2013, Vol., No.31

This article was written to study the various symbols of the pine tree in ancient Chinese poetry. Pines are evergreen, coniferous resinous trees (or rarely shrubs) growing 3–80m tall, with the majority of species reaching 15–45m tall. There are so many pine trees in China, and the tree was received full of love by all the people. The various symbols of the pine tree in ancient Chinese poetry are summarized as that :The first, the pine tree maintain evergreen appearance all the way and it means that the pine tree is full of expression of clearness, and the poems of pine tree are generally expressed the symbol of elegant, noble, highbrow. The second, the pine tree have the strong will of survive and ability of live to a great age, so the poems of pine tree are express as the symbol of will of survive. In ancient Chinese poetry, the pine trees are represented in the expression of poet’s resistance to injustice, fight against trial. The attribute of pine tree’s live to a great age means like the wish of human’s long life, so the pine trees are often expressed with the ten traditional Symbols of Longevity as symbol of long life and unchangeable in Ancient Chinese Poetry. The third, the pine tree also have attribute of cold hardness and strength, so the poems of pine tree are very often means of the expression of patience and endurance. The poets took off their hat to pine trees’ perseverance, and can get powerful feelings of endurance by composing the poems about pine trees. The fourth, the pine tree also have the symbol of a distinctive ability, as cause of the tree grows well even in barren soil comparing with other trees hard to grow in such bad soil. This attribute, sometimes, makes the pine tree have solitary atmosphere, and the poets often describe this attribute of solitary by thinking of his lonely conditions and emotion.

Metaphor and image features of RuanJi’s YongHuai Poetry

Joonseok Kim , 전하리 | 2013, (31) | pp.193~249 | number of Cited : 0

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Lu Wenchao’s Emendation and Study of Comprehensive Discussions in the White Tiger Hall

李敏 , Um, Young-uk | 2013, (31) | pp.251~261 | number of Cited : 0

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New interpretation on Li Shangyin’s Titleless poems using methods of psychoanalysis of Freud

SungGyu Byun | 2013, (31) | pp.263~282 | number of Cited : 0

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Research history review of acceptance situation on Chinese classical opera by educational circles of South Korea - Centered on The Romance of West Chamber, The Story of Wulunquan and The Romance of a Hairpin

LI LI QIU | 2013, (31) | pp.283~301 | number of Cited : 0

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The Relation between Modern South Korea “Heroes” and Liang Qichao

MOON DAE IL | 2013, (31) | pp.303~327 | number of Cited : 0

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Juyo-seop’s literature and life in Shanghai

최학송 | 2013, (31) | pp.329~349 | number of Cited : 1

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Grotesque·horror·death——“Call to Arms” and “Wandering”

xuzhen , Chen Yanan | 2013, (31) | pp.351~370 | number of Cited : 0

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The Xueheng school and the establishment of aesthetical standard of the poetry

Zhang Yong | 2013, (31) | pp.371~393 | number of Cited : 0

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From Left-wing Literature To National Literature——On The Relationship Between Literature And Politics（1928-1976）

Jia Zhenyong | 2013, (31) | pp.395~415 | number of Cited : 0

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Re-discovery in Pursuing Poetic Quality ——On the Linguistic Symbol System Updating of the Miao Minority Writers in Chongqing, China since 1980s

Tang Qingqing , Tu Hong | 2013, (31) | pp.417~434 | number of Cited : 0

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Return to the Soul’s Garden of Eden by the Path of Love: Shi Tiesheng’s Writing and Christian Culture

Wang Jingjing | 2013, (31) | pp.435~455 | number of Cited : 0

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In his first several short stories depicting his early life in the countryside as sent-down educated youth, we may see that Shi Tiesheng was ready for pondering the Christian spirits later. Among these stories many thematic concerns were repeatedly adopted later, such as suffering, love, Original Sin and so on. The early life experience and writings became the base for his thinking of divinity and his belief in Christianity in his later days. If the experience of being sent down to a village as an educated youth and his writing about this period of life experience and how he cherished it established his faith in love that made his ideas perfectly fit the Christian spirit. Meanwhile, “disease” or “disability”, which represents human beings’ everlasting weakness and imperfection, became his motivation to admire and approach God. He started thinking of the meaning of sufferings because of his “disease” and “disability” and issues related to “love;” whereas his “sent-down” experiences not only made him profoundly go through suffering but also understand the everlasting power of love and its warmth. Shi Tiesheng’s early works already touched upon issues like Christianity, God, and church, but his works, which really reflected his thinking of the spirit of Christianity and approaching closely the divinity, are Random Writings during Sick Time, (1998) and My Trip to Dingyi (2005). The author’s approaching God and belief in Love are reflected through his thinking focusing on four questions: “disability”, “love”, “original sin- repentance- redemption”, and its “process.” Some of Shi Tiesheng’s novels tended to be “meta-fiction, ” in which some distinctive elements of “meta-fiction” are discernible such as mocking imitation of the literary tradition and the use of parodies. His novel My Trip to Dingyi is the best example, which foundation is Bible. In sum, Shi Tiesheng’s fiction is not “pure” Christian literature, but as Karl Josef Kuschel (contemporary theologist) said, it is “fiction with the spirit of Christianity.”

The Apocalypse in Pain: The Passion in Boyang’s Poetry

Kim Sangho | 2013, (31) | pp.457~474 | number of Cited : 1

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The body of poetic works by Boyang is in fact not large and amounts to only over than sixty pieces including Ci. As the traditional forms of Chinese poetry goes out of fashion, Boyang’s poems written in traditional forms become unique amongst all the poems written in new forms nowadays. Boyang did not hesitate in venting the injustice in the prisons in his descriptions of what he saw and heard. From Taipei San-Zhang-Li Investigative Detention Cells to the Ministry of Defense’s Prison on Green Island, every account of his entering and exiting of each prison is filled with torture and suffering. Boyang’s lyric poetry illustrates that unreasonable institutions can become a form of violence that suppresses human potentials, and result in damage, violation, and deprivation of personal freedom. Therefore, the literary works of Boyang is his way of dealing with the suppression imposed upon him by the institution, order and law constructed upon an irrational subject. Boyang was a critical man in his time. His poetry is often referred to as poetry of resistance, not because it represents his own resistance to the violence he encountered but the resistance that the general public had to do perform at his time. In other words, Boyang’s personal depiction of his fight against violence can in effect represent that of the anonymous public. In Boyang Shi, a collection of Boyang’s poems, the various themes depicted are all tragic. After suffering the political suppression that ended in his arrest and imprisonment, Boyang documented his long years of life behind the bars and emerged as a destructed tragic hero in his poetry. His poetry is unique and significant not in that it manifests more graphic depictions of scenes or that the struggles he had gone through were particularly extraordinary, but that, instilled with his life experiences, it creates such a powerful roar that evokes touching inspirations unmatched by others. That powerful roar in his poetry was created with the strength of his whole body. This paper examines the tragic reality and the transcendence of will power represented in Boyang's poems in the Boyang Shi published in July, 2001 with the purpose to observe his illustration of suffering in his writings.

The Presence of Anxiety: The Intertextual Dialogue of Gao Xingjian’s One Man’s Bible and Milan Kundera’s The Unbearable Lightness of Being

KIM YEONGMYEONG | 2013, (31) | pp.475~495 | number of Cited : 0

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A Study on the Sense of Place in Chinese Literature about Modern Architecture

Dong Chion Zang | 2013, (31) | pp.499~530 | number of Cited : 1

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A place is the result of effects of time. Places are made up of memories which are the accumulation of history. The meanings of traditional places are based on the various experiences when those places became one with people. Producing the nature of a certain place through memories of these experiences is called "Sense of Place." Architecture is the realization of a place's meaning. Because literature is the development of life's beauty, sense of place, which is the accumulation of life's history and information, can become a type of dialogue which acts as the architecture of literature. In this case, architecture comes to have a literary sense of place through an internal context rather than an outside symbol. In China, there have been many pieces of literature which embody the sense of place of traditional architecture. However, after the formation of modern space, many authors felt the shock of liquid modernity. Through interpretation of this new space, these authors were able to escape traditional places and move to a new sense of place. Although China's modern architecture has a short history and was formed during a period of colonization, authors were able to create a layered sense of place in their literary works through various interpretations. In the larger literary cultural topos, Chinese modern space reveals many cross sections through literary sense of place progressed through architecture. The realization of sense of place is more related to collective experiences than individual experiences. These collective memories are inseparable from cultural regionality. Therefore, sense of place is the driving force behind treating regionality as the central focus of culture discourse. The Chinese have recently instigated a restoration project of urban space of the early modern period based on these characteristics of space. This is not merely a project to restore the historic landscape, but it also contains the strategy of local governments to sell their regional cultural places. Therefore, regional historic sites of literature undergo a remembrance making process and receive a new sense of place. These places are then consumed as literary places to satisfy the nostalgia of the people. This article was written based on the social actions which arise due to the connection of literature and architecture. This article creates two categories of sense of place expressed through literature and place making of historical sites of literature and examines Chinese sense of place of modern Chinese architecture as seen in modern literature. Because this article is a diachronic examination of sense of place, the quoted examples are compositions which run parallel to the concept of sense of place rather than causal relationships with literary history.

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The Journal of Study on Language and Culture of Korea and China 2023 KCI Impact Factor : 0.38

2013, Vol., No.31