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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 : 60권 0호 (2017)
초록보기
This thesis analyses the logic structure and descriptive method of annotation regarding womanhood sorted out among the chapters of Guofeng of Shijizhuan in a female gender`s perspective. The relationship of man and woman in annotation to Shijizhuan did not mean one to one correspondence, while the relationship was described by rhyming couplet. It was described that woman needs man`s assistance to complete her virtue with wrongly being imperfect dependent. Meanwhile, there was established one for several logic such as the introduction of wife/concubine, Empress/lady and Wen king/Talented people in the relationship of married couple and royal couple. The polygamy or one wife and several concubines were acceptable by addressing the importance of fecundity, where the relationship was regarded as superiors and subordinates or hierarchy. The enlightenment by an Empress noted in Shixu was changed into King Wen`s one in Shijizhuan, which is the gender hierarchy was so important for Zhuxi that superior of Empress`s enlightenment could not be acceptable. Thus, King Wen`s enlightenment was intensively re-referred in Zounan and Zhaonan, which brought a series of annotation methods by trying to get out of woman dominance`s annotations recognized in Shixu. It was arranged to persuade readers be convinced by making up reasonable interpretation through selecting certain meaning of words, accordable ideology and logic to Zhuxi`s one. Zhuxi guided women to moderate themselves and behave modestly by reiterating the word of `itself(自)`. Further, he set a logic that lewdness disappears if woman has a high sense of virtue by introducing the confrontation between a faithful woman and a violent man. Therefore, the control on woman by man was one of top priorities rather than man`s cultivation of virtue under the motto of “self-moral training and home management should be done before governing a nation and ruling the world.” Zhuxi reiterated the relevant words and phrases of Shijizhuan and took an action of discordant annotations with the meaning of certain words, in order to achieve this goal. Besides, he excluded unsupportive parts in this logic formation from the annotations.
7,200
초록보기
Wenxuan(文選) is a selection of various pieces of Chinese literary works from the Warring States period to the Liang dynasty. It contains 761 pieces grouped into 37 categories, compiled in the 6th century by the Crown Prince of Liang dynasty, Xiao Tong and other scholars. Positioned in the first category in the collection, and considered as the “remarkably representative selection of major works,” fu(賦, rhapsodies) writings became exampla in itself literal meaning Wen(文), being widely read and practiced in the East Asian culture. Fu section begins with pieces describing and arguing for the ancient Chinese cities (which we call “City Fu”), such as Ban Gu`s Liangdufu(兩都賦, Fu on the Two Capitals), and Zhang Heng`s Erjingfu(二京賦, Fu on the Two Metropolises). This paper is focusing on the such “City Fu” writings, exploring the nature of the rhetoric developed with these rich, complex texts and clarifying the values of cities that imaginary dialogues of Liangdufu argues for; it will then analyze the rhetorical devices and structures for those arguments. At the same time, it raises the issue of the original purposes for which this text was written, for it could be the showcase work presented to seek for the royal acknowledgment and fame. In this way, our study aims at an elaborate analysis of the work and also tracing the tradition of rhetoric embedded in this highly representative literary genre, Fu. What Ban Gu tried to inherit was the concept of ritual禮儀 rooted in Xunzi荀子 of Zhanguo戰國 period and the literary expressiveness of Fu writers from Former Han. In other words, during the early years of Latter Han Ban Gu used fu as a way to convey the theory of Wenci文辭, started in Zhanguo period, for Latter Han dynasty`s Emperors. Ban Gu used Fu as a literary genre to recite the history, background and structures of a city that abides to the rules of ritual禮儀, describing it in a beautiful, detailed yet useful way. The initiative here was to suggest an answer to how a ruler with high morals should build a city and how such a city should be described in literature. Through Liangdufu, Ban Gu completed a balanced Wenci文辭 of ethics and literature that was demanded by in his time.

두보(杜甫) 시(詩)의 `식(食)`의 기능과 의미

노우정
중국어문학회|중국어문학지  60권 0호, 2017 pp. 69-95 ( 총 27 pages)
6,200
초록보기
In Du-Fu`s life, food is at the center of his life from the question of survival to the problem of philosophy. First, the unfamiliar sense and the ventilation of memory. Du-Fu embodies an exotic gastronomic experience as a sensational image, and the five sensory organs while experiencing recall the past self in the memory of Du-Fu. Second, the symbol of survival and hierarchical separation. Du-Fu expressed the dissatisfaction with stratification by structuring and intensely preparing the food items consumed in the upper and lower classes, recognizing that the cause of food shortage is in a stratified and unreasonable social structure. Third, Sharing of spirit and share a sense of solidarity. In the era when humanity was weakened by war and starvation, he recognized the sharing spirit and solidarity of food as an important value. Du-Fu infused the utilitarianism and sociality with the idea of food, and practiced human dignity and sublime moral spirit through food sharing and solidarity.

조선 문인 서거정(徐居正)의 생활 속에 투영된 소식(蘇軾)

류소진
중국어문학회|중국어문학지  60권 0호, 2017 pp. 97-128 ( 총 32 pages)
6,700
초록보기
在朝鮮前期大文豪徐居正(1420-1488)的文學和生活中,都能發現中國文人蘇軾的影子,由此可知徐居正對蘇軾(1036-1101)的欽慕程度之深。在飮食、喝酒時,徐居正常常將自己比作蘇軾;蘇軾認爲`不可使居無竹`,他讚同這一觀點幷在自己家裏種了竹子;蘇軾在黃州時曾乘船游赤壁,他也不時進行`赤壁船游`。徐居正如此極力推崇蘇軾,其首要原因應該是蘇軾的爲人及其文學成就具備的魅力,?外還有非常重要的原因就是,徐居正發現自己坎?的人生經歷和剛直的性情與蘇軾十分相似,想要通過蘇軾慰藉由此産生的精神痛苦。總體來看,徐居正在生活中如此積極接受蘇軾的爲人和文學,其原因在於他對蘇軾的推崇。考慮到徐居正在朝鮮文壇上的地位,他推崇蘇軾這一事實?有可能對同時代和後代的文人産生了不小的影響。
6,800
초록보기
Joseph Henri-Marie de Premare(1666~1736) is a French Jesuit missionary in China from the late 17c to the early 18c. His Lishushiyi(六 書實義) represents the so-called figurism in the China Mission in that age. In the essay, Premare uses liushu(六書), the six classes of Chinese written character created by Xu Shen(許愼) and Chinese Confucian classics like Yijing(易經), to argue that the Christian Dogmas have existed in China. He insists on zhishi(指事) class, because, he thinks, seven characters of that class represents Christian dogmas of trinity and incarnation. A Chinese catholic christian Liu Ying(劉凝)`s studies on Chinese characters helps him. Figurist views on Chinese written character and Yijing were agreed neither in Premare`s age and are agreed nor today. But Premare`s concerns and studies on Chinese traditional classicism and character, as a kind of missionary accommodation, are still valid. His appropriation of Chinese scholarly tradition is a pioneering work in the Western knowledge of China, and more narrolwy, in the field of Sinology.
8,100
초록보기
The prime of the Court Theater from the Qing Dynasty is often said to be the Qianlong Emperor Period. Thanks to strong social stability and economic development during the era, theaters of unprecedented size and splendor as well as talented and skilled actors could be secured. Yet, the Court Theater continued to improve despite relatively inadequate environment compared to the Qianlong Emperor Period. In particular, the periods of Xianfeng Emperor with Empress Dowager Cixi, Tongzhi Emperor and Guangxu Emperor witnessed the new aspects of the Court Theater. In this period, Court Theaters introduced a collaborative model of performance in which actors and performance groups of the outside ordinary world along with Sheng_ping office, a representative court performance group and Pu-tian-tong-qing troupe, a new court performance group, worked and featured together. In addition, there was the Empress Dowager Cixi, an avid aficionado for theaters and passionate supporter who sponsored performances and actors of the Court Theater. However, the Court Theaters of this period have often been underestimated as the result of personal pet project or as somewhat insignificant because the Sheng-ping office was scaled down. This study aims to prove that the Court Theaters from Guangxu Period, often considered as the second prime of the theaters of the Qing Dynasty, were not second rate but were experiencing yet another golden era. The study first focused on the fact that the period allowed diverse works and successful collaboration among actors and performance groups of the outside ordinary world, Sheng-ping office and Pu-tian-tong-qing troupe, thereby upgrading the skill levels of the actors to the fullest. The study also focused on finding various aspects of performance groups, performance works, circumstances under which those performances are conducted and performance stages through analyzing literature and references in Sheng-ping office.
5,700
초록보기
This text aims to reveal that Shen Cong Wen`s view of women is related to the religious concept of goddess worship from prehistoric times and was specified and reinforced through the process of novel creation. First, we have looked at the formation of his view on women with goddess worshipping based on his surroundings during his youth. Shen Cong Wen`s home, Fenghuang was a region where goddess worshipping shamanism was still in existence and Shen Cong Wen has experienced plenty of it from his youth. Also, Shen Cong Wen has grown up in an environment centered around women and he naturally formed a perspective where he viewed women as more friendly and superior as opposed to men from his perspective. Second, we have reviewed the process of his view on women with goddess worship being established based on his life of novel writing. Shen Cong Wen has entered the world of literature to escape the reality of violence, and death and has encountered his anima deep within himself in the space of literary imagination. And as his writing became more mature and his resistance towards violence and death became greater, his anima evolved in phases to reveal the goddess which he has experienced in Fenghuang region from the mythological perspective during his youth. In summary, the anima that Shen Cong Wen has encountered during his process of writing has nurtured the experience of the author within the mythological space of Fenghuang region into a goddess and this process has established his view on women towards goddess worship which was Shen Cong Wen`s own view of women.

동화(童話)의 비극(悲劇) - 몽롱파(朦朧派) 시인 꾸청(顧城) 시 해독(解讀)

정성은
중국어문학회|중국어문학지  60권 0호, 2017 pp. 227-256 ( 총 30 pages)
6,500
초록보기
The poetry of GU Cheng is the fairy tale world built in the uncontaminated remote place beyond the unsatisfactory reality. He is the most avant-garde among poets of Chinese modern misty poem group in that he broke out of societal main discourse and proceeded toward infinite freedom of the individual self. His fairy tale world began with the experience of Xia-fang(下放) due to cultural revolution in his childhood and with the influences of Andersen`s fairy tales and Fabre`s Entomological Souvenirs. Sympathy with vital nature which he experienced in a farm village of Shandong caused him to deny the material and monetary life burdened from urban life after growth. Through the dual structure of seed, village, nature contrary to coin, city, material, he established fairy tale world like Tao Yuan-ming (陶淵明)`s Shangri la(世外桃源), which is filled with self and the child mind. The people invited at the fairy tale world GU Cheong dreamed are women who obtained pure and clean female`s temperament getting out of the man power-centered world greedy for power and money. They are innocent women like children, and simultaneously idealistic ones with Buddha`s mercy who accept and endure their wayward behaviors. In reality, the poet, through the eccentric love with his wives Xieye(謝 燁) and Yinger(英兒), wanted to build his own `girls` nation`(女兒國) and to be a prince like Jia Baoyu(賈寶玉) in The Dreams of Red Mansions《紅 樓夢》. However, his kingdom ended with his tragic suicide and the murder of wife owing to actual surviving environment and women`s socialization and corruption. Considering Chinese traditional Taoist thought of `doing nothing, there is nothing incapable`(無爲無不爲) and emancipation of selflessness in Zen as a spiritual weapon, GU Cheng recognized the death as returning to nature, pastime, and the rest from tiring present life. Besides, influenced by Bible, Dante, Lorca, and Whitman, he intended to search for suicide, taboo in Chinese culture, and find aesthetic meaning of the death newly. His poetry, the fairy tale world of uniting love and beauty, became the national fable for secular corruption of Chinese culture in the end of the century, and his death also became the last mythology of Chinese modern poetry.

자장커(賈樟柯) 영화의 궤적과 《천주정(天注定)》의 새로운 시도

이정훈
중국어문학회|중국어문학지  60권 0호, 2017 pp. 257-285 ( 총 29 pages)
6,400
초록보기
賈樟柯的《天注定》, 與之前的電影不同,對其成就曾引起了不少爭議。這篇報告試圖把《天注定》所嘗試的`暴力`主題與`武俠`樣式的兩結合是否成功的問題,放在賈樟柯電影的整個發展軌迹當中重新檢討。該導演從1990年代后期出道以來,一直以中國的`地下電影`的代表人物著稱。2000年代中期以《世界》在大陸正式公映爲起点,他的`地下`導演身分已改成`地上`的。但,`票房成績`對他構成了新的一個挑戰。該導演試圖突破這個困境,在《天注定》里引進了武俠樣式的方式而提高了大衆性因素。導演把旣往關注過來的對中國社會現實問題的關懷,通過突出暴力主題而比較成功地展示出來. 但這?武俠樣協調效果是非常有限,因而對敍事的舒暢性和故事的完整性造成缺陷。這一点,可以在導演運用現實事件(電影中所引用,改編的胡文海事件, 周克華事件, 鄧玉嬌事件, 富士康連續跳樓事件)時,把每個事件所包含的復雜現實關聯性,展現的不是那?全面和理想這一点上觀察到的。

出土文獻《論語》經文異文的文字學的考察

장태원 , 이위위
중국어문학회|중국어문학지  60권 0호, 2017 pp. 287-321 ( 총 35 pages)
7,000
초록보기
As more and more unearthed documents about the Analects of Confucius are discovered and published since the 20th century, which has made a big difference in the studying of the Analects of Confucius. These unearthed documents mainly including the Analects of Confucius discovered in Dunhuang and Tulufan area, which is generally acknowledged written in the Tang dynasty, the one unearthed in Ding county, Hebei province, which is generally acknowledged written on the bamboo in the Han dynasty, Scattered in the bamboo slips manuscript about the Analects of Confucius excavated at Guodian and collected by Shanghai Museum that belongs to the Warring States Period, the newly discovered bamboo scraps of the Analects of Confucius written in the Han dynasty, which is unearthed in Zhenbaidong, Pingrang city, North Korea, and some scraps about Zizhang chapter unearthed in Xuanquan county. This paper is trying to contrast the different characters in these unearthed documents about the Analects of Confucius with the current version. I hope to make a comprehensive and systemic study for the future study in the different characters of unearthed documents about the Analects of Confucius. In order to do a better research of different characters of unearthed documents about the Analects of Confucius, firstly, this paper will introduce the research status of the Analects of Confucius and its unearthed documents in detail. Secondly, I want to deeply studying the different characters and try to classify it into five categories aimed at comprehensively studying the different characters in these unearthed documents about the Analects of Confucius.
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