• CHINESE LITERATURE
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• v.99
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• pp.125-156
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• 2019

This text attempts two types of critical analysis. First is to explore Luxun's critical research attitude toward classical Chinese texts, studying how Luxun critically examines 'liyue (ceremony- music)'. With the way the 'madman' in 《A Madman's Diary》 handles China's old text as a hint, the attitude with which Luxun critically examines the editing and passing down of classical Chinese philology was studied. Luxun pays attention to the situation in which when classical literature is passed down and transmitted throughout history, the context of events are concealed and text is blockaded while text is edited and restructured. Also, Luxun critically examines how the ancient culture of 'liyue' operates on the constitution of Chinese culture, society, and politics, in addition to the process of passing down of texts, as well as how it has effect even in the present day. Classics are closely intertwined not only with issues of the past but with the conventions, moral emotions, and government of today. Second, based on Luxun's examination of 'liyue', the <sheng-wu-ai-le-lun> of the 《Jikangji》 which Luxun sympathized with all his life is criticized. This text, stating that 'There is no sadness or happiness in sound', deeply ponders upon the issue of 'liyue' essential to the logic of Chinese cultural composition, and deviates from the Confucian thoughts centered around social integrity and inspiration. Further, it stresses the autonomy of affective subject, and the process of deliberation by an entity toward harmony and commonness. By the work of examining Jikang through Luxun and Luxun through Jikang, the uncompleted work of classical criticism by Luxun is restructured, and the possibility of classical Chinese texts to relate to today's life is examined.

• CHINESE LITERATURE
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• v.99
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• pp.157-177
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• 2019

1949年後周作人散文中，有關魯迅的回憶文章是其重要組成部分。特别是《魯迅的故家》，展现了形成當下周作人鲁迅的过去经验，根源，历史，文化，地域传统以及逐渐衰败的士大夫家的荒凉内面。周作人在《魯迅的故家》上的魯迅回忆法很独特。明明以魯迅的文章《朝花夕拾》为引子，但很快就超越了原本。他望着被魯迅漏掉或遗忘的百草园内外徘徊。那里有鬼園，有漂泊在鬼園之上的灵魂，也有些生活在想象和历史的境界里的人。甚至还有被他遗忘似的祖父和父親。《魯迅的故家》在虚构和历史，想象和事实或魯迅和周作人这两个领域之間无数次往返，跳跃，并创造出上下四面扩张的新世界。但是在这个时空中，真实和虚构已经不再是個问题。因为在虚构和事实之间徘徊的《魯迅的故家》中的人和事不知不觉间变得更加立体，时时刻刻变化，拥有丰富的内涵。 但是另一方面，随着《魯迅的故家》中出现的魯迅周围人物和事迹具有具体的质感，魯迅本身其形象和存在感也变得模糊不清。因此，"《魯迅的故家》实际上是周作人的故家"的不满和由周作人對魯迅谈论的结果，被认为是 '对左翼鲁迅的放逐'。周作人復原了魯迅早年和青年時代。那是被推頌爲 "現代中國聖人"，"革命家"以前的周作人長兄的魯迅，是生活在衆多背景和事件中凡人魯迅，是非革命性的非戰鬥性的魯迅。這是周作人創造的另 一個世界，是周作人和魯迅的文學和學術發祥地，也接近于曾分化成許多不同面貌的原生質世界。

• The Journal of the Korea Contents Association
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• v.17 no.2
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• pp.612-622
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• 2017

This paper is about on the most representative ethnic of China Mongolian as the research object, through the questionnaire survey to establish the understanding of national cultural symbol and the system of national identity, and lay a theoretical foundation for the application of Mongolian communication and design in the future. In order to achieve the objectivity of the data, so a questionnaire survey was conducted on 300 populations of Mongolian and other nationalities. The result is that the majority of the Mongolians believe that as the Mongolian people have a sense of pride, and the Mongolian nationality is a representative of china. Mongolian is a kind of aesthetic, creative, reliable, aggressive and like the decoration of the nation. The cultural symbols for design elements are cyan, Gen Gi Khan graphics, agate, and peaceful meaning and so on. The cultural symbols are used for celebration, as well as clothing accessories. The symbol of culture has played a positive role in the establishment of Inner Mongolia identity and the propaganda of the nation. The construction of Mongolian cultural symbol system plays an important role in the establishment of Mongolian national identity. To combine the meaning of nation and the mission of culture with national cultural resources. It is not only to help the development of minority culture, but also to promote the sense of pride of ethnic minorities.