2017, Vol., No.74

Zili Teaching in Chinese Character Education : On the Role of “Shuowen Jiezi” in Zili Teaching

王宁 | 2017, (74) | pp.5~19 | number of Cited : 0

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A Study on the Succession and Transformation in the Variety of traditional yue-fu poetrys “Wuyeti” and “Wuxiqu” from Tang dynasty.

Suh, Yong-Jun | 2017, (74) | pp.21~59 | number of Cited : 0

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Some Aspects of Quoting Poems in Liuyi Shihua

LIU SO JIN | 2017, (74) | pp.61~90 | number of Cited : 0

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Study on the characteristics of Poets of Su Men Literary Group’s prefaces

김은경 | 2017, (74) | pp.91~114 | number of Cited : 0

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Su Shi began to write Ci’s prefaces in earnest. From the middle and late Northern Song Dynasty to the Southern Song Dynasty, most of the poets have written the prefaces in their Ci. Ci’s prefaces is not the only factor of writing poetry, and also is a part of the Ci. Ci’s prefaces that started writing from Su Shi has become popular in the Southern Song Dynasty, there are poets of Su Men Literary Group at the center of its change. Compared with their contemporaries, Poets of Su Men Literary Group have written Ci’s prefaces more then them. They used it to create Ci’s prefaces which is all the things that happen in their daily life. Varying content of prefaces shows us the poet's daily life and has the value of historical materials too. Besides, they wrote the method of written Ci in the preface directly, that was caused a variety of Ci genre creation, expanded the creative mothed. Poets of Su Men Literary Group hold to “Follow the style(尊體)” and accept “Break the style(破體)”, they have Some complex Ci theories and independence of creative practice, have pursued the personalization of the preface. A long Ci-Preface was not written for Ci text, was not secondary things any more. It had its own firm position and meaning. One of Su Men Literary Group wrote the Ci-Preface like essays, other just wrote Ci-title based on facts quite simply, and the others who take the original character of Ci into consideration, only noted a few Ci’s prefaces. The characteristics of Ci’s Prefaces that Poets of Su Men Literary Group wrote were reflected in paying more attention to meaning than form and the regarding poetry as Ci of Su Shi’s theory. These characteristics of the prefaces bring about the innovation of Ci. Each of them shared their practice theory freely, extend creation of Ci’s prefaces. The creation of various contents and methods of their Ci’s prefaces played a role in the future that could lead to the Southern Song Dynasty. In addition, Poets of Su Men Literary Group and their Ci’s prefaces occupies an important position in discussing the development of Song Ci and Ci’s prefaces.

The image of the dragon and the tiger in Jin Shengtan’s criticism of Water Margin

肖大平 | 2017, (74) | pp.115~136 | number of Cited : 0

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A Restricted View on The Biography Text of Xv Yezhao A Female Writer in the Qing Dynasty

강유나 | 2017, (74) | pp.137~151 | number of Cited : 0

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A Study on Man-Han-Yan-Yi滿漢演義 Translation of the Chinese Modern Historical Novel Shenzhou-Guang-Fu-Zhi-Yan-Yi神州光復志演義

Kim Young | 2017, (74) | pp.153~175 | number of Cited : 0

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The Chinese modern historical novel Shenzhou-Guang-Fu-Zhi- Yan- Yi神州光復志演義, comprising 120 episodes, was published to celebrate the establishment of the Republic of China(中華民國) in 1912. This novel encompasses the historical events that happened during the 300 years of the period, from the Manchu leader Nurhaci’s conquest of the Ming dynasty(明) and the birth of the Qing dynasty(淸) to the decline of the Qing and Xinhai Revolution(辛亥革命) and the establishment of the Republic of China by the Han Chinese(漢族). This paper introduces a newly discovered version of Korean translation of Shenzhou-Guang-Fu-Zhi-Yan-Yi, titled Man-Han-Yan- Yi滿漢演義, and compares it to the previous Korean translation of Shenzhou-Guang-Fu-Zhi-Yan-Yi, currently archived in the National Library of Korea, to assess the differences between the two literary works. Man-Han-Yan-Yi, despite being an incomplete single set of books, contains a translator’s foreword which is not included in the original Chinese novel or Korean translation of it, housed in the National Library of Korea. The foreword reflects the intention of the translator to heighten the ethnic pride of the Koreans by contrasting the mournful atmosphere of the country that lost its sovereignty to Shenzhou-Guang-Fu-Zhi-Yan-Yi’s narrative of unification and independence. Furthermore, since Shenzhou-Guang-Fu-Zhi-Yan-Yi was banned by the Japanese colonialist, the translator appears to have tried to avoid using the word 光復(restoration of independence); instead he has used 滿(Man) and 漢(Han) to show the conflict and war between the Manchurians(滿洲族) and the Han(漢族) in the story. In conclusion, the novel seems to have been introduced to Korea and translated into Korean to heighten and bolster the spirit of independence among Koreans by telling a story of nearby China’s struggle for independence.

Chinese Characters Cause word "Reanalysis"

Yang Xi Peng | 2017, (74) | pp.177~185 | number of Cited : 0