• Title/Summary/Keyword: Chinese Character Cultural

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A Comparative Study on the Figurative Representation in Chinese and Korean Comedic Stories and the mitate of Japanese Comedic Stories (한중 소화(笑話) 속의 비유표현과 일본소화 속의 미타테(見立て)기법의 비교고찰)

  • Keum, Young-Jin
    • Cross-Cultural Studies
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    • v.40
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    • pp.7-39
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    • 2015
  • A kite in Japanese is the octopus. The reason is that when they saw the tail of the kite, they remembered the foot of octopus. And this kinds of associative action is called a mitate(見立て) in Japanese. Mitate is similar to metaphor, but these two concepts are somewhat different in causing laugh. Korean and Chinese comedic story's metaphor cause laugh by similarity of two things, but Japanese comedic story's mitate cause laugh by dissimilarity of two things. Chinese and Korean comedic stories focus on 90%'s similarity of two things, but Japanese comedic stories focus on 10%'s dissimilarity of two things. So, in this paper, I tried to consider the mitate of comedic stories of East Asia, and I found that there are the following three features. First, we can see the tendency of Chinese and Korean comedic stories's mitate concern on the human body's physical weakness. But, Japanese comedic stories subject to not the human body's physical weakness but the human's professional or identification temperament. Second, East Asian's comedic stories mitate which related character and word play came from the method of decomposition of Chinese characters, for that area's people have used Chinese characters for a long time. However, there are different cases in Japanese comedic story's Chinese characters mitate, where that characters mitate is combined with two different type's characters, for example, to associate one Chinese character and another Japanese characters, hiragana or katakana. Third, there are next type's mitate which came from misunderstanding of Chinese characters, it can be seen in Chinese and Korean comedic stories. Perhaps, this pattern related with Chinese three syllable's character pattern, which is a Chinese traditional word and character play.

A Study of the Speaking-Centered Chinese Pronunciation Teaching Method for Basic Chinese Learners. (초급 중국어 학습자를 위한 발음교육 개선방안 - 말하기 중심 발음 교수법 -)

  • Lim, Seung Kyu
    • Cross-Cultural Studies
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    • v.35
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    • pp.339-368
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    • 2014
  • In Teaching Chinese as a Foreign Language, phoneme-based pronunciation teaching such as tone, consonants, vowels is the most common teaching methods. Based on main character of Chinese grammar: 'lack of morphological change' in a narrow sense, was proposed by Lv Shuxiang and Zhu Dexi, I designed 'Communicative oriented Chinese pronunciation teaching method'. This teaching method is composed of seven elements: one kind is the 'structural elements': phoneme, word, phrase, sentence; another kind is the 'functional elements': listening, speaking and translation. This pronunciation teaching method has four kinds of practice methods: 1) phoneme learning method; 2) word based pronunciation practice; 3) phrase based pronunciation practice; 4) sentence based pronunciation practice. When the teachers use these practice methods, they can use the dialogue and Korean-Chinese translation. In particular, when the teachers use 'phoneme learning method', they must use Korean and Chinese phonetic comparison results. When the teachers try to correct learner's errors, they must first consider the speech communication.

Analysis on the Traditional Cultural Elements of the Chinese Animated Film Big Fish & Begonia (중국 애니메이션 영화 <나의 붉은 고래>의 전통문화원소 분석)

  • Dou, Guo-Hao
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.7
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    • pp.165-172
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    • 2019
  • The animated film Big Fish & Begonia is a new attempt of Chinese animated films in recent years. Both market performance and artistic creation are an improvement. In the process of creation in the past ten years, Big Fish & Begonia has profoundly excavated Chinese myths and legends and combined them with modern art. This study takes the traditional Chinese cultural elements in the film as the starting point for research, from the aspects of character design, scene design and national culture. Through the analysis of the traditional cultural elements in Big Fish & Begonia, try to find a better direction for the development of animated films, such as the integration of modern art and traditional culture. It is precisely because of the large number of Chinese cultural elements incorporated in the Big Fish & Begonia that it is ingeniously set up to bring visual enjoyment and inner resonance to the audience.

Study on the Chinese graphonomy's exchanges of Qing Dynasty and Joseon Dynasty (조선(朝鮮) 문인(文人)과 교류(交流)한 청조(淸朝) 학자(學者)들의 문자학(文字學) 연구(硏究)에 관한 소고(小考))

  • Suh, han yong
    • Cross-Cultural Studies
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    • v.25
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    • pp.529-548
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    • 2011
  • Zu Wen-Zao(朱文藻), Li Tiao-Yuan(李調元), Hong Liang-Ji(洪亮吉), Peng Yuan-Rui(彭元瑞), Qian Dong-Huan(錢東垣), Sun Xing-Yan(孫星衍), Ruan Yuan(阮元), Chen Zhan(陳?), Wu Shi-Fen(嗚式芬), Feng Gui-Fen(馮桂芬), He Shao-Ji(何紹基), Fan Zu-Yin(潘祖蔭) made the contributions to the theoretical construction to the science of Chinese characters in their books "Shuwenxizhuankao(說文繫傳考異)", "Liushufenhao(六書分毫)", "Liushuzhuanzhulu(六書轉注錄)", "Xiqinggujian(西淸古鑒)", "Xiaoeryajiaozheng(小爾雅校證)", "Jiujingzhengsuzikao(九經正俗字考)", "Jiguzhaizhongdingyiqikuanshi(積古齋鐘鼎?器款識)", "Shuwenshengxi(說文聲繫)", "Shuwenjiuzizhengyi(說文解字正義)", "Jungulu(?古錄)", "Shuwenjiuzizhukaozheng (說文解字段注考正)", "Shuowenduanzhubozheng(說文段注駁正)", "Haidongjinshilu(海東金石錄)". They analyzed the rules behind character construction, and tried to find out the nature of Chinese characters, the relationship between Chinese characters, the evolutionary laws of Chinese characters, the characteristic of ancient Chinese characters etc.

The "Chinese Style" of Chinese New Generation Fashion Designers in Shanghai Fashion Week (상해 패션 위크 중국 신진 패션 디자이너의 "중국풍")

  • Yin, Meina;Ha, Jisoo
    • Fashion & Textile Research Journal
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    • v.23 no.5
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    • pp.545-558
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    • 2021
  • This research analyzed the Chinese style design embodied in the collections of the new generation of fashion designers shown during the Shanghai Fashion Week to improve the understanding of Chinese style and the modernization of Chinese design. The research questions were 1) studying the development of the Chinese fashion industry chronologically and investing young designers' current situation, 2) investigating young designers' awareness of Chinese style and analyzing Chinese style design in collections. A literature and case study were conducted as the research method. The literature study focused on the books about the Chinese fashion industry and history, newspaper, articles, and so on. The case study was conducted among 63 Chinese style collections in 2016-2020 SFW by investigating fashion magazine reviews, articles, and so on. The findings are as follows: 1) Young Chinese fashion designers' awareness of Chinese style has three characteristics; the nonmaterial tendency from decreasing stereotyped images, combination of traditional culture and local youth culture, and commercialization with trends. 2) Chinese elements, including natural, character, and cultural elements were predominantly used in the concept, pattern, and shape. Nonmaterial characteristics were identified in concept, cultural combination characteristics in concept, shape, color, material, and pattern, and trend commercialization in shape, color, and pattern. In conclusion, Chinese young fashion designers had strong national consciousness and new awareness of Chinese style fashion in decreasing the stereotyped images of China. Thus, they used more varied expressions. Meanwhile, they faced difficulties in expressing nonmaterial Chinese elements by balancing them with Chinese style and globalization.

Korean Characteristics of OkJoongHwa and J. S. Gale's Translation Practices in "Choon Yang" (『옥중화(獄中花)』의 한국적 고유성과 게일의 번역 실천 - J. S. Gale, "Choon Yang"(The Korea Magazine 1917.9~1918.8)의 번역용례를 중심으로)

  • Lee, Sang Hyun;Lee, Jin Sook
    • Cross-Cultural Studies
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    • v.38
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    • pp.145-190
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    • 2015
  • The objective of this paper is to investigate translated individual words in J. S. Gale's "Choon Yang" in comparison with its original OkJoongHwa("獄中花") while referring to early modern bilingual dictionaries and missionaries' ethnography. Gale faced a lot of translation difficulties because the source text had a very different cultural system from the object text. OkJoongHwa was a Korean pansori novel which meant it included many Korean characteristics. However, Gale considered its Korean characteristics were deeply connected with Chinese classics. Even famous people and place names cited from the Chinese classics in OkJoongHwa represented the Korean thinking. Gale tried to faithfully translate the source text as much as possible whether the words were Chinese or Korean. In this paper, we deal with mostly various translation aspects of the Chinese-letter words in OkJoongHwa. Gale's first method to translate words made of Chinese Character is transliteration, the examples of which are the name of Chinese famous people and places, and Chinese poems. The second method is to parallel transliteration and English interpretation equivalent to the Chinese Character. The examples are the names of main characters like "Spring Fragrance or Choonyang," "Mongyong, or Dream-Dragon" and in his translation of word play in Osa (Commissioner), or Kamsa (Governor), kaiksa (a dead beggar). The third is literal translation of Chinese idiomatic phrases as Gale translated 侵魚落雁 into "She'd make the fishes to sink and the wild-geese to drop from the sky." The fourth is a little free translation of the title of public office, the various names of Korean yamen servants and the unique Korean clothing and ornaments. We expect Gale's many translation difficulties as we can see the translated long list of yamen clerks and Korean clothing and ornaments. After our investigation of his translation practices in "Choon Yang" we conclude that he tried to translate its literary language very faithfully though he could not avoid inevitable loss caused by the cultural difference involved in two languages. Gale's "Choon Yang" contributed to introducing the uniqueness of the classical Korean novel and Korean culture to the world more than any other English translation works of that time through his faithful translation.

A characteristic of historical Jing-Ju, through the comparison by each period - Focusing on traditional repertory (조대(朝代)별 비교를 통해 본 역사경극의 특징 - 전통극목을 중심으로)

  • Oh, Kyung-Hee
    • Cross-Cultural Studies
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    • v.26
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    • pp.145-171
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    • 2012
  • The background of historical Jing-Ju is a history, but the history Chinese wants to watch on the stage is the history dramatized by talented actors/actresses, not the history they want to learn. This thesis intends to examine traditional repertories whose background is historical people or accidents, among the lots of Jing-Ju repertories by each period, grasp periods, accidents, people, etc. preferred by Chinese and examine how they were dramatized. The general characteristics of historical Jing-Ju, grasped by each period, are as follows. The first, for the reason that there are lots of historical Jing-Ju in opera repertories, it can be mentioned by Chinese descriptive tradition and historical tradition. As lots of Chinese novels and drama works were written by history, basic models are suggested and clear development is shown, so there is an aspect which is advantageous for dramatization. Also, there are lots of works whose material is history for not only opera but also drama, TV drama because of the characteristics of China where historical books such as "史記", "戰國策", etc. The second, the period which is the background of historical Jing-Ju focuses on 漢 period, 三國 period, 隋唐 period, 宋 period and 明 period. It seems to be reflected by Chinese superiority to some degree if considering Jing-Ju was extremely popular during the 民國 period. The third, there are many characters who have patriotism loyalty among the historical Jing-Ju. It seems to be the result of discovering lots of materials for appealing patriotism in the situation they were dominated by Japan and the West during the 民國 period. The forth, the most single material is "三國志" among the historical Jing-Ju. This material has the factors of traditional idea, loyalty, fidelity, etc, but there are the most interesting characters and they were popularized by novels, etc. The fifth, in the historical Jing-Ju, the contents and character forms can be sometimes changed by character's skill because character's artistic achievement can play a great role for the completion of Jing-Ju.

Chinese relationship between animation and best pole - Focused on the aesthetic principles of the Cultural Revolution period (중국 애니메이션과 모범극의 상관관계 연구 - 문화대혁명 시기의 미학 원칙을 중심으로)

  • Kong, De Wei
    • Cartoon and Animation Studies
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    • s.39
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    • pp.215-231
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    • 2015
  • The Cultural Revolution in the history of Chinese animation hinder the development of the initial animation, and after a negative assessment instrument provided the cause is to become sluggish growth of the Chinese animation. So this time animation are things that are the subject of academic research studies or analysis has been depreciating almost uniformly without evaluation. However, of all the cultural and artistic creation it is developing in its own specific historical conditions and has the aesthetic results. This paper puts the primary purpose is to hold in consideration the aesthetic principles that led to cultural and artistic creativity and objective perspective the achievements the Chinese animation of the time period of the Cultural Revolution. Cultural Revolution is avoided to the previous period in accordance with the socialist ideology of Mao Ze-dong(毛澤東) sikindaneun highlight the culture of the proletariat and placed our goal to create a new class culture. Therefore, cultural and artistic creation of this period is often inconsistent with this part of our aesthetic principles generally accepted character has a non- elitist and anti properties. Best drama is a creative one hand as a model to implement the principles of aesthetics, art and culture Cultural Revolution period kkophimyeo reference for understanding the aesthetic principles that animated the Chinese Cultural Revolution period of orientation. This paper has San Tu Chu(三突出), Hong Guang Liang(紅光亮), and Gao Da Quan(高大全) at the time of the Cultural Revolution aesthetic principles are reflected in how the concrete work, the Cultural Revolution when the animation is how to accommodate these aesthetic principles and placed emphasis on comparative studies on best pole and correlation of the Cultural Revolution when the Chinese animation to ensure that adaptation in own way. First, after analyzing whether the aesthetic principles of focusing on the similarities of the best pole time of the Cultural Revolution and China, and how to implement animation in the works, these aesthetic principles according to the analysis of positive and negative influence on the creation of Chinese animation It was described as neutral. The detailed analysis and comparative study courses were trying to access in two significant aspects of the characters and scenes directing. In terms of character animation of the Cultural Revolution in China when a young boy or girl, emphasis should emphasize the health tinged with red lips and cheek blush to highlight the desired Gong Nong Bing(工農兵) shape as the main character and smooth texture and sophisticated highlights the glittering feeling to the touch, it was confirmed focused hayeoteum to implement the principle of 'Hong Guang Liang', highlighting the brilliant colors with a clean, bright colors. Highlighting a number of protagoniste compared to the antagonist in the animated scene of the Cultural Revolution a few times in terms of production and, among a number of protagoniste also emphasizes the outstanding hero figure, "yet three outstanding heroes heroic figures also emphasize the leading figures among the the director of the extrusion step-by-step approach "('San Tu Chu')was used. In addition, the hero figure is generally high and low angle by directing a large and perfect aesthetic appearance was to faithfully implement the principle of 'high-charged'('Gao Da Quan').

Application of Bushou in Contemporary Chinese Poster Design (부수를 활용한 중국 포스터디자인 연구)

  • Liu, Che;Chang, Juyoung
    • The Journal of the Korea Contents Association
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    • v.17 no.8
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    • pp.110-120
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    • 2017
  • For designers, Chinese characters are featured as its unique cultural connotation and the inheritance of information. In visual designs, the beauty of Bushou in form, especially its potential forms, plays an important role and has been applied in various modern designs. There are analyses focused on radicals' roles, as well as its performance and design principles in modern posters in order to figure out how radicals are inherited and developed in posters. Additionally, these researches are conducted to recognize the cultural values of the visual linguistics of Bushou. In this paper, collating of the history and structure of Chinese characters, along with the history, function, classification and meaning of Bushou has been conducted through the method of literature research. The function of Bushou and its potential visual performance means, as well as the objective laws are summarized by analyzing Bushou posters.

The research for visual representation of the chinese '和' Culture (중국 '화(和)' 문화사상의 시각적 표현방식에 관한 연구)

  • Xu, ya han;Lee, dong hun
    • Proceedings of the Korea Contents Association Conference
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    • 2009.05a
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    • pp.973-977
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    • 2009
  • The article is based on the research of the he culture and has discussed the prospect and possibility of application of cultural element "He" in modern design through analyzing the Beijing Olympics'cultural element "He" from its Chinese character's changing forms to its connotation; and the application of the element "He" in traditional design as geometrical figures, homophonic usage, and some legends on it.

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