글로버메뉴 바로가기 본문 바로가기 하단메뉴 바로가기

논문검색은 역시 페이퍼서치


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 :
수록 범위 : 43권 0호 (2013)


( Dayong Yao )
중국어문학회|중국어문학지  43권 0호, 2013 pp. 7-25 ( 총 19 pages)
The quantity of Chen Yuyi`s Ci writing is not too much in Chinese Song Dynasty, but they were loved by people, and even spreaded to Korea, they also have influence in Korea. Jeong?Gu,Who lived in Jung?Jong period of Chousen Dynasty, imitated Chen Yuyi`s ci riting and created a new ci writing. Chen and Jeong`s ci writing not only have differences in the content theme, style characteristics, but also reflects the different thought of ci writing. Chen Yuyi used the method of writing poems to write ci writing, Jeong?Gu discussed things in his ci writing. Although it is the imitation of others, Jeong?Gu`s ci writing has its own features, showing the new change of ci writing in Korea. Jeong-Gu respected predecessors but not implicited, it is also worth praising and learning by us.
本文旨在試圖說明《樊川文集夾註》的夾註者的國籍問題。 爲了深入地探討 此問題, 本文首先檢討前人的硏究成果, 而且就相關論點的得失加以論述。 接著, 本文證明《樊川文集夾註》所引用的中國書籍確實在當時高麗所藏, 藉此說明 夾註者爲高麗人。 通過本文的討論得到如下幾點結論: 第一、 大部分中國學者認爲「夾註者爲南宋人」, 但是這種說法實際上幷無 根據。 第二、 有些學者提出「夾註者爲韓國人」, 如(中國)朴鋒奎、 (日本)芳村弘道等人, 他們的說法雖然有可取之處, 仍有再討論的餘地。 第三、 《夾註名賢十抄詩》爲由高麗僧人夾註的。 有趣的是, 《夾註名賢十抄詩》所引用的不少中國書籍在《樊川文集夾註》也被引用。 加上, 《樊川文集夾註》 引用的不少書籍在南宋以後, 在中國沒有流傳下來, 如《玄宗遺錄》、 《十道志》、 《唐宋詩話》、 《茶譜》、 晩唐詩人們的詩文集(《十抄詩》編纂時利用的)等。 又在 宋代編纂的類書或後來出現的輯佚本中也?不到《樊川文集夾註》所引用的內容。 那?我們可說在夾註的過程中, 夾註者確實看到這些書籍的單行本。 如此說來, 《樊川文集夾註》所引用的中國書籍, 確實當時藏在高麗, 則夾註者無疑爲高麗人, 不可能爲南宋人。
中國戱曲在韓國境內的公開演出始於舊韓末期, 觀衆對象爲在京(首爾)的 中國人。 演出雖然開放給平民百姓, 但因爲演出語言爲中國語, 固此其欣賞層面 覆蓋率甚低。 朝鮮人觀賞中國戱劇的機會大多是在出遊中國之季,而這種機會平民乃是 千載難逢, 其享受特權屬外交使節及其隨行員專有(유)。 朝鮮外交使節觀賞中國戱 劇的有關記錄留於燕行錄上。 然而,燕行錄的記錄者雖精通漢文, 但聽?(동)中國 語的爲數不多,因此,中國戱劇演出僅僅充當了對異國文化的好奇心而已。 在燕行錄上沒有發現爲之熟悉的中國戱曲目錄。 這說明觀看作品有別於閱讀作品, 而朝鮮人則喜愛閱讀戱曲。 流傳至今的作品有《荊釵記》ㆍ《拜月亭記》ㆍ《琵琶記》ㆍ《西廂記》ㆍ《薩眞人 夜斷碧桃花雜劇》ㆍ《伍倫全備記》ㆍ《四聲猿》ㆍ《牡丹亭》ㆍ《長生殿》ㆍ《笠翁傳 奇十種》ㆍ《桃花扇》ㆍ《蔣園九種曲》ㆍ《紅樓夢曲譜》ㆍ《傳奇六種》等; 還有與《琵 琶記》 ㆍ《西廂記》ㆍ《四聲猿》ㆍ《牡丹亭》ㆍ《桃花扇》ㆍ《玉合記》 ㆍ《南柯夢記》等 戱曲作品有關的朝鮮文獻記錄, 其中還發現了戱曲選集《盛世新聲》一書。 除了《西廂記》以外實際接觸的戱曲作品爲數不多, 留有記錄的作品也?(흔)是 甚微, 欣賞戱曲作品的層次局限在文人或中人階層。

북경천교의 설창예술 연행양상 고찰

중국어문학회|중국어문학지  43권 0호, 2013 pp. 97-119 ( 총 23 pages)
北京天橋是代表大衆流行文化的空間。 應該指出的是, 那所場以一般民衆 的傳統文化空間兼多元文化藝術空間, 發揮了重要作用的發源地。 因此, 筆者通 過表演藝術來進行分析北京天橋的的文化內涵。 首先, 分析由北京天橋的位置影響的文化意義。 北京天橋是全國所有的公 演藝術離合集散的獲地域。 因此, 硏究北京天橋說唱藝術的話可首以先掌握中 國全域說唱藝術樣相。 其次, 北京天橋表演藝術是反映下層階層文化, 而可以用北京天橋公演藝術掌握北京大衆文化。 在本文中, 筆者選擇說唱藝術來進行了硏究。 因此爲本考硏究, 先考察北京天橋的文化空間形成與變遷及名稱, 然後通過說唱藝術來北京天橋的文化內涵。

《每日申報(매일신보)》에 번역된 《三國演義(삼국연의)》에 대한 고찰

중국어문학회|중국어문학지  43권 0호, 2013 pp. 121-151 ( 총 31 pages)
In this paper, I investigated Yang, Kunsik(梁建植) who tried to introduce the status of Chinese literary circles to Korea and also actively published translation works of Chinese literature at the modern times when the intellectuals observing Japan had tried to learn western civilization. He published the historical novel of “Romance of the Three Kingdoms”(《三國演義》) serially in Mae-il Daily Newspaper(《每日申報》), from May 5th, 1929 to September 21st, 1931. The following questions are thoroughly investigated in three ways: (1) What is the position of his translation of “Romance of the Three Kingdoms”(《三國演義》) in the history of Korean literature? (2) What is its relationship with modern media which played a key role in the production and spread of literary works. At first, considering the Korean literary style and the translator`s style of writing, it can be found that Yang, Kunsik emphasized the importance of our own style of writing reflecting the intellectuals` worries who lived in a transition period. At second, it can be found that he inspired the national consciousness and relied the hope for independence by translating the novel of historical heros. At third and last, it can be looked that the illustrations of the serial novel in a newspaper formed a genre of popular art visualizing the literary work. Yang, Kunsik actively translated not only modern Chinese novels but also classic Chinese novels because he pursued the base of a new era in the traditions. There were traditions that could not be discontinued in the course of advancing towards the modern era and he was trying to find a modernity suitable for Korea by translating Chinese literature.

사랑과 실존의 내면풍경-林徽因(임휘인) 시 읽기

중국어문학회|중국어문학지  43권 0호, 2013 pp. 153-181 ( 총 29 pages)
Though Lin Huiyin(林徽因) is well known as an architect and poet, it seems that her poetry has not been fully evaluated. At first she wrote romantic love poems, but later her poetical style changed with having access to studies of old architecture and Modernism. This study classifies themes of her poetry into love, history, death, and reviews its change from Romanticism to Modernism and her awareness of life. Part One examines how she first wrote poems during recovering from pulmonary disease at 香山 and contains the characteristics of her romantic love poems. In these poems focused on her personal experience, she indicated memories of the love with a poet 徐志摩, concealing and inner confession through many nature`s images such as a boat, the night sky, a mast, the sun, the star, a flower. After his death, however, she expressed the truth and memories of love boldly by making use of symbol and image getting out of hesitation and concealment. Part Two looks over her turning to Modernism from Romanticism focusing on poems written in 1933-37. She participated in a magazine New Poetry<新詩> and played the role as the hostess of literature salon, where temporary Beijing intellectuals got together. She was deeply involved in Modernism as shown in Beijing School 京派 which describes city and anxiety about life. Making use of such images which represent history and time as the street, the twilight, the sand wind, the chimney, the sound of a bell, a fort, she combined city-criticizing modern consciousness with bitterness of traditional times. She got a deep philosophical meditation about history and time traveling many places to study ancient architecture with her husband 梁思成. Part Three explores the inner awareness of the poet who faced disease and death wandering through 昆明 and 四川 after the Chinese-Japanese War in 1937. She represented despair, depression, loneliness with such images as the setting sun, a lamp light, fallen leaves, graves, six o`clock, the window. Having faced her own death through experience of surgery, she showed the process where an inquiry on death and nothingness sublimates into deliverance and forgiveness in the poems written in Beijing, in 1947-48. Confronting reality and pain boldly in every single moment of her life, she displayed her inner frankness and sincerity truly in her poems. So it is not surprising that her poems are highly ranked despite their small amount.
今天姓氏用字非常穩固, 除了個別藝術或簽名用途, 同一姓氏的用字不許 異寫。 但是, 如今我們接觸到的出土文獻中所顯示的現象與今廻然不同。 古人書 寫同一姓氏字或附加形旁、 附加聲旁, 或聲符替換、 形符替換, 繁簡幷存, 異體 繁衍。 像這磨繁雜混亂的古代姓氏經過秦漢隷變之後, 來源不同的姓氏却合倂 成一個姓氏, 傳到今天。 本文鑒于此, 飜閱古璽資料, 發現了晉系璽印中 ‘卉’, ‘恐 (恐)’, ‘工’, ‘共’, ‘巷 (巷)’, ‘巷(巷)’, ‘共’七個姓氏字所從聲符相同或相近。 然 這些姓氏字除了‘共(共)’以外, 大都在傳統文獻中?(조)不到相應的姓氏, 因此懷疑 是否同一姓氏的不同寫法。這種同一姓氏的不同寫法現象亦見於楚系文字資料 中。 同一姓氏古人爲什?會用不同的字, 原因?(흔)複雜, 可能與個人的書寫習慣、 文字的地域特徵、 氏族的某種需求等等有關。 總之, 對於古代姓氏用字我們不能 以今天的觀點去理解, 須要進一步的探索和硏究。
近代漢語中的唇音字合口對立問題是在漢語音韻史上重要問題之一。 本文 用8種中國韻書、 韻圖和8種朝鮮時代韻書、 漢語敎科書考察了近代漢語中的唇 音字開合口對立問題。 本文所用的材料包括《洪武正韻》、 《元聲韻學大成》、 《詩 詞通韻》、 《韻切指歸》、 《韻法橫圖》、 《類音》、 《等韻精要》、 《古今中外音韻通例》、 《正音切韻執掌》等中國文獻和《洪武正韻譯訓》、 《四聲通解》、 《華東正音通釋韻 考》、 《三韻聲彙》、 《飜譯老乞大》、 《飜譯樸通事》、 《老乞大諺解》、 《華音?蒙諺 解》等朝鮮時代文獻。 分析結果表明, 中國韻圖、 朝鮮韻書和漢語敎科書裏的表 現都不一致。 除了《洪武正韻譯訓》、 《四聲通解》、 《三韻聲彙》以外的朝鮮文獻裏 的唇音字上都不出現u介音。 第二, 中國韻圖裏的唇音字往往排列在合口呼, 或 者開口呼和合口呼上同時出現。 總之, 近代漢語音韻史上曾經沒有任何韻具有u 介音, 唇音字不分開合口。


중국어문학회|중국어문학지  43권 0호, 2013 pp. 229-246 ( 총 18 pages)
Whether the initial V(微母) still existed or not is very important when talking about the Mandarin language in the Qing Dynasty. Some researchers like Mr Ye Baokui argued that the initial V(微母) still existed in the Mandarin language in the middle of and late Qing Dynasty, while this article argues that the initial V(微母) in the Mandarin language in the middle and late Qing Dynasty didn`t existed at all, and that Mr Ye`s view on the Mandarin Language in the Qing Dynasty is not convincing. The initial V(微母) in some Mandarin textbooks, written both by Chinese and by Westerners, is only something in the author`s mind or what written in the classics, and the sound recording in the Mandarin textbooks sometimes didn`t reveal the pronunciation in reality.


중국어문학회|중국어문학지  43권 0호, 2013 pp. 247-265 ( 총 19 pages)
본고는 한국학생을 대상으로 하는 중국어작문의 문법교수전략에 대해 고찰하였다. 그 배경은 기존 중국전통문법이론과 전통문법교육방법에 대해 반 성하고 한국학생의 특징에 맞는 문법교수전략대로 교육하여 작문수업의 문법교육을 더욱 효과적으로 하는 데에 있다. 중국어작문의 문법교수전략은 네 가지가 있다. 즉 첫째, 중한어특징대조 전략, 둘째, 구문능력향상전략, 셋째, 절접속사습득전략, 넷째, 자아오류감시 전략 등이다. 중한어특징대조전략은 한국학생들의 작문공부의 1단계에 적용 되고 구문능력향상전략과 절접속사습득전략은 2,3단계에 적용된다. 자아오류감시전략은 작문하는 전 과정에 적용된다. 중한어특징대조전략의 핵심은 중한 언어와 문법의 특징을 한국학생에게 전수하여 이들이 중국어와 중국어문법체계에 대해 정확한 인식을 갖게 하는 데 있다. 구문능력향상전략은 동사성구의 확장과 호응구조를 중심으로 구성 되어 있다. 학생들이 이런 구문능력과 직결되는 구조를 습득하여 단문중심의 구문능력을 기른다. 절접속사습득전략은 학생들이 단문과 복문의 접속사의 습득을 통해 문단중심의 구문능력을 갖추게 한다. 자아오류감시전략은 교수 와 학생의 공동첨삭과 학생 간의 상호첨삭을 통해 학생들이 스스로 오류를 바로잡는 인식과 동기를 형성하게 한다. 결국 학생들이 더욱 적극적으로 중 국어작문과정에서 나타난 비문법적인 오류를 찾아내 시정하여 상시적 자아 감시 메카니즘을 갖도록 한다.
1 2 >