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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 : 55권 0호 (2016)

인용의 수사 -《문심조룡(文心雕龍),사류(事類)》의 이해

조성식
중국어문학회|중국어문학지  55권 0호, 2016 pp. 7-36 ( 총 30 pages)
7,000
초록보기
時間使原本平凡的事物變得神聖,引經据典可以提高文章的格調,豊富韻 致。因此,引用是相隔千年的古人與今人的共同創作,從預測被引用的"成辭" "古事"已被讀者熟知而使用這一点上來看,創作是作者與讀者的高格調對話。文 章中天衣无縫的"成辭"與"古事"被認爲是博學的産物而倍受推崇。創作實爲天工 之作,人類的意識行爲不可能進行獨自創作,人類的創作只能依賴淵博的學 識,頂多算是從落下來的평果上發現万有引力。由此看來,人類偉大的創作唯 有借助模倣與引用的点綴。 本文考察的"事類",是摘取超越時空的經典或史籍上的"成辭"和"古事"去 豊 富文章格調與韻致的一種修辭法。劉협爲糾正六朝"爲文而造情"的文章形態,主 張在書寫向讀者傳達感動的"風"的同時要顯示出"骨"。這是他認爲可以"骨"的嚴 正來抑制感情泛濫的文章(爲文而造情)。"骨"産生于"思慕經典",可在文章中予 以發揮,潘욱的《冊魏公九錫文》可稱爲典范。(昔潘욱錫魏, 思慕經典, 群才韜 筆, 乃其骨髓峻也。)《冊魏公九錫文》中引用的大量"成辭"和"古事"便是樹立"骨" 的具體方法。討論這一現象的< 事類 >可謂是一種經典的寫作方法論。 "思慕經典"卽是將經典視爲典范,宗法經典敍述的最具體方法就是引用"成 辭"和"古事",卽爲"事類"。熟知衆多"成辭"和"古事",能勾信手拈來恰當使用,從 而豊富"事義",則需要以博學爲前提。"事義"通過"博學"變得更加深邃豊富,劉협要求刻意"博學"以達"宗經",卽有意識的與經典相聯系,在經典中獲取"成 辭"、"古事",從而最大限度提高"骨"的效果。主張在通過"風"完成藝術性情致的 同時,也一幷完成作品的內容性和思想深度。劉협主張寫作"風" "骨"兼備的文 章,卽在修辭泛濫的時期,主張進行感性與理性相協調的文章創作。

"徐州二遺民"詩歌創作的價値與意義

황위 , 팽정
중국어문학회|중국어문학지  55권 0호, 2016 pp. 37-60 ( 총 24 pages)
6,400
초록보기
Among the great many poets during the late Ming Dynasty and the early Qing Dynasty, the two previous dynastic poets in Xuzhou - Yan Ermei and Wan Shouqi - are the two typical representatives. Encountering the changing of Qing and Ming Dynasty, they are loyal and brave enough to abandon their own homes to take part in the battle against the Qing army because they love the previous dynasty. However, they love the previous dynasty although experiencing all kinds of hardship and dangers restlessly. The immortal poems they written play an important role in the late Ming and early Qing Dynasty poetry. Of the two previous dynastic poets in Xuzhou, Yan Ermei was bold and uninhibited while Wan Shouqi was restraining and depressive. Their different personalities and living experiences results in differences of their poets in poetry theme and aesthetic style. Owing to large amount of taboos against the Qing Dynasty, many poems were forbidden and ruined by the authority for many times. Compared with other adherents` poets, study on the depth and breadth of the poems of the two previous dynastic poets in Xuzhou is not consistent with the poets` status in the early Qing Dynasty.
6,900
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《琵琶記》從南戱文學本定型以來, 在其變化發展的過程中出現了衆多文學劇本與演出本。一個文學作品能在漫長的時間裏流傳與發展,除了作品本身具有흔高的文學成就之外, 也歸功於舞臺演出方面的卓越成就。淸代中葉,戱班演出盛行, 折子戱成爲當時戱表演的主要形式,在這樣的戱曲環境中, 《琵琶記》能 成爲觀衆喜愛的代表劇目, 得益於改編者基礎於舞台本質的修改及演員的精湛演技, 使原作以참新的面貌在舞台中重獲新生。這個事實說明, 戱曲的充分發展需要文學創作與舞台實踐兩者方面的和諧交融。 《審音鑑古錄》是淸代中葉崑劇折子戱選本, 其中反映了文學本在舞臺實踐中的重要變化。《琵琶記》的變化主要在於細部情節的變化·說白的增加·脚色的變化等方面. 而這些調整使得劇情更加合理發展, 人物形象鮮明, 從而創造出生動的舞台效果。 此外, 《審音鑑古錄》也記載了許多舞臺演出方面的提示, 如演員的唱詞與說白的技巧·身段動作·체末服裝的內容。這些提示都說明了編選者흔重視戱 曲表演因素之間的和諧關係, 也考慮了演員表演的便利和觀衆的立場。 總之, 《審音鑑古錄》對《琵琶記》的改編與舞臺演出的特色, 反映了戱曲藝術的本質, 從中可以窺知作家如何保留原文本的精髓保存,通過適當柔和戱曲表演因素營造舞臺效果。

易順鼎 詩 試探(1)

최종세
중국어문학회|중국어문학지  55권 0호, 2016 pp. 91-121 ( 총 31 pages)
7,100
초록보기
淸末民初詩人易順鼎爲中晩唐詩派的代表詩人, 與령一位同時代同派詩人樊增祥齊名, 而兩人都詩作繁多. 用詩體多樣. 易順鼎也通曉詞與騈文. 本文乃是在嘗試著去探討易順鼎的詩. 以及其中所理論的精要, 將著重於他的山水遊覽詩中一部. 易順鼎湖南龍陽人. 十八歲當上了擧人, 官至按察使. 他在三十六歲以前多爲求學與宦遊. 留足跡幾乎中國全省, 所以有"十頂游踪"詩人的稱號. 因 此他在那個時期創作了許多豊富的山水遊覽詩. 而中日戰爭之後的作品則爲憂 國憂民的內容. 他的詩風可以說是自帶的冷趣. 可以由本文所載的秋懷詩裏的兩句 "我是耽冷趣, 白日常冥搜." 可以得知. 此詩的詩眼乃爲冷趣, 一般會認爲 所謂的"冷趣"就是指豪爽或淸新的意思. 但是他想表達的"冷趣"是有別於一般的, 有其更寬廣的詩歌觀. 他受到了道家與佛家的深厚影響, 如白日常冥搜就是在展現白日夢中那沛然神遊的意境. 由他的作品非常衆多而多樣. 在此先以他山水遊覽詩中樂府體爲中心來探討而從打的詩中可以發現, 相較於一般樂府詩的艶麗風格. 他的詩風相對飄逸而豪放, 構辭上都有其典故竝引用的非常合的, 更帶著奇特的想像力將中晩唐體的詩帶入一個新世界.

리처드 바우만의 연행이론과 중국 민속학의 발전

홍윤희
중국어문학회|중국어문학지  55권 0호, 2016 pp. 123-148 ( 총 26 pages)
6,600
초록보기
In the last two to three decades, Chinese folkloristics has seen some remarkable development. The development can be confirmed not only in the scale of academic accomplishment, but also in the richness of its contents and the depth of theoretical discussions. One of the theories and methodologies that had a great impact on such development is the performance theory. Performance theory which arose between the late 1960s and the 1970s in the US had a tremendous influence in the academia from the 1980s to the first half of the 1990s, which still continues to exercise its influence in diverse academic fields throughout the world to this day. It affected a wide variety of research areas encompassing ethnography, anthropology, folkloristics, linguistics, literary criticism, religious studies, area studies, music, drama, mass media, and the like, whose representative theoreticians include Dell Hymes, Richard Bauman, Roger Abrahams, and Dan Ben-Amos. Among them, one who had the biggest influence in the field of folkloristics is Richard Bauman. His article, "Verbal Art as Performance" is a major achievement in the performance theory, one that gets most frequently cited even today. The performance theory which made its way into Chinese folkloristics also centers around Bauman`s discussion. Performance theory began to change the course of Chinese folkloristics from late 1990s, and starting from the 2000s, Bauman`s works got translated into Chinese by Yang Lihui and An Deming. Since then, numerous articles related to the theory have been published in China, which made "performance" as a key word become the central and most popular concept in Chinese folkloristics. This paper overviews and investigates the change and upheaval in Chinese folkloristics and mythology brought on by Richard Bauman`s performance theory from late 1990s to date, through which the vision of their development would be examined.
6,200
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This thesis is focused on analyzing the characteristics of translating aesthetic subjects and objects. Moreover, contains contrast analysis of translating the parable expressions used in the novel, 《Chun Hyang Jeon》 in terms of aesthetic subject and object in three types of Chinese language. Unlike other genres, translating classical literature is imperative to not only deliver the precise contents, but also the beauty that flows out from the literary works to the readers. Hence, as a translator, prioritizing and enhancing aesthetic detecting attitude in an active manner is vital. Correspondingly, in an attempt of reproducing the beauty of the original work and flavor, deeper understanding of the author`s intention and excavating the aesthetic information is required. Also, raising the aesthetic imagination, analyzing author`s aesthetic intention and ratiocinating the meaning of its connotations are also required at the same time. Also, reenacting the classical aesthetic sense just like the original text is required. Likewise, in order to make a polished sentence, it is necessary to converge the deep meaning and the aesthetic images appropriately and furthermore unifying aesthetic understanding and the ability to control emotions. Lastly, erasing the traces of translation and making it perfect with outstanding language expressions are essential for aesthetic creativity which is assembled by aesthetic subject and object. According to the results of contrast analysis, a perfect translation does not necessarily mean gallant literary embellishments. Considering the protagonists` personality and the cultural features, emotions and images should be unified appropriately in order to translate perfectly.

< 신약마가젼복음셔언ㅁ > 한자음의 한,중 대조 연구

신아사
중국어문학회|중국어문학지  55권 0호, 2016 pp. 171-188 ( 총 18 pages)
5,800
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This study considers the sound of Sino-Korean in The Korean Annotation of Mark in the New Testament from a contrastive perspective, which is recognized as an accurate and detailed early Korean Bible, which marked an important word with Chinese character and Sino-Korean, that in the front and this in the rear. The feature of the initial is as follows: 1. There is an example whose initial xi 溪 is marked as ``ㅇ``(``교``). 2. There are a few examples whose initial ni, niang 泥·娘 are marked as ``ㅇ``(``女·溺``). 3. The initial lai 來 is marked as ``ㄴ`` or ``ㅇ``(``論·來·雷·람·靈·櫓; 禮·六·離·立· 臨``). 4. There are a few examples whose initial group zhengchi 正齒 mingle ``ㅈ`` and ``ㅅ``(``詐·時``). 5. The initial ri 日 is all marked as ``ㅇ`` (``然·熱·二·爾·耳·日·任·入``). 6. The initial group shetou, sheshang 舌頭·舌上 of the third and fourth division is all palatalized and marked as ``ㅈ`` or ``ㅊ``(``地·置·致·陳·馳``). The feature of the final is as follows: 1. The first and second division of rhyme hai·hui 해·灰 and jie·jia·kuai·tai 皆·佳·쾌·泰 of rhyme group Xie 蟹攝 and the second division of rhyme group geng 梗 攝 are marked as ``ㆎ`` and ``ㅁ``(``改·在·海·碍·倍·杯·妹·對·內·悖; 偕·拜·駭·解·芥·賣·大·害; 行·盟·萌·爭·責``). 2. The third division of rhyme group zhi 止攝 mingles with that of double rhyme 重紐 and is marked as ``ㅢ``(``己·記·期·起·忌·旣·祈·醫·疑·意·衣; 器· 奇·義·議``). The rhyme zhi 之 ``其`` and the initial yi 以 ``異`` are marked as ``ㅣ``. 3. The initial group chitou 齒頭 and zhengchi erdeng 正齒2等 are marked as ``ㆍ``(``資·自·子``), and some examples are marked as ``ㆍ`` or ``ㅏ`` at the same time (``四·賜·자·事·士·使``). 4. The third and fourth division of initial group chi 齒 has a semi-vowel ``ㅣ``[-j-] in middle and modern Sino-Korean, but some examples do not have it in The Korean Annotation of Mark in the New Testament (``請; 就; 相·上·誓·聽· 長·蟲``). 5. There are a few examples in which the ending -ŋ of the third division rhyme geng 庚 and qing 淸 of rhyme group geng 梗攝 is marked as -n(``命·餠``), and the ending -k of the third division rhyme zhi 職 of rhyme group zeng 曾攝 as -p(逼).
6,100
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本文通過整理HSK動態語料庫中韓國學生的作文語料, 分析了韓國學生在使用助詞``的``時的偏誤類型, 幷總結了造成各種偏誤的原因及改善辦法。結果發現, 韓國學生在使用``的``時, 主要會出現缺詞、多詞和錯詞等三方面的偏誤。其中缺詞和多詞的偏誤較多, 也較復雜, 尤其是缺詞最爲復雜。錯詞相對較少, 偏誤類型也較單一。而較造成上述三類偏誤的原因, 除了受母語負遷移的影響以外, 敎材對``的``的解釋不足及學生對``的``的理解不足也是主要原因。建議敎材或語法書要結合韓語對``的``進行解釋, 而且不單只提供``의``一種解釋, 與``的``相對應的 ``ㄴ/은``, ``-ㄹ/을/은/는 것``, ``는/은 것이다``等也要有所提及。
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本文指出, 目前的漢語敎學未能恰當處理現代漢語應該的意義和用法。本文考察了應該包含的兩種意義, 卽應該1和應該2在詞典中的正確釋義, 探討了國內使用的敎材中存在的問題。爲了對應該的敎學提供實際幇助, 筆者利用BCC語料庫, 提取出300條包含應該的用例, 分析了應該1和應該2的特点, 考察了應該1和應該2與動詞共現時的特点, 與時態助詞``了``、``着``、``過``共現時的特点, 與形容詞共現時的特点, 與語氣詞``파``、``니``共現時的特点以及其疑問句形式和否定句形式。本文認爲, 應該1和應該2性質不同, 建議漢語敎學和漢語敎材分開處理, 應先敎出現頻率較高, 在疑問句和否定句里同漢語其他助動詞擁有相同形式的應該1, 后敎出現頻率相對較低的應該2, 從而幇助學習者正確區分和使用應該包含的這兩種意義和用法。
7,500
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我們都据悉,目前整個敎育界對"飜轉課堂"的敎學模型尤爲關注,對外漢語敎學界也不例外。因而,筆者2014年作爲基礎性硏究,已做過"飜轉課堂"聽力課的敎學設計硏究。本文爲了檢驗對該敎學模型的效果,首先詳細報告了具體的課堂敎學步驟。再做了實證性硏究。其具體的硏究步驟如下:首先根据該 敎學模型進行了中級"飜轉課堂"聽力課。其次,從敎學的三大因素,卽"老師"、 "學生"、"敎材"的層面抽取出了與學生對課堂滿意度相關的因素。然后,對學生做了問卷調査。隨后,對收集的數据進行了統計分析,分析出了與學生對課堂的滿意度密切相關的各個因素。最后,基于分析結果,提出了提高學生對"飜轉課堂"聽力課滿意度的有效敎學建議。筆者希望通過本硏究結果,在對外漢語敎學界將會更加廣泛地應用到飜轉課堂敎學模型,也給對外漢語敎學從事者以及硏究者帶來一些啓發以及思考。
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