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2013, Vol., No.39

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    Perspectivity and Ziji

    Lee, Eunsoo | 2013, (39) | pp.29~53 | number of Cited : 1
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    A Study of the Poet Lu Xun

    Woo Kwang Jung | 2013, (39) | pp.217~238 | number of Cited : 0
    Abstract PDF
    The purpose of this study is to illustrate the aesthetic characteristics of Lu Xun’s poems, especially focusing on his classical poems, and the prose poems in Wild Grass 野草 excluded. Lu Xun played an important role in the development of classical Chinese poetry during his lifetime, writing not only some eighty surviving poems but also different styles and forms. His artistic achievement is superb and has a special significance in that his poems reflect the spirit of the age. This study also focuses on analysing three aesthetic characteristics that appear in Lu Xun’s poems, and therefore this contains three parts, together with introduction and conclusion. Part One examines his unique poetic characteristic that his poems are full of not only sincere and guileless sympathy for the oppressed compatriots but also his ardent patriotism. Part Two explores his second aesthetic characteristic that his poems symbolize his rebellious spirit against the facing reality, through which his poems can achieve a successful shape and very effectiveness. Part Three analyze his third aesthetic characteristic that his poems use lots of satiric and witty expressions for conveying his merciless socio-political criticism, and this third aesthetic characteristic is a hallmark of Lu Xun’s poems.
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    A Study on Yu Hua and Writing Practice

    Choi, Young-Ho | 2013, (39) | pp.265~289 | number of Cited : 0
    Abstract PDF
    Yu Hua’s literary thinking emerging in the latter half of the 1980s deserves attention in some respects, firstly, in the sense that it is more than the author’s literary settlement in the vanguard of experimental literature during the 1980s. Yet, it is not that simple as, most of all, Yu Hua attempted to build his own fictional world in the form of parables at that time so as to provide readers with what he considered a world of truth. Further, such parabolic true stories were not irrelevant to changes of trend in creative writing in the 1990s. Hence, the author’s literary tendency at that time is the touchstone of how he sublated the predominant ‘avant-garde literature’ in the 1980s. Yu Hua dealt with the reality and targets, which are revealed in the form of “parables”, while seeking earnestly how to take a look at the modern history of China and what the literature covering life should be. To approach Yu Hua from this perspective, it is necessary to address distinct branch points of changes in his creative writing. Although there are certain standard patterns in perspectives on dividing Yu Hua’s literary world, the content and its meaning have not been elucidated to the fullest largely because of two aspects. First, the author’s concerns are highly likely to have been overlooked due to the predominant focus on segmentation theory. Also, this may have resulted from Yu Hua’s sporadic statements of his literary position through the author’s prefaces, epilogues, proses and interviews. That is, investigators have had to accept the author’s stance in dispersal. Second, few satisfactory attempts have been made to estimate the changes in Yu Hua’s creative writing based on diversified grounds. Provided that Yu Hua’s literary world is divided into two tendencies, there should be a spectrum that is seated on the boundary between the two or that assumes the attributes of both at the same time. Then, it would be plausible to review a transition period as a part of diverse trials and groping. However, customary cliches of “experimental or realistic narratives” repeated countlessly seem to linger on too persistently. It is most important of all not to ignore the author’s voice. In addition, it should be reminded that such discussions began in Yu Hua’s own remarks at first and that his anguish and torment implied in his remarks were strongly associated with the literary situations in the latter half of the 1980s. Defining the author’s sedulous consciousness about his literary world as a certain or vague “memory” or “fate,” or regarding it as an “excessive pride” would be equivalent to underestimating his torment or anguish. Again, it is the author’s voice that matters. The present study aims to restore the transition period in Yu Hua’s creative changes, looking for his voices scattered.
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    A study on the Banqiao Zheng Xie’s Liufen Banshu(六分半書)

    Kang YoungJu | 2013, (39) | pp.365~391 | number of Cited : 2
    Abstract PDF
    This paper is about the Calligraphy theory and the Liufen Banshu(六分半書) of Banqiao Zheng Xie. Basically, his Calligraphy theory was influenced by the romantic and artist’s migrants who opposed reactionism or archaism from the last period of the Ming Dynasty to the early period of Qing Dynasty. Thus, he oriented an attitude placing emphasis on individuality based on the old man’s calligraphy techniques. Also, he argued that the concept of calligraphy is identical to that of painting. In addition, he made creative drawing methods in which he drew orchids with Cursive Script(草书, caoshu) and bamboo leaves with Official Script(隸书, lishu). He reflected a calligraphy theory in the works of calligraphy. The mainstream was calligraphy of government office(馆阁体) in the early period of Qing Dynasty. At that time, he practiced Small Regular Script(小楷) of Dong Qichang(董其昌). Since then, he mastered Tie study(帖学) and Stele Study(碑学), and he began to form his own typefaces around the age of 30. He liked Huai Su, Yan Zhenqing, Su Shi, Huang Tingjian, Xu Wei, Gao Pei, and others. Especially, Banqiao Zheng Xie was strongly influenced by the Cursive Script(草书)— unrestrained(奔放) of Huai Su—and free handwriting composition(章法) of Yan Zhenqing(颜眞卿)—unstoppable strokes of Huang Tingjian(黄庭坚). In addition, his Liufen Banshu(六分半書) was specifically affected by the calligraphy of Fu Shan, Wang Duo, Zheng Bou, Shi Tao from the last period of the Ming Dynasty to the early period of Qing Dynasty. The characteristics of the Liufen Banshu(六分半書) are as follow: first, changeable handwriting composition(章法); second, the diversity of the scripts; third, the size of the scripts; fourth, the change of the dots and strokes; fifth, the strokes with a brush of the thin or heavy; sixth, the application of official script(隸书, lishu) method; and seventh, irregularity of strokes order. There are many different opinions for the Banqiao Zheng Xie’s Liufen Banshu(六分半書), but it is the mixture of multiple scripts, involving symbolic meaning. Such his freewheeling calligraphy has an impact on calligraphy of calligrapher Hao shao jie(何绍基) in the mid and late Qing Dynasty. Through this study, it was not found that Liufen Banshu(六分半書) is not a bizarre and grotesque script against the reactionism in the early period of Qing Dynasty, but it is a script that is transformed individually through studies and practices of old calligrapher’s calligraphy.
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    Comparative Study on Value Relevance of Accounting Data Between Korean and Chinese Firms

    JEONGTAEBEOM | 2013, (39) | pp.417~437 | number of Cited : 3
    Abstract PDF
    After Korea stock exchange allowed foreign firms to list their stocks on Korea stock market, many Chinese firms have listed their stocks. But prior studies raised the reliability problems on Chinese firms’ financial statements on the viewpoint of earnings management. This results gave the motivation of testing the value relevance of accounting information of Chinese firms. This paper has taken the empirical test of value relevance of Chinese firms using the book value of net assets and earnings per share to verify the level of explanation of stock price. As a result, Chinese firms have less value relevance of accounting information comparing with Korean companies. And the income information has the incremental explanation power of stock prices while the net assets have not. This kind of results reinforce the previous studies where Chinese firms’ accounting information has less reliability. Therefore, it requires additional concern on Chinese firms in Korea stock market.
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