2011, Vol., No.25

This study is to compare the structure and derivation form of onomatopoeia (mimetic) words in Korean and Chinese languages. Because two different languages not only in language form, but also in structure would definitely havecertain influence on word forms and derivation of onomatopoeia and mimetic words. Although it’s an elementary way, however, this study leads to the conclusion as below regarding word form and derivation of onomatopoeia (and mimetic) words in Korean and Chinese languages(The study in Chinese language is limited to onomatopoeia. Because the most of mimetic words in Chinese standard languageis derived from general adjective or verb, in other words, the pure mimetic words such as ‘DegulDegul(데굴데굴)’ in Korean don’t exist in Chinese language.) (1) It’s easy to find onomatopoeias (and mimetic) words which consist of four or six syllables in Korean language, while there are usually four-syllable onomatopoeias words in Chinese language. (2) A mono-syllable word(A type) or two-syllable word(AA type, AB type) can be the root (fundamental form) in Korean language. The derivation process from the root shows wide range of AB type usage, which tells us the Korean onomatopoeias and mimetic words which consist of three, four, or six syllables are generally derived from the root AB type. On the other hand, Chinese onomatopoeias are mostly (or altogether) derived from the root with the monosyllable, A type (fundamental form).AA type indicates the duplicated usage of A type monosyllable which can be used as an independent word by itself, whileAB type indicates the modified usage of A type monosyllable, or combined usage of separately independent two mono-syllables. Onomatopoeias with three syllables or four syllables are eventually the modified form of AB type with A type monosyllable root. (3)The modified duplicate usage among Korean onomatopoeias and mimetic words usually changes the initial and middle sound in two-syllable words(AB-AB or ABC-ABC), but Chinese onomatopoeias changes the vowel sound of previous syllable or the initial consonant sound of next syllables. (4) In Korean onomatopoeias and mimetic words, the substitution of initial consonant sound and the interchange of middle vowel sound cause the subtle transition of nuance. However, there is no such interchange in Chinese onomatopoeias. (5) AB type onomatopoeias and mimetic words in Korean language lead to various types of ABC onomatopoeias and mimetic words by partial duplicate usage or added sound. Contrastively, there are no same cases in Chinese language, where ABC type syllables are derived from AB type syllables.

A study of the critical aspect of Chinese poetry and poets expressed in Lee Deok mu(李德懋)’s 『淸脾錄』

전영실 | 2011, (25) | pp.177~207 | number of Cited : 1

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On three types of emotional gradation through repetitive inversion in the “Ch’ing chen chi” by Chou Pang-yen (Ⅲ) --- The conversion or reversion of literature

楊晉綺 | 2011, (25) | pp.209~243 | 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, focusing on the third type of emotional gradation through repetitive inversion, discusses the linguistic contrast due to the conversion or reversion of literature in the “Ch’ing chen chi”, which leads to a reserved style of writing.

A Study on the Correlation between Classic Chinese poetry and Ci(詞) poetry and Modern music

NamYong Park , KIM YEONGMYEONG | 2011, (25) | pp.245~269 | number of Cited : 1

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This study is about the existing state of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs. The correlation between Chinese literature and music is studied using the method of comparative literature on this paper. Beginning from Shi jing(詩經) and Chu ci(楚辭), the tradition of Chinese poetry has achieved the most dominant position in Chinese culture through the present day and is having a great effect on Chinese socioculture today. In this respect, the actual condition of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs has been made up pretty high. Specially these days we can see Chinese popular singers are creating new modern popular music writing the lyrics with Song Ci poetry. Many works of Classic Chinese poetry and Ci poetry were created into modern lyrical songs, chorus, or revolutionary songs about 1940s, since 1920s. There are two cases on this happening, one is the music to be created on the base of Classic Chinese poetry and the other is the music to be created on the base of Chinese Tang Song Ci(唐宋詞). In the case of the former, there are ‘Jian Jia(蒹葭)’, ‘Lu ming(鹿鳴)’ and etc. in Shi jing and the symphonic poem, ‘the Flow of the Guluo river(汨罗沉流)’ which is made in memory of the decease of Qu Yuan(屈原). Also there are many cases of the conversion of music with the works of Li bai(李白) who wrote the best poetry among poets of his time. In the case of the latter, the representative works had the conversion of music such as the ones of Su Shi(蘇軾), Yue Fei(岳飛), Li Qing Zhao(李淸照), Jiang Kui(姜虁), and etc. mostly. This existing state of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs is happening because the musical character of poetry and Ci poetry have the affinity that makes it easy to be the conversion of music and because they have the outstanding familiarity with the audience when the poetry and Ci poetry in familiar to the readers become the conversion of music. Through the mutual correlation between this literature and music, we can understand literature refreshingly and comprehend the phenomenon of diffusion in the popular culture of literature.

The relation between the commercial development and Chinese traditional opera in Song Dynasty

Mikyung Cha , 河貞惠 | 2011, (25) | pp.271~302 | number of Cited : 0