2022, Vol., No.91

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

pISSN : 1225-083X
https://journal.kci.go.kr/clsyn

This paper makes a study of the interpretation of “興觀群怨” in the article “The Analects of Confucius≪論語≫ , Book 17 - Yang Huo(陽貨)”. First of all, I sorted out the influential viewpoints of Kong An Guo(孔安國), Zhu Xi(朱熹) and modern scholars. This article believes that Confucius was a person in the Spring and Autumn Period and the Warring States Period. Since he talked about learning the contents of “the Classic of Poetry(≪詩經≫)”, we must return to that era to investigate how people used “the Classic of Poetry” in diplomatic occasions. After detailed research and study, we believe that the phrase “興觀群怨” should be translated into “Confucius said: My disciples! Why don't you learn Poems(the Classic of Poetry, ≪詩≫)”! In diplomatic occasions, you can use “Poems” to express your own meaning and observe the meaning of the opposite side. If you use the “Poems” well, you can soften the mood of the talks and make relationship better. If you don't use it well, you can break the relationship. In the near future, learning the “Poems” well can cultivate yourself and be filial to your parents. In the far future, learning the “Poems” well can also serve the emperor as a minister. Even if you don't achieve these, you're at least you can know more birds, animals, plants, insects and fish!

Throughout Kim Si-sup’s Chinese poetry, Qu Yuan and Tao Yuanming are undoubtedly the two most important spiritual origins. They not only gave Kim Si-sup a profound influence on the art of poetry, but also on his personality and spirit. Adherence to the Tao is the commonality of the three ancient poets. Kim Si-sup’s creation of Chinese poetry experienced the transformation from the wandering theme of “the pain of Li Sao” to Tao Yuanming’s theme of regressing to nature, during which the connotation of the Tao followed also changed from the Confucian practice(cultivate one’s moral character), harmony(regulate one’s family), governance and peace(rule the country and the world) to the spiritual liberation and the true life of Taoism.

In this article, I examined the transformation process of traditional Yangge, in particular Yangge of northern Shaanxi into New Yangge and Countryside Yangge, regarding <Talks at the Yan’an Forum on Literature and Art> by Mao Zedong as watershed on the basis of existing research results. In the first stage, traditional Yangge had been transformed into Yangge Dance and Yangge Play. In the second stage, Yang Dance and Yangge Play was transformed into New Yangge and Countryside Yangge. New Yangge combined traditional folk art form with Proletarian revolution or Anti-Japanese consciousness. In this article, I paid special attention to the musical effect of New Yangge, that is, how the repetition of melody which is easy and simple make a large audience join into New Yangge and grow into main agents. In terms of artistic creation, the transformation process of traditional Yangge into New Yangge and Countryside Yangge is that of proletarian masses of people into main agents of creation in the course of renovating their own art forms.