KJC Korea
Journal Central

With the development of internet, some new communication media such as weibo, weixin have gradually appeared in recent years. These network platforms provide us platform to exchange new ideas, discovery new thoughts and reflect the social visage. At the same time, these platforms are places where lots of neologisms are mainly produced and used frequently. This thesis aims to study “chong” and analyses the literal meaning changed of character “chong” diachronically since Qin dynasty. Especially, the grammatical meaning of quasi-suffix “chong” has been used widely, such as used to refer to a category of people that produce a lot of neologisms. And we will make use of these neologisms to analyze the evolution of quasi-suffix “chong” from three aspects: semantic overgeneralization, positional stability and the productivity of word-formation. In addition, this paper will also discuss commendatory and derogatory senses of the quasi-suffix “chong” when it refers to the category of people. Furthermore, we will attempt to explain the internal mechanism of the quasi-suffix“chong”, which transfer from the derogatory to neutral or even commendatory.

The word corresponding to ‘geom(점)’ is expressed as ‘痣’ either Chinese written or spoken expression. English translated word to ‘痣’ is ‘mole’ and ‘疣[yóu]’ is ‘wart’ in English. But in Korean physiognomy-books, the word referring to ‘geom(점)’ is expressed as ‘black wart’ or ‘wart’. And also, in Korean dictionaries, ‘痣’ is translated into not ‘geom(점)’ but 'wart'. However, in Chinese, the word corresponding to 'wart' is not ‘痣’ but ‘疣[yóu]’. From these expressive differences between two languages, the purpose of this paper is to look into the correct Korean translated word for ‘痣’ from physiognomic viewpoint rather than medical one, but also to find out the reasons for using the term, 'black wart' or ‘wart’ instead of 'mole'. In physiognomy, ‘protruding mole’ is called ‘痣’. ‘痣’ refers to a mole developed from pigmentation of skin. And it is distinguished from a viral skin disease. So far, there are two major reasons for translating or expressing ‘痣’ with 'black wart' rather than ‘geom(점)’ in Korean physiognomy-books. The main reason is the translation fallacy(‘痣=wart’) in Korean dictionaries. As the next reason, Korean people have used ‘black wart’ or ‘wart’ as substitute words because there is no Korean noun corresponding to ‘痣’. Thus, ‘痣’ should be translated into ‘protruding mole’ rather than ‘black wart’ or ‘wart’.

This paper proposes “phasal adjective” category which is an expression of the state-of affairs phase in adjective event structure. This is different from other papers the division of the adjectives, which are qualitative adjectives, state adjectives and dynamic adjectives. When we explain temporal cognitive processes of adjectives, this paper advocates adopting two-dimensional “state-of affairs development model” based on passage of time associated with events development. We mainly studied expression of the age (small, young and old), speed (fast and slow), time (early and late), dimension (large and small), color, value (good and bad) and other groups of core attributes of adjectives, and studied difference when expressed in time cognition exhibited "state of affairs phase" and “time phase”. Finally, we analyze the intervention of phase adverb "yijing / hai(meiyou)" , we explain the pragmatic level on its interpretation of the mandatory and contradictions, demonstrated the necessity of adopting the event framework.

In China, This paper aims to explore Chinese education in Korea, which has grown swiftly since the normalization of relations between Korea and China, and to investigate how such development can be sustained as well as seeking out new ways to develop Chinese education. To this end, this paper reviews the key value of “Education 3.0,” a newly emerging paradigm in education, and discusses how to reset the goals of Chinese education under the influence of a new landscape for education. This study presents possibilities of qualitative changes in Chinese education, which has grown immensely in Korea, and also suggests several basic measures to elicit these changes through “Chinese Education 3.0.” First, it puts forward All-line education: integrating on-line and off-line learning. Second, it suggests tandem education by utilizing Chinese students studying in Korea. Third, PBL(Problem Based Learning) education and developing a Chinese “CAN-DO-LIST” are proposed in the research. The suggestions presented in this paper are based on the core abilities of “Education 3.0”: self-directed learning, ability of thinking, cooperation, empathy and convergence. Thus, by adapting them as a methodology and education outcomes, Chinese language learners will acquire various abilities and the effectiveness of Chinese education will be enhanced. The author hopes to see more in-depth research in this area in the future.

Guoyu(國語) is different from Zuozhuan(左傳) in that it is not a systematic chronological history, but is the China’s first part of records of some important historical events in the history of literature. The book consists of 21 volumes, which respectively recorded Zhou, Lu, Qi, Jin, Zheng, Chu, Wu and Yue in the eight fragments of history and each fragment of is not affiliated. As Guoyu mainly recorded the language, chronicle is simple and reasoning is plain. But from the literary perspective, the narrative of some chapters are complete in the head and the tail and contains not only reasonable imagination composition and the aphorisms rich in vivid figures of speech and implications, but also more detailed characterizations of the character. Thus it greatly raised the integrity of the plot and the vividness of characters and improved the value of Guoyu as the narrative literature. These chapters can be a literary short story, which has a certain composition and factors. As an important part of the history of the pre-Qin Dynasty, the elements of these novels should be paid more attention by the scholars of the later generations. This thesis is about to discuss these narrative characteristics and narrative literature value of Guoyu from a viewpoint of novel.

Tao Yuanming, as a great poet from the Eastern Jin dynasty(東晉) to the Liu Song dynasty(劉宋), has played an important role in the history of Chinese poetry and culture. He wrote a set of ‘twenty drinking poems(飮酒詩20首)’ Cherishing his personality and poems, a lot of people such as the relegated, bureaucrats in high position, hermits, adherents of a former dynasty and monks wrote poems in response to his ‘twenty drinking poems’ through the ages and dynasties. This poetic response became a cultural phenomenon, and this phenomenon not only has proved that Tao Yuanming has an enormous influence on the later writers, but also has led them to chase him with a strong feeling of identity and worshipping. After Song dynasty’s destruction Fang Hui, who once was an official of Song dynasty, served Yuan dynasty of different race for a certain period. Retiring from official position, on one hand he felt a very tranquil life, but on the other hand he regretted the fact that he bended a moral integrity during that period. Like the former poets he expressed this kind of feeling responding to Tao Yuanming’s ‘twenty drinking poems(飮酒詩20首)’ This paper tries to analyse Fang Hui’s thematic consciousness expressed in his ‘Poems in Response to Tao Yuanming’s twenty drinking poems(「和陶淵明飮酒二十首」)’ systematically, dividing them into four categories as ‘Yuanming Admiration(淵明追慕)’, ‘Rural Tranquility(田園閑寂)’, ‘Past Regret(往事後悔)’, ‘Life Impermanence(人生無常)’

Chinese and Korean classical novel <the Three Kingdoms> and <Imjin rok> female image showing a strange phenomenon, that is, whether their identity, status the shows angel and demon two kinds of extreme image. Women do not have their own personality, emotion and choice, and have no right to say. This essentially is a male dominated society dualistic of the image of women. That is who is consistent with the male aesthetic is an angel, and male aesthetic phase violation is the devil. Women's marriage is the tool of men playing politics, even the female's life are men's accessories, once what historical upheavals, men can all evade responsibility for women, let them for their commitment to the eternal charges.

Critical balance is an expression used to explain the judgment or evaluation of a critic. However, this can be also used when the attitude of a critic toward objects is assessed. When we want to use this expression relating to a critical attitude of MaoDun, what we want this to mean is the critical balance between creation and criticism or between theory and practice. If it is put this way, some people would think that this expression has an intention to imply that the critical attitude of MaoDun is somewhat moderate and relaxed. However, we don't say the balance to obliquely refer that his criticism is moderate and relaxed. Rather, we want to emphasize his active attitude to understand the difference between creation and criticism or between theory and practice and seek a harmonized and balanced communication between them in the left-wing literary circle where the rift between those creation and criticism was deepening. In the end, no critic could approach criticism and critical mind for it more actively from a position of a writer than MaoDun among Chinese contemporary writers. This is, of course, greatly based on his unique literary career where he made debut as a novelist in the midst of actively working as a literary critic and then returned to the literary critic. Among his literary career, the 1930's, when his creation and criticism were concurrently carried out, can be said as a kind of exploration period for functional relation between the two.

As we know, translation plays an important role in cross‐culture communication around the world. Literary translation is different from other kinds of translation, because besides word change, translator have to understand writer’s culture and to represent writer’s feeling as well. It is well known that China and Japan keep close literary exchange with each other from ancient time to nowadays. In Tang Dynasty, Japanese emissaries took Chinese poems to Japan. In 18th century, Chinese students who had studied in Japan brought modern literature to China. Luxun, a famous writer on behalf of new literature in modern China, was introduced by many Japanese scholars, and his literature was translated largely in Japan. Thanks to translation, those Japanese audiences without understanding Chinese also can read Luxun’s works and know Chinese society and Chinese culture at that time. Luxun’s short story entitled Guxiang entered Japanese textbooks after the Second World War. One of Japanese translators who dealt with Luxun’s literature, Koubai Inoue, was blamed seriously by Luxun for his mistranslation. This paper analyzes Koubai Inoue’s mistranslation in short story Guxiang, points out differences, including paragraph combination and paragraph separation, direct speech and indirect speech, sentence location, expression of special culture, correcting “mistranslation” and others from the original. The reason for mistranslation is because there are differences between writer and translator, especially their cognitions on literature, translation and audience. For Luxun, literature is an effective way to know other culture, to study from advanced countries and to change China, thus he prefers hypercontextaulisation and literal translation. But Koubai Inoue may consider literature as a way to gain economic interest and he prefers decontextaulisation in understanding the original. Although Koubai Inoue contributed to introduction and translation of Luxun’s literature, he couldn’t translate some Chinese special culture and the deep meaning of the text effectively because of his opinion on literature popularity and free translation. Both translators and audiences should pay attention to a danger‐‐mistranslation of literature will impede cross‐culture communication.

Zhanxuan was influenced by Zhuzi theory since childhood, but then he advocated a relatively and objective theory--Yitianshiwu(以天视物)，thus critically refuting the Shiwu(视物) theory of Zhuxi. Zhuxi can only view things from a human standpoint，but not view human from things standpoint.Zhanxuan not only views view things from a human standpoint,but also views human from things standpoint.Zhuxi's view is subjective, who believes "human is momentous and the things are insignificant." Zhanxuan's view is objective,who belives the two are without distinction or distinction from the heaven standpoint overstep the other two`s limitations. Zhanxuan criticized and replaced Zhuxi's hemispherical dome cosmology with spherical earth by the new way of the Yitianshiwu(以天视物) theory. In addition,he also critically refuting the cosmology of "the heaven move run automatically"and the values of "human is momentous and the things are insignificant." by Zhuxi ,and replaced them with the heliocentric theory and the concept of everyone being equal. Zhanxuan advocates relatively and objective theory--Yitianshiwu(以天视物),criticized the traditional theories by Zhuzi,such as geocentricism、China-centered approach、anthropocentrism. So he has built relatively and objective epistemology. The theory substantially covert the system of old philosophy, it form a new system of illuminative thought departure from Zhuzi theory.

From the perspective of world culture and common sense of the common knowledge during the time of deeper globalization, both the South Korean film Bedevilled and the Chinese film Blind Mountain present a trend in which there is a phenomenon that the common sense of the globalization has no way to recover and illuminate the rural culture to some extent. However, in contract, the rural culture gradually becomes a power to resist the world culture and common sense of globalization. Rethinking two main texts of feminism (Simone de Beauvoir’s The Second Sex and Gayle Rubin’s The Traffic in Women: Notes on the ‘Political Economy’ of Sex as two texts that present the world culture and common sense of the common knowledge), and revising the two films from East Asia (South Korea and China), we can rediscover that women without freedom living in rural culture nearly disappear in the world culture and common sense during the process of globalization. Meanwhile the western classic texts of theory usually cannot illuminate the facts in eastern Asian society. Therefore, in order to rethink the freedom as a common sense for the women in the whole world, we have to revise the world culture and common sense during the process of deeper globalization. Also we have to argue that the body freedom is the foundation of women’s freedom, other than economic freedom from Simone de Beauvoir.

Jackie Chan's recent movies, 『1911 Revolution』, 『12 Chinese Zodiac Heads』 and 『Dragon Blade』 are themed with Xinhai Revolution, the matters of national treasures returning to China, West Han era and military conflicts and resolutions between China and Rome during Silk Road period respectively. However, unlike his previous movies, these movies seem to have his firm goal of service for China and Chinese government. Because of that, these moves have some changed aspects that didn't exist in his previous movies. The changes can be summed up into the following three categories. First, universal values have disappeared, but new values appeared, which prioritize China's interest and represent the claims of China. Second, other than providing recreation and fun, the movies play a role in educating and enlightening audience along with PR of Chinese government's policy. Third, there is contradiction between themes of the movies and the method to express them. The themes of the movies are good, but the method to express them is not good, so the movies could receive criticism of being hypocritical and oppressive. The biggest reason for these changes might be Jackie Chan considers the Chinese movie market as his main target. He sought changes of his movies for commercial success in the Chinese movie market. Nevertheless, due to these changes, became degraded to "Chinese' movies for only Chinese movie goers from the movies for ordinary people throughout the world.

Creature movie, a well positioned genre in movie, has been loved by moviegoers worldwide. This genre, which belongs to fantasy category, is a unique brain child of commercial movie production in Hollywood. Recently as their movie industry has been booming Korea and China has been challenging this genre which needs a high level of technology, capital and production management. Korean movie "The Host" and Chinese movie "Chronicles of the Ghostly Tribe" are the two most representative examples. This essay tries to explain how these blockbuster movies were created in two countries by looking at the industrial background, and also analyze narrative structure of these movies by resorting to narratological and semiological method. It postulates the followings by analyzing and comparing major spaces, symbols, and cultural codes appearing in two movies. "The Host" made a successful local application of the classic Hollywood narrative formula. Opposed to that, "Chronicles of the Ghostly Tribe" was focusing too much on explaining the structure between reality and surreal, becoming a naive narrative as the heroic characters were disappearing. This essay is provided as a reference with a purpose to facilitate international, commercial, and cultural engagement between two nations even when it points out the difference in degree of quality perfection of two movies.

Face is one of the concepts of psychosocial value to Chinese people and it is easy to find face behavior in their daily lives. Making observations of this concept can effectively be able to understand the psychological process of Chinese people. Face is the main social element to understand Chinese people. Face issue is generally studied in China. Because face is closely related to Chinese people's daily lives and these kind of studies are relatively easy to understand. The main purpose of the study is to understand face which plays an important part in Chinese social relations. This study also focused on the ways of face expression that are usually used in their daily lives. The definition of face is divided in two ways, face as the morality and face as the fame and honor. Chinese people attach great importance to their face and they recognize face as one of their essential inherent values. The ways of expressing face are as varied as the importance of face. The research showed that such expressions are basically classified by moral Lian and social Mian of face. This study also confirmed that the frequency in use of Mian is a little bit higher than using moral Lian but the strength of expressions of Lian, such as 'a shame', 'an embarrassment' and 'a dishonor' is much stronger than Mian is.