KJC Korea
Journal Central

This paper delves into the various aspects of translating Mandarin film titles into Korean, exploring them from different angles. Firstly, it examines the language-internal aspect of Chinese-Korean adaptation. Given the substantial lexical overlap between the two languages, many lexical categories are shared. However, these shared categories can take on different interpretations in distinct cultural contexts. The understanding derived from the shared category and the differences in interpretation contribute uniquely to a translation method known as 'transliteration' within the Korean-Chinese language context. Secondly, the paper discusses the influence of the relationship between film titles and genres in Mandarin movies. During the initial stages of Mandarin movie genre importation, there was significant value placed on renaming films with specific explanations to cater to unfamiliar audiences. However, over time, keywords frequently used in successful film titles formed linguistic associations with specific genres. This served as a framework for the audience to intuitively grasp the meaning of a movie's title. Consequently, the titles produced consistency in terms of syllables and word selection. Lastly, the paper investigates the emergence of 'translations' that deliberately deviate from the primary goal of communication and understanding. It argues that this phenomenon arises as a form of cultural distancing. However, due to changes in the production and consumption of mass media, new forms of adaptation have also come to the forefront.

This study is desinged to investigate the phonological changes in the Zhi·Zhi·Zheng rime groups [之·職·蒸部] as reflected in poetry from the Han Dynasty to the Sui Dynasty. This study employs Zheng-Zhang's Old Chinese(O.C.) and Middle Chinese(M.C.) phonological systems. In Old Chinese, characters such as "來, 灰, 戒, 詩, 謀 and 龜" were classified under the same rime Zhi [之部], but in Middle Chinese, they were assigned to different rimes Hai, Hui, Jie, Zhi, You and Zhi(咍, 灰, 皆, 之, 尤, 脂B韻] respectively. This discrepancy in rime classification is due to the vowel changes. Zhi·Zhi·Zheng rime groups [之·職·蒸部] shared the same primary vowel *ɯ in OC, accompanied by *-ø, *-ɡ, and *-ŋ endings, respectively. This study refers to this relationship as a "correspondence relationship." Based on the author's previous studies, this correspondences ceased to exist during the Han Dynasty. The disappearance is attributed to variations in the nature of the endings. The other objective of this study is to determine exactly when this sort of correspondences disappeared.

In this paper, the types of figurative language in Korean and Chinese were contrasted. As a result, both languages classify similes and metaphors as types of figurative language. On the other hand, in Chinese, 借喩 is treated as a basic type of figurative language, but in Korean, it is not mentioned at all, or if does, it is included in a subtype of figurative language. In addition, while Korean treats Metonymy, Synecdoche, Personification as typical types of figurative language, Chinese classifies similar concepts such as 比擬 and 借代 as branches of rhetoric, different from figurative language. Korean and Chinese classify figurative language differently because they have different perspectives on the classification criteria or the components of figurative language. In Chinese, a “vehicle” must appear in the surface structure to be a figurative language, and “similarity” is regarded as an essential component, while “contiguity” or “relevance” is not considered as a component of figurative language. However, in Korean, there is no restriction on whether a “tenor” or “vehicle” appears, and there is a tendency not to strictly restric conditions such as “similarity”.

The 7th edition(2016), the latest edition of Modern Chinese dictionary, has not contained 30 words of same Chinese character with 61 vocabulary words of Joseon and Northern Yan regions registered in FangYan, the earliest dialect dictionary compiled in the early 1st century AD. Among the 31 other vocabulary words found in the Modern Chinese Dictionary, twelve synonyms and twenty words of different meaning even with some overlapping classifications are identified through this comparing meaning analysis between same Chinese character words simultaneously-recorded in the two dictionaries. As a result of examining the usage cases of ancient Chinese literature, four of the above 12 vocabulary classified as synonyms could be classified as originally derived from FangYan and transmitted to Modern Chinese dictionary.

The Chinese conjunction 'Nǎpà' is an expression with obvious magnitude and polysemy characteristics. This paper mainly takes advantage of the scalar model to analyze 'Nǎpà' and its Korean expression types and semantic characteristics from the perspective of Chinese-Korean correspondence. The following conclusions are drawn: First, the Korean expression types corresponding to the Chinese conjunction 'Nǎpà' are diverse, but the semantic types are relatively clear, which are mainly reflected in the two categories of concession expressions and conditional expressions. Typical minimum concession types '-(i)rado', '-a/o/yodo', etc., identity concession '-do', restrictive concession '-kkaji', unconditional concession 'amuri…haedo', and conditions type '-(eu)myon' etc. Second, related expressions in Chinese and Korean show different cognitive characteristics of scalar propositions in the horizontal direction, and in the vertical direction, the (interactive) subjectivity of 'Nǎpà' in Chinese is more prominent than that in Korean expressions. Thirdly, the horizontal semantic features of Chinese and Korean expressions can be preliminarily explained from the lexicalization process at the diachronic level of Chinese and the similar semantics expressed by different grammatical repositories at the synchronic level, while the vertical semantic features we make a preliminary explanation from the strong correlation between the rhetorical semantics of 'Nǎpà' itself and (interactive) subjectivity and the context adaptation of both parties in the process of discourse communication.

A door is a large physical tool that is extremely common in daily life and is closely related to human life experience. In the process of perceiving the door, people have also created a series of metaphors related to the door. For example, a door is the entrance to a house, which can indicate the beginning of everything; a door is a household, and a household is a family, and a door can be a symbol of home. This paper selects the Korean-Chinese lexical system of "门" and "문" as the object of study, and adopts the conceptual metaphor and conceptual metonymy theory of cognitive linguistics, and adopts a combination of corpus induction, description and interpretation, quantitative and qualitative methods, and comparative analysis. The study is conducted to compare the commonalities and differences in the semantic expansion process of the words "门" and "문". It is hoped that this study will provide a superficial example to support cognitive comparative linguistics and provide some insights for language teaching in Korea and China.

The Liu Shizhong's work, “ShangGaojiansi” consists of the first and the second part. The first part describes the painful lives of the people caused by the severe drought that occurred at the time. And the second part, various evils due to changes in the monetary system are described. Therefore, through these two Sanqu, you can see the chaotic Yuan society vividly. The author Liu Shizhong created “ShangGaojiansi” to praise Gaojiansi for his dedication to the people. However, this work different from the expression of playing the world, avoiding the world, and lamenting the world expressed in the existing Sanqu of Yuan Dynasty, expanded the subject of Sanqu of Yuan Dynasty, and escaped the restrictions of the length of a sentence in the formal part. Above all, it can be said that it marked a milestone in the history of the Sanqu as an excellent work that showed the criticism of the evils of society at the time and the author's own political arguments to remove them.

The purpose of this article is to examine the aspects of secularization that Like a cherry on a pomegranate tree and the appearance of power in the human interior that the work is portraying. Secularization means "the loss of sacred emotions" as a strategy to break down the fixed images and symbols of rural areas and awaken the sense of reality. It awakens the sense of reality by returning to humans what was separated from humans due to "sacred emotions," and makes them closer to the real world by reusing them. As a result, rural village is not a "symbol of -" in this novel, but a "real" space of politics, economy, and culture. What happens in this is also filled with extremely realistic aspects of profit-seeking. Therefore, the focus of this novel is on the changing aspect of China, which accepted the market economy system and the more power-oriented human figure than the space of the village. Mungpanhwa(孟繁華) and KongXiaohong(孔小紅), which deviate from the typicality of "local women," are the two pillars that make up the secularization of "Pomegranate Tree." As a leader who is good at conspiracy, the work focuses on the stories and desires of these two people. The two are the same in terms of well-trained politicians and experienced planners, but the content of the power exercise, which differs from each other, makes a distinction between the two. The Planned Growth Policy embodies this. Engraving is used as a means to gain the upper hand in one's political position and power without questioning the legitimacy of the planned growth policy itself. In this process, the forceful and authoritatively exercised power does not reach each person's mind and causes antipathy and hostile feelings. On the other hand, the power exercised according to each situation and situation makes Xiaohong the chief. However, when recalling the human nature of finding a replacement who can hold a strand toward pursuing profit and desire and maintain it for himself, Xiaohong also becomes a replaceable person whenever people's desires and interests change. This is because the pursuit of desire and profit is nothing more than an infinite process of self-growth that does not end up as an improvised or one-off event.

This study is an attempt to find the meaning of this work from a different perspective, while taking a look at the contents of the political meanings melted in Three Body, a representative work of world-renowned SF writer Liu Cixin. Liu Cixin's Three Body expresses the universal principle of the universe as a 'dark forest', and seems to define the existence of intelligent life in the universe as a strict struggle for survival. In particular, the confrontation between Thomas Wade and Chengxin in the story in Part 3 of Three Body is understood as a confrontation between cold-hearted realism/authoritarianism and ideal humanitarianism/democracy. In particular, the crises and ruins of human being repeatedly caused by Chengxin's weakness seem to lead readers' thoughts to realist ideology. However, this study analyzes that the politics of participation shown by the last human named Chengxin at the finale of the work resists the simple interpretation of the character of this work as ‘cold-hearted realism’. Through this narrative device, the writer creates the effect of liberating the reader's thoughts to the maximum rather than directing them in a specific direction.

Wu zhuoliu's novel “Orphans of Asia” plays a significant role in understanding the modern history of Taiwan and Northeast Asia by exposing the political, educational, and economic conditions of Taiwanese society during the Japanese colonial period. He was born in 1900 and passed away in 1976 at the age of 77. His life spans from 1895, when Taiwan was ceded to Japan, to 1945, when Taiwan was liberated, and during the reign of the Nationalist government in China. It is not an exaggeration to say that his life is historical and realistic in Taiwan's modern history. In particular, Taiwan, which experienced 50 years of Japanese colonial rule, has in common with Korea's Japanese colonial period in that it is a continuous life of oppression and exploitation, confrontation and compromise, resistance and cooperation from Japanese imperialism, both economically, socially and historically. The path that intellectuals had to live during this period was the path of the absolute group fighting against Japan, the ultra-announced group seeking personal enjoyment by breaking hope for politics, and the compromise group seeking their own rich and noble film by becoming a Japanese colleague. Taiwan as a Japanese imperial colony is an 'orphan in Asia' that does not belong anywhere between imperial Japan and nationalist China, and it ostensibly depicts the miserable fate of the colonists. but In reality, it is an appeal and rebellion against the Japanese imperialist colonial traditional society during the Japanese colonial period. Wu zhuoliu was realistically portrayed through “Orphans of Asia”.

Feng Deying's revolutionary historical novel "Mountain Chrysanthemum" focuses on the revolutionary activities in Jiaodong rural area, and presents the two-way interaction between political discourse and folk belief with the help of religious rhetoric. The writer consciously follows the ideological direction of the mainstream ideology to carry on a profound transformation of the folk belief, to find a reasonable premise for political discourse; At the same time, it makes the serious political revolution get a relatively popular interpretation, which is easier to arouse readers' resonance and effectively play the missionary function of the novel. The use of religious rhetoric in novels is embodied in three aspects: the political transformation of religious space, the political interpretation of religious ideas and the political dimension of folk ethics.

This article explores the causes of negative sentiment toward China among young South Koreans. Since the establishment of diplomatic relations between Korea and China, Koreans' negative sentiment towards China has reached a new high. The negative sentiment is especially pronounced in the 20s. Considering that the generation of 20-somethings will shape the future, it is necessary to better understand the causes of negative perceptions toward China. To explore the causes of negative sentiment, we will conduct a focus group interview (FGI) using a semi-structured questionnaire with Korean young adults, a group not covered by existing research. While this study cannot provide a solution, we hope that it can provide a lever to look directly and closely at our current situation.

This study analyzes the Pingju and Pingju film in the New China era from the perspective of propaganda. Pingju <Liu Qiaoer> and Pingju film <Liu Qiaoer> were used as means of promoting government policies, and they gained popular response by dealing with topics such as marriage law, land reform, and the importance of labor. These two works performed the functions of propaganda and agitation through formal devices such as music, characters, and images, and the elements mobilized for propagandization differed depending on the characteristics of the media. This paper is a study that explores the interaction between culture and politics in the New China era, and reveals how Pingju and Pingju film as media were used as means of promoting government policies.

The order of empire became the reference point of modernity, the empire was recognized as universally homogeneous, and other colonies were named and reproduced as heterogeneous realms. 'Asia' has become internalized others, Westerners, and has developed to form the present. For example, in response to the question whose point of view is the image of Asia reproduced as “Asian beauty,” it is often originated from the point of view of the West (re-Westernization through Japan), that is, the empire. Asia reproduced through the gaze of others in the modern era, and modernity reproduced by internalized others, made the present appearance over time. This article begins with a curiosity about how Asia was embodied, no matter arbitrarily or unintentionally, from a heterogeneous, but universal, and homogeneous perspective. The method of appropriating 'modernity', an external shock, is inevitably different for each country in 'Asia', and the various localities of Asia, which are not interpreted only as one-country history, are transnational from a transnational perspective beyond the boundaries of history. In particular, Singapore-Hong Kong-Taiwan tends to be re-filtered as a national-ethnic discourse under the name of 'Greater China', once again from the perspective of 'China'. However, these regions are faithfully drawing new territories within the national-nation paradigm and at the same time beyond national boundaries (transnational). Not just spatially, but ontologically, aesthetically, and politically. Therefore, I would like to examine the process of internalization of modernity forced by others in Asia and how colonists were formed in the process through the Singapore magazine <The Straits Chinese Magazine> (1897).

This paper focuses on the difference of the Language Promotion between Korean and Chinese. The purpose of this study is to comprehensively investigate the language promotion of South Korea and China, and find out the results and problems, so as to explore what inspirations can be provided for the language promotion of the two countries in the future. To this end, through literature analysis, this paper sorts out the previous studies on the language promotion of the two countries, and then examines the content of the language promotion of the two countries, and analyzes the language promotion of the two countries from the aspects of relevant laws, promotion agencies and promotion achievements. Based on this, this study puts forward some suggestions for Korea and China to promote their own languages.

This paper aims to suggest new possibilities for Traditional China liberal arts courses by focusing on the case of the development of the K-MOOC course “Modern and Contemporary Chinese Intellectuals”, which was developed in 2022 as part of the MOOC projects. There are two main categories of research contents. First, this paper describes the course development and operation processes of platforms of XuetangX & K-MOOC, and the current status of Chinese humanities-related courses on both platforms. Second, this paper discusses the development process of the “Modern and Contemporary Chinese Intellectuals” course and the actual use of the course from the developer’s point of view. The study found that the importance of the MOOC platform in terms of improving the efficiency of courses, sharing and spreading knowledge, and the need to develop Traditional China liberal arts courses. In addition, the study was able to prove that the contemplation and exploration of human life, which has been carried out by the humanities, is also possible in ICT-based MOOC courses.

By analyzing a case study that translates sexual terms in Hwang Hyunjin’s novel, The Pain Didn’t Kill Me, from Korean into Chinese, this paper applies Venuti’s foreignization to translation, together with defamiliarization and diangu (classical allusions). These three strategies are a viable method of conveying both the explicit and implicit meanings of the source text so as to circumvent the strict censorship of publications on sexuality and to achieve the skopos of translation. Drawing on the theory of politeness and the Chinese concept of face, mianzi and lian, respectively, this paper argues that the strategies could also mitigate the shame arising from face-threatening acts as there is a delay in Chinese readers’ ability to understand the meanings of translated Chinese sentences at the cognitive and receptive levels. Addressing the criteria for banning sexually graphic materials, as defined in the Chinese Publication Laws, this paper explores the ways in which Chinese laws regulate the circulation of sexually explicit works, and how these laws could be reflected in writing a translation brief. Furthermore, based on epitextual information pertaining to the text, including newspaper articles and interviews of Hwang Hyunjin, this paper shows that creating a translation brief (a translation commission) while accommodating the legal factors affecting publication is a means of endorsing the quality of a translation. Finally, this study suggests that combining foreignization with diangu further evokes readers’ literary imagination and thus significantly reifies the theme of the text. Readers would then be able to receive the text figuratively while cultivating a sense of openness to other cultures and peoples.

Li Xing is the first director to produce the ‘Healthy Realism’ film that led the Taiwanese film industry in the 1960s, and is a key figure who made a decisive contribution to helping Healthy Realism firmly take root in the film industry. Healthy Realism was a propaganda film launched in March 1963 proposed by Gong Hong, who was elected as the general manager of the Central Film Corporation, Taiwan’s largest government agency at the time. Through “Our Neighbors”, “Oyster Girl”, and “Beautiful Duckling” related to the Healthy Realism film among the early films produced by Li Xing, this study attempts to look for a clue to the answer to the question of what Healthy Realism is, and also consider what Li Xing's ultimate intention was to convey to the audience through the film. It may contribute to understanding the Taiwanese film history while filling the research gap in the Taiwanese film history in the 1960s, which has been intermittently studied.

At the end of the 19th century, at a time when the international situation was rapidly changing, Chinese cuisine entered Korea along with Overseas Chinese. For over 100 years, some Chinese dishes have been modified to suit the tastes of Koreans and have become 'Korean-style Chinese Cuisine'. These foods contain the shared memories of Chinese and Koreans, and can be said to be an important achievement of cultural exchange between Korea and China. Korean-style Chinese cuisine has developed its own symbolic meaning by changing the cooking method, ingredients, eating method, and appearance of a Chinese restaurant in the process of Koreanization. It developed into a food with symbolic meaning of 'popular food' in Koreans' lives, with meanings such as 'food eaten on special days', 'comfort food', 'good food for eating alone', and 'representative delivery food'.