean ‘푸르다/파랗다’. First of all, from five aspects of dictionary, part of speech, word formation, syntactic component and semantic features, the author studied the syntactic and semantic features of Chinese ‘Qing(青)’ and Korean ‘푸르다/파랗다’. Secondly, using linguistic typology, Yin-Yang and Five Elements, metaphor and metonymy, linguistic feature, clothing system, interpreted the cognitive features of Chinese ‘Qing(青)’ and Korean ‘푸르다/파랗다’.

The corpora have been studied and discussed in this paper are derived from the HSK Dynamic Composition Corpus ver 1.1, which is developed by Beijing Language and Culture University. Objects of the study are South Korea students with junior high school level of Chinese in the Corpus, including HSK C Level Certificate students and no HSK certificate students. The paper has adopted methods of statistics, induction, classification and analysis. The study results show that there are a few universal biased error problems on “了2 Unnecessary”, “2 Missing”, “Overrepresentation” and “Misapplication between 了2 and了1”. We consider that although the negative transference of South Korea students’ mother language is one of the major reasons that causes biased errors, the lack of Chinese is the deeper reason for biased errors, and we should solve these biased errors with language sense. So, the paper has proposed language sense training methods for 了2 from aspects of teaching and learning such as Comparative teaching method, Teaching of lexical chunks,etc. The paper is aim at helping the students master and use 了2 properly in communication as well as providing references for teachers who teach Chinese as a foreign language.

Over the past 20 years since China and Korea established the diplomatic relationships, Chinese teaching in Korea has also entered a rapid developing stage. The development includes not only the unprecedented developing speed and scales, but also the great achievements in teaching staff, teaching quality, teaching materials etc. However, according to Prof. Lü Bisong, there are still several problems in the “four teaching steps” mentioned by Prof. Lü, especially in the field of Chinese education in college. These problems are: 1) No Chinese teaching syllabus in college; 2) No systematic teaching materials with clear teaching objectives and reasonable assessing system although the number of Chinese teaching materials is large; 3) No orderly in-class teaching; 4) Still no “country-specific” Chinese language assessing system so far. All of these mentioned problems need to be solved or improved. This paper attempts to contrive and implement a new Chinese proficency testing system which is different from the new HSK test. The new testing system is going to be “country-specified”, “combining both teaching and testing” and “to test in order to promote teaching”. How to test Chinese characters will be one of the focus of this new testing system.

The Volunteer Chinese Teachers take the task of teaching Chinese as a foreign language and spreading Chinese culture. Their job plays an important role. However, because of the lack of teaching skill training and teaching experience, their teaching adaptation problem gradually revealed. Using the methods of questionnaire survey and interview, the thesis takes the volunteers in primary and secondary schools in South Korea as an example, to study the problem of teaching adaptation, including environment of teaching Chinese abroad, Chinese textbooks and other teaching resources, volunteer’s working pressure, influence of personal factors, life adaptation, learning and training before being abroad. Based on analysis of the survey data, we draw the following conclusions: the staffs in Korean Schools are friendly to the volunteer Chinese teachers, and their experience in Chinese teaching and management has a great influence on the work of volunteers. Most of the schools have their own Chinese textbooks, but the Volunteers need to get some teaching materials which are mainly from the internet. Many volunteers have a large amount of work. Some volunteers are not familiar with Chinese teaching situation and the students’ study habits in South Korea, which brings them some difficulties. So many volunteers need more than three months to adapt to their work in Korea. Most of the respondents think that the training and learning before going abroad are necessary, but that aren’t targeted. At last, the thesis gives some suggestions to the administration department of volunteer selection, pre-service training before going abroad, the universities and the volunteers themselves. We hope that these suggestions can not only provide some reference on pre-job training of volunteer Chinese teachers, but also help volunteer Chinese teachers adapt the job of teaching Chinese and culture communication as soon as possible when they go abroad.

Advertising is one of the representative communication tools to reflect the social and cultural phenomena of the times and also the constantly changing needs of consumers. Even the steady sellers that have long been sold have presented different advertising messages to persuade consumers according to the periods and situations. By analyzing advertising language, one can figure out the social and cultural phenomena of the times and also the consciousness of consumers. Based on the assumption that big and small safety accidents in the Chinese food market for the last ten years or so caused a social phenomenon of “increasing anxiety about food safety among Chinese people,” this study set out to see how it was reflected in the TV advertising language and observe changes to the language. It also aimed to demonstrate once again that the advertising language was a linguistic tool reflect the social and cultural phenomena of the times and examine changes to the promotions of food product safety among corporations for the last three years compared with the past. The study chose as the subject the TV advertising language of meat processing, meat and dairy products, a category of the highest frequency of food safety accidents. The investigator collected and analyzed 50 TV commercials of brands that launched a food product and bought a TV commercial in China for the last ten years or so to observe differences between the advertisements of recent three years(2013~2015) and those of previous period(2007~2012) and also changes to their vocabulary, phrases and rhetoric.

Huji Storyteller Festival(胡集书会) is the living fossil of Chinese folk speak-sing literature. Huji Storyteller Festival begins on Lunar New Year 12. Huji Storyteller Festival is the contest storyteller. I’ve visited Hujizhen(胡集镇) to study Huji Storyteller Festival in 2012 and 2014. Chinese Traditional speak-sing performances are now increasingly disappearing. Chinese Traditional speak-sing performances of Huji Storyteller Festival have a close relationship with Korea traditional ‘Pansori(板聲)’. Huji Storyteller Festival of Shandong Province and Majie Storyteller Festival of Henan Province are the largest Folk Music festival in China. Traditional Artists participating in the festival are many wandering storytellers in Shandong Province, and also storytellers from other places. Huji Storyteller Festival are have a close relationship with Chinese folk speak-sing literature. It can reveal the secrets of Chinese Acient Drama through a study of Huji Storyteller Festival. There are similar speak-sing performances around the world. Above all, in order to uncover the origin of Pansori it must study on Huji Storyteller Festival. This article is written based on a field survey in Shandong Province.

Xiao Hong is one of the most prominent female writers in the Chinese modern literature. Since young, she had experienced all kinds of hardships in the northern wilderness where northerly wind severly blows. Therefore, the climatic features well match the pitches and tempos of her literary works and clearly characterize the local colors she reflected in her works. That is, she described the transitions of the local colors of her native place in a pure and familiar northern dialect. Every phrase of her works vividly embrace the ideas and lifestyle of the northern residents people. Therefore, Xiao Hong’s works not only draw a keen attention from the novel circle but also contribute a lot to the research of the northern dialects. One of her major works ‘Hu Lan He Zhuan’ depicts the natural characteristics and the natives’ lively life in the northern dialect. Even it seems that she reflected the life consciousness and mental world of the northern people in the literary work. Xiao Hong described the aspects of the small town and the living scenes of the residents in the northern border region. The reason why her novels have become recognized and acknowledged as unique works in the Chinese modern literature is that she described the local characteristics with a plenty of the northern dialects and regional customs. In her ‘Hu Lan He Zhuan’, Xiao Hong intentionally used the norther dialects for words that could have been written in standard language to convey to readers the taste of the northern rural area. Amazement is more magnified for the fact that she died very young, at 31. Since ‘Hu Lan He Zhuan’ is about daily routines the local people did, there is nothing particular to invite readers to fantasy or rapture, but readers love to read and enjoy her works. It is because she has her unique local color in her literary works. In pure and simple northern dialect, she jotted down the happenings of a small village in a good orderly manner and lively depicted messy rural lives. She used a local dialect in her novels neither because we wanted to draw a separating line between regions, or because she wanted to stress a language and custom with a certain ethnic sense. It demonstrates her success in creating simple and lively effect in her sentences by pursuing reality and nature.

Under the background of modernization and globalization, the influence of Buddhism in Asia is still profound. Master Fa Ding who is an eminent monk in contemporary Korea insists purly practising life that is naturalistic, his Buddhist literature enjoy a high reputation abroad. His prose of preach and comment expresses Buddhist essential ideas and reflects the drawbacks of modern civilization such as the mind clouded by material desires, ecocrisis and so on profoundly. The prose of pure practice expresses Buddhist aesthetic experience including gratitude, kindness, ashamedness, solitude and so on sincerely. The latter is of greater aesthetic value in the mass. Through the comparative study of Buddhist literature between Korea and China, we could find the prose of Master Fa Ding has a naturalistic style, particular and profound life experience, open-ended cultural horizon. Chinese contemporary Buddhist literature could draw lessons from Master Fa Ding.

As the winner of the Nobel Prize for literature in 2012, Mo Yan is the most influential contemporary writer in China. Mo Yan’s novels are good at describing the tumultuous scene of life, and among them, “violence” is the focus of his novels, and there are many violent details about China ancient torture described in his novel “Sandalwood Punishment”. Mo Yan regards the violence as the main body of appreciation and aesthetic target. His novels give a detailed portrait and esthetics color of violence and it embodies the unique Violence Aesthetics of Mo Yan. This thesis will use the concept of violence aesthetics came from Western Filmology to analyze and interpret the violence and torture of Mo Yan’s “Sandalwood Punishment”. The article will probe the occurrence of Aesthetics of violence, and explore the form of violence aesthetics of Mo Yan’s “Sandalwood Punishment” through two angles: the implementation process and the use of sensory vocabulary. Making the names of torture more elegant, the penalty tools more delicate and the process of torture more like a performance; analyzing the feast of ears and the revelry of color, for example. Hoping to reveal the unique connotation of violence aesthetics of Mo Yan’s “Sandalwood Punishment” and explore the deep essence of social, historical, cultural, Chinese humanity of violence aesthetics in the novel.

Since 2004, the Chinese Ministry of Education has begun to establish a Confucius Institute in the world to spread the Chinese language and culture to the world. 2014 had already established 475 Confucius institutes and 851 Confucius Institute in the world. Korea is the Seoul Confucius Institute founded the first in the world in 2004. 20 institutes have already been established. During the short 10 years it won a lot of achievements. The main business of the Confucius Institute is 1) Chinese teaching activities, 2) Chinese Language Teacher Training, 3) Chinese test conducted, and 4) cultural exchanges and so on. This has examined these businesses how were operated in the Confucius Institute in Korea.

The whole Yun Nan and Zui Zhou region was where Chinese ethnic minorities have been distributed over a wide area from the past and where various ethnic groups as Miao zu, Dong zu, Yi zu, Shui zu, and Bu Yi zu have resided in. Specially, Miao zu is the ethic group with the greatest number of population followed by Han zu, Zang zu, Manchu zu, and Hui zu among minorities in China, and they have maintained their own unique culture and tradition while residing in this region for a long time. The culture and custom of marriage of Miao zu in Ming,Qing dynasty are well explained in literatures as di fang zhi and chen ding 「dian qian tu si hun li ji」, 「dian qian ji you」, fang ting xian 「miao su ji wen」, tian min 『qian shu』, and li zong fang 『qian ji』. Traces of prehistoric culture of the matrilineal clan society are still remained in the marriage custom of Miao zu. Customs as tiao yue and ma lang fang are representing the free and open dating style and marriage culture of Miao zu of the time well. Also, it was identified that customs that have been implemented in matrilineal clan society are still remained through the bioa qin hun system of marrying children of sister and brother together and custom of zuo jia of living in married woman’s parents home before giving childbirth after marriage. However, women could not be completely free from cultural influence of the Feudal yegyo of Han Chinese in Miao zu society during the MingQuing dynasty. The Feudal yegyo ideology of Han Chinese that emphasized authority of men and considered women as belonging of men is manifested in marriage culture of the upper class of Miao zu society. The Deungcheop system of having and getting married with a concubine, the liu yi conducted in wedding ceremony, and various kinds of norms required by women after marriage are similar to the contents that have been carried out by the Han Chinese Confucian culture. Even though Mio zu was relatively less affected by the feudal Confucianism culture compare to other ethnic minorities because the residential area of Mio zu at the time was located in deteriorated and remote area, but Confucianism culture was widely disseminated already in marriage custom and system of the upper class of Mio zu.

From the moral status and problems of contemporary society, we can find the medicine in Junzi thought to cure social ills such as moral decline. The performance in the first of Junzi thought’s contemporary value is that it set an idealized model of personality, and the present interpretation about it are “goodness” and “self-sufficiency”. Attention on ritual and art in Junzi and the pursuit of artistic life include the non-utilitarian nature of art, which has more important value in contemporary with technical rationality. So the significance of Junzi culture is not providing a single moral paradigm, but a full three-dimensional and interesting existence way of life.

Located on the Leizhou peninsular in Guangdong Province, Leizhou is at the very southern end of the continent in China, which is very far away from the culture center in central China. Benefited from the special geographic location and historical background, nuo 傩survived in the area. Leizhou city used to be the core area of the peninsular, and also the main region of the nuo activity. A tradition of a thunder god leading five generals as the nuo deities was developed here. Leizhou has a long history of worshiping the thunder god from prehistory time. Therefore scholars in the past believed that this is the reason why the thunder god became the nuo deity in this area. However, nowadays, the nuo performance in Leizhou is led by the Daoist priests according to the proper ritual. The nuo deities who actually drives away the evil spirits are the generals in the thunder department in the standard Daoist pantheon. Then, what is the relationship between the thunder god in natural worship and the thunder god in Daoist ritual? In addition, the study on nuo in the past only focused on deities represented by the nuo masks. At Leishou, it is common to carry out statues of the deities worshipped in the village when the villagers perform the nuo. These statues of the deities cover a wide range of local deities. Then, who are the deities actually drive away the evil spirits? This study reveals that all gods participate in the nuo in Leizhou. And this paper further discusses the function and nature of the various deities in the nuo.