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pISSN : 1738-0502 / eISSN : 2635-4373

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2022, Vol., No.64

  • 1.

    A Study on the Double Classification of the Term “Yong” as Verbs and Prepositions

    Kim Jong-Chan , Jia Baoshu | 2022, (64) | pp.3~21 | number of Cited : 0
    Abstract PDF
    There are two main different classification for the term “Yong”. Some argue that “Yong” can be classified as a verb and preposition. The people who claim “Yong”has two classifications argue that “Yong” and its object are used in sentences with an adverbial function or meaning, “Yong” should be classified as a preposition. If that structure consists of the main predicate , then it should be classified as a verb. If we just consider a word′s function in a given sentences, when we judge a word’s classification, there would be many double classification words in Modern Chinese. On the other hand, others argue that whether “Yong + object” structures function as an adverbial or not, “Yong” is just still a verb. My opinion , as I will argue in this paper, is that while the structure of “Yong + object” can be used as adverbials, it also can be used as the main predicate in sentences. Considering this, I argue that “Yong” is a verb.
  • 2.

    A Corpus-Based Analysis of the Synonyms in Modern Chinese - Focusing on “qíng kuàng (情况)” and “zhuàng kuàng(状况)”

    CHE YUN JI | 2022, (64) | pp.23~55 | number of Cited : 0
    Abstract PDF
    This study aims to analyze the synonyms “qíng kuàng (情况)” and “zhuàng kuàng(状况)” based on the corpus of CCL and BCC. First of all, it is observed that the collocation word placed on the left side of “qíng kuàng” tends to have an abstract meaning, whereas the left-sided collocation word of “zhuàng kuàng” is prone to be specific. The right-sided collocation words of these two, on the other hand, are mainly functional, most of which are used for a connection. Secondly, the interchange between “qíng kuàng” and “zhuàng kuàng” is a matter of “tendency.” Lastly, compared with “qíng kuàng,” most of the words collocated with “zhuàng kuàng” are in a negative sense. The semantic prosody of “qíng kuàng” can be considered neutral, while that of “zhuàng kuàng” is negative.
  • 3.

    The Expressions of Quantity of VP Structure in the Modern Chinese Period

    JIAO YUMEI | 2022, (64) | pp.57~82 | number of Cited : 0
    Abstract PDF
    In contemporary Chinese, the expressions of “quantity” related to the VP structure are complex, and there are situations where "adverbs or adjectives" and the quantitative structure co-occur compulsory. It is difficult to explain the reasons for this situation only by examining modern Chinese, and it is also difficult to explain the rationality of the co-occurrence of adjectives or adverbs with quantitative components. In view of the fact that the modern Chinese period (Late Tang and Five Dynasties-Ming and Qing periods) is an important period for the formation of contemporary Chinese adverb system and quantitative expression system. This article attempts to investigate the relevant corpus of this period, and to find the reasons for the formation of related structures in contemporary Chinese, and hopes to have a clearer understanding of the form of the VP structure of contemporary Chinese through the investigation.
  • 4.

    A Study on the Information Structure of NP2 of unmarked object-preposing sentences in Mandarin Chinese

    SEO JINHYEON | 2022, (64) | pp.83~108 | number of Cited : 0
    Abstract PDF
    This study analyzed, according to Lambrecht(1994), NP2’s (1) identifiability and activation (2) topic and focus of unmarked object-preposing sentences. NP2 components corresponding to ‘O’ are classified into pronouns, noun-phrases, bare nouns according to the expression form in the sentence. Among them, pronouns and noun phrases correspond to the ‘active’ state among the ‘activation’ states that the mental representation of the discourse participants is ‘confirmable’ according to the form of expression. On the other hand, bare nouns are found to be ‘accessible’ although they could be confirmed in the form of expression, However, because of the location of NP2 in sentences, the information status rises to the ‘active’ state. In particular, in the OSV-type, the NP2 component was analyzed as a ‘topic’ included in the pragmatic presupposition as knowledge shared between participants in discourse. In SOV-type, the NP2 components were located between subject and predicate, and had the thematic property of contrast, but were not included in the pragmatic presupposition. In other words, they were found that the ‘topic-focus’ component does not affect the real focus in the sentence which is the focus of the entire sentence but should still be included in the focus area.
  • 5.

    How to Read “The Story of Yingying”

    Kim, Jin-Gon | 2022, (64) | pp.111~168 | number of Cited : 0
    Abstract PDF
    This thesis examines the composition, narrative structure, rhetoric, and the way in which emotions, sincerity, meaning, and will, which are core values ​​appearing in the work, are combined with the characters in “The Story of Yingying”. Through this process, it was revealed that “The Story of Yingying” has the following rhetorical features. Do not refer to the characters directly, and actively use pronouns as much as possible. If inference is possible in light of the context before and after, boldly omit the subject and object to describe the sentence implicitly. It uses a technique that expresses the character's character as a noun that can be evaluated. Actively use auxiliary verbs that reveal the will and objective conditions of the characters. Core concepts such as emotion, sincerity, will, and intention are used in conjunction with a particular character in a particular way. Due to these characteristics, the translator of “The Story of Yingying” must find out who the pronouns that appear frequently in the sentence refer to, and which of the positive or negative meanings the pronouns emphasize more, and the omitted subject and object must be restored in light of the context. It is necessary to find out how the author maintains the consistency of the key conceptual words spoken through the character's mouth and, in contrast, how to transform and utilize the key conceptual words in each sentence. This is the interpretation process of “The Story of Yingying”. This is the interpretation process of “The Story of Yingying”. The translator then has to express his interpretation in the target language. This is the translation process of “The Story of Yingying”. Translation follows interpretation. “The Story of Yingying” takes a three-step structure: the author's statement of events, the re-statement of Yingying, the author's direct intervention, and an implicit statement using the author's own poems. The method of combining the rhetorical technique and key concepts used by the author of “The Story of Yingying” with a specific character is a strategy for the author to exclusively secure the right to interpret how to evaluate the entire process of love and separation between the male and female protagonists. The author, who has secured the right to interpret through this strategy, reaffirms and proclaims the male superiority between men and women. “The Story of Yingying” is a typical male-centered narrative.
  • 6.

    A Study on A Ying’s view of historical sources reflected in the studying literature of Late Qing Dynasty - Focusing on A brief introduction to the late qing literature and art press晚清文藝報刊述略

    Ji-Yeon Han | 2022, (64) | pp.169~188 | number of Cited : 0
    Abstract PDF
    This paper takes A brief introduction to the late qing literature and art press by A Ying阿英 as the main research object, and takes literary journals and tabloids in the late Qing Dynasty as research cases to conduct textual research and discussion. The focus of this study is how A Ying pursues his unique ideas and consciousness of compiling historical materials in the process of literary research and compilation of historical materials in the late Qing Dynasty, and how the ideological operation mechanism behind it presents itself in the process of compiling historical materials. As for A Ying’s editing ideas, in the special political and cultural context of the 1930s, he followed the direction of the integration of “Literature” and “politics”, and traced back to the source with the sense of social and historical responsibility, thus establishing the values and editing ideas of “literature and history” as one. Obviously, A Ying’s values of “integration of literature and history” and his ideas of compilation and selection are not only limited to his early collection, collation and research of historical data, but also play a subtle role in his later collection and research of historical data. Thus, it can be seen that this is reflected in his later compilation of A brief introduction to the late qing literature and art press. A brief introduction to the late qing literature and art press, written in 1957, is one of the works written by A Ying in his later period, which specially introduces 23 literary periodicals in late Qing Dynasty. This book is composed of three parts: a brief introduction to literary journals of the late Qing Dynasty, tabloids of the late Qing Dynasty and documentary evidence of the revolution of 1911. Among them, a brief introduction to literary journals in the late Qing Dynasty and a collection of tabloids in the late Qing Dynasty were compiled on the basis of such a rich collection of historical materials. He made a comprehensive and detailed evaluation of the late Qing Dynasty’s periodicals, and deeply explored the value of historical data contained in them, thus elucidating the historical significance of the late Qing Dynasty’s literary periodicals. A Ying’s collection, collation and research of literary historical materials are carried out in the discourse of the combination of history and reality, which presents the theoretical logic of using “history” to explain the literature and “history” to interpret the literature. It is obvious that A Ying has a keen sense of historical materials and a meticulous study of historical materials. In a word, A brief introduction to the late qing literature and art press was compiled out of the deep consideration of the real society, so as to ensure that the value of those original documents can be brought into play, and help to highlight the importance and value of the study of historical materials, so as to establish the overall context and possibility of the study of historical materials in the late Qing Dynasty.
  • 7.

    A study of literary creation that Shen Zijiu published in the Right-wing journal 《Changfeng》 in 1930 - Focusing on the Korean-themed novel 《Living Machine》

    Zhang Lin | 2022, (64) | pp.189~215 | number of Cited : 0
    Abstract PDF
    In 1930, Shen Zijiu published seven works of literature in the Right-wing nationalist literary periodical 《Changfeng》. The themes include anti-imperialism, anti-communism, criticism of social phenomenon, and praise of historical figures, which often appeared in nationalist literature. This creation seems to be an attempt to find a way to solve social problems while reflecting social reality. In addition, we could see that her political trend at that time still belongs to the Right. Among them, the novel 《Living Machine》, which was created based on real events, depicts the miserable reality that Chinese and Korean workers in Japan were exploited by Japanese capitalists in the 1920s and even massacred by Japanese after the Great Kanto Earthquake. As an intellectual, Shen Zijiu recorded historical events in the form of literature, showing interest in workers. Therefore, it has both literary and historical values. The novel describes a character named Kim Gye-saeng, a Korean worker. Compared to other Korean images already discovered, Kim Gye-saeng is a character with peculiarity, which served as an opportunity to expand the case of Korean figures in modern Chinese literature.
  • 8.

    View of life from death - The death narrative in Bai Xianyong's novels from <The New Yorker>

    YAN TING | 2022, (64) | pp.217~234 | number of Cited : 0
    Abstract PDF
    This study is about the death narrative of <The New Yorker>in Bai xianyong's novels,And summed it up as the three main themes of death narrative: Choose death, wait for death,transcend death. Bai Xianyong is good at describing the living conditions of Chinese wandering overseas in detail. The motifs of his works - joy for prosperous life, reluctance for death and loss, run through his creations, due to his complex life experience and cultural origins. Death narratives are presented in various ways in his novels. This article starts with the type of death narrative in The New Yorker, and sorts out its creative background and symbolic meaning from works. Through the analysis of the same series of short stories, it explores his view on death. Life cognition of life: In the state of life in which the body is born and the soul dies, the active choice of death has redemptive significance. The death narrative presented in The New Yorker is full of life pain, grief, and compassion for people. The New Yorker has obvious existential care in the writing context. Human consciousness and death are a necessary part of existence. Only by understanding death and earnestly appreciating the value of human existence before reaching the end of life, can the meaning of birth be highlighted.
  • 9.

    An analysis of the Chinese subtitles of『Squid Game』

    Yu Bohui , LEEKUNSEOK | 2022, (64) | pp.237~270 | number of Cited : 0
    Abstract PDF
    『Squid Game』, which is one of the Korean Netflix original series, has taken the world by storm from the aspect of business in 2021. As 『Squid Game』rose to fame, there are more and more studies questioning about the subtitles or the contexts of dubbing that seem to not correspond with the true meaning of the original Korean lines. In this research, I applied the resources found in existing studies to the Simplified Chinese subtitle of 『Squid Game』provided by Netflix and came up with 3 points below. First, Simplified Chinese subtitle is the service provided for people from Mainland China, however, it seems to be mixed with quite a number of vocabularies and sentences which are more often used in Taiwan. Second, swear words, which can emphasize the personalities and emotions of the characters, are mostly translated to a lower level of Chinese swear words. Third, Korean culturemes(cultural expressions) are mostly translated to comparatively local Chinese expressions basing on several general translation strategies. To summarize, the Simplified Chinese subtitle of 『Squid Game』on Netflix is successful in conveying the meaning of the original lines as we can see that there are only few mistakes found, but there are still some parts that could be improved such as ‘emotion expression words’.
  • 10.

    Killing a Husband, Revenge and Female Narrative - Reading the Film Mountain Cry and the Film Bedevilled

    sung-hee Jin | 2022, (64) | pp.271~294 | number of Cited : 0
    Abstract PDF
    Chinese Director Larry Yang’s Mountain Cry and Korean Director Jang Cheol-soo’s Bedevilled are films that sought a narrative in which a subaltern woman who has lived, suffering all kinds of violence in an isolated space, kills her husband to revenge the world that oppressed her and is born again as an existential subject. In the two films, the female characters were castrated by society; however, they turned into the image of Vagina dentata that resists the world by killing their husbands. These women are female monsters born in the process in which they would destroy the male-dominated history and the patriarchal world, and the public feel catharsis, watching the process in which such monsters destroy the order and system of the symbolic. However, in the films, for the clear revelation of the female character’s revenge and process of becoming a subject clearly and by the legitimacy of their actions, in other words, by the genre convention of the films operated to attract the public easily through criticism and reflection on social institutions and environmental contexts, the two female characters’ act of killing a husband was expressed just as the act of a character in a thriller or cult movie, not the weak’s struggle to survive. Along with this, the two films are left as narratives of incomplete becoming of a subject that a woman/monster’s revenge cannot but consequently remain in the realm of the eternal other by concluding it as the mad struggle for a woman’s rebirth as a subject is turned over by the identity of reason.