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pISSN : 1738-0502 / eISSN : 2635-4373

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2022, Vol., No.63

  • 1.

    A study of the dental consonants of the Chinese characters in the Jeon-un okpyun - The consonants with full voiced sound -

    LI, JIQIONG , Kim Eun Hee , Kim, Seo Yeong and 2 other persons | 2022, (63) | pp.3~32 | number of Cited : 0
    Abstract PDF
    This paper examined the pronunciations of X and Y in the Jeon Un-okpyeon "X Jeong Y" through a comparison between the middle and high notes of Korean, based on the four-sound and seven-tone. Due to the limitations of space This paper Among the Chinese characters marked as "X Jeong Y," only the Chinese characters belonging to the four-sound and seven-tone were examined. It was possible to check the readings of the Chinese characters corresponding to full-voiced sounds among the Chinese characters indicated in the Jeon Un-okpyeon "X Jeong Y". All the X sounds of Chinese characters corresponding to jong-mo, seon-mo, sa-mo, and seon-mo reflect voicing, but sueng-mo is excluded from the notation. Thus, it was possible to estimate that the devoicing of the latter consonants had already proceeded to completion in the phonological system of the text, as reflected in the fact that the X notes and Y notes showed extensive diversity, with indications via polyphonic characters, phonetic notation, heterogeneous characters, harmonic characters, and Chinese characters, indicating a lack of systematicity.
  • 2.

    A study on the changes in the order of words of the object in the Oracle Inscriptions

    dong-choon Ryu | 2022, (63) | pp.33~68 | number of Cited : 0
    Abstract PDF
    Currently, the basic word order of verbs and objects in Chinese is VO word order, but there seems to be a lot of OV word order in pre-Qin Chinese. There are not many prior studies on the process of synchronic change from OV to VO in Chinese after the pre-Qin period, but there are not many in-depth studies on the pattern of OV or VO in the Oracle Inscriptions. Therefore, this paper examined the order of Chinese verbs and objects in the earliest period for the Oracle Inscriptions by dividing them according to the sentence type and word class. As a result of the review, there are more OV word orders in the Oracle Inscriptions than in the subsequent period, which is consistent with the principle of language change, given the trend of changing the word order of Chinese from OV to VO. In addition, the OV word order evidence of the pronoun object in the positive sentence found in this paper solves why the OV word order, which was not in the Oracle Inscriptions, appears in future generations, which could not be explained according to the previous opinion. In other words, the VO word order and the OV word order, which coexisted in the affirmative text of the Oracle Inscriptions, gradually converged in the latter generation in VO word order, proving that the word order change progressed step by step. The change in noun objects in VO word order earlier than pronoun objects in the Oracle Inscriptions is also consistent with the pan-verbal trend. Finally, if the object is a noun, there are relatively more OV words in the Selection Inscription that focus only on the object than on the Symmetry Inscription that focus on the entire predicate, which shows the relationship between the word order and focus. This aspect shown in the Oracle Inscriptions does not violate the trend of synchronic changes in the Chinese object word order, and is consistent with the universal principles of language.
  • 3.

    Semantic correlation between the usages of 'Haishi'

    Lim So Jeong | 2022, (63) | pp.69~90 | number of Cited : 0
    Abstract PDF
    Although modern Chinese ‘Haishi’ is a common language, Chinese learners do not understand how to use the word because it has various meanings and functions. When a word is differentiated into multiple semantic terms, it is not easy for learners to memorize and accurately use detailed semantic terms. Therefore, this paper tried to examine how the usages of 'Haishi' are related to each other and how they originated from the grammaticalization perspectives, and to investigate their correlation through similar vocabulary in Korean or English. As a result of the study, it was found that the semantic mechanism of 'negative' or 'reverse' is operating at the basis of the adverb and conjunction usages of 'Haishi'. The continuation and selection meanings of ‘Haishi’, which are commonly known, are basically created by negation or inverse relationship.
  • 4.

    A Corpus-Based Collocation Analysis and Teaching Method of Chinese Emotional Adjective Synonyms - Focusing on ‘高興’, ‘開心’, ‘快樂’, ‘愉快’

    SHIM JIUN | 2022, (63) | pp.91~120 | number of Cited : 0
    Abstract PDF
    The purpose of this study is to clarify the characteristics by analyzing the collocation of Chinese emotional adjectives synonyms of ‘高興’, ‘開心’, ‘快樂’ and ‘愉快’ based on the BCC corpus. Among adjectives, emotional adjectives have similar meanings, and it is difficult to distinguish them only by their dictionary meanings. So, I classified the roles of each synonym in the text and investigated what kind of vocabulary it has a close relationship with. We investigated the collocation of each synonym in the corpus, and their characteristics can be summarized as follows. Firstly, ‘高興’ is most frequently used as an adverb, and is mainly suitable for such verbs as ‘說’, ‘看’, ‘告訴’ etc. Secondly, ‘開心’ has many similarities to ‘高興’ in terms of usage. The intensity of its meaning is stronger than ‘高興’, and it has a lot more colloquial appearance. Thirdly, ‘快樂’ has a large number of appearances when it is an adnominal, and unlike other synonyms, it has a strong character of adnominal and can be combined with many nouns. Analyzing the collocation of ‘快樂’ + N, it is found that ‘快樂’ has a strong philosophical aspect and is closely related to human life. And it is also highly related to living organisms, that is, people, animals, etc. Based on that, I made a brief proposal for the education of synonyms.
  • 5.

    A Study on Aversion to Southern China Displayed in Tang Poetry - Focusing on the Image 'Zhang (Miasma)'

    Dong Jin Kim | 2022, (63) | pp.123~147 | number of Cited : 0
    Abstract PDF
    This paper studies Tang poets' aversion to southern China by analyzing Tang poetry containing the geographical image ‘zhang’ (瘴, miasma). This kind of hatred mainly generated from three factors. First, Tang poets had prejudice against southern region due to their inheritance of literary tradition. Second, the difference in geographical environment between southern and northen China made them unfamiliar with southern China. Third, some of the them suffered from the peculiar endemic disease in southern China. Therefore, from these three aspects, this paper examines how Tang poets' repugnance to southern China comes into being. It also explores, from both literary and literary geographical perspective, how 'zhang' was depicted in specific poems, how 'zhang' collaborates with other poetic images to reflect poets' aversion to southern China, and how poets express their feelings and thoughts by using 'zhang' as a medium.
  • 6.

    The Power and Sustainability of Korean Wave Content in China during Post-Hanhanryong Period - Focusing on analysis of Weibo Posts regarding ‘Squid Game’

    KIM JUNG EUN | 2022, (63) | pp.151~175 | number of Cited : 0
    Abstract PDF
    How could ‘Squid Game’ be a mega hit and stir up a socio-cultural repercussion in China? In order to search this, this paper analyzes the comments and responses of two Weibo posts about ‘Squid Game’, and based on this analysis, it examines the power and sustainability of Korean wave (Hallyu) content in China after Hanhanryong. From the positive comments on ‘Squid Game’, we believe that the driving force that leads the popularity of Korean wave content in China after Hanhanryong is high quality of the materials including the choice of various topics in Korea's free and creative environment, probable setting of character and plot, actors' acting capabilities, and writing skills. China considers itself to have a positive image in the international community. In fact, the country has rather unfavorable impression in the world. The sign that this disparity resulting from differences in perceptions within and outside China could turn into China's control of Korean wave and cultural conflict between Korea and China can be read from some negative comments on Weibo. In particular, since the media of both countries are leading and instigating various cultural controversies, voluntary regulation of the media's provocative reports seems to be necessary. The people of both countries need a mature awareness of respect for each other's cultures based on the premise that “cultures develop through mutual influence.” In addition, a prospective attitude and effort are needed so that Chinese people can enjoy Korean wave content directly from Korean OTT by establishing a ‘direct purchase of Korean wave content’ environment and a Chinese subtitle service system based on an understanding of fans and the fandom economy.
  • 7.

    A Study on the Discourse of COVID-19 in China's Internet Space

    Son Ju Yeon | 2022, (63) | pp.177~202 | number of Cited : 0
    Abstract PDF
    This study focuses on the case of Fang Fang's Wuhan Diary, mask protests, and a case in which netizens created various editions when an interview with a doctor was deleted due to national censorship. Analyzing discourse of online media, these three events function as ‘hidden transcripts’ according to James C. Scott’s theory of power relations. Analyzing the discourses related to COVID-19 are generating in China's online media, and understanding the antagonistic relationship between the Chinese government and the public through this analysis is an essential process for understanding China.
  • 8.

    A Study on Cultural Conflicts between Korea and China

    Daegeun Lim | 2022, (63) | pp.203~221 | number of Cited : 0
    Abstract PDF
    In the 30 years since the establishment of diplomatic ties between Korea and China, various cases of cultural conflict have occurred. The cultural conflict between Korea and China has gone through a honeymoon period(1992~2002), an intermittent period(2002~2016), a cooling period (2016~2020), and reached the frequent period(2020~present). The Northeast Project(2002) and The Administrative Order that Bans Korean Culture(2016) are two inflection points that constitute the cultural conflicts. The cultural conflicts between Korea and China arise centered on the issues of history and national culture as the governments of both countries and the private sector function as the cause-providers. Recently, pop culture contents themselves are acting as the epicenter of conflict. These cultural conflicts tend to be reinforced by various causes such as nationalist ideology and international relations. Therefore, the approaches also need to be carried out at the level of historical, structural, economic, international relations, and cultural contents. It is true that there are some ‘positive’ signals despite cultural conflicts, but institutional, international, educational, social and diplomatic efforts are needed to create a healthy Korea-China relationship while managing them effectively.
  • 9.

    Evaluation of cultural processing of “Miss Granny” by the movie “20 Years old Again”

    Ren Zhiqiang , Joo-Oeck Maeng | 2022, (63) | pp.223~251 | number of Cited : 0
    Abstract PDF
    “One Script and Two Screens” is a new mode of film cooperation in recent years in China. This article discusses the differences in the contents of a Korean movie, Miss Granny, and its Chinese adaptation, 20-Years-old Again. Both films were good in box office in the region they were released. Film is not only a work of art, but also a carrier of culture. Therefore, the most difficult and important task in the localization of the script of a "One Script and Two Screens" film is to solve the problem of cultural differences between the two countries. Which cultures should be preserved from the original script? Which cultures to eliminate? How to perfectly blend into the culture of your own country? In fact, the script localization process is essentially a process of cross-cultural communication. A perfect film and television work should be evaluated from multiple angles, not just the box office data to unilaterally measure the good or bad. Therefore, from the perspective of cross-cultural communication, this paper will analyze the cross-cultural rewriting of the script of “Miss Granny” by the Movie “20 Years old Again” on the basis of the comparison of the same scene, and conduct a comprehensive evaluation based on the adaptation effect of the work.