Table of Content

01 August 2006, Volume 25 Issue 4

Previous Issue    Next Issue

Orignal Article

Formation of “Reasoning Ethos” in Early New Poetry

CHEN Jun

2006, 25(4):  11-15. 

Asbtract ( 180 )   PDF (756KB) ( 122 )  

References | Related Articles | Metrics

Dispute About Qu Yuan Between Wang Yi and Ban Gu

JIANG Fang

2006, 25(4):  26-29. 

Asbtract ( 216 )   PDF (697KB) ( 159 )  

References | Related Articles | Metrics

The focus of the dispute between Wang and Ban over the appraisal of Qu Yuan lies in the fact that Ban took Qu as a “virtuous subject” while Wang regarded Qu as a “loyal subject”. Ban read Qu Yuan in the light of Qu’s talented frustration and criticized Qu for his extremes, but in the reading of Qu’s loyalty, Wang weakened Qu’s resentment at the monarch and towards the society. Wang and Ban both changed the emotionally-emphasized acceptant dimension in the reading of Qu Yuan by the scholars, and put rational explanation at the first place of the reading activity. They truned the following into two major themes in the history of the reading of Qu Yuanone being the frustration of the talented, the other, the loyalty to the monarch and the affections to the country.

Romantic Modes in Tang-Dynasty Legend and Love and Marriage Perception of Tang-Dynasty Scholars

XIONG Hai-ying

2006, 25(4):  36-40. 

Asbtract ( 349 )   PDF (1019KB) ( 146 )  

References | Related Articles | Metrics

In Tang-dynasty legend there are chiefly two romantic modes, which reflect Tang-dynasty scholars’ psychology and consciousness concerning sexual relations. They long and seek for love on the one hand, and they generally have the psychology of visiting prostitutes, while in marriage, on the other, they have a deep consciousness of family power and influence. This complicated mentality has its very profound and realistic source, which results in the fact that most Tang-dynasty legendary romances end up in tragedies.

Norwegian Forest in Vision of Feminism

YAN Wei

2006, 25(4):  50-53. 

Asbtract ( 225 )   PDF (736KB) ( 114 )  

References | Related Articles | Metrics

Norwegian Forest is a narration of masculine discourse. Influenced by phalluscentric tendency, the narrator depicts those feminine images in the novel as sacrificial offerings or instruments that satisfy masculine desire. Former commentators neglected the harm such values did to feminine characters, who, in the novel, are confronted with 3 questions of the separation of “sex” from “love”, identity deficiency and “penis admiration”.

The Narrative Mode and Focalization in Hemingways Short Story On “The Short Happy Life of Francis Macomber”

LIU Wei

2006, 25(4):  54-58. 

Asbtract ( 282 )   PDF (778KB) ( 127 )  

References | Related Articles | Metrics

Ernest Hemingway was bestowed the Nobel Prize for literature on account of his mastery of modern narrative art. Among his short fiction, “The Short Happy Life of Francis Macomber” is a masterpiece of his narrative artistry. Besides the linear narrative mode, it is embedded a sub-mode of repetition and contrast. While concerning its complicated focalization style, this short story exemplifies a special case of omnipresencewith the narrators focalization offering the structure and characters focalization the details.

Solicitude for Speech life Status of Peasant Labourers

XIE Xiao-ming

2006, 25(4):  59-62. 

Asbtract ( 273 )   PDF (647KB) ( 128 )  

References | Related Articles | Metrics

Because of their generally low literate level, peasant labourers are confronted with many a pressure and hardship in life in their course of integration into the city, of which speech culture has become a main factor that influences the “city integration”. This factor severely restricts their realm of communication, working channels, working environment and their spare-time cultural life, exerting harmful influence on the spirit and psychology, to which the government and the employers should pay close attention and take every realistic and workable measure to improve the speech life of the peasant labourers and solve other related problems.

Investigation and Analysis of Residential Names in Beijing,Shanghai and Guangzhou

GE Li-sheng, ZHANG Yong-tao, DUAN Jin-xian

2006, 25(4):  63-65. 

Asbtract ( 239 )   PDF (507KB) ( 114 )  

References | Related Articles | Metrics

The difference in the trisyllabic, quadrisyllabic and pentasyllabic residential names in the 3 cities of Beijing, Shanghai and Guangzhou are mainly shown in the pauses of the pentasyllables. The 3+2 pattern of pauses in Beijing is effected by the influence of its inherent toponymies, and the 2+3 pattern of pauses in Shanghai and Guangzhou is caused by rhythm. Most residential names in the 3 cities have suffixal identifier words. In accordance with the application or otherwise of metaphors, the suffixal identifier words fall into the two kinds of those with such words and those without. But no hard and fast line can be drawn between the two. A continuum can be established between them in accordance with the force of the marking effect. Of the high frequent suffixal identifier words, the most of the names without suffixal identifier words are adopted by Beijing, less by Shanghai and the least by Guangzhou.

Expression of Contrastive Focus by Contrastive Pattern in Relation to ‘shi’(a positive term) and ‘bu shi’(a negative term) Structure

ZHU Bin

2006, 25(4):  68-72. 

Asbtract ( 257 )   PDF (814KB) ( 104 )  

References | Related Articles | Metrics

The contrastive pattern in relation to shi and bu shi structure is one of the syntactic devices for expressing the contrastive focus. The contrastive pattern is different from other syntactic devices such as simply by using marked words and words order. The contrastive focus can be divided into the semantic focus and the pragmatic focus. Grammatical devices such as elision, implication, and sharing can protrude the contrastive focus.The contrastive focus is located at the positions of the ahead component, thebehind component, and the ahead-behind component. Of the three positions, the behind component is a commonly used one.

“Yi(All) NX” Structure

ZHANG Hong

2006, 25(4):  73-76. 

Asbtract ( 224 )   PDF (758KB) ( 117 )  

References | Related Articles | Metrics

“Yi N”is a temporary quantifier phrase,and “N” stands for the “location” of it. “Yi NX” has the descriptive semantic feature as a result of “Yi N” non-quantizing function, which confines itssyntactic distribution.By contrast,“Man N”is more flexible and diversified in the choice of the “N”, semantic functionand syntactic distribution.

Research of Special Pronoun Mo in Huanggang Dialect

TONG Jian

2006, 25(4):  81-83. 

Asbtract ( 243 )   PDF (451KB) ( 131 )  

Related Articles | Metrics

There are two patterns of mo after the word jiao. One is the pattern of “jiao+subject+mo”, where mo can replace a predicate verb, or a predicate verb plus its object or its compound sentence, and the other is the pattern of “jiao+mo”, in which mo can replace a subject, a predicate verb and an object. Without jiao, mo is devoid of its replacement function. If mo is complemented by a part of the replacing object, the content of replacement will be changed. If the complement is the whole of the replacement, mo thereby becomes a modal auxiliary used for emphasis. The special pronoun mo in Huanggang dialect is a succession and development of the indefinite pronoun mo in ancient Chinese.

Triple Visual Angles in Research of Chinese and Western Aesthetic History of Music

LONG Hui

2006, 25(4):  106-109. 

Asbtract ( 187 )   PDF (525KB) ( 113 )  

References | Related Articles | Metrics

The triple visual angles that the research of the Chinese and Western aesthetic history of music in contemporary China inevitably touches upon are as followsone is the independent research that takes itself as the object of the work, discussing the aesthetic proposition, the aesthetic category that arises from its own cultural ambience, etc.; the other is the comparable research that takes the visual angle of the questions about the aesthetic theory of the other party as the reference; the still other is the explanatory aesthetic research of the past music aesthetic thinking by way of modern music aesthetic theoretical speech.