2010, Vol., No.24

Rhetoric Explanations Could not be Neglected on the Literary Selections Annotation in “Ancient Chinese”

崔泰吉 | 2010, (24) | pp.3~22 | number of Cited : 0

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The rhetoric is a frequent language phenomenon which appears in the “Ancient Chinese” literary selections. Although this language phenomenon has a close relationship with glossary and grammar, it actually has its own characteristics. If we don’t know the rhetoric, it is also very difficult to understand the ancient book truly, even though we have rich knowledge of the Ancient Chinese’s glossary and the grammar. If we just explain the rhetoric phenomenon in literary selections in “the Ancient times Chinese”from the angle of word meaning and the grammar, but not analyze from the rhetoric angle, it is difficult to receive satisfied effect of the explanation, even without knowing where to begin thoroughly. But most rhetoric phenomenon appeared in the literary selections of “Ancient Chinese” put aside its rhetoric significance completely, only made the simple explanation to the word meaning or the syntax. It is very difficult to study literary selections, and it affects improving student’s reading ability. We have to do nothing but to sigh for it. Teaching material’s of literary selections annotation and the literary selections in “Ancient Chinese” only have some explanations of the word meaning and the grammar, but do not explain the rhetoric. From the requirement of improving student’s reading ancient books ability, equal attentions should be paid to the word meaning explanations, syntax analysis and the rhetoric explanations. This essay points out the necessity that in “Ancient Chinese”, we just emphasize on the word meaning and the grammar explanations, but neglect the importance of rhetoric explanations in the literary selections annotation.We demonstrate the necessity of adding rhetoric explanation in the literary selections annotation with contrastive analysis’s method. The article has some references to the teaching material’s compilation and teaching of literary selections in “Ancient Chinese”.

A Brief Introduction to the Research on the Chinese Rhetoric in Korea Since 2005

Na, Min Gu | 2010, (24) | pp.23~34 | number of Cited : 0

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“XING”（行）as General Verb and Its Syntactic Limitation

JIAO YUMEI | 2010, (24) | pp.35~47 | number of Cited : 0

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Language Contact between Korean and Chinese for 2, 200 Years

Eom， Ik-sang | 2010, (24) | pp.49~66 | number of Cited : 0

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he Teaching Model of Business General knowledge： Based on the Teaching of Chinese as a Foreign Language Education

方珍平 | 2010, (24) | pp.67~98 | number of Cited : 0

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Investigation of the Tang Dynasty Song

Xu wen wu | 2010, (24) | pp.101~118 | number of Cited : 0

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A Brief Review on the Friendship Poems Exchanged Between Ancient Writers in China and Korea

이충양 | 2010, (24) | pp.119~139 | number of Cited : 0

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On three types of emotional gradation through repetitive inversion in the “Ch’ing chen chi” by Chou Pang‐yen (Ⅱ) - Meaning inversion of image and dislocation of time and space

楊晉綺 | 2010, (24) | pp.141~174 | number of Cited : 0

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Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”(過片) Zhou’s work showed elegant, deliberate and reserved style. This paper,Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”Based on the “Ch’ing chen chi” (清真詞) by Chou Pang‐yen (周邦彥) and related literature, three different ways to create emotional gradation through repetitive inversion in Chou’s work are analyzed. Different from the work of Liu Yung (柳永)characterized by long melody and direct narration, Chou composed his tz’u with emotional gradation through repetitive inversion, which led to a recursive, implicit and reserved style of tz’u popular in the southern Song. There were three ways to represent emotional gradation through repetitive inversion given in the long melody of the “Ch’ing chen chi”. The first way was the explicit usage of conjunctions for inversion such as “although” and “but” in the sentences, often accompanied by the special “leading words” (領字) of the tz’u, which clearly expressed the inversion of meanings and resulted in the introduction of new ideas not only in the aspect of grammatical format but also the text meaning. The second way of emotional gradation through repetitive inversion was identified as the contrast of image and the consistence among different paragraphs in text. Zhou preferred to hide some special meanings in words and sentences between rhymes, which reflected the conflict between the reality and expectation of life due to the change of space and time and the consequence of sudden turning‐point incidences during one traveling across space and time. The last one was the emotional gradation through repetitive inversion occurring on the cultural and linguistic level, where the moral guidance and knowledge system in the ancient literature was challenged and questioned. Interlacing these three types of expression incorporated with “Rhyme Partition” (分韻) and “Paragraph Transition”(過片) Zhou’s work showed elegant, deliberate and reserved style.focusing on the second type of emotional gradation through repetitive inversion,discusses the meaning contrast of images and the structure of spatial and temporal jump in the “Ch’ing chen chi”.

On the Tang Dansty Style in Goryeo Poet Kwookeong Kim’s poems

刘志峰 , 윤윤진 | 2010, (24) | pp.175~188 | number of Cited : 0

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To Read Modesty in 『Lao-zi』

Kwon, Hyek-seok | 2010, (24) | pp.189~219 | number of Cited : 0

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Walking in the Balance Beam Between Struggle and Solidarity: Examining the Leftist Intellectual Debates from a symposium on Lu Xun

解志熙 | 2010, (24) | pp.221~267 | number of Cited : 0

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Studies on contemporary netizen’s cognitive to Lu Xun —— based on the investigate about Lu Xun in Chinese network

葛濤 | 2010, (24) | pp.269~284 | number of Cited : 0

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A Study on Guo Mo Ruo’s Historical Literature

Jiyeon Han | 2010, (24) | pp.285~318 | number of Cited : 0

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On the Death of Women Described by the Modern Chinese Female Writer　Xiao Hong

林敏洁 | 2010, (24) | pp.319~338 | number of Cited : 0

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Two Descriptions of women subaltern’s participation in revolution

KIM YEONGMYEONG , Park Jae Woo | 2010, (24) | pp.339~359 | number of Cited : 0

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Existence and Time space image on ‐ Shang Qin’s Fifties and Sixties’ surrealistic poems

김상호 | 2010, (24) | pp.361~380 | number of Cited : 0

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Shang Qin is an exceptional surrealistic poet. In sixty years of two hundred poems, Shang Qin exposes poetry’s cutting edge and his distinctive observation to sketch the vivid image existing in the time and space. If we ignore the meanings,his poetry emphasizes the concept of existence and its substitute. Time and space are the prerequisite to form the cosmos and are also the basic elements for the objects to live in. Shang’s past years were marked by escape. After his body has lost the possibility of escape, other form of escape is into his poems. But in the poems, he tries to escape from the readers. The motives of Shang’s creation are from solitude, uneasiness and emptiness. The poetry full of solitary and anxiousness in the early stage is surrealistic, which entangles between consciousness and unconsciousness. Even until now for almost sixty years of creation, one of the important themes again and again shown in the poetry is to inform us how to escape from the solitude. He concerns the relationship between “ego” and “community.” Furthermore, the surrealist in style derived from the tangle of consciousness and unconsciousness is also to tell the meanings of time and his heart. We cannot deny the significance. Though the poems are diverse and difficult to understand, there is no single m7ethod to interpret fully. If we insist, the misinterpretation will be occurred. In short, his poems have been known for their unique rhythm, imagined and lively spirits, and also the aesthetic. From the views of western contemporary philosophy of life and existence, the people nowadays are compressed and seduced by the worldly desire and are full of rational thinking of materials. The mind is getting apathetic and flagging. On the other hand, the people nowadays with strong awareness and imagine should behighly admired because the awareness and image are not only involved with the psychology level of daily life but also the philosophy level itself. Shang Qin’s poems are equipped with philosophical critics and his prudent writing attitude can be acquired from within. The paper will focus on Shang Qin’s poetry Between Dream and Dawn published in 1969. From existential phenomenology and the consciousness of time and space elimination, we will find out and explain what the real intention of his surrealist poems want to reflect.

Captivity and Escape: The co construction ‐ of the person and the same being in the poetry of Shang Chin

丁旭輝 | 2010, (24) | pp.381~397 | number of Cited : 0