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pISSN : 1738-0502 / eISSN : 2635-4373

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2017, Vol., No.44

  • 1.

    The Process and Mechanism of Lexicalization of “yipian(一片)”

    Guo Sheng lin | 2017, (44) | pp.3~21 | number of Cited : 0
    Abstract PDF
    In modern Chinese, “yipian(一片)” has a tendency to be a word.In “V yipian(一片)” yipian(一片)A” “Vcheng(成) yipian(一片)”,it is more like a word. The topicalization of its modified noun leads to the change of the status of “yipian(一片)”in the sentence, which is the key step of lexicalization of “yipian(一片)”. Because of its topicalization, “N” in “yipian(一片) N”or “Vyipian(一片) N” precedes “yipian(一片)” or “Vyipian(一片)”, which makes” “yipian(一片)” no longer combine with a nouns but be a sentence component independently. In addition to the topicalization,the lexicalization of “yipian(一片)”also involves generalization of combination, weakening function of measurement, alienation of syntactic functions, and meaning’ turning vague.
  • 2.

    A Study on the Symbols of the peony poem in 『Quantangshi』

    Bae Daniel | 2017, (44) | pp.23~53 | number of Cited : 0
    Abstract PDF
    This article was written to study the various symbols of the Peony in Tang Dynasty poetry by survey 『Quantangshi』. Various symbols of the Peony in 『Quantangshi』 are summarized as that : The first, the Peonya flowers have the purest beauty in itself and they are the forerunners of spring, it means that the peony full of expression of beauty and dignity, and the poetry of peony are generally expressed the symbol of beauty and the harbinger of spring. The second, Tang Dynasty and the poetry of peony have abundant influencing relationship. The social background at that time has a great effect on the prosperity of peony poem. The third, the poetry of peony are sometimes used of the expression of human will, sorrow. The Peony also have the destiny of rise and fall, and the properties easily caused its dignified appearance and memory. Cause of that point, man like the generic character of that flower. So, the peony were open expressed as intense of man and sorrow of life in Tang Dynasty. The fourth, the poet of peony poem often take critical estimate about the aspect of Tang Dynasty and social phenomenon. This means that peony poem already have the function of social reflection.
  • 3.

    The Art and Moral -- Zhen Dexiu’s Literary Thought of Attaching Importance to Writer’s Character

    양만리 | 2017, (44) | pp.53~70 | number of Cited : 0
    Abstract PDF
    Study of Zhen Dexiu's literary thought has always been the lack of attention to the prefaces and postscripts, especially the calligraphy inscriptions. Zhen Dexiu basically stuck to the spirit of Zhu Xi’s thought, and on the basis he made a further development, the formation of more “authentic” Neo-Confucianism thought of literature and art. In his view, calligraphy and writer’s moral was an organic whole, the two could complement each other. His criticism on calligraphy and poetry, mainly concentrated in the work content and the writer’s moral character, less on the art skill of works. Based on this, he also try hard to interpret the poetry and personality of Tao Yuanming, Yang Yi and so on, who were known by his poetic prose, in the sense of Neo Confucianism. He respected the value of moral education of literary and artistic works, meanwhile further degraded the level of aesthetic artistic, his thought of literature and art seem conservative and paranoia, also embodying the obvious characteristic of the Neo Confucianism literary thought.
  • 4.

    The Characteristics of Ci Poetry of Joseon Literator Lee EunSang

    Kim, Ji-Hyun | 2017, (44) | pp.71~94 | number of Cited : 0
    Abstract PDF
    Lee EunSang(李殷相), a literator of the Joseon era, composed 38 pieces of Chinese Ci poetry which now can be found in his anthology Donglijib(東里集). Those ci have the formal features that each piece was accompanied by its own foreword, 28 kinds of cipai were quite evenly used, and rhyming words were well operated. As for the content features, it is clear that Lee’s ci contain plenty of detailed factual factors, and that those ci were written under obvious purposes. Lee sincerely observed the original Chinese ci forms, while filling it with his self-based contents, using his own perspective and voice. The study on Lee EunSang's ci will serve as an example of the research on how the literati of the Joseon era adopted and enjoyed the Chinese poetry genre.
  • 5.

    A Study on the Compilation and Significance of the Thirteen Classics Collation in Qing Dynasty

    Hyoshin Kim | 2017, (44) | pp.95~132 | number of Cited : 0
    Abstract PDF
    The aim of this paper is to scrutinize the background and process of compilation of the Thirteen Classics Collation in Qing Dynasty and to investigate of the significance of it. Since Southern Song Dynasty, the Thirteen Classics are published in combined form of Jing[經], Zhu[注], and Shu[疏], and the typical type is the “ten lines version of Song Dynasty”. In Ming and Qing Dynasties, Min version[閩本], Jian version[監本], and Mao version[毛本] are circulated in popular, but these versions had a great deal of errors. The scholars who had recognized these problems tried to compile the revised version of the Thirteen Classics. Especially, they gave attention to the combined form of Zhu and Shu, and found the structural problems of the errors. As a result, they failed the perfect collation eventually, but developed the methodology of textual criticism of the classics.
  • 6.

    The argument between Zhou Zuoren and Qian Zhongshu on the History of Chinese Literature and its implications: A research of The origin of Chinese New Literature

    Han, Jiyeon | 2017, (44) | pp.133~157 | number of Cited : 0
    Abstract PDF
    This paper was performed to study of The origin of Chinese New Literature中國新文學的源流 by Zhou Zuoren周作人’s theory of literature history, and a argument of Chinese New Literary History with Qian Zhongshu錢鍾書’s negative reviews about the origin of Chinese New Literature. Based on this point, This paper is consisted of foreword, two body chapters, conclusion and the references. Chapter one gave an introduction to this paper and reviewed the former research. On the basis of previous studies, in Chapter two, tried to discuss about the viewpoint of Zhou’s The origin of Chinese New Literature. As everyone knows that ideals言志 and moral載道 are two important concepts in the history of Chinese Literature, Zhou was traced back to the end of the Ming dynasty and mainly intended to indicate the mainstream of Chinese Literature, For this reason, Zhou’s The origin of Chinese New Literature has significant implications, which is the important thing about the origin of Chinese New Literature, which intellectual aspirations have been directly reflected in his writing. In Chapter three, tried to analyze about the viewpoint of Qian Zhongshu’s review on Zhou’s The origin of Chinese New Literature. Analysis showed that Qian through his literary criticism, tried to clarify the problem of the Chinese New Literature, even previous literary criticism. Thus, and tried to clear the difference from Zhou’s viewpoint of literature. I think it is not as the object of Chinese literary criticism, but as a theoretical basis for the criticism, to break through to the other side, Qian Zhongshu who tries to find new and efficient ways to do that work. By comparison, Zhou Zuoren & Qian Zhongshu used their so-called academic literacy, tried to approach a subject from the literary and scholarly point of view. I think the argument between Zhou Zuoren & Qian Zhongshu on the History of Chinese Literature provided new insight into their academic achievement, include many faces of theory and criticism in the study of Chinese New Literature.
  • 7.

    A Study on the Wu Zhuo Liu of short stories

    YOU,JAE-SUNG | Yongtae Lee | 2017, (44) | pp.159~195 | number of Cited : 1
    Abstract PDF
    Wu Zhuo Liu was born in 1900, he passed away at 77 in 1976. He published <Shuiyue> in The Taiwan New Literature as his the first work of art. He had done his works of art for 38 years until completing his last work of art, <Taiwan Yanqiao>. He had gone through an age of turbulence which were the Japanese colonial era, World War Two, Taiwan Independence, Nationalist Government in Taiwan. In this regard, He played an important role in connecting the Japanese colonial era to the beginning of Taiwan Independence. The Union China in the Chinese side and the Taiwan Independence party, both parties are trying hard to justify their theory for a political purpose that had taken advantage of Wu Zhuo Liu's works. The content of pieces of his works was contained Taiwanese colonial life, the horrors of secondary war, social chaos after Independence, an economic loot and economic panic. It also described a police system during the colonial era, the overall social features and a miserable life. He depicted specifically the sense of identity of Taiwan, the universal worries and concerns of Taiwanese in the works. This is the value of the work. At this point, he explained that “my novel contains historical character and represent social aspects. Currently, 19 volumes are available to reflect the Japanese colonial era, social aspects after Independence and political influence, therefore, we can recognize the nature of facts”. He described pro-Japanese group, discrimination, the powerless of Taiwanese, monopoly of power, economic monopoly, the difficulty of public livelihood by qualify themselves as a native from the Japanese colonial era through the beginning of Taiwan Independence in the works. The author would divide intellectuals form, scholars who toe the government line form. women's movement form and lower class form in short novels out of these Wu Zhuo Liu's works and reflect social aspects and distorted social phenomena caused by the political influence after the Japanese colonial era and Independence.
  • 8.

    Between and Beyond the Guilt and Punishment – the Rethinking of the Method of the Rethinking of the Cultural Revolution –

    成红舞 | 2017, (44) | pp.197~211 | number of Cited : 0
    Abstract PDF
    Since the end of the Cultural Revolution in 1976, Chinese intellectuals have started to rethink about the huge disaster on human beings and society in liberal works. The Head Teacher of Xinwu Liu and The Scars of Xinhua Lu is the representation of one kind of rethinking: accusing the crime of Gang of Four. Ba Jin’s Sui Xiang Lu gives us another kind of rethinking the Cultural Revolution: self-confession. There is also another kind of rethinking: historical memory. However, the method of rethinking is still few and frail after more than forty years the Cultural Revolution has past. Therefore, it is necessary to broaden and strengthen the rethinking which needs not only the theoretical development but also the diversity of methods. We might get some enlightenment from the rethinking of Nazi German’s Guilt in the book The Question of German Guilt by Jaspers and the illumination the tragedy of Antigone by Beauvoir.