2020, Vol., No.49

The Principles and Laws of LI Yu’s Drama Creation Method ― Based on the Structure of the Drama

Park sung hun | 2020, (49) | pp.1~28 | number of Cited : 0

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Li Yu was an important drama theorist and writer in the late Ming and early Qing Dynasties. Learning from the experience of his predecessors and combining it with his own writing experience, his drama theory has it unique features. Based on his structural theory(結構論), this paper extracted the drama writing method. Li Yu recognized that creating a play is really creating something new, and he practiced this perception himself. He wrote the principles and laws of script creation for the development of plays, This paper analyzed the play writing’s method in three areas: theme, conflict, and story. Theme can be said to be a topic, and it is thought to have been used as a proposition(命題). A proposition in a play, it can be interpreted as a short sentence that explains the content of a work. Setting up a proposition is a process of embodying the abstract ideas that the author has in his head into a sentence, and it is thought that if the proposition is established, he can enter the stage of creation of the play to a certain extent. This is because the proposition includes characters, conflicts, and endings. Li Yu realized that plays are the determinants of conflict. The play proceeds as conflicts arise, are resolved, and converted, then another conflict is created, resolved, and converted. He then set up a main force(主腦), whether it is the backbone of the so-called conflict, to make the main character act, and highlighted the conflict so that the plot can be developed with a connection. This is something unique that he created. Then It would be really hard to discover and create new materials and story. The creation of a play has become an inevitable factor in the success or failure of a drama creation. In this sense, LI Yu’s search and encouragement for new story are like map, which guides play writing on the path of new creation. The principles of Li Yu’s drama creation law are valuable and can still apply today.

A Study on the Relationship of Yangzhou’s Reconstruction and Literary Men’s Community in the Early Qing Dynasty - Focusing on Wangshizhen’s Literature

Hong, Hye-Jin | 2020, (49) | pp.29~58 | number of Cited : 2

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Yangzhou揚州 was a city experienced genocide by Manchurian, in the Early Qing dynasty. But A hundred years later the city was described as an open and dynamic center of economy and art culture in 『揚州畫舫錄』 written by 李斗. Because Wangshizhen王士禛(1634-1711) took an active part in Yangzhou as 揚州推官 from 順治17(1660) to 康熙4(1665), the city together with Suzhou蘇州, Nanjing南京 could restored the splendor of the Late Ming Dynasty and jumped up to be a big city in Jiangnan江南. In order to promote a local sense of solidarity in Yangzhou, he traveled throughout the various places, including 紅橋, 平山堂, 南京 etc, and 紅橋, and he took part in the cultural events of the city, sometimes planned it for himself. He led the culture of Yangzhou by writing poems and Ci as a group and making a collection of poems to celebrate the event. As a result, he worked hard to communicate with the local people. Based on this, he argued for a new theory and led to cultural revival. The main contents are as follows. First, focusing on 詩 and 詞, he practiced his own independent theory and activated traditional literary Men’s culture, influenced the formation of literary Men’s communities, the formation of intellectuals, and the growth of individual identity. Second, He specialized in local culture by actively utilizing the landscape and culture of Yangzhou and its surrounding areas as sanctions for his work. Also, he increased his social affinity through travel. Third, Wangshizhen went to Yangzhou and surrounding cities and participated in seasonal festivals and private forest 詩會, and revived Yangzhou’ culture by holding 紅橋修禊. It was highly anti-political and involved diverse people beyond their status and age. Fourth, He used various textures to maintain or expand close relationships with participants. He influenced the formation of intellectuals by playing the role of a supporter to publicize the talents of the common people. The literary community centered on him would have been an important base for restoring Yangzhou.

Limitations of Korean Wave in Taiwan ― Focusing on “Mr. Sunshine” PTT

Hwang SunMi | 2020, (49) | pp.59~78 | number of Cited : 3

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While Korean dramas continue to be loved by Taiwanese viewers, in July 2018, “Mr. Sunshine” was aired. “Mr. Sunshine” was a Saturday‐Sunday drama aired on tvN from July 7, 2018 to September 30, 2018, with a story of a righteous army in the era of the Korea Empire between 1900 and 1907. It was translated in Chinese in Taiwan under the title, ‘陽光先生(Mr. Sunshine)’, and was the first Korean drama to be aired simultaneously on Netflix. “Mr. Sunshine” became very popular all over the world. Favorite dramas vary by country, in South Africa, India, and Malaysia, the preference for “Mr. Sunshine” was overwhelmingly high, and in other countries as well such as the United Kingdom, UAE, the United States, Australia, and Indonesia, the preference for it was found to be high. Meanwhile, in Brazil and Taiwan, “Lonely and Brilliant God‐Dokkaebi” had the highest preference. “Mr. Sunshine” did not even enter the top 10 in the list of “Preferred Korean Drama Top 10”. Therefore, for postings about a Korean drama “Mr. Sunshine” published on PTT, this study attempts to examine how “Mr. Sunshine” is evaluated and communicated in the PTT space. Based on this communication, this study intends to analyze factors that affect “Mr. Sunshine” to be unsuccessful in Taiwan. PTT is an Internet bulletin board that forms the largest online community in Taiwan. The official name in Chinese is the ‘PTT Bulletin Board System (批踢踢實業坊)’. In the case of a Korean drama, it is responsible for the function of the public sphere in ‘Korea Drama(韓劇)’ of PTT, a Taiwan bulletin board system. This study will contribute to understanding the Korean Wave in Taiwanese position, and in the future, there will be implications for the overall cultural exchange between Korea and Taiwan.

A Study on the Evolution of the Shape and Meaning of ‘神’ through the Classical Documents and the Excavated Literature

Jungnam Kim , Moon, Chi-Ung | 2020, (49) | pp.79~110 | number of Cited : 2

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In <shuwenjiezi>, Xu-shen defined the meaning of ‘神’ as ‘天神’. Since the definition of xu-shen, the representative meaning of ‘神’ has since been established as ‘天神’ and ‘supernatural’ as an absolute being. His definitions are now followed in the various dictionaries published and in the chinese character dictionaries provided by portal sites. The meanings in regard to the “absolute” and “creator” on ‘神’ were expressed using other chinese characters before the actual period when Xu-shen survived. In other words, the original meaning of ‘神’ was that it was different in character from the “absolute man” and “creator” we now use. From analysis of the classical documents and the excavated literature, we also know that the ‘神’ has several meanings such as gods of heaven and earth, ancestors and miracle including “absolute man” and “creator”. To summarize the process of changing the shape of ‘神’ character, we analysed the library of Oracle bones used for divination during the late Shang dynasty, but there is no ‘神’ character. During the Western Zhou Dynasty, the bronze inscription was first accompanied by a shape combining ‘示’ and ‘申’. Even in the Warring States Periods, this structure remains unchanged. However, although there are many transfer patterns of ‘申’, the shape was confirmed as ‘神’ after the LiShu period. To summarize the process of changing meaning, you can see the weather phenomena such as thunder and lightning at the Oracle bones. but from this point on, ‘神’ express the messages and signs sent by God. The Western Zhou period represented the role of agent in carrying out the absolute god’s orders. or ancestor. The Warring States Periods begins to be used as a comprehensive concept, including absolute deity, along with the meaning that emerged during the Western Period.

Analysis of the Quasi-affix ‘sha(杀)’ in Modern Chinese

ANYUNHUI , Heungsoo Park | 2020, (49) | pp.111~131 | number of Cited : 0

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Over the past ten years, with the rapid development of society and the continuous development of language communication, a large number of new words have emerged in modern Chinese. The development of quasi-affix structure can be regarded as an important manifestation of Chinese grammaticalization. Among them, these mantics of ‘sha(杀)’ tends to be in vain and its position is basically regular. In this paper, we analyzed the characteristics of quasi-aff ‘sha(杀)’ and ‘X杀’ family words on Grammaticalization, Position fixing, Vocabulary productivity. First of all, we list the original meaning of “Sha(杀)” in Shuo Wen Jie Zi, and then sort out the original meaning and basic meaning of “Sha(杀)” by combining with the dictionary of Chinese, the dictionary of classical Chinese, the dictionary of modern Chinese, and the dictionary of modern Chinese. The quasi affix “kill” is an extended meaning derived from the original meaning “to make someone or something lose their life” and the basic meaning “extremely deep” in the process of language change. The quasi-affix “Sha(杀)” means a certain factual state orbehavior is extremely deep and has a near-lethal charm. Then, we found the affixization characteristics of “Sha(杀)” are investigated from three aspects: semantic grammaticalization and generalization, fixed position in the structure, and the productivity. Last of all, we analyzed the grammatical structure and semantic attribute of “X” in the affix structure of “X杀”. According to the actual corpus, it can be seen that the two-syllable “X” occupies the majority of 88.6%, and the “X” component is used to modify the limiting headword “Sha(杀)”. The semantics of “X” also presents a unique consistency feature. The semantics of the “X杀” word groups are directly connected to a certain part of the human body, either its description or its implementation. This is the characteristic of the structure combination of “X杀”, and also reflects the singleness of word formation of “Sha(杀)”.

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2020, Vol., No.49