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논문검색은 역시 페이퍼서치

중국어문학지검색

The journal of chinese language and literature


  • - 주제 : 어문학분야 > 중어중문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-735x
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 27권 0호 (2008)
7,500
초록보기
唐代是中外文化交流繁榮的時代, 有許多外國人來到中國, 在當時的長安城裏, 就活躍着一批西域婦女, 타們來自遙遠的異國他鄕, 在中原生活, 타們的奇特形貌, 裝飾與風俗, 曾對長安城的社會風尙産生了廣範的影響. 此文章通過分析當時文人的詩篇中的胡姬形象, 考察唐代異文化認識的特徵. 唐詩中的胡姬帶來了異國的情調, 吸引了大批的詩人門客. 唐朝以前的胡姬是戱弄、戱謔的對象, 但唐詩中的胡姬的容貌흔美麗, 저們的舞態也흔美麗. 這些現象是唐代文化開放的結果. 唐人對自己的文化力量有信心, 接受異文化, 據自己的趣向改變了異文化. 安史之亂後, 胡姬的形象改變了. 國勢越來越懦弱, 排胡情緖也越來越深刻了, 對胡姬的關心不是那마大. 타們不是盛唐的文化Icon, 是同情, 諷刺的對象. 通過這些考察, 才了解國勢與開放性有密切的關係.

화간사(花間詞)에 나타난 주렴(珠렴)의 함의(含意)

정태업
중국어문학회|중국어문학지  27권 0호, 2008 pp. 43-71 ( 총 29 pages)
6,900
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花間集中有一個傾向是, 以女性爲主題來歌영的作品흔多, 這不僅僅一兩位作者如此, 而絶大多數作者是這樣. 而在花間集中被歌영的女性, 多是置身于紅樓深巷中的女性, 這就必然置身于常常等待男子來訪的立場上. 因此歌영女性之情的場合, 也多거出女的等待男子, 卽以女性的居室爲背景、以女性周圍各種各樣的室內生活用品爲描寫素材. "렴"是其典型的女性室內生活用品例子. "렴"的初義是遮蔽, 只用在遮蔽視線或光線. 但添加文化含義后, "렴"象征着分隔和阻斷, 可以營造詩性的藝術空間. 在花間詞中含有"렴"的作品用例出現99次. 在本論文根基于文化象征意義, 把"렴"劃分了`垂렴`、`透렴`、`卷렴`的三種境界. 其一, `垂렴`是表示遮蔽. 在花間集中`垂렴`表示封閉和孤獨的女人心態, 正是女人內心世界추창不已的反映. 其二, 透렴是表示隔而不隔、不隔而隔的況態. 垂下렴, 就屋子里的女人可以看到外面, 而外面男人看不到里面, 雖然能看到外面, 却又像是隔開的兩個世界. 這表示能窺見外面的對象, 而无可奈何的女人心態. 其三, `卷렴`象征着開放和融入. 卷렴的目的在于與外界接觸. 就表示男女之間和內外之間的疏通.

유영(柳永)과 주방언(周邦彦) 영물사(영物詞)의 특성 비교 연구

이종진
중국어문학회|중국어문학지  27권 0호, 2008 pp. 73-122 ( 총 50 pages)
12,500
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柳周兩人詞正如"周詞淵源, 全自柳出"之評, 有著緊密的聯系, 對此筆者通過考察羈旅行役詞已加以確認. 但是關於柳周詠物詞的相關性, 卽使詞論家們也沒有령外加以評論, 本文的目的就在於闡明這一點. 本稿分別以柳周的9首和27首詠物詞爲對象, 分爲詠柳, 詠雪, 詠梅, 詠荷和詠杏及其他幾大部分, 考察其詠物技法和修辭特性等, 由此揭示兩者的聯系, 同時論述他們對後代詠物詞發展所起的影響. 柳周兩人都以雪, 梅, 柳, 蓮 杏等爲詠物對象, 以共同的題材加以詠吟這一點讓人覺得饒有興趣. 但柳永以黃鶯, 菊, 海棠等爲詠物題材, 周邦彦以桂花, 枯萎的薔薇, 月, 李花, 眼, 春雨, 中秋等爲題材, 和柳永的詠物題材相比, 周詞的題材內容更爲豊富. 然而, 從中看不到兩人根據詠物對象不同, 采用不同的描寫技法或不同的手法寄托寓意. 從傳統的詠物和寄託方面來看, 柳永的詠物詞可分爲單純的詠物作品和寓意作品, 周邦彦的詠物詞也以這兩種類型塡詞, 但以託意的詠物詞爲主流. 尤其是周邦彦小令中的詠物詞也寄托寓意, 但不同的是柳永小令沒有擺脫詠吟物體本身這一局限. 在意象方面周邦彦的<六醜>(薔薇謝後作)中的 "殘英小,强簪巾책, 終不似一타釵頭요, 向人기側."和柳永<木蘭花>(海棠)中的結拍"揷在釵頭和風顫"意境相同, 出於同一淵源. 령外, 周邦彦<花犯>(梅花)中形象地表現梅實未來命運的 "相將見、翠丸薦酒, 人正在、空江煙浪裏."這一奇句, 和柳永<木蘭花>杏花(전裁用盡春工意)中描寫杏花落後結出杏實這一命運的"假饒花落未消愁, 煮酒杯盤催結子"句子, 兩者是出於同一淵源, 由此可知周邦彦詠物詞中奇特的意境借鑒了柳永的詠物詞. 在鋪敍方面, 以柳永詠物詞爲首的慢詞盡力鋪陳事實, 沒有留有餘地, 給人言之過分之感, 但周邦彦的鋪敍和柳永不同, 回還曲折而且開合動蕩, 在時空的錯綜變化中加以構思, 創造意境, 因此給人强烈的感染力. 尤其是周邦彦<六醜>(薔薇謝後作)中采用鉤勒法卽點染法, 不僅極爲逼眞有層次地描寫了枯萎的薔薇形象, 而且隨著句意的進展, 作者的情感也逐漸得以深化幷達到高潮, 所以和柳永簡單的鋪敍法反復纏綿多少存在區別. 像這樣周邦彦的鋪敍方式基於詠物詞的塡詞法加以發揮, 幷延伸到其他主題詞中, 不斷得到了擴展. 總之, 周邦彦承襲了柳永<望遠行>, <黃鶯兒>, <受恩深>等慢詞中使用的擬人法和託意法, 形象鮮明, 物我一致, 移情於景物, 留下了<蘭陵王>(詠柳), <花犯>(梅花), <六醜>, <水龍吟>(梨花), <大포>等諸多名篇. 這些詞章法回還曲折, 而且含蓄深沈, 深化了北宋詠物詞的意境, 幷擴大其領域, 對後代産生了深遠影響. 尤其是到了南宋, 許多沈緬於失意的文人寫了大量的詠物詞, 寄托了他們的憂國之情和亡國的憂愁, 毫無疑問這些詞都受到了周邦彦技法豊富且寓意含蓄的衆多詠物詞的影響.

곤곡(崑曲) ≪십오관(十五貫)≫ 개편 및 공연에 대한 재평가

김우석
중국어문학회|중국어문학지  27권 0호, 2008 pp. 123-137 ( 총 15 pages)
5,500
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The primary factors of the successful revival of ≪Fifteen Strings of Cash(十五貫)≫ in 1956 can be summarized as followed; The planning of the performance and the adaptation from the original work of Qing dynasty made a bold attempt to reform Kunqu opera(崑劇). The adapted/rewritten traditional drama was particularly re-welcomed when it met with the contemporary political agendas and social demands around 1956. The successful results also reflect a clear grasp in change of the audience`s taste. Artistic talents and passions of well-prepared actors and musicians, who were flexible between traditional technique and new experiment, contributed to achieve the impressive success of performance. The re-evaluation of success of revived ≪Fifteen Strings of Cash(十五貫)≫ can suggest a possible answer to one of the most important issues facing Chinese drama, such as the preservation of dramatic heritage and its modernization.

청동거울에서 유리거울로 -중국 서사 속 거울의 상상력-

김지선
중국어문학회|중국어문학지  27권 0호, 2008 pp. 139-170 ( 총 32 pages)
7,200
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在古代人類的模糊認識中, 鏡子是充滿了神秘色彩的器物. 其反射性質帶來光明, 照見的功能被賦予了奇異的、奧妙的意象. 鏡子與宗敎思想及民間傳說有不可分割的關係, 幷融入了複雜的文化內涵. 從此, 鏡子具有了豊富的、多樣的、複雜的藝術成就和美學原理, 鏡子意象極大之拓展了文學的想像空間, 增强了作品的藝術張力. 鏡子在小說作品中經常以各種形式反復出現, 從六朝志怪、唐代傳奇到明代≪西遊記≫、淸代≪紅樓夢≫, 歷代小說家于此表現了豊富的想像, 鏡子意象因此成爲中國小說中頗具活力的意象之一. 銅鏡意象主要存在于中國敍事中, 銅鏡引起豊富的、創造的文學創作技法及想像力. 銅鏡在志怪、傳奇中顯然是一種神器, 不但"可以避邪,鑒万物", "持此鏡則百邪遠人." 而且還可以治愈百病. 在遠古的人類認識中, 神秘色彩的鏡中世界生産了特殊的超自然的力量. 而當照鏡成爲一個普遍性的生活行爲之后, 臨鏡行爲的動機及其所引起的情緖反應就成爲了一個普遍性的文學情結, 在詩文或小說中不斷重復出現, 具有了普遍的象征意義. ≪紅樓夢≫中的風月寶鑒是基于"可以避邪,鑒萬物"、"預知未來的情況"、"可以治愈百病"的照妖鏡. 而≪紅樓夢≫的不同凡響之處在于타將風月寶鑒的故事納入了一個豊于想像與幻影的結構之中, 作者苦心地構築了這樣一個複雜的象徵和寓意體系. 曹雪芹筆下的風月寶鑒, 認爲這種意象有警世覺迷的作用, 讓人正視自我在現實殘酷中的本質眞實. 進而≪紅樓夢≫的鏡子意象與此前鏡子意象有差別之處在于自戀情結的新意象. 明代末年至淸初, 파璃鏡由歐洲傳入中國, 隨着銅鏡制作衰退, 作爲道敎法器的照妖鏡的功能和神秘色彩淡化了, 파璃表面塗金屬作爲反射層的鏡子被賦予新的意象. 曹雪芹將傳統的意象和創意的感受結合得흔和諧, 創造了東西文化交融的新境界.
11,600
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≪新刊古本大字音釋三國志傳通俗演義≫, 在劉世德的論文中, 通過比較甲本和乙本得出了兩者的區別. 筆者發現周曰校刊本甲本與朝鮮刻本完全一致. 因此可以證實, 朝鮮刻本不是周曰校刊本的改刻本, 而是甲本的覆刻本. ≪朝鮮王朝實錄≫1569年 "≪三國志演義≫出來未久…"和"至於刊印…"等記錄, 得知當時已經刊行了 ≪三國志通俗演義≫, 而耽羅刊本的刊年"丁卯"有可能不是1627年, 而是壬辰抗倭戰爭之前的"丁卯"年, 卽1567年. 而在周曰校刊本甲本和乙本中都將脩髥子的"引"一律刻爲"嘉靖壬子", 而不是"嘉靖壬午", 這說明"壬子"흔可能是周曰校刊本甲本的刊行年度. 如此以來, 可以考慮將周曰校刊本的刊年從萬卷樓刊本(1591)的刊年提前三十九年.

近代主體性與美學之定位 -以王國維美學思想爲中心-

차태근
중국어문학회|중국어문학지  27권 0호, 2008 pp. 213-246 ( 총 34 pages)
7,400
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At the end of 19 century, The voice of the national salvation and enlightenment through education pervaded China, Wang Guowei entered the pedagogical activity at the very moment. But his pedagogical activity was not restricted in the education of educational system, he also studied enthusiastically the philosophy of education. He thought that education and philosophy are cannot separate. He opposed the education method that only crammed knowledge for people. He held that the education goal was to mold "the whole person", but it`s concept only can be defined by philosophical discussion for life essence. Wang Guowei`s advocacy on the building character and esthetic education not only was related to personal moral culture and mental comfort, but also was connected with discourse of nation-state. His motive which joined in the pedagogical activity also aimed at transforming the people nature. Thus, although Wang Guowei emphasized the esthetic education, but he was not a esthetician. He also attached importance to the political significance as well as the moral significance of aesthetic function. 『Disinterestedness』 which he said aimed at the education, politics and social thought which prevailed in the entire society. To sum up, His aesthetics was situated between religion and science in knowledge system, its purpose was the formation of public subjectivity based on aesthetic reason.

중국어교수자의 멀티미디어 교수매체에 대한 인식과 활용 연구

이옥주
중국어문학회|중국어문학지  27권 0호, 2008 pp. 247-297 ( 총 51 pages)
12,600
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The goal of this study is to examine the teacher`s views on the pedagogical efficacy of multimedia technology and the practices of multimedia-assisted Chinese teaching in classroom setting. The results of the survey conducted for the present study show that the teachers of Chinese tend to think that multimedia materials need to be utilized to make classroom teaching more effective, and further reveal a statistically significant correlation between the positive perception on multimedia-assisted teaching and the actual application of multimedia materials to Chinese classroom teaching. Importantly, the teacher`s changing views on teaching materials appear to reflect the reconceptualization of pedagogical methods and learner`s roles in second language education. However, despite the increasing interest in multimedia-assisted teaching and the demand for the learner`s autonomy in second language education, the utilization of multimedia technology for learner-oriented assessments is still found to be at the earliest stage. The findings of this study call for more discussions as to developing teacher`s training programs to help develop the multimedia materials as well as teaching methods best applicable to Chinese classroom teaching.
6,200
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