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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 : 49권 0호 (2014)
초록보기
The Book of Songs(詩經)’s “A Dead Deer in the Wild” has beenanalyzed and reviewed on the basis of “Sanli(三禮)” such as Liji(禮記),Zhouli(周禮), and Yili(儀禮), which are until currently major texts sincethe ancient Confucians. However, it is found in “Sanli(三禮)” thatsubstantial documents lack of attention concerning Deer, Shaggy dog andApron appeared in the phrases of “A Dead Deer in the Wild”. This thesis enables the unprecedented direction of reading to bedetermined due to the discovery of traces and legacies in contrastbetween “A Dead Deer in the Wild” and “Sanli(三禮)”. The scapegoat of adeer and a shaggy dog in the ancient ritual ceremony has beentransformed to a prop of wedding ceremony and a pet, respectively, whilethe clothing of ritual ceremony has been transferred to the symbolic itemof women on posterity. Moreover, a shamanistic action in ritual andbanquet ceremonies following a hunting event has been changed to aformal proposal with courtesy by the Confucius virtue being added.

시경(詩經) 어휘 "정정(丁丁)"의 의미

김기철
중국어문학회|중국어문학지  49권 0호, 2014 pp. 33-50 ( 총 18 pages)
5,800
초록보기
試探詩經所載‘丁丁’之涵義金基喆詩經是詩歌總集。若說成我們所熟悉的一切詩詞均是歌曲的詞,也說得幷不離譜。詩詞乃以極其含蓄且有節奏的美麗詞彙寫成的,這就是所謂歌詞,若너把당當作歌詞型唱一下,那已算是一首歌了。所以當너欣賞詩詞時,拿罷是詩詞的一字一詞,都不能一知半解, 而要徹底了解該詞在句中所起的作用。‘丁丁’是詩經國風周南土著篇所載詞語,曆來對該詞的解釋都以毛傳爲主,幾乎當作定說。毛傳注解在詩經學裏早已站上頂峰,其所以有如此穩定如山的地位,是因爲離詩經産生的時代不遠,所以大家相對比較不懷疑其所載內容。盡管如此,我們也不能把凡是印在毛傳上的都當做金科玉律而深信不疑。有時也可以學習宋朝歐陽修與朱子,他們憑藉詩句原貌,說出自己獨特的意見。朱子,他一反寄往漢學的風氣,擺脫舊說的弊病,開避了宋學說詩典範,可謂是宋學的泰們,但他的著作詩集傳難免有封建時代環境的拘束,總不能完全脫離毛傳模式。朱子以後,其所著詩集傳領避新徑,成爲後代的新一版金科玉律。人們對他的信心幷不弱于毛傳,所以解釋詩經時,依照詩集傳發明,已成爲大潮流。到了淸朝,著名學者姚際恒比較突出,態度嚴正,對先人寄往的主張超然公觀,得出創見非凡,收獲豊碩,啓示後人有助于硏究詩經。此篇論文也是從他對該篇詩句的起疑得到某種啓示,終于得出一個結論。盡管是一言兩語,他的評語裏隱藏著學者嚴麗的眼光、嚴峻的求是態度,若니在字裏行間叢叢過目,也許不容易發現。至于‘丁丁’一詞,自古以來都尊循毛傳的注解,朱子也不例外。除此之外,沒有其他異說,可謂已成定說,無人問津。但姚際恒就不同,他知道‘丁丁’一詞只不過是一個不起眼的詞語,是無數的象聲詞中的一個而已,但過去大家的注解一頭霧水,總不能起到什마作用。他不能苟且偸安,終于道出了一番指責。“集傳但據舊說,釋‘丁丁’爲託益聲,然未詳悉,何以使人知之?” 姚氏這番喝斥聲言之有理,若沒有他的挺身而出,恐罷無人注目這點把?‘丁丁’是擬聲詞,白話謂“錚錚”, 大抵敲打金屬類或玉石類時所發出的響聲。威風凜凜的戰士們井然有序地追簡著獵物時,鼓吹他們向前邁步的, 驚天動地、震耳欲聾的活生生的響聲。若是天下安定,和平年代卽以狩獵當習戰,以獵物當敵人,兎子就是其獵物. 大家追簡著兎子高聲叫喊,號令錚錚響起,鼓吹獵者前進,貌似一群獵狗沖向獵物. ‘丁丁’是錚錚, 錚錚然傳達的號令是軍紀嚴正的表現. 若把陀說成爲了固定兎網而打牆的聲音, 如何能表現出戰士的威嚴尼?‘丁丁’本身其涵義或許不起什麻作用,但其對全詩的影響可不能忽略,若把他當作布網前打牆的響聲,整篇詩的氣勢局限在布網的工序上,但若把他當作狩獵場上武士們追簡獵物時敲打金屬樂器而發出的聲響,可親托出武士們勇往直前的非凡氣象。周禮敎振旅的記錄與兎著詩文,由此可知相吻合。

노자 도덕경 기호체계의 상호텍스트성 연구

오태석
중국어문학회|중국어문학지  49권 0호, 2014 pp. 51-96 ( 총 46 pages)
12,100
초록보기
This paper mainly describes two points on Laozi``s text: one isdistinguished achievement of his denial(否定) and in-existing(內外立存)transcendence(超越) writing style, the other is Laozi``s peculiarperspective of ambivalence to the truth of the universe. I think Laoziand Zhuangzi may presuppose that there are mutual interactionsbetween essential world and the phenomenal world. In Zhuangzi’s aspect,Inshi(因是) could be transferred into material incarnation(物化) based onthe fable of butterfly``s dream(蝴蝶夢). Laozi also considers that‘arising-together’(立作) and ‘embracing to oneness’(抱一) are based on theaspects of ambivalent perspective of the world. As a result, Laoziemphasizes that intertextuality between binary oppositions, same asbeing and nothing, good and evil, haps and mishaps and so on. We cansay that Laozi maintained distinctive perspective of ambivalence to allover the things in the world. We could say his thoughts still has ameaningful influence to the Eastern and Western culture, philosophy,ethics, politics, and aesthetics.
6,200
초록보기
不僅是中國,還是使用漢字的古代東方文化圈裏,樂府詩歌在內的嶼事詩歌發展不充分,對其原因已有許多硏究分析,不過還未明確。本文認爲, 因爲漢字難學、更難學習的記錄形式古文及其造成的藝人難使用文字的環境, 就造成了缺乏樂府民歌文字記錄的結果。 尤其是嶼事樂府, 其演出都由民間藝人用白話來進行,而且在傳統觀念上嶼事詩歌不如抒情詩歌受重視,因此敍事樂府痕難進入文人的記錄文學範圍內。這可以說是中國在內的古代汗字文化圈裏敍事文學未發達之原因之一. 漢樂府相和歌辭是由民間藝人演行的口述文學、一種具有現場性的演行藝術. 因爲樂府民歌記錄不充分, 魏晉文人主要是通過民間藝人的演出而受容樂府,進行模擬創作。文人在進行創作時,分別創作,一是爲藝人演出而創作,一是爲了表露自己的情感而創作。前者因爲相當部分相和歌辭已被定爲宮庭宴樂, 其歌辭也由此而固定化, 未必要文人重新創作。結果,樂府作爲是一種演行藝術,被文人受容,文人用樂府表露己的鑒賞,這樣樂府逐漸走路抒情樂府化、文人文學化、記錄文學化,嶼事樂府只能停滯在藝人之手而漸漸消失。
7,300
초록보기
文章,有時會有雖富有文采殼缺乏感染力(風)或內容性(骨=不是文章本身內容的內容所應具有的規律,卽類似“結言端直”的內容的規律性)的情況,就算具有感染力或內容性的要素,若無法用適當的文采加以表達,文章的表達就會不僅如人意。如果只有華麗的文采而缺乏感染力,結果只能是“爲文飾而造情”,這是我們應該舍棄的。不使用修辭的感染力(風)是不存在的,不附著審美形式只依睾嚴密內容性(骨)來表現的文章或文學作品是沒有存在價置的。因此,只有在內容的嚴密性和感染力上,再加上最確切的表達方式,才能符合“爲情而造文”的文學要求。<冊魏公九錫文>只完成了一半-骨,自形式或言辭的運用上來看,其構思或槪念可謂是“熔鑄經典之範,翔集子史之術”。在句法與言辭的使用上看,<冊魏公九錫文>只不過是嚴密的模舫經典罷了。但是,劉鋏脚視<冊魏公九錫文>爲“思摹經典”之典範,極贊其使得“群才鍍筆”。這是折衷主義者劉協通過襁調內容嚴密的規律性、以“結言端直”來提煉文章“體要”,試圖來糾正當時浮靡文風的一個方法。

안지추(顔之推)의 사상 및 처세관- 갈홍(葛洪)과의 비교를 통하여

정재서
중국어문학회|중국어문학지  49권 0호, 2014 pp. 153-170 ( 총 18 pages)
5,800
초록보기
북조(北朝)의 문인 안지추(顔之推)는 위기의 연속 상황에서도 유자(儒者)로서의 정체성을 지키며 능히 자신의 몸을 보전했을 뿐만 아니라 □안씨가훈(顔氏家訓)□을 통해 그 노하우를 전해 자손의 영달(榮達)까지 도모하였다. □안씨가훈□에 담긴 그의 사상을 살펴보면 안지추는 이용후생(利用厚生)의 실천 유교를 바탕으로 도교 양생술(養生術)을 건강 유지의 방법으로 수용하였으며 불교를 심령의 최후 귀숙처(歸宿處)로 삼았는데 이에 앞서 장구지학(章句之學), 청담(淸談) 등 유교, 도교의 공소(空疏)한 분야를 철저히 비판하여한 치도 현실과 괴리되지 않은 난세의 처세 철학을 정립하였다. 안지추보다앞선 난세를 살았던 갈홍(葛洪)의 경우에도 우리는 비슷한 사례를 보게 되는데 그는 안지추와는 달리 도교를 바탕으로 유교를 현실 생활의 원리로 채택하는 도본유말(道本儒末)의 통합적 사상체계를 수립하였으며 그 역시 난세의 풍운 속에서 소기(所期)한 바의 삶을 살았다. 출발점은 다르지만 궁극적으로 삶의 보전(保全)이라는 동일한 목적을 향한 양자의 이러한 자세는 대척적(對蹠的) 입장마저 수용하는 사상적 융합이야말로 난세를 헤쳐 나갈 수 있는 지혜를 낳기에 훨씬 유리하다는 것을 보여주는 실례라 하겠다.

기무잠(綦毋潛)시가의 주제 분석

배다니엘
중국어문학회|중국어문학지  49권 0호, 2014 pp. 171-194 ( 총 24 pages)
6,400
초록보기
기毋潛(692?-755?)是盛唐之一位重要淸淡詩派詩人, 他的詩歌數量雖少, 以淸澹風格的自然詩在唐代自然詩的發展過程中做出了一部貢獻. 他的詩歌中 要特別注重的是自然詩, 他的自然詩基本上繼承了六朝等前代詩歌的特點, 寫景 注重興象, 而且在山水中融入了濃烈的隱逸志趣, 又表現出淸澹風格, 基本上具 備了盛唐自然詩的審美特徵, 體現了他在詩歌上的藝術創變. 本篇論文著眼于上 記的內容, 在主要三個方向下分析了기毋潛張詩二十六首中可以抽出的特點和 意義. 第一, 기毋潛對自然詩方面創出了閑雅淸淡的風格, 他憑借少量的詩歌代 表濟身于盛唐山水田園詩派之中, 幷與王維、儲光羲等知名詩人相知相交, 突顯 出詩人不凡的詩歌魅力與成就. 第二, 기毋潛的十二首詩歌是吟詠寺廟和道觀的詩歌, 顧名思義, 卽詩人追 求禪趣而遊山訪寺之作. 此類詩歌內容涉及寺廟之淸淨美和禪趣,其中蘊含詩 人對自然的熱愛和歸隱寺廟之志. 第三, 기毋潛也重視交遊痕多文人, 其結果歸結於創作送別贈答的共九首 詩歌, 是詩人與友人相交的感情紐帶, 字裏行間充滿離情別意, 感人至深.
7,000
초록보기
明人董越留下的《朝鮮賦》記載的是``世紀朝鮮社會的諸般情況,而其中一段十八句描述的是一場山臺雜戱:巷陌盡爲們倪所擁塞,樓臺盡野文繡所衣被。樂聲也若緩以炭,據設也亦華以麗。沈檀噴曉日之煙霧,桃李廉東風之羅綺。變轉動車馬之音,萬衍出魚龍之熙。鼇戴山擁蓬瀛海日,猿抱子淫巫山峽水。飜筋問不數相國之熊,嘶長風何有鹽車之驥。沿百索輕若陵波仙子,攝獨敎驚見跳梁山鬼。飾獅象盡蒙解剝之馬皮,舞原鸞更簇參差之雉尾。槪自黃海西京兩見其陳率舞,而皆不若此之善且美也。從演熙史的角度來看,這一段具有痕高的資料價置。但已往的硏究沒有充分地交代其價置。所以本文對上擧十八句重新進行考察,得到如下的結果。第一,爲了讓讀者了解整個山臺雜戱,先把十八句共分爲三段,然後對每一段補充了如此說明:前面的六句描述了演戱之前演戱場的整個氣奮。第七至十六句中除前二句之外,其他八句依次描述了山台及舞童、筋問、馬上才、沿百索、獨敎、獅象、猿鸞等七種雜戱節目。最後的兩句是對京師山臺雜戱的評價,幷且我們可以從中得知平壤和黃州也擧辦過山臺雜戱。第二,爲什麻第一個表演的節目是舞童? 對這一問題,筆者借鑒中國江西大余縣的《羅漢舞》,其舞蹈的大意在于表達人丁興旺,據此提出這樣的意見:舞童的大意也在于表達人丁興旺,所以,當時朝鮮藝人也許得先跳舞童,這痕有可能。第三,筆者把‘攝獨敎驚見跳梁山鬼’一句解釋爲由一些戴假面的演員們跳的獨敎,而這種解釋在韓國演戱硏究史上具有如此幾項意義:一至今,這是文獻資料中獨一無二的有關獨敎的證據。;``世紀朝鮮的獨敎讓人如此設想散樂流傳途徑:中國散樂系統的獨敎卽日本高足至遲公元;年以前經過韓半島傳到日本。三從表演形式來說,``世紀朝鮮獨敎與明代鰲山雜戱中《大頭和上戱劉翠》屬于同類的高敎假面舞,因此我們可以理解兩種假面舞可能來源于同一個源頭。第四,綜上所述,《朝鮮賦》的有關記載讓人設想:朝鮮山臺雜戱也許是現存韓國假面劇的主要傳承途徑。
6,400
초록보기
Zhong Yi Xuan Tu, a full length court drama written during the QingDynasty, has been considered as an indistinctive literary work with themajority of its contents simply adopted from The Water Magin, or ShuihuZhuan, a classical novel. However, the work should rather be analyzedas a drama than as a novel since it was developed to serve the purposeof a play to be put on a massive -story stage inside the court. Thepurpose of this paper is to clarify that Zhong Yi Xuan Tu is not a mereadoption of the novel but a work that was greatly influenced by dramason many levels and to identify its characteristics as a court drama bycomparing it to Chungqi, a biography written during the Ming and QingDynasties based on The Margin Story. In addition, among four court dramas written during the QianlongEmperor’s Reign, ZhongYiXuanTu has been relatively undervaluedcompared to the others in terms of contents. Probably suchunderestimation stems from the hasty judgment that its contents areinappropriate to be performed at the court as the story involvesplunderers. However, this traditional story came to be com piled into adrama with an ending of all plunderers surrendering to the court largelybecause it wa s such a gripping story that had long been wildly known tothe public and the story also involved ``0 heroes with unique characters. Above all, the fact that appearance of ``0 heroes is possible by utilizingthe massive -story stage must have been considered in the process ofcompiling the drama. Thus, it is necessary not only to analyze thecontents of Zhong Yi Xuan Tu in the context of traditional literaturewhich adopted The Margin Story but also to identify its characteristicsas a court drama, a unique kind of performing arts. Starting from suchperspective, this paper examines the position Zhong Yi Xuan Tu, whichhas been widely depreciated compared to the other court dramas writtenduring the same period, holds as a court drama.
7,100
초록보기
Tao Yuanming``s poetry and Drinking philosophy was reproduced bypictures while coexisting with humanistic spirit. From the Tang Dynastyto the early Qing Dynasty, Portrait of Tao Yuanming which isalcohol-themed painting had evolved into a process which explore thehuman sprit through one human Tao Yuanming by Clarifing TaoYuanming and the meaning of his drinking. From the Tang Dynasty to the early Qing Dynasty, Shapes of TaoYuanming is largely appears in three different aspects in the Portrait ofTao Yuanming where alcohol appeared. Firstly, as a hood made ofarrowroot fiber(葛巾) it was shaped to Scholars who filter alcohol orsocked in alcohol. These works are commonly exposed body. these implythat artists show human nature adoring the one true freedom away fromthe mundane world and express freewheelingness. Secondly, it is shapewhich Tao Yuanming abstains from drinking alcohol excessively andshape of gentleman who keep Self-mastery and Manners and laws. TaoYuanming was not drunk and equipped with a majesty and dignityalthough alcohol. Child tieing alcohol jar often appeared in these pictureslet us know that Tao Yuanming loves alcohol. Simultaneously it showthat he has virtues and loyalty like confucian gentleman. Reason for thisidealization for Tao Yuanming as confucian man is why eletes in theSong Dynasty understanded Tao Yuanming as the ideal person who hashigh const ncy and loyalty. Thirdly, it is shape which Tao Yuanmingenjoy and drinks alcohol but is not drunken and become holy man whohad reached a state of mental cultivation all the more. This situation iswhy they recognized that alcohol and drinking are essence showing TaoYuanming``s sublime spirit in the end of Ming Dynasty and the earlyQing Dynasty. Wise People expended the mental region of Tao Yuanmingthroughout populization and commercialization of Tao Yuanming andalcohol-themed pictures. We can identify that commercialization of TaoYuanming``s mental proceeded with Tao Yuanming as holy man wastransformed while experiencing processes like specialization,secularization, and generalization in the end of Ming Dynasty and theearly Qing Dynasty.
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