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2021, Vol., No.60

  • 1.

    A phonological comparative Study between Chengde dialect in Hebei and Beijing dialect

    MIN KYUNGMAN | 2021, (60) | pp.3~20 | number of Cited : 0
    Abstract PDF
    Chengde City is located in the northeast of Hebei Province. It is a transitional zone between North China and Northeast China, 225 kilometers away from Beijing. The dialects of Chengde area belong to Beijing Mandarin and Jilu Mandarin, and Beijing dialect belongs to Beijing Mandarin.Liu Xunning (1995) said: "The current division of Mandarin dialects is basically based on impressions." Moreover, some scholars believe that the internal differences of Beijing Mandarin are the smallest in Chinese. However, if there is no material on a certain dialect, we cannot understand the specific aspects of the local dialect in detail before field investigation. As Li Rong (1981) said: “The research on dialects must first be investigated, and impressions cannot be substituted for investigation.” Therefore, this paper mainly compares the initials, vowels, tones and some phonological characteristics of Chengde dialect and Beijing dialect on the basis of field investigation. The main feature of dialects is that there are differences in similarities, and similarities in differences. The comparative study in this article can enable us to further understand the phonetic features of Chengde dialect, and can present the basic features of Chengde dialect and Beijing dialect, as well as the commonality and individuality between them.
  • 2.

    The Comparative Study of Isomorph Synonymous Speech verbs in Modern Chinese and Korean Language - Focused on Sino-Korean Words

    ZHAO YUE | Chin-Kang Chong | 2021, (60) | pp.21~48 | number of Cited : 0
    Abstract PDF
    Taking 1236 Chinese speech verbs and 1037 Korean speech verbs (Sino-Korean words) as the research scope, this paper makes a comparative analysis of the differences and similarities in morphology on the premise of defining the standard of "traditional Chinese characters" and "variant characters". Within the scope of known statistical results of homographs of Chinese and Korean speech verbs, this paper takes sememe as the comparative unit and the formula of glosseme structure as the comparative benchmark to make a comparative analysis of homographs at the semantic level. Then, the frequency of Chinese and Korean Isomorph synonyms is searched. This paper makes a comparative analysis of words whose frequency is ≥0 and ≤5 in Chinese and Korean speech verbs and discusses the semantic development trend of speech verbs in China and South Korea based on the data.
  • 3.

    A study on Morpho-syntactic Generation and Derivation of two-syllabic structure ‘X+rán(然)’(multi-parties of speech) in the Modern Chinese

    Chang,Hodeug | 2021, (60) | pp.49~79 | number of Cited : 0
    Abstract PDF
    This paper aims to analyze and identify the morpho-syntactic features of the two-syllabic structure ‘X+rán(然)’(multi-parties of speech) in Modern Chinese and its Generation & Derivation. The subjects of the analysis were divided into the multi-parties of speech words that include adjectives and the multi-parties of speech words that do not include adjectives. There are seven words belonging to the former: ‘ouran(偶然)’, ‘chunran(纯然)’, ‘lengran(冷然)’, ‘dangran(当然)’, ‘hunran(浑然)’, ‘duanran(断然)’ and ‘buran(不然)’. There are six words belonging to the latter: ‘yiran(已然)’, ‘yiran(依 然)’, ‘guoran(果然)’, ‘chengran(诚然)’, ‘biran(必然)’ and ‘ziran(自然)’. The analysis results are as follows. First, contrary to the existing argument, it was found that ‘ran(然)’ of ‘X+rán (然)’ not only functions as suffixes of adjectives and adverbs, but also funtions as suffixes of verbs, nouns, disntinctives and conjunctions. Second, ‘X+rán(然)’ does not function solely with the morphological features of structuralism, but rather generates and derives the syntactic structures flexibly after generating the synthetic compounds through the generation and projection of the Root Phrase. In conclusion, multi-parties of speech ‘X+rán(然)’ consists of covert synthetic compounds of distributed morphology that has morpho-syntactic features and is connected to syntactic layers to express its identity.
  • 4.

    A Study on a Semantic Map of 'Qi(起)', a Multi-functional Morpheme

    CAI CHUN YU | 2021, (60) | pp.81~113 | number of Cited : 0
    Abstract PDF
    This thesis made an induction from universality of 'Qi(起)', a Chinese standard language and dialect through the conceptual space by comparing it with Korean '일다/일어나다(Rise)' and drew a semantic map of the standard language and Korean language. These elements could be found to share most semantic features in 'the cause area' and 'the change area.' In Chinese language, a polysemous category of 'Qi(起)' gets to be formed as the scope of application is expanded into 'concreteness > temporality > abstractness' based on persons, archetypical activity targets through metaphors and metonymy. 'Qi(起)' of the standard language is expanded from the space domain to the time domain and is shown as continuance and the perfect tense as well as viewpoints and eventually, the meaning is done into topic markers. In dialects, 'Qi(起)' is also used as the markers that show comparison of things, methods of movements, and base forms. '일어나다(Rise)' of Korean language implies the meaning and function of '일다(rise)' and shares more semantic features with 'Qi(起)' of the Chinese language. The researcher expects that the results of the semantic map built by the analysis on multi-functional morphemes like 'Qi(起)' can efficiently utilized in the field of Chinese language education.
  • 5.

    Chinese-Korean Translation of Drama’s Titles through Re-examining Nida’s Equivalence

    choi jiyoung | Kim, Hye Kyung | Ge Shuhan | 2021, (60) | pp.115~146 | number of Cited : 0
    Abstract PDF
    The purpose of this article is to re-examine Nida’s equivalence theory in three aspects of translation, behavior, and strategy, and to assess a desirable direction for Chinese-Korean translation of drama’s title cases. For the essence of translations, the fidelity to ST should be guaranteed in both formal and dynamic equivalence translations, and under this premise, formal equivalence is defined as “meaningful equivalence writing in a closed state of the TT structure,” and dynamic equivalence is defined as “functional/meaningful rewriting in an open state of the TT structure.” In particular, Berman’s view that “the formal elements involved in the production of meaning in ST should be identified and that meaning should be read” was incorporated to formal equivalence in terms of translation strategy, to explore a new approach to formal equivalence that has never been underestimated as compared to dynamic equivalence that is discussed in various ways. In other words, if translation as dynamic equivalence takes a translation strategy that is faithful to the functionalistic perspective that requires users’ responses, the translation as formal equivalence acknowledges non-separability of form/meaning. From Berman’s point of view, which focuses on the organic combination of the two, when ST’s different unfamiliarity was delivered to users, we found a translation strategy that seeks encounters with other cultures. This was applied to the translation of 123 Chinese drama’s titles, which were divided into three categories with the consideration of their translation aspect, and we found the direction of a desirable translation strategy.
  • 6.

    The Study of Wangwei(王維)’s Seven-character-ancient vers poem

    Anbyungkuk | 2021, (60) | pp.149~188 | number of Cited : 0
    Abstract PDF
    Wangwei was a Middle-Tang Dynasty Chinese poet, musician, painter and statesman. He was born in 701 and died in 761. He is best known for his quatrains depicting quiet scenes of water and mist. but Anyone little pay attation tothe Seven-character-ancient vers. This article takes 18seven-character-ancient vers poems of Wangwei’s whole 150 premodern poems as research objects, and divided into three parts according to the his life time. The first part is young age’s Seven-character-ancient vers. The first part‘s theme mainly consist of a lot of talent, but not appreciated. The second part is serve as an official, especially at the the northwest flank. so mainly express patriotism. and make a contribution. The third part is a work of old age, called as the time of penance and atonement. But only one piece remains. It’s main theme is about hiding in the country and recommending a younger brother.
  • 7.

    A study of poetry between male and female writers in Ancient China

    yunhyeji | 2021, (60) | pp.189~217 | number of Cited : 0
    Abstract PDF
    Works of changheshici (男女唱和詩詞) in Chinese classical literature are rare and precious materials that show aspects of communication men and women in feudal society as well as important basic data of ancient history of their exchange. The body text discussed three of the background that works of Changhwasisa by male and female writers were created, aspects of communication between male and female writers shown in them, and characteristics of the creation. Chinese classical literature has tradition of creating wooing poems (求愛詩) and antiphonal poems (聯句詩) and there was gentry culture of acceptance and respect through intelligent conversation in man-woman relationships of elite groups who could create works of sisa. In addition, there were many female writers who asked their husbands for everlasting love because of marriage culture of polygamy in feudal society. Against this backdrop of the creation, the male and female writers left a lot of works of Changhwasisa. The methods of communication found in these works can largely classified into 4 types, which are receptive communication to agree with partners' feelings as much as possible and accept all of them, blaming communication to show dissatisfaction with their partners and their own inner anxiety, social communication to go beyond personal feelings, and congruent communication to be flexible and open for changes in circumstances. The male and female writers' personal feelings are animatedly described in these works. And especially, positive feelings including criticism and official announcement are well shown in the works by the female writers. And these works are characterized by composition art because they include the reasons and acient events that the male and female writers got to exchange them with each other.
  • 8.

    The Scholar-official's Urban Living Space and Their Lyrics in the Northern Song Dynasty - Focusing on Yan Shu

    Jin-ah LEE | 2021, (60) | pp.219~244 | number of Cited : 0
    Abstract PDF
    Ci and the city always interact with each other through the intermediation of Ci poets. Ci poets are the subject of Ci creation, also are the subject of urban space. City, as the living space of Ci poets, affects contents and life feelings of their life, participates in individual personality construction and concept formation, and transforms into an organic part of the work space. Even if the Ci poets live in the city as a whole, their social and cultural identity, political and economic status and other factors determine their living space, thus different status of the Ci poets form different types of living space. Ci poets write the city based on their own spatial experience, so their urban writing has the meaning of expressing different urban spatial connotations. This study argues the bias of the existing research on the relationship between Ci and cities on the factors of “downtown” and “townspeople”, and pays attention to the urban living space and the culture of the scholar-officials. Taking Yan Shu as a case, this study examines how the upper scholar-officials lived and felt in certain urban space, and what kind of lyrics they created, in order to obtain various angles of understanding of the relationship between lyrics and cities.
  • 9.

    On the Customary Significance of Family Writing in Chen Jitong's Novel Le Roman de I'homme Jaune

    Jia Hao | 2021, (60) | pp.245~271 | number of Cited : 0
    Abstract PDF
    Chen Jitong, a diplomat in Europe in the late Qing Dynasty, was the first Chinese in modern Chinese history to introduce real China to the West in European language. His French novel "Le Roman de I'homme Jaune" is a successful adaptation based on "Biography of Huo Xiaoyu" in the Tang Dynasty. It takes the family as the core and vividly shows the life of the Chinese people in the late Qing Dynasty. Different from Chen Jitong's other expository articles, "Le Roman de I'homme Jaune" displays Chinese customs and institutions to the Europeans in an all-round way with its free and simple artistic characteristics. Through the love tragedy between Li Yi and Huo Xiaoyu, the legend of the Yellow shirted man shows the Chinese political foundation with ancestor worship as the core and the Chinese marriage and family as the beginning of politics. The former is based on the shadowy yellow shirted man throughout the novel, which not only reflects the basic role of ancestor worship in Chinese family system, but also reflects the biased gaze of the west towards the East. The latter regards filial piety as the category of marriage, which reflects the duality of paternalistic marriage and the alienation of Customs to the characters in the story. At the same time, it also reflects Chen Jitong's idea of art creation based on morality. In addition to revealing the relationship between individual and family as well as the alienation of morality, the novel also reveals the relationship between individual and family.
  • 10.

    A Study on the Perception of Motherhood in Meiniang’s literature : focusing on Crab, Dwarfs and Before the Operation

    JUNGKEOYUL | 2021, (60) | pp.273~301 | number of Cited : 0
    Abstract PDF
    Meiniang was a leading female writer active in Manchukuo and Huabei area during 1930’s and 1940’s. Still, her life and literature has not yet received deserved attention in the studies of Chinese modern literature due to the political situation in China after liberation and 1949 revolution. Since the 1980’s, new research on Meiniang and her works have been frequently coming out in China, however most of the research so far has been conducted mainly in the context of the female consciousness. Meiniang's novels clearly revealed the miserable reality of women who were alienated from society at the time, especially during Japanese occupation, reflecting the intense sense of women that the author reveals through the woman gaze on prevailing society. Clearly notable feature in Meiniang's literature is the trauma from her mother's absence when she was a child and therefore notion of motherhood is very prominent not only in her literature but also in her personal life. In particular, the reasoning and exploration of maternal instinct is one of the main pillars of Meiniang’s literature. Build around this observation, this study on Meiniang’s novels, aims to show how this reflects the writer's psychology and expression of motherhood in her literature.
  • 11.

    A Study on the Shapes of Koreans in Shu-Qun's early Novels - focused on “Child Without Fatherland” and “Neighborhood”

    Park, Jeong Tai | 2021, (60) | pp.303~325 | number of Cited : 0
    Abstract PDF
    Chinese Manchurian writers‘ most important literary theme during Manchukuo Period was 'Recovering Lost Land'. They emphasized international solidarity to achieve this. The easiest foreigners to form it were Koreans who lost their country and flocked to Manchuria to become their neighbors. Shu-Qun was a leading figure in the early days of the formation of Dong-buk Literature, an anti-Japanese literary movement. He had direct contact with Koreans, and he also portrayed them as shapes in his work. Therefore, the shapes of Koreans are well represented in his representative works "Child Without a Fatherland" and "Neighborhood". In this work, Shu-Qun described the crisis of losing national sovereignty, which may soon occur, as an example of Koreans. There was no better case than Koreans who had already lost their country as a literary tool to promote the awakening of the Chinese.
  • 12.

    China’s COVID-19 in Language - Focusing on the top 10 New Words of 2020

    KIM JU A | 2021, (60) | pp.329~359 | number of Cited : 2
    Abstract PDF
    As COVID-19 has hit the world, new vocabulary and expressions (new words) are being produced and distributed in large quantities in many countries around the world. This language change has been widespread by expanding its scope to social and structural changes, as well as to the areas of life and psychology, to refer to and describe the disease COVID-19. As such, the newly coined words and the vocabulary used during this period caused by COVID-19 will allow us to read the platform of the society facing COVID-19. COVID-19 hit the global community, but just as each country’s policy direction and people’s response differed widely, the language change caused by COVID-19 was in a society, but it developed in different ways from country to country. As language is a tool used by humans, a living organism, it repeats creation and extinction. Furthermore, as COVID-19 is still not conquered by humans, its impact is expected to continue for the time being. This paper aims to examine the social changes and aspects of the Chinese people’s experience in the face of COVID-19 through language changes that have occurred in Chinese society since the discovery of COVID-19.
  • 13.

    Research on Chinese Films Adapted from Literature in the 1990s - Take Zhang Yimou's film as an example

    Lyu Mengxian | Han, Jiyeon | 2021, (60) | pp.361~383 | number of Cited : 0
    Abstract PDF
    As one of the outstanding representatives of Chinese film directors, Zhang Yimou has a reputation throughout China and overseas. Since the new era in China, adaptation has been the most direct communication method between film and literature. Zhang Yimou has fully absorbed the nourishment of literary works to shoot his own film works. Judging from his successful cases of adapting literary works into movies, on the one hand, since China's new era, with the reform and opening up and the development of technology, the new concept of mass media has entered the Chinese market. In a diversified context, the status and influence of movies as a kind of mass media in the hearts of audiences is increasing. However, Zhang Yimou interprets and disseminates literature in his own way; On the other hand, adapted films are based on the subject matter content, character image, and ideological connotation of literary works to varying degrees, which creates an intertextual relationship between the two. The 1990s was the golden age of Zhang Yimou's film adaptations. While drawing on literary This article uses the method of combining non-text analysis and text analysis of film and literature to analyze the films adapted from Zhang Yimou's literature and the adapted literary works rationally and equally, and to re-excavate the films adapted by Zhang Yimou from the current perspective. This article attempts to use this research to provide some reference for the current Chinese literary adaptation of the film, which can works, he added his own creations and shot many excellent classic literary adaptation films. So far, the research on Zhang Yimou's film adaptation has not diminished in the academic circles, but there is still room for exploration in the above two fields. This article takes Zhang Yimou's film adaptations in the 1990s as the research object, focusing on the above two points. The introduction first introduces the social and economic background of the new era in China, and then elaborates the research object, purpose and significance of this article, the current research status of Zhang Yimou's film adaptation and the main content of this article. It also lists all the films made by Zhang Yimou during the 1990s in chronological order. The second chapter will start from the diversified context and analyze the films adapted from Zhang Yimou's literary works in the context of popular culture and globalization. The third chapter will start from the perspective of the intertextuality of the two, analyze respectively from Zhang Yimou's re-creation of narrative festivals in literary works and the reflection of national characteristics and culture in literature and movies. Finally, from how Zhang Yimou balances the artistic value and commercial value of Zhang Yimou's literary adaptation of the film, a summary thought make the study of the relationship between film and literature more in-depth, and hope that it will also help the Chinese film culture industry.