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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 : 51권 0호 (2015)

역설의 즐거움: 老莊(노장) 존재론의 否定性(부정성)

오태석
중국어문학회|중국어문학지  51권 0호, 2015 pp. 7-47 ( 총 41 pages)
8,100
초록보기
本稿是對老莊的世界觀和在寫作上的論理推動中的共同和差異進行槪括和 相互比較。老子就通過詩、莊子就通過寓言, 進行實例的解析, 兩文具有互補性。爲了打破現實界限, 老莊推動否定性的論理思維。因爲超越現實以及打破日常性關係, 也可以說成是解體超越。고著逆說以達到眞理世界, 讀者覺得喜悅。老莊存在論要點可分爲如下四點:①對於潛在性世界的設定以及提出道與無的槪念。②包括生命與非生命的“種-超越”性的物學思維。③“竝作”、“方生(竝生)”、“兩行”、“因是”的兩價性思維。④運用超越ㆍ解體ㆍ逆說的寫作以推動“無”和“非”的否定性論理推論。筆者考察老莊的世界觀, 幷且對周易等東亞根源思維進行考察, 想起了莫比烏斯帶(Mobius strip)。毫無連接的兩個世界通過莫比烏斯帶連接成一個。在莫比烏斯帶, 才可能斷絶了的兩個不同的世界之間的跳躍與溝通。這可以稱爲莫比烏斯變換(Mobius shift)。那마莫比烏斯變換在帶子的那個地方就可能?從莫比烏斯帶到其他世界的跳躍性的連接點不是特定的。其實帶子的任何地方都是跳躍連接點。這也是“道”的“遍在性”。這意味著以時間的“存”和以空間的“在”, 以所表現的現象界也就成爲了連接령一個世界的莫比烏斯連接點。那마, 有(有名, 有欲)的世界和無(無名, 無欲)的世界幷不是兩個, 而是一個。那兩個世界通過玄同的沖的區域而往來。莊子所認爲的“我可能是蝴蝶”表現出實象和虛象的認識性的反轉。看不到的世界就是“無”的世界, 進而“有”和“無”不就是通過“玄同”跳著‘存在的舞’的마?那就是說, 比烏斯連接點不是一個特定的點, 而是存在“可道”性經過的那些所有的點。用老莊的話說就是“道”是“可道”與“常道”所表現的“內外竝存(inexist)”與“內在ㆍ超越”的兩行性世界, 也是其運行的道理。這樣一來, 艾瑞黃(erewhon)還有莊子的“無可有之鄕”的理想世界以及本質世界幷不是遙遠的以後的“別的世界”, 而就是“現在”。“把看似不同的兩個看做一個”, 我想這是老莊存在論所啓示的, 以“道”所表象的世界認識的“逆說的樂趣”。
7,200
초록보기
This paper examined the poems of Qinzhou(秦州)-Tonggu(同谷) period of Du Fu(杜甫) from the point of view of space. It was a turning point of his life that he had left Huazhou(華州) and moved to Qinzhou. Du fu became a complex figure after resigning from the public office in Huazhou, for he was no more an enthusiast for an ideal society that he used to be. Qinzhou and Tonggu in Rongyou(롱右) District provided Du Fu with literary nourishment as unfamiliar spaces that arouse the appetite for writing poems. As a result, his poems could be extended not only to landscape or frontier poetry, but to lyric poetry that mirrored the feelings of an ordinary people, standing aside from the large discourse of patriotism. But the evaluation of later critics to the poems of Qinzhou-Tonggu period of Du Fu did not seem to be as much favorable nonetheless their amazing characteristics of changing the poetical style. They were only titled ``poems in a transition period`` from the majority of critics. This imbalance between prolificacy and reputation of the poems of Qinzhou-Tonggu period of Du Fu had given an impulsion to many researchers. So I have examined these poems to get the answers of this question, and found that there were two sides for Du Fu to recognize Qinzhou and Tonggu as literature spaces. In other words, Qinzhou and Tonggu were abstract spaces in one sense, also real spaces in another. Throughout the whole poems of Qinzhou-Tonggu period, their duality brought some confusion when the readers try to catch the identity of these poems. Especially, Du Fu seemed to have little ``place attachment`` to Qinzhou and Tonggu in contrast with Chengdu(成都) in Sichuan(四川) District, and this might to have a decisive effect on critical evaluations. In brief, Qinzhou and Tonggu were only unfamiliar ``spaces``, could not be ``places`` in terms of Yifu Tuan, a Chinese-American geographer.

조선본 《古列女傳(고열녀전)》의 발굴과 그 의미

김영 , 박재연 , 이재홍
중국어문학회|중국어문학지  51권 0호, 2015 pp. 87-112 ( 총 26 pages)
6,100
초록보기
This article is focusing on the introduction of 《Gu-Lienv-Zhuan古列 女傳》, a newly excavated block print in Joseon dynasty. In the meantime, in academia, it has been identified only the fact that Liu Xiang’(劉向)s 《Gu-Lienu-Zhuan古列女傳》 was translated in King Jungjong(中宗) 38th year(1534) according to the records of literature without showing any substances. Recently, a translation of 《Lienv-Zhuan列女傳》, which is believed to have been printed and published during the same time was found. It is a block printing book of a set of four volumes. The title is ‘古列 女傳’, which contains biographies of 15 women. The first page of each biography concludes illustrations painted by Lee Sang-choa(李上佐). Since Liu Xiang’(劉向)s 《Gu-Lienv-Zhuan古列女傳》 was a Moral book to strengthen the Confucian identity of woman which is essential for all women throughout the royal family and House of the Gentry(士大 夫家), it has played an important role as a book for must-read and confucian indoctrination over the Joseon dynasty.
초록보기
This paper is designed as a trial to seek a breakthrough from the difficulties in classical Chinese prose that university students struggle with in the present time. For the reason, this research discusses Zhangdai`s Huxintingkanxue on the topic of applying familiar essays to teaching classical Chinese letters and structures. This paper proposes that familiar essays be used for beginners. The reason is that examining the background of creations and characteristics of familiar essays in classical Chinese prose reveals the fact that familiar essays are easier for beginners in many ways than Prose of the Pre-Qin Period and Han Dynasty and Ancient Prose of the Tang and Song Dynasties. Moreover, as a proof, Zhangdai`s Huxintingkanxue, one of familiar essays of the late Ming dynasty approves of merits in teaching classical Chinese prose. First of all, most of familiar essays are short and witty, and also easy to be comprehended, appreciated, and criticised. Also, the contents and expressions of familiar essays are mostly plain, but there exists some controversial sentences, which facilitate learners to participate in discussions. Lastly, familiar essays intertwined with history and thought of the time, and the contents of history of literature help learners comprehensively understand and access to the culture of the time in three-dimensional and active ways.
6,300
초록보기
本文要探討明末淸初文人李魚的著作『閑情偶寄』的壹部分-居室部。這部著作在16-17世紀生活美學方面的著作中占有壹定的地位。這時期中國江南地區流行追求참新的物質文化,無論士大夫文人或者城市的商人和壹般老百姓都追求奢華消費。這樣的潮流當中有壹批文人感到身分秩序上的危機,更强調幽雅的高級情趣,而李魚却選擇了령壹條路-就是開拓商人型文人或者文人型商人的路。所以他的著作强調雅俗共賞的生活美學。閑情偶寄雖然壹部分追求視覺方面的外觀上的美觀,但是更重要的是즘樣把這種美學原則搬到身邊的實際問題。所以筆者認爲審美和實用是兩個重要的構成這本書的核心因素。尤其是他的技術當中有超過單純的技術上的便利以外的壹種참新的時代意識-(信賴技術,享受發展)。本文只對淮居室部,所以現在得到的結論不구全面,可能通過整個範圍的調査以後筆者的主張可以確保更高的說服力。

《正音切韻指掌(정음절운지장)》에 반영된 청말 관화음계 연구

구현아
중국어문학회|중국어문학지  51권 0호, 2015 pp. 169-202 ( 총 34 pages)
6,900
초록보기
《正音切韻指掌》是壹本淸代莎이尊編寫的正音敎科書。本書是以23個聲母和46個韻母爲構成的,在聲母方面保留微母、保持見、精組對立,在韻母方面多出了iai韻母、果攝開合口保持對立、保留韻尾,在聲調方面保留了入聲。這些特征在北京音中已經消失了,表示當時官話音和北京音泂然不同。《正音切韻指掌》的這s些特征與中原官話符合,而且這些特征還能在其他正音敎科書以及外國人的漢語敎科書中見到,可見中國以中原官話爲正音的認識壹直保留到淸末民初.

泛指性量詞“枚”的歷時演變硏究

초육매
중국어문학회|중국어문학지  51권 0호, 2015 pp. 203-234 ( 총 32 pages)
6,700
초록보기
Quantifier “Mei枚” was the oldest generic deriving referring quantifiers in Chinese. Quantifier “枚” came into being in the pre-Qin period and still used in modern Chinese. This paper take the rising and falling as its focus to study Mei(枚), and examine the Diachronic Developments in detail from the Pre-Qin Period to Sui, Tang and Five Dynasties.

“那里”否定用法初步分析

왕영덕
중국어문학회|중국어문학지  51권 0호, 2015 pp. 235-251 ( 총 17 pages)
5,200
초록보기
As a interrogative pronoun in Mandarin Chinese, “nali” is often used for queries of location, but it’s also used as negation. This paper analyzed negative usage of “nali” from its structure form, and explored structural characteristics and conditions on negative usage of “nali”. The paper explored pragmatic negation of “nali” on linguistic factors which included intonation; sentence types, discourse and syntactic structures. The syntactic structures include the syntactic position of “nali” and verb categories collocated with “nali”. Using of its situation and social status of communicators were discussed as well. Pragmatic negation of “nali” can used as the expression of subjective and objective which are different from “bu” and “mei (you)”.
6,800
초록보기
數詞是在日常生活中常用的壹個成分,但漢語學界對此進行的硏究不多。特別是數詞2分化爲“兩”和“二”的現象沒有得到足구的關註。雖然有壹些語法書簡單的討論了其使用規則,但經常把흔難說明的用法歸爲例外現象。古代本來只有壹個數詞“二”,而上古漢語時代,“兩”最初是表示天然成雙的事物。後來數詞“兩”的用法擴展開來的。(參見王力,1980[2008])本文觀察到,在漢語不同方言中,“兩”的擴張程度以及“二”的縮小程度各不相同。因此,考察不同漢語方言的情況,我們不僅可以看到“兩”和“二”的變化路徑,而且還可以預測到在普通話中,“兩”和“二”今後的演變路徑。爲了解決這些問題,本文運用語義地圖模型(semanticmapmodel)來構建了“兩”和“二”的槪念空間,幷進壹步嘗試分析了“兩”和“二”的擴張和縮小路徑和機制。
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