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2019, Vol., No.51

  • 1.

    A Comparative Study on Chinese Modal Verb “yao” and the Corresponding Korean Modal Suffixes

    MinJung Park | 2019, (51) | pp.3~36 | number of Cited : 0
    Abstract PDF
    This dissertation has discussed Chinese modal verb yao and the Corresponding Korean modal suffixes “-ya ha-”, “-ryeo-go ha-”, “–l geos-i-”, “-gess-”. Chinese “yao” expresses many modal meaning, that is three modal meanings—Necessity, obligation and intention. The modality expressions of the two languages can correspond semantically, but the actual correspondence could vary depending on other sentence constituents, such as person of subject, combination with other constituents, word order when combining other modal expressions etc. When “yao” express deontic modality—obligative, it corresponds with Korean Deontic modal suffix “-ya ha-”; When “yao” express Dynamic Modality—volitive, according to the constrains of syntactic, it corresponds with Korean Dynamic Modal Suffixes “-ryeo-go ha-“, “-l geos-i-“, “-gess-”. When “yao” express epistemic Modality—deductive, according to the constrains of syntactic, it corresponds with Korean epistemic Modal Suffixes “-l geos-i-“, “-gess-”. Based on scholars' present researches, this paper analyzes modal meaning and syntactic feature of Chinese Modal Verb “yao” and the corresponding Korean Modal Suffixes “-ya ha-”, “-ryeo-go ha-”, “-l geos-i-”, “-gess-”, and then compares the differences of their syntactic semantic,such as person of subject, combination with other constituents, word order when combining other modal expressions etc.
  • 2.

    A Study of Chinses Causative Inquiry-denominal Verbs - Locative,Locatum and Goal -

    Lee YoungHee | 2019, (51) | pp.37~57 | number of Cited : 0
    Abstract PDF
    This paper analyzes the location, locatum and goal verbs derived from base nouns by using the semantic structure of conceptual structure, lexical decomposition of denominal semantic property. These nouns in the syntactic structure through the incorporation of empty prepositional head and the position of empty verbs, so that such denominal verbs have acquired the transitivity .The locative verbs are semantically derived from the "terminal coincidence relation" between the base nouns and the replaced entities. The locatum verbs are semantically derived from the "central coincidence relation" between the base nouns and the replaced entities. The goal verbs are semantically derived from "result state" between the base noun and the replaced entities. There is an alternative relationship between the original entity and the replaced entity in this incorporation and compatibility. Through the action behavior, the base nouns position of the locative verbs corresponds to the surface verbs; the base nouns position of the locatum verbs corresponds to the position of the Object entity on the surface; the base nouns of the goal verbs are divided into two steps: “source” and “goal”, the “source” denotes the substans from “goal” is made.
  • 3.

    A Study of Male Homosexuality Poetry in 『Yutai Xinyong』

    Kwon, Hyek-seok | 2019, (51) | pp.59~88 | number of Cited : 0
    Abstract PDF
    『Yutai Xinyong』 is the first poetry anthology except Shijing and Chuci. Erotic poems about female, which represent the trend of aestheticism in Liang dynasty of the Southern Dynasties, are included in the book. Among them, some of poems are about male homosexuality in Liang dynasty. It shows us that in Liang dynasty male homosexuality is as common as heterosexuality at least in royalty and gentry class. It signifies not only growing trend of male homosexuality in Liang dynasty, but also that male sexuality which had been ambiguous reached the level of Literati Poetry. There are some characteristics about ancient Chinese male homosexuality from 『Yutai Xinyong』. First of all, there is the inequality of social class between the enjoyer and the provider who offers the pleasure and it is usually one direction only. Therefore, most of the poems rather praised beauty of youth, than expressed affection. Secondly, the poems allows us to assume the enjoyer were bisexual. This is because that their background also gave the royalty and gentry class man the opportunity of having harem or concubine or prostitute. Thirdly, male homosexuality had not been taboo as a literature in the period. It rather means praise of male homosexuality that the presence of it in Literati Poetry. It is because that the enjoyer used to be royalty or gentry class from the scratch. Therefore, homosexuality was free from blames in a feudal society. Above all, the most important factor is related to the aesthetic trend led by Xiao Gang. He said that poetry were free from the virtue ethics and it has to be created as what they want. He completed the independence of literature which had been started from Cao Pi. In this background, he and the so-called palace poets could write those poems about male homosexuality. Through their poetry, they achieved their aesthetic concepts of literature.
  • 4.

    Supernatural, Loyal and Erotic: The Images of Dog in Qing Dynasty's Note Novels

    Fubo | 2019, (51) | pp.89~109 | number of Cited : 0
    Abstract PDF
    Dog plays a very special role in ancient Chinese culture. It appears in the classical literature as an supernatural, loyal and brave image. The Qing Dynasty's note novel is exuberant, involving many aspects. The dog image embodied in it is not only the inheritance of Chinese classical literature, but also the distinct characteristics of the times. The dog images in the Qing Dynasty's note novels can be divided into three categories: the supernatural dog, the loyal dog and the erotic dog. These diverse dog images are the results of the penetration of androcentric consciousness, the inheritance of classical literature tradition, the utilitarian value consideration, and the objectification of women.
  • 5.

    Concern and Danger in Deep History:Analysis On Bing Xin’s Attitude towards Japan

    Li Zhuoran | 2019, (51) | pp.111~135 | number of Cited : 0
    Abstract PDF
    In China’s modernization process,Japan is a crucial country which exerted huge influence.This paper focuses on Bing Xin’s attitude towards Japan,trying to reveal a sort of mindset with which Chinese people, especially China’s contemporary intellectual elites view Japan in the form of individual case.In Bing Xin’s works in earlier stage,the line of development in stories and the shaping of characters show a distinct dichotomy,which can be summarized as “Power and Powerless”dichotomic thinking mode.When Bing Xin uses this kind of thinking mode to look upon Japan’s invasion of China,she falls into the logic trap unconsciously,which leads to deviative or even absurd attitude.Only learning to own a kind of comprehensive,rational and integral thinking,can the truth of history be revealed and will the recurrence of historical suffering be avoided.
  • 6.

    A Study of the ‘Helper’ Aspect in the Heroines in ‘The Myths’ Series

    Bae, Do-im | 2019, (51) | pp.137~176 | number of Cited : 0
    Abstract PDF
    The Myth of Meng Jiang Nu written by Su Tong, The Myth of HouYi and ChangE written by Ye Zhaoyan, The Myth of Lady White Snake written by Li Rui, and The Song of King Gesar written by A Lai are all created under the planning of The Myths project. BiNu, ChangE, Lady White Snake, and ZhuMu, who are the heroines of the novels in the Myths project, are mediators and helpers who solved the problems and conflicts around the protagonists who had struggled. They overcame their unfortunate childhood, left a journey of affliction, and got to heal others’ wounds as well as their own. These four heroines were beyond the individual misfortune and agony of tribulation, and practised sacred love. Therefore, they could pass over the prototype of their original life and were made sacred as a new person. They were able to sympathize with other people’s troubles, embrace other people’s wounds, love others, make a society in which all can share together, and have existed as a future-oriented ‘true human’ in an open concept. The ultimate message that these four heroines and the writers give us is forgiveness, reconciliation, and the communication and sharing.
  • 7.

    The Comparative Study of Zhuxi’s thought and “Practical Thought” about “Knowledge and Practice” ――  As the center on the Comparative Study of Zhuxi' and Hong Tae-Yong’s Theory

    kang Chun-hwa | 2019, (51) | pp.179~203 | number of Cited : 0
    Abstract PDF
    “Knowledge and Practice” is one of the important category in Chinese epistemological philosophy. At knowing and doing theory, the famous Neo-Confucianist ZhuXi emphasized that “knowledge goeth before,and practice cometh after(知先行后)” 、“practice is larger than knowledge(行重于知)”and“knowledge advances together with practice(知行并进).” ①And Hong-DaeYong is one of the representative abandoning Neo-Confucianism scholar in the late Joseon Dynasty. On the one hand he has been undoubtedly inherited the idea of “Knowledge and Practice” from Zhuxi ,but on the other hand he has proposed a new abandoning Neo-Confucianism theory —“illuminative thought”. First,by “knowledge”, Zhuxi means the knowledge about the personal moral accomplishment in the “knowledge goeth before and practice cometh after”. And by “knowledge”, Hong-DaeYong means not only the knowledge about the personal moral accomplishment and self-knowledge ,but of the knowledge about the natural world . His thoughts have embodied the importance to practical research and practical knowledge ,which are the main points of abandoning Neo-Confucianism “illuminative thought” at knowing and doing theory. ②)And, secondly, by “practice”,Zhuxi does not mean the objective activities of the transformation of the natural world ,but main means “moral practice” about self-fulfilment and self-actualization in the “practice is larger than knowledge”. And by “practice”, Hong-DaeYong means not only “moral practice” about self-actualization,but of the objective practice about the transformation of the natural world and human society. He thinks that is the theory about “practice larger than knowledge” is more important than that about “knowledge goeth before and practice cometh after”,and particularly puts emphasis on the function of practice,These thoughts show the illuminative scholar have characteristic of emphasizing practical things and practical doing. ③Third, Zhuxi 's the theory about “knowledge advances together with practice”,means “moral knowledge” and “moral practice”need each other, discover each other,and keep moving forward together. However,Hong-DaeYong 's the theory about “knowledge advances together with practice” means not only moral self-knowledge and practice ,but of the knowledge and practice about the natural world and human society. He thinks “knowledge and practice” must be the unity ,must be keep moving forward together,and must be agreed at a higher level. As we can see the differences between Zhuxi ’s and Hong Tae-Yong ’s Theory about “Knowledge and Practice” and have identified the content of Hong Tae-Yong ’s Abandoning Neo-Confucianism from above three aspects content.
  • 8.

    Analysis of China’s cultural industry policy - with regard to the concept of ‘soft power’ -

    Wee Hangbok | 2019, (51) | pp.205~234 | number of Cited : 4
    Abstract PDF
    China has started to focus on the development of the cultural industry since the end of Jiang Zemin(江澤民)’s reign. The government of Hu Jintao(胡錦濤) paid attention to ‘soft power’ and by establishing the “Cultural Industry Enhancement Plan of China”, has actually begun to develop the cultural industry. And the government of Xi Jinping(習近平) reinforced the development further on by connecting government’s policies, such as ‘China Dream(中國夢)’, ‘the rise of a great nation(大國崛起)’, and ‘one belt one road(一帶一路)’. China has already become the world’s largest producer of cultural goods, however regarding soft power, is still in very low position. It is because of the impatient cultural development and the concept of cultural security is blocking the growth of soft power. When the THAAD deployment was decided on Korea, the means of retaliation by China was ‘culture’. By invoking ‘Korean limit(限韓令)-the command to block Koreans from China’, China has blocked Korean cultural artists and products to enter China. After going through a long process of two years, Koreans have come to recognize that China is using its predatory means to develop its cultural industry, and in Korea, anti-Semitic sentiment has become prevalent. The Confucius Institute(孔子學院) is also receiving criticism from the international community for cultural invasion, undermining the freedom of scholarship, and the spread of Chineseism. Cultural industry is an important field to cultivate soft power, and rather, as the soft power increases, the progress of cultural industry follows. China must be able to grow its soft power, to be recognized as the leader of the international community, and for well development of the country.
  • 9.

    Possibility of Cultural Glocalism in the age of the Fourth Industrial Revolution - Focusing on recent cases of IP market in China -

    Lee,Seung-Hee | 2019, (51) | pp.235~259 | number of Cited : 1
    Abstract PDF
    Recently, the cultural contents industry is expanding at high speed in combination with artificial intelligence based on elements such as deep learning, big data, and algorithms. With the proliferation of digital platforms, the combination with technology has increased and new business models are being developed accordingly. In this process, the national and regional divisions became more and more fading as the global scale platform grew rapidly. However, there are still barriers due to differences in preference of cultural characteristics and preferences in specific countries, and overcoming these obstacles is the key to the content industry. I will examine what kind of cultural and historical disputes Chiwoo(蚩尤) has emerged as a popular character in Korea and China IP market simultaneously. This will raise issues about the methodology of production of Korean cultural contents and will examine the major issues of exchanges between Korea and China after the law that bans Korean culture in China.