2017, Vol., No.35

Loss and Return ― A Review on Chinese “Consciousness of Roots”

Jin SungHee , Eun-Jung Choi | 2017, (35) | pp.1~40 | number of Cited : 0

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This paper examines, through the cultural texts, the aspects of separation and emigration experienced by the people from the “Three Areas across the Taiwan Strait” as these areas went through a history of severance or separation through modern, post-modern, cold war and post-cold war period. Those who emigrated from these areas experienced a cultural hybridization as they ‘separated themselves’ and ‘were separated’ from their mother lands and came to have a desire to return to it. This aspiration created a consciousness of ‘returning’ to their mother lands, which in turn generated a ‘root mechanism’ that made them recognize where the base of their lives and their cultural mother lands were located. ‘Nostalgia’, which is one of the most representative phenomena of the ‘root mechanism’, not only generates a desire to return to one’s hometown, but also leads to a behavior of imagining about one’s hometown in a special way. The sensibility of separated and emigrated aliens or marginal people, who think that they have lost their roots, are being placed in a space between their hometowns and other areas; and makes many of them constantly long for an emotional bond with their hometowns. However, most people. who are unable to return to their hometowns and who find it difficult to become real members of other communities, are sometimes aware of their “having no roots” and so create distorted memories of their roots. The characters in the works of Yu Guangzhong, Autumnal Lament In Exile of Ann Hui, and The Wedding Banquet of Ang Lee all have an inherently intense nostalgia because they fail to get recognized as full members of any society; but their hometowns exist only in their imagination and are very far from reality. This leads them to a double loss in which they once again grow away from their hometowns. Loss creates a function of ‘filling again’, Hence, the way of the existence of aliens and marginal people leads to a ‘succession of tradition’. The succession of tradition shown in the above works led to a return to the Chinese culture, which was completed with the Sinocentrism’ and the value of ‘national homogeneity’ taking precedence over anything else. However, it only ironically proves that the more aliens and marginal people emphasize their tradition and the more they assert the ‘Sinocentrism’, the less their existence has to do with their “having roots”

The Study of Images through Transmediation of Visualtexts ― Focused on Walker and APRES LE DELUGE

Soyoung Kim | 2017, (35) | pp.41~68 | number of Cited : 3

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This study aims to analyse two films Waker(2012) and APRES LE DELUGE(2008) which show transmediation in filmmaking. The former is made by Tsai Ming-liang who is one of the most important film directors in Taiwan. The latter is done by Gao Xing-jian who was born in China and moved to France. Both of films are transmediated by fine arts such as performance, painting, and dancing. To examine the visual images of two films deeply, Gilles Deleuze’s cinema theory is taken use of for an analytic tool. Movement-images and time-images are the representative words, which succeeded to Henri Bergson’s ontology including theory of images Firstly, a lot of shots of Waker are captured by movements of main actor and cameras. These shots are related to Deleuze’s movement-image as well as time-image. According to Bergson, movement-images is in the process of changing bound for the whole or the duration. The transmediation of performance to this movie makes audiences feel that this movie is out of genre and get forward to think about the existence of ourselves in the universe under the philosophical thought. Secondly, Gao Xing-jian made APRES LE DELUGE as poetic cinema mentioned by Pier Paolo Pazloini. In this movie, three components of frame, shot, montage are combined into symbolic images. Appling Deleuze’s theory to analyse them, the montage(time-images) of this film is formed by the confluence of paintings and dancings functioning as movement-images(shot). In other words, two fine arts are transmediated to this film and this phenomenon causes this movie’s poetic, symbolic, experimental, and abstract characteristics. I assume that two film directors would like to make a new style of filmmaking using various genres of fine arts, and share their ideas of human beings in the world or universe. Through this study, the concept of images can be discussed by multiple views based on a few scholars’ philosophical arguments.

Cultural and Political Implications of Formation of Chinese ‘New Worker’ Group Identity ― Focusing on ‘Workers’ House(工友之家)’ in Picun, Beijing

Jung-Soo Kim | 2017, (35) | pp.69~94 | number of Cited : 6

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This paper focuses on the formation of the new worker group identity shown in some ‘migrant worker’ groups in China in recent years. It first rejects ‘migrant workers’, the given identity and gives themselves the identity of a ‘new worker(新工人)’. This ‘new worker’ is a self-calling made for the acceptance and recognition of the work (especially manual labor) and life of the ‘new worker’ group as they are, and furthermore for a constructive new identity. The identity of this ‘new worker’ is distinguished from the social status of the workers’ of state-owned enterprises in the socialist era by attaching the word ‘new’ and reemphasizes the meaning and value of labor in the post industrial society with the word ‘labor’. The identity of this ‘new worker’ is not just a one-time declaration, but a cohesive force that proposes a new cultural arts and lifestyle. This paper focuses on the activities of the ‘Workers‘ House’ established in Picun, Beijing(北京皮村). Starting with the first music, poetry and reading activities, an elementary school for children of migrant workers (Tongxin shiyan xuexiao 同心實驗學校) and college for migrant workers (Gongren daxue 工人大學) were founded with the profits of album sales and a cultural arts group that can express their own voice (Xingongren wenhua yishutuan 新工人文化藝術團) and museum containing the history of migrant workers (Dagong wenhua yishu bowuguan 打工文化藝術博物館) were founded. In addition, through the profit activities such as recycling shops (Tongxin huhui shangdian 同心互惠商店) and farms (Tongxin nongyuan 同心農園), the self-reliance of workers and the financial independence of the organization are being planned. The identity of ‘new worker’ is significant in that it provides a venue for gathering the capacity of a new worker group. In addition, the possibilities are still open in that it continues to experiment for independence, solidarity and solidarity of workers through various forms.

Culture and Art Policy of CCP in the Establishment of China’s Reform and Opening up

KIM， EUNSOO | 2017, (35) | pp.95~118 | number of Cited : 5

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A Study on Change of China’s Cultural Strategy

KyeTae Kim , Lo， Nam-Joung | 2017, (35) | pp.119~147 | number of Cited : 3

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Yulongmanyan(魚龍曼延)Dance ― The Correlated with Buddism

KwangYoungKim | 2017, (35) | pp.149~170 | number of Cited : 1

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A Research of Episteme of Shamanism in Ancient China ― Focusing on the Social Status of Shaman in Shang Dynasty

Lim Hyunsoo | 2017, (35) | pp.171~196 | number of Cited : 1

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A Study of the Food Culture in Chinese Lexicon

Yu Hyun a | 2017, (35) | pp.197~216 | number of Cited : 1

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A Study on Wang Guo-wei’s Practical Criticism of the Superiority of the Five Dynasties ＆ the Northern Song Dynasty’s Ci and Its Theoretical Features

Hong Seu-youn | 2017, (35) | pp.217~243 | number of Cited : 0

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The objective of this research is to clarify Wang Guo-wei’s practical criticism of the superiority of the five dynasties ＆ the Northern Song Dynasty and its theoretical features. These aspects having been excluded from previous research of the Ci-xue theory by Wang Guo-wei. For that purpose, this research thoroughly analysed and translated a total of 154 articles of the Zhou Xi-shan edition of the RenJianCiHua. Those criticisms of Wang Guo-wei about important successive generations of Ci writers have been reconstructed based on those analyzed documents. Three categories resulted from the analyses of the practical criticism and its theoretical features of the superiority of the five dynasties ＆ the Northern Song Dynasty of Wang Guo-wei: highly valued, poorly valued and complex valued. The highly valued category of writers mainly originates from the five dynasties ＆ the Northern Song Dynasty. Representative writers of this group are: Li Yu(李煜) and Feng Yan(馮延巳) Si from the five dynasties and 0u Yang Xiu(歐陽脩), Qin Guan (秦觀) and Su Shi(蘇軾) from the Northern Song Dynasty, with the exception of Xin Qi Ji(辛棄疾) and Na Lan Xing De(納蘭性德), respectively from the Southern Song Dynasty and the Ch'ing dynasty. All the writers belonging to the poorly valued category originate from the Southern Song Dynasty, such as Zhang Yan(張炎), Wu Wen Ying(吳文英), Zhou Mi(周密), Shi Da zu(史達祖) and Wang Yi Sun(王沂孫). Representative writers belonging to the complex valued category are Zhou Bang Yan(周邦彦) and Jiang Kui(姜夔), respectively from the Northern Song Dynasty and the Southern Song Dynasty. The theoretical features of this criticism can be summarized as follows: ‘sincerity of the emotions’, ‘natural form of language’, ‘writer’s style’, ‘relations between the writers through the ages’, and ‘Wen Ren Ci’. This research could be used in the future as elementary material for research on the superiority of the Southern Song Dynasty ＆ the Northern Song Dynasty of the Ch'ing dynasty’s Ci-xue theory.

Analysis of Writing Technique in Liangfuyin(梁父吟)

Hwang, Hyunguk | 2017, (35) | pp.245~263 | number of Cited : 0

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A Study on the Frame Conversion of Korean into Chinese Translation News

Sujung Kang | 2017, (35) | pp.265~301 | number of Cited : 5

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A Study on the Substantiality of Economical Language Use in Ancient Chinese ― Centering around 《MNEGZI》

LEE SO DONG | 2017, (35) | pp.303~325 | number of Cited : 2

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The Meaning of the Chinese Characters Shaped by the Chinese Culture Review

LEE JOO EUN | 2017, (35) | pp.327~348 | number of Cited : 1

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The Semantic Orientation Analysis of Chinese And Korean Class Word “眼/目”

박화염 , Han, Yong Su | 2017, (35) | pp.349~369 | number of Cited : 6

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The basic starting point for human beings to contact the whole world lies in the physical experience of human themselves. From the perspective of cognitive linguistics, the physical experience of human beings is the foundation, the starting point and also the tool that leads them to perceive the world. They extend their physical acknowledge to the cognitive world by metaphors or other cognitive schema which is to be formed as conceptual system. In short, the basic physical experience of human beings plays a vital role in the cognitive process. Human beings observe and distinguish objects by their eyes in daily life, while at the same time, complete the silent communication between one and another by their eyes too. Their eyes are the window of their soul. Not only language, but also the eyes, which belongs to one of the five sense organs, allow human beings to communicate with each other. “眼/目” is the most frequently used word in both Modern Chinese and Modern Korean. In this case, it is called the basic vocabulary. The research object of this article is “眼c/目c” and “눈k/안k” and the article mainly analyzes the semantic image reflected by their single-morpheme words and compound words. On the basis of the class word “眼/目”in both Chinese and Korean dictionary, and with combined theories of cognitive linguistics and comparative linguistics, this article studied the structural meaning and the function meaning which are referred to the two main features of their semantic image. The structural meaning not only refers to the formation of the position and appearance of the eyes, but also refers to the body structure of human beings and animals which reflected by the position of their eyes. By analyzing the linguistic common points and differences between the meaning of Chinese“眼/目”and the meaning of Korean “眼/目”，the article aims at providing practical evidence for teaching Chinese as a foreign language, teaching Korean as a foreign language, the body vocabulary ofboth Chinese and Korean, and Chinese-Korean translation as well.

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The Journal of Chinese Cultural Studies 2023 KCI Impact Factor : 0.44

2017, Vol., No.35