2019, Vol., No.81

This study examines the process of creating a new cultural meaning and its path of acceptance, translation characteristics with the Translation which are published in from 1934 year to 1937 year. This magazine is the first literary magazine to translate only foreign literature in China, so it is very meaningful not only for Chinese magazine development but also in China's history of translation. At the beginning of the foundation, Lu Xun was in charge of editing, and then this work was handed over to Huang Yuan from No.3. The magazine was published on September 16, 1935, Vol.2, No.6, and after five months of suspension, it was reissued on March 16, 1936. The Translation intensively translated and introduced to literature of the weak and small nations that was similar to the situation of China under the invasion of imperialist powers, and the Russian and Soviet literature and criticism. Among the writers of Western powers such as France, Britain and the United States, the magazine just introduced the progressive and revolutionary writers who, on the basis of democratic thought and humanitarianism, have depicted the darkness and sin of capitalism, for example the works by Charles Dickens, Jack London, Bernard Shaw, Merime, Flaubert, Andre Gide, Roman Roland, François Coppée, Upton Sinclair, Emil Zola and Alexander Berkman. It is worth noting that the criticism of Russian and Soviet critics on these writers was intensively introduced. The magazine was engrossed in introducing Western realism traditions and translated various types such as critical realism, satirical realism, grotesque realism, and proletarian realism. It highly valued the artist who exposed the contradictions and dark images of feudal society and capitalist powers. The magazine supported realism literature that truly depicts the daily lives of the people who lived in the transition from feudal times to modern times. In their practice of translation, they thought about how the artist could contribute to describing people's lives and improving them.

ON the adverbialization of “SHI SHIHOU(是时候)”

韦钰璇 , JANG TAE--WON | 2019, (81) | pp.155~169 | number of Cited : 1

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A Study on Polysemy of Chinese idiom ‘Bu yi le hu(不亦乐乎)’

Kim,Young-in | 2019, (81) | pp.171~195 | number of Cited : 0

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A Contrastive Study of Chinese and Korean Coordinate Structures from the Perspective of Linguistic Typolog: Focus on Coordinate Phrase

Zhang, Yan , Jin， Jishi | 2019, (81) | pp.197~213 | number of Cited : 0

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A study on the text coverage of Chinese basic vocabulary in secondary curriculum

KIM UNG | 2019, (81) | pp.215~238 | number of Cited : 0

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“V起来” in the General Syllabus and Textbook layout Review and Recommendations

Xingyan Guo | 2019, (81) | pp.239~256 | number of Cited : 1

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An Instructional Design and Its Application of Media Chinese

KIM JAEUN | 2019, (81) | pp.257~282 | number of Cited : 2

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Study on Yang Zhu’s Origin and his Lifetime

LIU ZHEN | 2019, (81) | pp.283~306 | number of Cited : 0

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A Study on Chinese Books mentioned in the Ŭmbinghaengjŏngnyŏk

kyounghun Lee | 2019, (81) | pp.307~339 | number of Cited : 3

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This study reviews the acceptance attitude of Chosun intellectuals about the Chinese books at that time through the assessment of Chinese books by Moksan in Ŭmbinghaengjŏngnyŏk, examines their views on the same books before and after them, including him and examine the changes in attitudes toward understanding Chinese books and the Chinese studies during the Chosun Dynasty. After looking through the records of the Chinese books of Moksan, I came to the following conclusion. First, when it comes to the books already have known to the Moksan, it has been summarized as if it were to release the books it had contacted without any expressing a positive or negative opinion. They did not feel the need to express their views on books that had already been introduced to Chosun and could only be known by their titles, or were excluded from the list of new interests to express theirs. Second, he expressed his views on the books he first encountered in traveling, explaining both the contents of the author and the book in parallel. The criteria for him to evaluating books in the past depended on the importance of orthodox Neo-Confucianism(性理學) and Confucian significance with Chu Hsi(朱子), at the core. Rich colored in Yugwanghak (陸王學), books of anti-Chu Hsi studies were dismissed as worthless. He also expressed his views of affirmation and negation only when asked whether the author’s ideas were descendants of Royal’s command with the banner of ones’ mission’s report, and that they should be based on the observance of fidelity of Royal’s command, the source of small Sinocentrism(小中華思想) that of importance to cultural Chinese ideas, not geographical Chinese ones, and should not violate Chosun’s principles of Neo-Confucianism, negate and attack on the Cheng-Zhu Confucianism (程朱理學) as they were known. Third, the route through that Moksan came into contact with the books was by looking at the calligraphy owned by a subordinate officer of Nanjing, purchasing it through a librarian from Jiangxi, or obtaining a book list from a bookstore and borrowing it through the librarian. To conclude, this study will not only provide a partial picture of the attitude of accepting Chinese books per period, but it will also be meaningful to examine how Chinese studies are accepted differently depending on the situation of Chosun.

An analysis of documentary aesthetic features of Jia Zhangke's early films “sound”, “light” and “color”: centered on XiaoWu, Platform, Unknown Pleasures and StillLife

DIANHUI ZHENG | 2019, (81) | pp.341~360 | number of Cited : 0

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As a leading figure of the sixth generation of Chinese directors, Jia Zhangke focuses on recording the great changes since China's reform and opening up with his camera, and pays attention to the relationship between social changes and individuals. Jia Zhangke's films focus on the bottom ecology, love to depict the joys and sorrows of small people, advocating documentary aesthetics, showing a unique image world. Jia Zhangke's early films have typical documentary characteristics, which are also evident in the way of expression of sound, light and color. In terms of sound, dialect dialogue is mainly used. Dialect is more in line with the identity characteristics of the small people at the bottom, and more able to show the current situation of China's population mobility, so dialect dialogue adds to the documentary film; TV, radio and popular music mark the age, radio and television news have real-time, the sense of age is self-evident, popular music also from the point of view of mass entertainment, the film marked the age label; Record the scene noise, mainly including motor vehicles, trains, ships, street pier noise, etc., which also enhanced the scene of the scene. In terms of light, they tend to use natural light, including using active lighting, not avoiding backlighting, and not deliberately adding light. While respecting the authenticity of the shooting scene, they also show the survival status and destiny of the characters. In terms of color, the film is mainly based on gray tone, which is embodied in character modeling and scene tone. The use of sound, light and color is not isolated from each other. Jia zhangke has organically integrated them, showing clearly the underlying world of China in the transition period and shaping a unique documentary style. This paper takes the four feature films XiaoWu, Platform, Unknown Pleasures and StillLife as examples to analyze the documentary characteristics of sound, light and color in Jia Zhangke's films.

Translated and Annotated on BiJiManZhi(碧鷄漫志) 4

LEE TAE HYOUNG | 2019, (81) | pp.361~394 | number of Cited : 0

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Journal of Chinese Language and Literature 2023 KCI Impact Factor : 0.28

2019, Vol., No.81