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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 : 61권 0호 (2017)

話本小說中的杭州節慶習俗

咸恩仙
중국어문학회|중국어문학지  61권 0호, 2017 pp. 7-21 ( 총 15 pages)
5,000
초록보기
The description of the ancient Hangzhou festival customary is an appreciable content in the Hua-Ben novels. This will not only help the readers to understand the real features of Hangzhou in the Hua-Ben novels, but also reflect the realistic life style of the time. Through the description in a series of stories, the Hua-Ben novels revealed the special ways of the ancient Hangzhou people to celebrate the Chinese traditional festivals in a literature angel. Which includes the followings: the lively pictures of the people of the whole city to go out to watch lamps in the night of Lantern Festival; the vision of the people to go around the West Lake to visit graves and to go spring outing in Tomb-sweeping Day; the scene of the officials and common people to go to Qiantang to watch the tide in Mid-Autumn Festival. In the description of the folk customs of these festivals, the Hua-Ben novels portrayed rich and colorful backgrounds, shaped a great amount of visual figures, and promoted the ups and downs development of the plots for a series of the related works. And this also showed the perfect literature portrayal of the ancient Hangzhou traditional festival folk customs.

명말 청초 여성 시인의 화훼시(花卉詩) ― 이인(李因)을 중심으로

김의정
중국어문학회|중국어문학지  61권 0호, 2017 pp. 23-46 ( 총 24 pages)
5,900
초록보기
本論文要探討花卉在明末淸初女性詩人作品裏的表現,而且作爲其具體作家,筆者選擇李因。明末淸初時期由於以蘇州爲中心的江南地區之經濟發展及其影響,整個社會個門領域中有了文化藝術的發展。當時對政界失望的文人歸鄕以後却追求書畵,園林,遊覽方面,社會上通過發展的印刷技術來達到知識大衆化。面臨淸朝的新秩序,有些人追隨淸朝的權力,也維持以前的奢華,有些人爲了表現對前王朝的忠義而自盡或者拒絶朝廷的邀請。他們爲了表明自己遺民身分而寫孤芳自賞的詩歌。這種環境下明末淸初的女性詩人也受到影響。雖然?們不能說是正式的政府官員,但是?們心情上把自己歸屬於遺民詩人。李因是典型的遺民意識濃厚的女性詩人。?的花卉描寫有兩獨特性。第一是每瞬間連接生活的具體場面而傳達生活的氣息。第二是活動性?强。?多場合上李因觀察花卉時?的行動不僅僅是看花,等月亮,反而達到種花,看日曆等活動。整個畵面充滿有關賞花的一系列活動,所以?一般詠花詩不一樣,沒有孤僻幽靜的氣?。?的詠花詩的主要素材是菊花和梅花。特別梅花是?的孤獨貧冷的後半生的伴侶。筆者特別集中分析幾套梅花連作詩。
초록보기
本文探討了妙善傳說的小說化情況。具體可整理如下: 首先,擴展了敍事內容。該傳說已有敍述事件之間的關聯性得到了補充,幷增加了新的揷曲,使敍事得到擴展,特別是大量借用了《西游記》的主旋律, 這應當是作者認識到當時《西游記》的流行而有意加入的部分,這類現象在同類的神魔小說中也較易發現。 其次,增加了人物形象的生動感。敍事的後半部分,特別是新添加的敍事中增加了人物之間的對立關係,不僅出現了反面人物,還出現了協助者(神靈),幷且使得這些人物顯得更爲活躍。人物的大量出現以及人物間關係所表現出的更爲細部化的感情線索增加了故事的緊張度和趣味性。 再次,已有的妙善傳說主要反映了想要升入上界的欲望,而後半部分新加的內容中則展示了以人間世界(中界)爲中心的多種欲望,尤其是後半部分中,通過新加的超現實性妖怪(神魔)故事來導向對人之本來面目的省察,?已有妙善傳說的內容相比,這一點是非常値得留意的部分。 最後,小說化的過程使得傳說的主人公妙善(觀音)的宗敎性逐步減少,與此同時,作品中的娛樂性得到了增加。已有敍事中展現出的神聖性被減少意味著豊富的人物形象帶來的變幻可能性得到了增加。小說中展示的妙善(觀音)的面貌和民間俗神的面貌相類似,這一點也反映了創作當時民間的觀音信仰。

魯認《錦溪日記》裏的交游詩考

朴永煥
중국어문학회|중국어문학지  61권 0호, 2017 pp. 75-94 ( 총 20 pages)
5,500
초록보기
노인의 《금계일기》는 조선사대부가 작성한 중국 복건 지역에 관한 최초의 기록으로 1599년 2월22일부터 6월27일까지 약 4개월간에 걸쳐 복건지역의 풍속과 문물을 기록한 일기이다. 《금계일기》 속에 수록된 노인의 시가는 29수에 불과하지만, 전반적으로 왜구의 침략에 대한 복수심을 반영하며, 반드시 원한을 갚고자 하는 시인의 애국심을 잘 묘사하고 있다. 임진왜란 이후 조선 사인들의 왜구들에 대한 보편적인 인식과 정서의 반영이라고 할 수 있을 것이다. 창작 동기로 보면, 수록된 상당수의 시가들은 민지방 관원이나 지역인들의 요구에 의해서 창작되었기에 교유시로 분류할 수 있다. 그러므로 노인과 민지역 문인들 간의 우의를 묘사한 작품도 상당수이다. 제재상으로 보면, 제화시, 영화시, 영물시, 차운시, 서정시(이별, 감사) 등 다양한 내용을 포함하고 있다. 이외, 16세기말 복건지역의 학술사상, 종교현황, 도시면모, 청명한 정치, 명나라 사대부들의 조선관 등을 이해하는데 도움이 되고 있다. 만약, 최부의 《표해록》이 15세기말 명대 운하부근의 풍광에 대한 사료적 가치를 가지고 있다고 한다면, 《금계일기》와 수록한 교유시는 노인과 민지역 사대부들과의 교유현황, 그리고 16세기말 민지역 학술, 사상, 종교, 문화 등 복건성 문화에 대한 이해 제고에 상당한 도움을 주고 있다. 특히 왜구의 살륙에 대해 죽음으로써 끝까지 항거하고자 하는 시인의 우국충정, 유린된 국토를 하루빨리 회복하고 포로를 송환해야 한다는 노인의 간절한 소망은 명의 만력 황제까지 감동시켜 “충절은 문천상과 같고, 절개는 소무와 같다”고 극찬한 하였던 것으로 보인다.

자제서(子弟書)의 창작과 전승에 대한 고찰

함영은
중국어문학회|중국어문학지  61권 0호, 2017 pp. 95-122 ( 총 28 pages)
6,300
초록보기
淸代盛行的子弟書屬詩贊體曲藝形式,在北京、沈陽、東北地區流行長達二百年左右的滿族民間曲藝。子弟書創作大多以流行於元·明·淸三代戱曲和小說爲題材。現存子弟書曲目約有400余篇,其中改編自元·明·淸時期戱曲作品的子弟書多達140余篇,改編自小說的作品有130多篇,也有對當時社會生活的眞實反映。 根據分散在各地的子弟書記錄中大致可以看到,唱早已失傳,只有劇本保存幷流傳了下來。據現存資料考證,除了以韓小窓爲代表的少數的二三十名作家的作品和生存年代大致可以考證之外,大多數子弟書作家的生平仍似是而非。 八旗子弟作爲生活悠閒,無所事事的特殊群體,不得不將自己的精力都用在娛樂上。子弟書的作者幷不故作深刻,追求深刻的理解和被理解,他們追求的是盡可能把情節簡單化和通俗化,從而迎合民衆的審美趣味。對八旗子弟來說子弟書作爲單純解悶的娛樂方式,其創作和分享也僅限於八旗子弟內部。

Contesting the Regime of the Red: The Rhetoric of Love and the Cultural Revolution in Under the Hawthorn Tree

( Bong Inyoung )
중국어문학회|중국어문학지  61권 0호, 2017 pp. 123-146 ( 총 24 pages)
5,900
초록보기
Centering on the rhetoric of love, symbolized in the form of the red and a commodity, this article examines how the regime of the red works in conjunction with emotion in representing the Cultural Revolution (1966-1976) in Shanzhashu Zhi Lian (Under the Hawthorn Tree), directed by Zhang Yimou (2010). Revisiting previous studies’ asymmetrical gender relations from the era of the Cultural Revolution, this article shows how the regime of the red as both political propaganda and as flights of visual and literary imagination is utilized to contest Maoism as well as state authority, couched in emotion and Confucian rhetoric. The schema of emotion and love are configured hierarchically and yet conceived creatively to challenge its pervasive power. Furthermore, by analyzing how diegetic and non-diegetic sound and music are deployed, this study explores how the construction of a national history based on a spurious claim is destabilized by storytelling; a woman’s act of looking into the authenticity of state propaganda collides with the state’s mobilization of a local history from a legend in order to construct a unifying, vaunted national history, both of which are in flux under questioning. This study suggests that the representation of the regime of the red problematizes the interlocking site in which a truth claim and the construction of a national history are in tension, for two conflicting social forces are also at play for mystification and demystification.

출토문헌(出土文獻)에 보이는 질병명 ‘려(?)’고찰

이경
중국어문학회|중국어문학지  61권 0호, 2017 pp. 147-166 ( 총 20 pages)
5,500
초록보기
本文所說的“?”義爲幾種疾病,其義爲“惡瘡”、“疫病”、“蝎?病”。但是什?是本義,什?是引伸義,如今還是不正確。其實字義的來源與所派生的引伸義的演變過程?複雜。幸虧幾十年來在中國大量出土了地下文獻,其中?多材料包含了醫學理論的初期面貌,本論文根據出土文獻所見的一些“?”的記載來將證明當時所用的字義及引伸義,而且提傳世文獻中的記載進行比較。

현대중국어 ‘A일점아(一點兒)+V’와 ‘V+A일점아(一點兒)’ 명령문 대조

이나현
중국어문학회|중국어문학지  61권 0호, 2017 pp. 167-186 ( 총 20 pages)
5,500
초록보기
本論文對主要‘A一點兒+V’和‘V+A一點兒’祈使句進行了分析。這‘A一點兒+V’和‘V+A一點兒’都可以表示祈使句,但其語用意義就不同。根據構式語法,我們對這兩個祈使句下了定義。卽‘A一點兒+V’的構式義是指說話人要求聽話人進入某種狀態,而‘V+A一點兒’的構式義則是指說話人要求聽話人把已經實現的某種狀態進行小幅的調整。就是說,‘A一點兒+V’祈使句在動作行爲未實現的情況下使用,而‘V+A一點兒’祈使句在動作行爲已經實現的情況下使用。但是,我們常常能看到‘A一點兒+V’祈使句在動作行爲已經實現的情況下使用。解決這些問題我們分析了“一點”的功能。分析結果‘A一點兒+V’中的“一點”屬於虛詞,表示委婉的語氣,而‘V+A一點兒’中的“一點”屬於實詞,說話人要求聽話人按原來的情狀銷量差異的狀態出現。因此,在動作行爲已經實行的情況下,‘A一點兒+V’表示囑咐,勸告,是比較有禮貌、委婉語氣的祈使句。‘V+A一點兒’則表示督促、不滿。

중국어 3인칭대명사의 변화와 유형학적 의미

홍연옥
중국어문학회|중국어문학지  61권 0호, 2017 pp. 187-203 ( 총 17 pages)
5,200
초록보기
Personal pronouns constitute a grammatical category in most languages worldwide and perform the function of designation in very diverse ways. In particular, as languages around the globe can be classified into two-person languages and three-person languages depending on the answer to the question of whether or not third-person pronouns are to be acknowledged as personal pronouns, the ways in which third-person pronouns are realized in a language undeniably are important data revealing the particularity of that language. According to the research conducted for the present study, third-person pronouns in ancient Chinese originated from demonstrative pronouns. This was because most third-person pronouns existing at the time had been generated from the expansion of demonstrative pronouns. In other words, zhi (之), qi (其), bi (彼), and jue (厥) used as third-person pronouns were strongly like demonstrative pronouns. Consequently, they came to be different from first- and second-person pronouns existing at the time in morphology, syntax, and phonology and to be similar to demonstrative pronouns. As a result, in the period, perfect third-person pronouns did not exist, unlike in contemporary Chinese. For these reasons, Chinese in the Ancient Chinese must be seen having the characteristics of a two-person language.

“繼續”動詞副詞兼類說異議

金鐘讚
중국어문학회|중국어문학지  61권 0호, 2017 pp. 205-220 ( 총 16 pages)
5,100
초록보기
Up to now, many grammarians argue that the term “Jixu” only functions as a predicate, not as an adverbial. Xingfuyi argues that Jixu” not only can function as a predicate, but also can fill the role of an adverbial. Grammarians make inductions from language facts. If any grammar made by grammarians doesn’t accord with actual language, the grammar rule should be denied. In this point, Xingfuyi’s viewpoint is quite correct. Xingfuyi, furthermore, argues that when “Jixu” acts as an adverbial, it is an adverb. But according to my study, “Jixu” should be analyzed as a transitive verb and an intransitive verb. Of course, the meaning of the transitive verb “Jixu” is not exactly the same as the intransitive verb “Jixu” and only the latter can function both an adverbial and a predicate.
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