2020, Vol., No.69

The Evolution of Auxiliary Verbs Yu(欲) in Old and Middle Chinese

Yoon SoonIl | 2020, (69) | pp.1~26 | number of Cited : 1

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Dynamic Meaning of Modern Chinese Adjectives ― Focusing on Adding ‘le’

Choi Shinhye | 2020, (69) | pp.27~51 | number of Cited : 0

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A Study of the Role of ‘Xiao-Shuo(小說)’ in Zizhi-Tongjian(資治通鑑): Focusing on Tang-Ji(唐紀)

AnYeaSun | 2020, (69) | pp.53~80 | number of Cited : 0

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Sima-Guang’s Zizhi-Tongjian is known as the most realistic and objective work of history in the pre-modern Chinese canon. However, it is difficult for such works to be completely neutral since authors’ subjective perspectives and positions tend to be reflected in them. Authors select, arrange, and synthesize materials in order to clearly convey the essence and parameters of their subject. In this light, this study examined Zizhi-Tongjian not as a volume of history solely composed of facts but as an epic text that requires literary analysis. Zizhi-Tongjian is a work of history that covers the long period spanning from the Warring States period to the Five Dynasties. Central to the text is the lesson that it was the duties imposed by the practice of Confucian that caused the rise and fall of dynasties over such a long period of time. Materials that supported this perspective were selected and included while those that did not were excluded or edited to support this thesis, and in this process, ‘Xiao-shuo’, trivial or quotidian anecdotes, were cited. This tendency is especially prominent in the section Tang-Ji, which is a record of the Tang Dynasty, in which rather than accurate facts, materials that were helpful in conveying this perspective were selected and employed. The findings of this study are as follows. First, by citing Xiao-shuo, Sima-Guang was able to create memorable depictions of people with moral flaws. Second, by doing so, he emphasized the outstanding aspects of notable figures. Third, in this way he described illustrative situations in a more serious and dramatic way. Although Xiao-shuo were originally sometimes opaque and informal materials, they became a part of received history through their adoption by Sima-Guang. Ultimately, historically the criterion that distinguished a work of history from a novel was not whether it was true but whether it amounted to an effective didactic epic.

A Crossroad Between Literature and Politics

Ko Jum Bok | 2020, (69) | pp.81~102 | number of Cited : 0

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In The New Democracy(新民主主義論), written in January 1940, Mao Zedong says, “Luxun is not only a claim to the Chinese cultural revolution, a great litterateur but also a great thinker and a great revolutionary.” It is no exaggeration to say that Mao Zedong’s expression of Lu Xun was the basic guideline for evaluating Lu Xun. This article has raised questions about the roots of the differences between Mao Zedong’s Chinese revolution and the Lu Xun‘s revolution of nationality reform, and I will discuss them through a review of the relationship between politics and literature. To this end, this paper will first examine the political nature of Lu Xun’s interpretation by Mao Zedong. Next, after reviewing Mao Zedong’s and Lu Xun’s views on the relationship between literature and politics, we will discuss commonalities and differences between literature and politics. Mao Zedong’s political revolution and Lu Xun’s literary revolution for the reconstruction of nationality primarily seeks objective and rational visualization of reality. In contrast, Mao Zedong’s intervention in reality was a political and military strategy, while Lu Xun’s intervention in reality was a literary strategy that expressed Chinese thoughts and spirit. But both are the same in that they come from objective and rational perceptions of reality and the Chinese. In other words, the visualization of Chinese reality is indispensable whether it is Mao Zedong’s revolution or Lu Xun’s revolution. This is the intersection of politics and literature. But politics seeks to maintain and unify phenomena, while literature urges social evolution to separate. In other words, the distinctive feature of literary art can be said to pioneer a new horizon of perception by continually dismantling and reconstructing the relationship between concepts and things that are fixed politically, ideologically and ideologically. Politics, on the other hand, uses, promotes, inspires and incites such literature to promote revolution and complete revolution. After the completion of the revolution, politics has no choice but to stay away from the literary arts due to its inherent nature: the maintenance of phenomena and the unification (or the maintenance of power). As such, literature and politics go a long way after the success of the revolution.

A Symptomatic Narrative of China’s Reform and Opening up: A Study on explosion chronicles

Bong-Yeon Kim | 2020, (69) | pp.103~126 | number of Cited : 1

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This article seeks to find out the reverse side of reform and opening that has not been recorded in the history of the government office through explosion chronicles. In the non-fiction form of historical magazines, the ambiguity of the narrator and the actual speaker, and the radius of reality and fiction widened by mythorealism, works reveal the truth that China experienced, which did not seem to exist. In particular, the incident of urbanization in rural areas shows how the rural areas, which had no foundation, were forced to respond to the call of the state. The experience of something other than urbanization, which soon shows the vast numbers and physical spaces in the history of the government office, reveals the reverse side of reform and opening up, reflecting on the present of China, which has passed 40 years of reform and opening up. Through this, we can point out a new context for the function and value of cities through how urbanization was done and what was missing and forgotten in it. The overall outline and context of the work is directed to the point where the deterioration of ethics, the loss of tradition, and the destruction of character began from the reform and opening up. In the form of historical journals, the author makes a relatively brief summary of the period of civilization and sets the starting point of various abolition as reform and opening, and strongly criticizes it. This attempt by the author is of course meaningful in itself, but the rationale and inevitability of the attempt must be fully understood by the reader. Despite the esoteric composition of historical journals and Mythorealism, the novel was able to give a light echo because of the urgency and inevitability of revealing the invisible truth behind the attempt. But this desperation and self-assertion reveal its limitations as it boils down to doubts that have mobilized all parts of the novel to bring it to the point of criticism of urbanization caused by reform and opening up.

Peace Discourse in the Imperialism Era

CHA TAEGEUN | 2020, (69) | pp.127~161 | number of Cited : 1

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This thesis analyzes the logic and characteristics of peace discourse of the peace discourse in China during the so-called imperial period in the late 19th and early 20th century. At that time, the representative peace theory could be divided into international peace based on the norms of the universal law and the law of balance of power, The Daedong world with the international political balance of power as the driving force, and the solidarity theory of the minority for the independence and coexistence of each nation. After Martin translated the concept of international politics, balance of power from international law to the concept of international norms, Chinese diplomats and intellectuals hoped for peace in the region or world under the law of international law and law of balance of power. However, this hope disappeared with the expectation of universal peace among the Chinese when the theory of division of China was brought up in the late 19th century, and the theory of balance of power became an excuse for the invasion and division of other countries. However, as the division of China in the early 20th century was overthrown by the need for a balance of power by the Western powers, the balance of power was still a realistic condition for peace. Meanwhile, in the early 20th century, two representative thinkers of China, Kang Yu Wei and Zhang Tai Yen, each envisioned world or East Asian peace, including China. Kang Yu Wei’s Daedong World and Zhang Tai Yen’s Qiwu(equality) world are examples. However, the process of establishing Kang Yu Wei’s Greater East World, or world state, is based on the logic of the power balance of the great powers, especially the logic of the hegemony of imperialism. On the other hand, Zhang Taiyan criticized imperialism from the point of view of equal nationalism and insisted on the solidarity of the minority. In sum, most of the theory of peace in China in the late 19th and early 20th centuries implied the logic of imperialism. As compared With them, Zhang Taiyan’s theory of peace can be said to be a meaningful concept that can be referred to today.

A Study of Pan Yu-liang’s Self-portraits

youngyeun ahn | 2020, (69) | pp.163~187 | number of Cited : 1

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The Three Genres of ‘Red Songs’

Kim, Minkyung , Kim Dokyung | 2020, (69) | pp.189~212 | number of Cited : 0

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The Principles of Naming ‘首爾’ -- the Chinese Name of Seoul, and the Creation of Its New Images and Meanings

HONG, Youn-ki | 2020, (69) | pp.213~240 | number of Cited : 0

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I made the name ‘首爾’, the Chinese name of Seoul, Capital of South Korea, in 1994. On January 19, 2005, the mayor of Seoul, Lee Myung-bak announced that he finally decided to give Seoul a Chinese name, ‘首爾’. He asked the Chinese to call Seoul ‘首爾[Shouer]’ instead of ‘漢城[Hanseong]’ which was the name of Seoul during the Joseon Dynasty. The naming principles that I considered when I named Seoul are as follows: First, the pronunciation of Seoul’s Chinese name should be close to the sound of Korean ‘서울’(Seoul). Second, it must conform to Chinese principles of naming foreign places. It must bring the Chinese people a clear image of the foreign capital. Third, its image should be bright and beautiful, and its meaning should have a philosophy to respect human values. Fourth, the number of Chinese letters and strokes should be small. Fifth, it should have a historical background. Sixth, the external shape of letters should have a beautiful structure. Seventh, it should not contain any letters or pronunciation that make Chinese people misunderstand or conjure up negative images. I hoped to create Seoul’s Chinese name containing images and meanings of bright, beautiful and pursuing political ideals to respect human values. In ancient Chinese word ‘首’, it has the following meanings: Head, Leader, Beginning, Main points, Road, First, Best, Give birth to, Face to and Lower one’s head to show respect. ‘爾’, this word has the following meanings: You, Luxuriant flower, Beautiful, Morning sun shines through the window, A lot of and Be full of. By combining ‘首’ and ‘爾’, I tried to create new images and meanings of ‘首爾’. These are as follows: First, the foremost city that sets good examples for other cities to emulate. Second, the city where the sun shines brightly through the window early in the morning. Third, the city where early spring comes, thus, the first luxuriant flowers bloom. Fourth, the city like a merciful mother who gives you unique value and new life. Fifth, the city that reveals your true worth. Sixth, people are at their best, hence the city full of the best people. One’s name contains the family’s hope for one’s valuable life and bright future. How much more the Chinese name of Seoul -- ‘首爾’, the capital of South Korea!

Study on The Grandmaster, a Film – About Remembering and Looking Back

Jin SungHee | 2020, (69) | pp.241~267 | number of Cited : 0