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This article attempts to criticize the opinion of "treat all sentient beings equivalently" asserted by A. Naess & P. Singer, and to certify the justification of discriminative treatment suggested by Zhu xi. This paper, first, criticizes A. Naess & P. Singer's point of view, and argues that all sentient beings are different based on the theory of Li-Yi-Fen-Shu(理一分殊). Second, this article attempts to recover the status of human beings that is extinguished in dialogue of deep ecology through Zhu xi's Explanation on Can-Zan-Hua-Yu(參贊化育), and to illuminate significance of Cheng(誠) as basic behavior of Can-Zan-Hua-Yu .Last, this article attempts to find the practical methods of ecology from re-construing Zhu xi's cultivation theory of Ge-Wu(格物)

The novels as a literary makes readers(or listeners) experience different boundaries by imagination. Readers through it can sympathize with others’ life, anguish and pain affliction. This enhances the trust among people and therby society which they belong to can be maintained. Creating novles, Liang Qi Chao(梁啓超) tested it’s usefulness in real. But it didn’t create new social relations. Especially people as listener who were not able to read and understand letters couldn’t understand social reformation and it’s meaning rationally but could response to it emotionally. So benighted people had to be led and dominated by enlightened men of noble ideals and enlightened monarch. The benighted people need to accept ideals of reformation and reformation itself which enlightened noble men and monarch realize emotionally. The novel which was reformed and created by Liang Qi Chao was useful means which check and educate the cultural traditions of the China.

The purpose of this study is to carefully revaluate the historical and aesthetic characteristics of Shao Xunmei's 邵洵美(1906-1968) second collection of poetry Hua yiban de zuie 花一般的罪惡(Flower like Evil), especially focusing on his decadent imagination and technique of weaving highly seductive metaphors. The Flower like Evil consists of thirty one poems and certainly shows Shao's erotic evocations in content as well as in form. Although Shao's poetry was criticized for being too sensual and lewd, he played an important role in the development of modern Chinese poetry during his lifetime, writing about not only demonstrating his new -found role as a metropolitan Shanghai poet, a role which involves using the female body and sexuality as a metaphor for his urban desire. His aesthetic achievement is superb and has a special significance in that his poems reflect the vicious and dark side of urban material culture.

The reason why 1980s China is important is because that period had laid a fundament ground for the rebuilding of the subject after the end of “the Cultural Revolution.” Confronting with the unprecedented disaster, which was the total corruption of the cultural system during “the Cultural Revolution” period, Chinese intellectuals in 1980s had to rebuild their culture system. Under this kind of cultural circumstances, they had wanted to find the sources of the self: the national identity(民族認同). From the point of Duara’s view, this “finding the self or national identity” is natural, and its willingness for its nation identity is called as “authentic regime.” On the other hand, however, no matter how important it was, “the subject” which is able to alienate itself from its own cultural system, that is the national tradition, is indispensable for “the modern critical subject.” According to Chatterjee and Bhabha view, the crucial thing for the cultural subject in the modern power-field is not the problem whether it is our own or not, but is the problem whether the cultural subject can critically think its own cultural system. Nevertheless, although Gan Yang’s the cultural discourse in 1980s China accepted the concept “temporality” for rethinking Chinese tradition, but he failed to construct the subject who is able to alienate itself from its own cultural system(傳統). This kind of lack in constructing subject is still reproducing the subject which is prone to return to its tradition. As “the New Left(新左派)”, Gan Yang is also grouped as “the New Left”, has shown after 1990s, the subject being prone to its tradition could not produce “the critical subject”, and as a result, they became being inclined to “the cultural conservatism(文化保守主義).”This paper would propose that the root of this cultural conservatism should be related back to the 1980s cultural discourse, and Gan Yang’s cultural discourses could be good samples for that.

This paper is consisted of two parts. One is an analysis that a new intellectual trend of Chinese intellectual society in the era of Rising China, the other is the proposal and prospect for Chinese studies in Korea. First, this paper explores the Chinese intellectual thought in the G2 era and defines the new tendency of the Chinese intellectual society as ‘Re-finding Chineseness, which is including re-finding Chinese modernity and Chinese value, Chinese historical experience. The new tendency of ‘Re-finding Chineseness in the Chinese intellectual society means has begun in the middle of 1990s and expanded widely with rising China. This article argues that the tendency is not only an intellectual nationalist movement that is related Sino-centrism, but also an intellectual experiment searching for alternative modernity that is different from Western modernity. Considering the new trend of Chinese intellectual society, the discourse on the reconstructing Critical Chinese studies in the Korea is an appropriate for responding it. A Critical Chinese studies mainly aim deconstruct the Sino-centrism and keep critical distance from contemporary China. However it is mainly to deconstruct Sino-centrism so that it will step up anti-China nationalistic ethos in Korea. So this paper argues that it is necessary to create a theoretical basis to intervene in a situation of contemporary China and Korea as well, and to combine the critical Chinese studies and the double project of adapting to and overcoming modernity.

The painting of a group of immortals crossing the sea (海上群仙圖, PGI hereinafter) by Ahn Joong Sik and Cho Suk Jin in late Chosun is a transformed one based on the painting of the eight immortals of China, which reflects a new combination of immortals consisting of the god of literature (魁星), Lu dongbin (呂洞賓), Zhongli quan (鍾離權), Liu haichan (劉海蟾), Zhang guolao (張果老) and Tie guaili (鐵拐李). The fact that the story of the eight immortals crossing the sea of China is quite freely portrayed in PGI implies that the story has already been widely spreaded and popular in Chosun. The god of literature appear on PGI together with the immortals. It means, although Daoism could not form its own religious community and not be evolved as official Daoism, worship of Wenchang deity shows that it still affected public society. All these immortals that PGI portrays were originated in folk beliefs and symbols of a good omen, hapiness and wealth. The immortals and the four stars are creating a human oriented world.

This paper aims a study of a Chinese translation of ＜ChunXiang Zhuan(춘향전)＞ by Xu Shixu. There are many translated versions of ＜ChunXiang Zhuan춘향전＞ in China, but in Taiwan, Xu’s translation is the only one. Even through Xu has a high proficiency of Chinese as a foreigner, there are still many mistranslations and awkward expressions in his book, through which we can recognize that there are some limitations in his translation. Also, the classical Chinese and modern Chinese was mixed together in his book, which destructed the classic atmosphere of this story. But, in spite of the issues mentioned above, we can still feel the rhythmic in his book as the translator worked very hard to keep the musical character of Pansori(판소리), even though he did not express the taste of humor and witty of Pansori well. It’s very hard for a foreigner to use Chinese, especially classical Chinese well, so we have to say that Xu might really tried his best. The translation errors we learned from Xu’s book can help us recognize how to revise it and make some improvements. Thus we could expect a better translation version of＜ChunXiang Zhuan춘향전＞in the future.

Plagued by weak demand and overcapacity since global financial crisis in 2008, Korea, China, and Japan, accounting for more than 50% of world steel production and consumption, seek to increase export in order to overcome crisis. Especially rapid improvement of China steel industry's competitiveness seems to exert huge influence over change in trade structure in north east asian region. In order for empirical analysis, this study analyzes characteristics of steel trade among three countries and dynamic change in export competitiveness measured by Exports Similarity Index(ESI) and Revealed Comparative Advantage(RCA). This study found that influence of Korea, China, and Japan over world steel market is strengthening with steel exports of three countries surging. Second, competitiveness of China's steel industry is improving rapidly with high value added products like flat products switching from competitive advantage to disadvantage, resulting in becoming a huge threat against Korean steel industry. Finally, Korean steel industry's export competitiveness keeps weakening. Overall, Korea's steel industry is facing 'Sandwich Crisis' where Japan maintains it's competitiveness in the fields of high value added flat products, with China steel industry's technical skills improving quickly.