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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 : 63권 0호 (2018)

‘대음희성(大音希聲)’의 미학적 의미 재해석

ZHANGRUI
중국어문학회|중국어문학지  63권 0호, 2018 pp. 7-29 ( 총 23 pages)
5,800
초록보기
老子美學是中國古典美學的開端,是中國古代美學史上不可多得的寶貴文化遺産。老子美學中的“大音希聲”作爲一個哲學和美學的命題,有著大量深刻而豊富的內涵。衆多學者嘗試從哲學、美學或藝術的角度探究“大音希聲”的美學意義,但幷沒有眞正闡明“大音希聲”所闡述的現象與本質,內容與形式的深刻辯證關係。筆者認爲把握“大音希聲”的審美內涵及其美學意義必須要闡明老子的“道”,因此,本文從“道”的角度,根據“道”的“有無”、“虛實”、“無爲”的特徵,分析了老子的美學思想,幷從“大美統一”、“大美無形”、“大美自然”等三個方面重新關照了“大音希聲”的所指及其美學意義。

포조(鮑照)의 <관루부(觀漏賦)>

송영정
중국어문학회|중국어문학지  63권 0호, 2018 pp. 31-56 ( 총 26 pages)
6,100
초록보기
<觀漏賦>是一篇寫看到漏刻之感受的作品. 關于其寫作時間,至今尙無定論. 蘇瑞隆注意“玫階”一語, 提及鮑照在455年擔任太學博士, 幷且根據賦裏充滿歎年的悲凉語氣, 認爲此賦明顯是作於晩年的. 本人基本上同意蘇瑞隆的看法, 以爲鮑照寫這篇賦時很可能擔任大內之職; 再注意到“與艾骨而招病, 猶刳腸而興疾”兩句, 以爲鮑照當時很可能患重病的. 其實鮑照別的作品裏也有提及自己患重病的, 如《松柏篇》《請暇啓》《謝賜藥啓》等. 當中《請暇啓》與《謝賜藥啓》分明是在孝武帝孝建三年(456)他擔任太學博士兼任中書舍人的時候寫的. 因而這篇賦也很可能在這時寫的. 這篇賦, 形式上是具有騈體文基本特色的南朝典型性騈賦. 而其文學價値却在於借詠物而表達個人眞情的一面. 在賦序中鮑照由漏箭而聯想到箭矢, 由箭矢而聯想到人生, 說: “爲生者我也, 而制生非我之情. ……因生以觀我, 不可恃者年. 憑其不可恃, 故以悲哉”, 表達了無法控制自己命運的感歎. 賦文運用段落換韻, 換韻共五處, 全篇分爲六段. 首段哀悼時光的消逝; 次段通過描繪漏刻的運作, 感到人生由盛而衰的盛衰之感; 第三段回顧自己“生經”之“悲長歡促”與仕途上“窮蹊方哭”的情況; 第四段吐露在“急於走丸”的流光裏不得不“擢劍長歎”的無奈心情; 第五段流露出認淸“算冥定於天秩”而決定順其自然“順煙雨而沈逸”的心態; 末段展現出一種要“從江河之紆直, 委天地之圓方”的看似達觀的態度. 這篇賦從頭到尾貫穿着一個基本情調――悽悲傷感.

류협(劉勰) 작가(作家) 수양론(修養論)의 특색과 의의

김민나
중국어문학회|중국어문학지  63권 0호, 2018 pp. 57-87 ( 총 31 pages)
6,600
초록보기
本文以劉勰作家修養論爲主題, 結合《文心雕龍》諸多的相關篇章, 探討了劉勰作家修養論的具體內容以及其特色和意義. 本文在下面的三個章節探討了作家修養論的具體內容以及其特色和意義. 其一, 作家修養論的根據和目的;其二, 作家修養的方法;其三, 作家修養論的特色和意義. 劉勰以依文藝誕生的‘自然之道’的‘爲文之用心’爲作家修養論的根據, 肯定 了作家在創作活動中的主動性, 同時提示了以通過解決作家創作時面對的難題, 最終達到流暢的創作構想爲目的的作家修養的必要, 於此, 爲了解決創作時的 難題, 劉勰指出了‘秉心養術’這一作家修養方法. 其具體內容有:其一, 作家通 過‘養氣’修養確保‘虛靜’的心態和氣力豊盈, 其二, 作家通過‘博練’修養達到‘博學’ 與‘才鋒’之境地. 劉勰作家修養論的最大的特色和意義就在於:一, 劉勰提出了魏晉南北朝文學理論中最有系統的作家修養論. 二, 劉勰修養論的觀點和方法. 不只在當代和現代, 卽使在未來的文藝創作上亦是極其有效的普遍可行的.

이상은(李商隱) 시의 특징에 대한 인지시학적 접근

김준연
중국어문학회|중국어문학지  63권 0호, 2018 pp. 89-118 ( 총 30 pages)
6,500
초록보기
People say that Li Shangyin’s poems, which is ‘difficult to understand’ with the head of ‘Untitled Poems’ in the reader’s mind, can actually touch the readers deeply. What makes this possible? This paper examines the characteristics of Li Shangyin’s poems as an analysis method of cognitive poetics to solve this question. Cognitive poetics deals with literary texts through the methodology of cognitive science. It is considered to be a useful methodology for analyzing how Li Shangyin’s poems are embraced. Main terms used in cognitive poetics include conceptual metaphors, foreground and background, image schema, mental space, text world, conceptual blending, and deixis. In this paper, the characteristics of Li Shangyin’s poems using these concepts of cognitive poetry are summarized as follows. Li Shangyin’s poems often used conceptual metaphors such as ‘THINGS ARE HUMAN’, ‘LIFE IS A CHANGE OF SEASONS’, ‘LOVE IS A BIRD’, ‘LOVE IS A CORPORATED THING’ etc. There is also a case of securing the cohesion of messages by using an oriented metaphor. We can confirm that maximizing the rhetorical effect of Li Shangyin’s poems from the approach of foreground-background and image schema theory. And these feature seem to be cognitively strengthened through image schemas. It is able to reexamine the fact that the rich text world was unfolding in the Li Shangyin’s poems. The reader feels the fun of confirming the poet’s message across the colorful text world. The characteristic of Li Shangyin’s poems on things is to project the objects to the poet himself through the conceptual blending and deictic shift, and this technique was examined in the poems on emotions as well. In short, the characteristics of Li Shangyin’s poems seen from the viewpoint of cognitive poetics are as follows: First, there is a conceptual metaphor or metonymy area which is usually used by Li Shangyin. Second, Li Shangyin’s poems have various text world that does not go far beyond the scope of the reader’s cognitive ability. Third, Li Shangyin’s poems depicts subjective feelings, but if you understand the meaning of conceptual blending and deixis, you can set your own interpretation direction. From the standpoint of cognitive poetics, I think that some of these features are backgrounds that can give a sense of aesthetic inspiration to the reader, even though it is said that Li Shangyin’s poems are hard to understand.

증공(曾鞏)에 대한 평가를 통해 보이는 주희(朱熹)의 문학관 및 그 의의

안찬순
중국어문학회|중국어문학지  63권 0호, 2018 pp. 119-139 ( 총 21 pages)
5,600
초록보기
It is well known that Song neo-Confucians’ critiques of the eight great prose masters of the Tang and Song dynasties were generally in the manner of Confucian in-house controversies. However, due to the strict barriers to its “Dao Xue”, conflicts were inevitable. Zhu Xi scribed profound critiques of the eight great prose writers at times on the basis of his credentials as the compiler of a prodigious volume of neo-Confucian learning, and at times as a literary critic. Han Yu, Ouyang Xiu and Su Shi were the subjects of the majority of his criticisms, and generally speaking, critiques stemming from Zhu’s credential as a neo-Confucian scholar were generally critical in nature, while those made as a literary critic were more often than not commendatory. However, Zhu Xi appeared to have a special preference for the writings of Zeng Gong, and hardly raised any opinions that were critical of them. This paper undertakes a detailed analysis of Zhu Xi’s multifaceted appraisals of Zeng Gong in order to understand the various layers of meaning presented in Zhu Xi’s critiques.

상상과 경험의 착종 공간 ― 《이역지(異域志)》의 지리관념을 중심으로

송정화
중국어문학회|중국어문학지  63권 0호, 2018 pp. 141-177 ( 총 37 pages)
7,200
초록보기
Yi yu zhi was written by Zhou Zhizhong who was from the end of Yuan Dynasty and the early Ming Dynasty. It includes about 200 countries. Although there already was practical information about the foreign lands in the Ming Dynasty, Yi yu zhi still contains description of geographies from the imagination. This shows respect to the Chinese people’s traditional view of geography who succeeded classical literature for a long time. Also, Yi yu zhi did not record the scientific knowledge as-is, but as mythical knowledge as shown in Shan-hai jing. This type of narration increases the readers’ readability and evokes their interests. Yi yu zhi classifies and signifies various foreign countries based on the traditional idea of Hua Yi. The evidence is that Joseon and Japan that actively traded with China were at the beginning of the book. Also, another characteristic of Yi yu zhi is that the foreign lands are still represented by the image of savage and animals. Finally, Yi yu zhi reflects the circumstances of Zhongyuan in the late Yuan Dynasty and the beginning of Ming Dynasty compared to the previous journals and contained more records about Mongolia, West Asia, and Central Asia.

명말 청초 여성 시인의 자화상 연구

김의정
중국어문학회|중국어문학지  63권 0호, 2018 pp. 179-204 ( 총 26 pages)
6,100
초록보기
There were many female poets in early Qing and lately Ming. Among their poems, I will take a look at the things that sing self-portrait. I chose “Xu Yuan(徐媛)”, “Wang Duan Shu(王端淑)”, “Gu Ruo Po(顧若璞)”, “Li Yin(李因)” who have an abundant number of works and whose writing styles are various. However, in ancient china, there weren’t enough of poems to call self-portraits and for women, things were worse. That is why in this article I took the broad concept of self-portrait. The most commonly used ways in which Female poets expressed themselves are “代言體(speak in another’s name)” and to disguise as male poet. However, in special case, they would sing in their true forms as female poets, not purposely hiding their gender, especially when they caught disease or grew old. Through this article I found that in traditional china, it was not easy to express oneself as a female poet, but although it is, they consistently tried to show themselves. I also looked into their main ways and found that disease and old age are very important factors in creation of female poetry.

《요재지이(聊齋志異)》의 논찬(論贊)으로 살펴본 이야기의 윤리적 기능

이근석
중국어문학회|중국어문학지  63권 0호, 2018 pp. 205-226 ( 총 22 pages)
5,700
초록보기
《The Liaozhaizhiyi/Yojaijiyi (聊齋志異)》 is a collection of short stories recorded in classical Chinese by Pu Songling/Po Songryung (蒲松齡) who lived in the Qing period. It includes five hundred stories collected by the author himself. He commented on one third of them (195 comments out of 194 pieces) and such literary form is called lunzan (論贊) in Chinese literary circles. The lunzan-s in the 《The Liaozhaizhiyi》 begin with “yishishi yue” (異史氏 曰) and they, being separate from the stories, evidence to some degree that they were recorded as told. In other words, the author separates the objectivity (facts) of the depictions on the collected stories from the subjectivity (opinions) of the criticism by separating the body (stories) and criticism (lunzan). The lunzan basically conveys his own responses to the stories, which are largely divided into social criticism, literary criticism, personal feelings, etc.. 《The Liaozhaizhiyi》 consists of provocative and interest-arousing contents such phantasm as ghosts, specters, afterlives, and mysterious phenomena, free love, satire on society, officials’ corruption, etc.. The author, as a confucian scholar, morally organized them by means of adding the lunzan-s through which he intended that novels/ short stories serve to convey moral lessons, not being limited to absurd and tedious stories. To borrow Chinese literary terms, the lunzan is a device to practice wenyizaidao (文以載道, moral expressed in words).

자제서(子弟書)와 관련 강창 장르의 비교를 통해 본 상호 교섭 양상 연구

함영은
중국어문학회|중국어문학지  63권 0호, 2018 pp. 227-248 ( 총 22 pages)
5,700
초록보기
因子弟書的形式與鼓詞相似, 子弟書源於鼓詞的說法, 爲大多數子弟書硏究者所認同。但此說法仍缺乏正確或可靠的考證根據, 幷未有人提出資料來揭示子弟書吸收鼓詞的過程。子弟書與其他說唱文體之間的關係究竟如何, 正是本文要解決的問題所在。 明末淸初, 彈詞已非常流行, 但到了淸末, 彈詞則更是蓬勃發展, 超過了其他說唱文體。從形式結構上來看, 子弟書更貼近於彈詞開篇。直到晩淸時期, 子弟書因唱法複雜難學從而逐漸消亡, 但其唱詞却被鼓詞的分支大鼓(書)所吸收。依據考證, 在說唱文學領域, 尤其是在淸代末年, 彈詞, 鼓詞, 子弟書, 大鼓(書)等體裁是互相吸引、互相影響, 最後發展成極佳的藝術效果。
6,800
초록보기
It seems that researches on “modern Chinese literary works related to Korea and Korean people” have been concentrated in the genre of novels with little research effort invested in works of different genres including poetry, prose, script, and translation of Korean literature. A closer look, however, depicts a different picture, showing that the research achievements in other genres are never insignificant. In Korea and China over the last 30 years, researches on poems about Korean people have been conducted in a relatively systematic fashion in the order of introducing new works consistently, having intensive discussions about some poems, publishing papers based on the professional discussion of poetry, publishing specialized books and source books, and doing joint researches between Korea and China. There are, however, some parts to review even in the study of poems about Korean people in Korea, China, and Japan as the study has been carried out relatively smoothly mainly among Korean scholars. The parts include researches heavily inclined toward some tendency, those subordinate to the study of novels about Korean people, and the research scope of highlighting the characteristics of poetry research. As a basic study on researches on “modern Chinese literary works about Korea and Korean people,” the present study sorted out and analyzed Korean, Chinese and Japanese research findings with regard to modern Chinese poems about Korean people, which had not attracted attention in Korea, and prepared for total discussions about such works whose research would be full-blown in Korea and China.
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