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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 : 56권 0호 (2016)

공안체시(公安體詩)의 특성과 의의

이주현
중국어문학회|중국어문학지  56권 0호, 2016 pp. 7-37 ( 총 31 pages)
7,100
초록보기
This article explores the meaning and characteristics of the Gong-an style in several ways. First, this article refines the existing discussion on the Gong-an style. Second, it explores the similarities between the members of the Gong-an school and the Gong-an style. Third, it establishes the significance of the Gong-an style based on its critiques by literati in the 1600’s and later impact it had on Chinese poetry. The Gong-an style is clearly manifested seen in the works of Yuan, Hong-dao. In his poems, contained in Ji-fan ji and Jie-tuo ji, Hong-dao demonstrates his use of the Gong-an style by using plain language, so that the reader can clearly understand the themes of the poem without difficulty, to describe the little things of everyday life. A chief goal of the Gong-an style was to breakaway from the conventional informal style of the time. As a result, the works of early authors like Yuan, Hong-Dao became a model among the literati of the Gong-an school. The key feature of the Gong-an style is the use of plain and calm language to describe thoughts and feelings according to the respective circumstances. Notwithstanding the Gong-an school’s breakup, the Gong-an style’s influence continues to remain in literary circles. Yet the Gong-an style has been misunderstood as a style in which one can easily write a poem without knowledge or talent. Consequently, many people who have attempted to replicate the Gong-an style have sued vulgar words without much thought, which has led to the mass production of mediocre poems. This has caused a huge backlash among the followers of the Gong-an school, causing it to retreat back into literary circles.
7,700
초록보기
This study aimed to analyze the change of the recognition of psychopomp with focus on terms and images recorded in Taipingguangji Guibu(太平廣記ㆍ鬼部). There was no specific terms for psychopomp at first and psychopomp was described to a person who was wearing yellow clothes or depicted as ghost, government official, envoy etc. A psychopomp was gradually recognized as a messenger of the underworld, who was carried out by Orcus. Term definition was also progressed to the way directly to expose the meaning of psychopomp who was came from the underworld. The name as Gouhunshizi(勾魂使者) was born with distinguished an ordinary messenger or a management of Orcus in the Age of the Qing Dynasty. It has been used widely in modern mandarin chinese till now. A psychopomp is a guide, whose primary function is to escort souls to the afterlife, but they can also determine lifespan of people who is born. A psychopomp was a pretty official in Orcus organization. Therefore one of the most simple kinds of psychopomp story was to say the experience of meeting psychopomp who did basic operations. But the story was more complicated by new and modified contents that psychopomp played all over the world of this world and the next. In this process, worldly wishes and desires in reality world projected into the story of psychopomp. A psychopomp, who was receiving entertainment by unpleasant person to leave this world, extended his life or made him pass the test. and humanized and secularized psychopomp was projected from human behaviors as overworking, starving, whipping, getting well fare and hell money, asking for a bribe.
초록보기
中國的茶文化萌芽於魏晉南北朝, 成於唐朝, 盛於宋代, 至博大精深, 從其起源到現在, 經歷了不同時期的。發展和延伸, 內涵也得到不斷的豊富, 然而茶文化發展到淸代, 則旣是傳統文化的總結, 也是現代茶文化的開始, 淸代茶文化雖然沿襲和傳承了前代的茶文化道路, 但也有自己的發展和特徵, 淸朝是北方來的滿足政權, 漢化後皇室偏愛飮茶, 尤其是康熙乾隆皆飮茶, 這種情況使得淸代上層社會品茶風氣尤盛, 進而也影響民間, 茶深入到民間的許多領域, 與傳統的民間風俗相結合, 形成多方面與茶相關的茶館文化和風俗, 茶作爲重要的生産活動, 必然成爲。詩歌藝術的重要表現內容, 茶與詩歌作品的關系歷史悠久, “茶自最初之時卽助成詩思”, 卽茶與詩歌結合在一起, 淸代茶詩歌數量龐大, 也有許多著名詩篇, 特別是淸代的文人在嚴酷的專制高壓環境下, 性情盡管被壓迫, 被內斂了, 更沒有心情去創造文化了, 但是茶是要品的, 茶還是文人們舒放性靈的手段, 淸代茶詩歌在藝術形式和風格上不滿元詩的纖弱ㆍ明詩的膚廓和狹隘, 在技巧上兼學唐ㆍ宋詩的長處, 不斷追求創新, 改變了原明以來的頹勢, 出現了新的繁榮, 淸代愛茶的著名人有屈大鈞ㆍ錢謙益ㆍ顧炎武ㆍ鄭燮ㆍ吳偉業ㆍ杜浚ㆍ周亮工ㆍ施潤章ㆍ吳綺ㆍ孫枝蔚ㆍ杜芥ㆍ陳章等許多文人, 盡管他們在茶學說和飮茶的方, 而且方法上已沒有什?貢獻, 但淸代文人所留下的一批茶詩詞仍然是對文化的一種貢獻, 是淸代文化的助成部分, 而淸代文人對中國文化的貢獻, 爲後人硏究和了解茶葉ㆍ茶史ㆍ茶文化保存了資料和提供了便利.

梅蘭芳京劇的內外時空

김영숙
중국어문학회|중국어문학지  56권 0호, 2016 pp. 107-130 ( 총 24 pages)
6,400
초록보기
This paper explores the characteristics of modernity of Mei Lanfang``s Peking Opera and the causes of their formation from the perspective of space and time. Internal space-time refers to space-time within the performing activities of Peking Opera, including stage space-time and story space-time, whereas external space-time refers to locations and periods in which those activities are carried out. Through the analysis of the internal space-time of Mei’s Opera, with a focus on how Mei Lanfang dealt with the conflict between stage and plot space-time, it reveals the characteristics of the modernity of Mei’s Opera, such as the expansion of the aesthetic space of the stage, episodic story, lyricism, visual orientation, and realistic staging. By examining the external space-time of Mei``s Opera, it explains what has caused the formation of those characteristics in terms of the radical changes that took place in the hybrid cultural space of early 20th-century China, the zeitgeist of “making it new”, the introduction of Western-style theater into China, and the aesthetic tendency of the audience. This paper deems those characteristics as indicative of Mei’s unique route to modernity.

정현(鄭玄)의 음주(音注)에 반영된 복자음 성모(聲母)

권혁준
중국어문학회|중국어문학지  56권 0호, 2016 pp. 131-176 ( 총 46 pages)
12,100
초록보기
As a part of studies on the phonological system across the entire Eastern Han time(“EH” hereafter), this study is designed to reveal the types and sorts of the clusters as reflected in the annotations of Zheng Xuan, one of the outstanding scholars of that time. EH stands at the later stage of Old Chinese(“OC” hereafter). The “Initial Consonant Clusters”(“clusters” hereafter) in the Earlier stages of OC, i.e. the pre-Qin time, are claimed to be abundant, but they gradually reduced in numbers and types over time and all of them had finally turned into simple initials before Middle Chinese. As simplification of the clusters may have been taking place in EH, it would be significant to study what types or sorts of clusters were retained in EH. And there also existed a number of useful materials which enable us to tell much about the phonology of that time. We take Zheng-Zhang Shangfang’s OC Phonology as a point of departure. We find some of his transcriptions on some characters problematic and thus attempt to revise them by providing some evidence revealed in phonetic components[諧聲], yiwen[異文], tongjia[通假] as well as phonetic correspondences with other cognate words of Chinese or words of other genetically related languages. We find that some types of clusters which originated from Early OC are no longer reflected in his annotations while Cl- is the most usual type among those which existed in his annotations. We also find the other types and sorts retained in them, such as Sc-, hN-, sCl- and other trivial ones. That, however, does not necessarily mean that all of the clusters which are not reflected in his annotations had completely disappeared as of his time. This study may provide only a sketchy description of the clusters of the time, and we expect that further studies along with this one against all sorts of extant annotations and materials will help us to trace the history of phonology of EH.
6,700
초록보기
本文以《中原音韻》的舒聲字爲考察範圍與《廣韻》、《五音集韻》及《合倂字學集韻》三本不同時代韻書中所相應的小韻進行歷時比較,窺見舒聲字從中古到近古的演變軌迹,倂探索其中聲調變化的例外。聲調的演變是有規律的。淸聲母的平聲一律變爲陰平,上聲和去聲保持其聲調而不變;全濁聲母的平聲變爲次淸陽平,上聲大部分變爲全淸去聲而一部分變爲次淸上聲,去聲保持不變;次濁聲母的平聲變爲陽平,上聲和去聲保持不變。但有些字不符合音變規律,發生聲調變化的例外。其原因如下:第一,聲旁影響字音。有些字受聲符的讀音或者同聲符的其?字音的影響發生聲調變化的例外。如,淸聲母上聲字“貯”隨其聲旁“寧”的去聲讀音變爲去聲;淸聲母去聲字“? ?”各隨其聲旁“久、轉”的上聲讀音變爲上聲;濁聲母上聲字“?”隨其聲旁“欠”的去聲讀音變爲去聲;濁聲母平聲字“種”受同聲符的“?”的影響變爲陰平;濁聲母上聲字“?”和去聲字“舫”受同聲符的字音的影響各變爲去聲和上聲。第二,異體字影響字音。有些字受異體字的影響發生聲調變化的例外。如,淸聲母上聲字“?”隨其異體字“?”變爲去聲;濁聲母上聲字“拐”隨其異體字“?”仍是上聲;次濁聲母上聲字“?”隨其異體字“?”變爲陽平。第三,通用字影響字音。有些字受通用字的影響其聲發生聲調變化的例外。如,淸聲母去聲字“統”隨其同義字“總”變爲上聲;淸聲母去聲字“訪”隨其同義字“昉倣”仍是上聲;次濁聲母去聲字“俺”受其通用字“我”的影響變爲上聲。第四,濁音淸化的變化速度影響字音。濁音淸化的變化速度是不一致的。有的突變,早就變爲淸聲母而其聲調不變。如,濁聲母上聲字“盾”仍是上聲。有的漸變,元代仍處在過渡階段,還未反映聲調變化。如,濁聲母上聲字“?、?、?、?、嶼、蜃、沆”等。除了上述原因以外還有原因不詳的(?、靄?、?),和誤收的(?、瀏、剽??、瞬)例外。

상해(上海)방언 세음(細音) 앞 견계(見系) 성모의 구개음화 고찰

모정열
중국어문학회|중국어문학지  56권 0호, 2016 pp. 205-229 ( 총 25 pages)
6,500
초록보기
從Joseph Edkins(1853, 1869)的記音情況來看,19世紀中期上海方言細音前見系聲母, 當時相當部分已經?化,而且呈現出其范圍逐漸擴散的趨勢。這可以從像k/ch, k‘/c‘h, g/j, h/h‘ 等細音前見系聲母的混記狀況和在< Pronunciation and Example >中的說明中推出來的。而且當時?化聲母的音値,綜合分析J. Edkins的音標說明,可能是舌面前音 [t□], [t□‘], [d□], [□],或者是發音部位比舌面前音稍?后的破(摩)擦音。根据趙元任(1928),20世紀初上海方言細音前見系聲母已經?化爲[t□], [t□‘], [t□], [□]。現代吳方言中的細音前見系聲母大部分也?化爲舌面前音[t□], [t□‘], [t□], [□]。然而,吳方言西南部一些地區的有些白讀(或者大部分細音前見系聲母),仍然讀爲舌根音(喉音)[k], [k‘], [g], [h], [□],或者舌面中音[c], [c‘], [□], [□]。而且發現盡管爲數不多,但一個字的讀音中讀爲舌根音(喉音)(舌面中音)的白讀和讀爲舌面前音的文讀共存的現象。總之,吳方言見系聲母的?化幷不是方言內自然音變的結果,而?有可能是受北方官話影響而形成的現象。因爲包括上海方言在內的吳方言見系聲母的?化過程可以視爲文白異讀引起的交替式音變過程。卽吳方言見系聲母的?化是受北方官話影響而産生的文讀(舌面前音聲母)代替吳方言固有的白讀(舌根或者喉音聲母)而形成的特点。其依据如下:1)距離北方官話較遠的吳方言南部或西部地區仍留有見系三四等聲母的舌根音(喉音)或者舌面中音的讀法; 2)上海方言見系三四等聲母的?化幷不是短時間一次性完成的,而是經過逐漸擴散的過程。這種音變最像文白異讀引起的交替式音變。;3)吳方言中普遍出現的見系二等的文白異讀,現在也在發生變化。无庸置疑,這顯然是受北方官話影響而産生的;4)Edkins的資料中出現的混記現象是由于?化的文讀和未?化的白讀共存而引起的。也就是說由于當時沒有文讀和白讀的槪念,因此一個字因詞而異的讀音難以統一標記。

부사유의어 ‘일재(一再), 누차(屢次), 재삼(再三)’ 연구

박덕준
중국어문학회|중국어문학지  56권 0호, 2016 pp. 231-246 ( 총 16 pages)
5,600
초록보기
本文從語義、句法、語用的角度對副詞近義詞‘屢次’, ‘一再’, ‘再三’作了調査、分析,其結果如下:在語義上,發現‘屢次’的語義焦點在高頻率上。而‘一再’, ‘再三’都是反復副詞,‘一再’語義焦點在持續性上, ‘再三’語義焦點在較高的反復程度上。這三個副詞在與‘反復’同現時,‘再三’的反復程度最高,其次是‘屢次’,‘一再’較低。在句法上,‘一再’有與具體動詞同現的特點,而‘屢次’,‘再三’則否。‘一再’有與說類動詞同現的傾向。‘屢次’有與抽象動詞同現的特點。一般語法書說副詞沒有補語功能,但這與語料庫的語言事實不符。據調査,‘再三’具有兼補副詞功能。此外,否定詞‘不’能與‘一再’, ‘再三’同現,‘屢次’則否。‘沒’不與這三個副詞同現。三個副詞中惟有‘屢次’有名詞修飾功能。‘一再’能用於被動句、把字句,而‘屢次’只能用於把字句。在語用上,‘屢次’,‘一再’用於貶義的場合,但由於選擇限制而不能互換。‘屢次’常用於書面語,而‘一再’, ‘再三’常用於口語裏。

再論“基於”的詞性

김종찬
중국어문학회|중국어문학지  56권 0호, 2016 pp. 247-265 ( 총 19 pages)
5,900
초록보기
“Jiyu” is generally acknowledged as a preposition in Chinese. But according to my research, “Jiyu” can also be used as a verb in Chinese. So I once argued that “Jiyu” was one of the double classified words. When a word is attributed to both verb and preposition, there are some differences in meaning, for example, the preposition “Ba” is quite different from the verb “Ba” in meaning. When we classify the term “Jiyu”,we should consider both the function and the meaning of the word. However, after more thorough study of the word “Jiyu”, I’ve found that there is no difference between the so called preposition “Jiyu” and the verb “Jiyu” in meaning. So I argue that “Jiyu” is just a verb.

델파이기법에 기반한 미래 지향적 대학 중국어 말하기 교수 전략

이영월
중국어문학회|중국어문학지  56권 0호, 2016 pp. 267-288 ( 총 22 pages)
6,200
초록보기
所謂未來硏究是以事物的未來爲硏究和實踐對象,探討選擇、控制甚至改變或創造未來的途徑。本論文的硏究目的旨在基於德爾菲法觀點構築韓國大學漢語會話課的未來型授課模形。爲此,筆者首先自2014年到2016年,曆經5個學期對52名學生進行了有關學習者樹立的學習目的及對飜轉課堂的認知程度問卷調査。之後,從2015年9月至2015年12月期間,邀請了11位專家敎師共同進行了4個月的基於德爾菲法觀點構築韓國大學漢語會話課的創新授課模型硏究。筆者根據專家意見,通過采用多媒體影像語言資料形式和‘飜轉課堂’的運用,曾經的沈默不語鴉雀無聲的課堂?圍開始活躍起來了;學生的自主學習能力和學習動機也大爲改善。誠然,本稿所提出的敎學模型僅可視爲未來形授課模型中的一斑而矣;更加豊富多彩的創新模式,有待在今後敎學實踐中,通過在線敎師和學生的積極不斷努力得以繼續開發硏究。
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