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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 : 64권 0호 (2018)
7,400
초록보기
北宋理學家朱長文《琴史》,基於《禮記·樂器》展開儒家樂論,其學術價値如下: 第一,作爲最初古琴專題著作,將散在的琴曲及其相關典故集大成。 第二,根據史料,糾正《琴操》之謬。 第三,《琴史》列入的琴曲,與《琴操》、《樂府詩集》比較得知,其基於古琴曲,以至宋代的琴曲齊全。此外,記載諸多已失傳的文獻內容,具有豊富史料價値。 最後,貫通朱長文《琴史》的儒家樂論。琴象天地制琴,應天地之氣制定琴度,受陰陽五行,五聲、五德、五事、五髒互應,可謂氣感之用。聲本於心,琴聲動心,情形於聲,借此修身幷觀風敎。琴聲要到達“中和”之美,“中和”乃“無邪心”,卽爲“至誠”。因此,琴已超越一介樂器,而成爲“學聖賢”幷實現儒家之道的修身之方便。同理,琴之藝術境界亦是,其相同以“持敬”達成“至誠”。

역추적의 고전 ― ‘삼국지와 경영전략’ 수업에서의 고전 독법

강종임
중국어문학회|중국어문학지  64권 0호, 2018 pp. 47-71 ( 총 25 pages)
6,000
초록보기
The most valuable talent of human is sense of humanities. The importance of humanities is that it teaches to take step by step to a solution that cannot be obtained immediately. The ones who study humanities learn to advance silently when faced with ambiguity. In a society that coins words like moon-song or ingu-ron, it is essential to make students who are losing their self-confidence and trust in humanities recognize the importance of sense of humanities and keep their humanistic literacy. In this study, through the “The Romance of Three Kingdoms” and Business Strategy Class, I have learned the process of students who study humanities grow their sense of it. The key part of this class was that the various values learned from the “Romance of Three Kingdoms” as a classic and to apply the values to modern society in which requires much humanistic senses. In comparison and analysis of the original literature and the movie, students started writing with simple comparison and impression and advanced to a level of looking into oneself and eventually to a level of contemplating many aspects of modern society. And through this process they did not only learn ‘spec’ but also high level of self-confidence. This challenging and experimental class had shown more or less different process, however I believe this has made students who shared the experience will become a person who can realize the humanistic senses through co-working, tuning, intuition, analyzing, flexible thinking and writing that they had shown. The achievement of this class is that it showed effectiveness of humanities of retracement that through the contemporary contents of film can draw attention to classical originals and even to the very history that motivated them and that it suggested a very effective way of understanding the classics.

《괘지아(掛枝兒)》와 《산가(山歌)》에 나타난 기녀의 사랑

서연주
중국어문학회|중국어문학지  64권 0호, 2018 pp. 73-96 ( 총 24 pages)
5,900
초록보기
《Guazhi-er》 and 《Shange》 are the folk song books complied by Feng Menglong and they reflect various views and thoughts on the female entertainers’ love in the late Ming Dynasty. The female entertains satisfied the customers’ desire for entertainments and solidified their position as ‘legal date’. However, people were cautious on the love with the female entertainers. In the late Ming Dynasty, the cities and school of mind developed and the female entertainers did not belong to governmental offices anymore. As a result, the female entertainer groups pursuing own interests flourished during that time. The female entertainers were often blamed for untruthful interest and love for wealth. In the folk song books complied by Feng Menglong, the love of female entertainers was described as one of the ‘personal love[私情]’ and the songs were skeptical about their ‘sincere emotion[眞情]’. Therefore, in 《Guazhi-er》 and 《Shange》, the songs about the female entertainer’s love were doubted and changed by the critical remarks.

德福相生與情移理化――“三言”的勸世特色

趙冬梅
중국어문학회|중국어문학지  64권 0호, 2018 pp. 97-120 ( 총 24 pages)
5,900
초록보기
It is a universal belief that, after the literati have got control of the genre of storytellers’ scripts, the aspect of the exhortative function of the vernacular fiction is stressed. Though many scholars have noted this phenomenon, most papers discuss it from the perspective of themes and the writer’s thoughts, but rarely from the perspective of narrative discourse. Citing “San Yan” the first literati’s storytelling work as an instance, this essay intends to illuminate the problem by the approach of narrative discourse. Comparing “San Yan”, “Er Pai” and Xing Shi Yan, it tries to expose the characteristics manifested in the realization of the exhortation. This essay proposes that, different from “Er Pai” which emphasizes on novelty, or “Yi Xing” which tends to set up models, “San Yan” specifically stresses the use of warning, enlightening and awaking the common people. In contrast to the other two works, “San Yan” does better in keeping the target readers in mind and strives more to inculcate the concept of virtues rewarded for the commoners. Unlike “Er Pai” and “Yi Xing”, “San Yan” does not try to manipulate the interpretation of the reader while the exhortation is accomplished. It tends to move the reader with constant plot, and to elicit out understanding on the reader’s part with idioms and proverbs. All in all, appealing to emotion and ration are the major characteristics of San Yan’s exhortation.
초록보기
在華天主敎耶穌會士殷弘緖(Francois Xavier d’Entrecolles, 1663~1741)淸朝雍正年間在北京慈母堂出刊了《訓慰神編》, 該書是聖經中譯史上第三度嘗試以中文譯經, 是繼陽瑪諾的《聖經直解》、白日陞的《四史攸編》之後, 而且也是首次將《舊約聖經》中的一卷全文譯成中文的作品。1728年羅馬敎皇廳出告勅令, 嚴禁以各地語言飜譯《聖經》。欲讀者, 必需由拉丁文入手。《訓慰神編》中譯於1730年, 而在1728年, 羅馬傳信部由君士坦丁堡敎皇一路鎭壓法國耶穌會, 連在華傳敎者也不放過。1730年(淸雍正8年), 世宗篤信佛敎, 嚴令禁止天主敎, 此令早已傳遍全國。値此內外交攻之際, 殷弘緖身爲法國耶穌會首長, 肩負弘敎保會重責, 乃形同亞述國尼尼物城的猶太俘虜多俾亞, 必鬚堅忍奉敎, 又得仁心處世。盡管當時敎中已禁譯經, 他仍然執筆中譯, 而所得自是《聖經·舊約》中的《多俾亞傳》, 是古聖多俾亞仁忍行世的往行。殷弘緖還夾譯夾述, 又箋注幷出, 最後以單行本的方式刊刻於北京。殷弘緖的譯注本小說《訓慰神編》在聖經中譯史上與基督敎飜譯小說硏究史上意義非凡, 但至今學界却幾乎無人硏究。本論文以6節的篇幅探究譯者殷弘緖的聖人傳記小說《訓慰神編》的出刊背景、所採取的傳統小說結構、敍事方式及敍述文體特點等, 以及包括譯者爲何採取詩經體韻文與傳統小說結構的飜譯策略及其飜譯目的。
5,900
초록보기
This study examined trends in current perception and interpretation of Dufu’s poem through <大唐詩聖> drama and <好雨時節> film. Unlike the tendency of writers of traditional societies to recognize his poetry in the Confucian world of the world, the story is reconstructed as a place to confirm the new media environment and the progress and pain of a person in the contemporary situation. This is all part of the process of sidelining the “current” position. The media can also be seen as one of the main means of determinina the use of Du-shi(杜詩). In addition, if we apply this retelling to literature education, it will be effective to increase student participation as a result of recognition of literature as an open text.
6,200
초록보기
本文考察了東國大學圖書館所藏抄寫本《華語》和梨花女子大學所藏抄寫本《漢談官話》的韓文注音情況。這兩個抄寫本是同一個系列的漢語詞匯集,可以說是大同小異,有關《漢談官話》的硏究自2005年開始,之后除了相關硏究之外還出版了校對本,但《華語》一書自2015年發現以來現在只有兩篇相關硏究,因此認爲對這兩個版本的對比硏究對漢語史硏究有一定的參考价値。本文整理了這兩本書的所有文中的韓文轉寫音, 然后着重歸類分析了聲母的注音情況。這兩個抄寫本的聲母轉寫音特点大同小異,因爲是抄寫本,有不少錯誤的注音,本文將其一一校對,整理,修改。聲母的主要特征如下: 第一,‘f’轉寫成/ㅸ/或/ㅍ/, 第二,‘d’轉寫成/ㄷ/或/ㅈ/,‘t’轉寫成/ㅌ/或/ㅊ/。轉寫成/ㅈ/和/ㅊ/的例字大部分是帶有介音‘i’的。第三,‘n’主要轉寫成/ㄴ/,但有不少轉寫成/ㄹ/或/ㅇ/,而‘l’主要轉寫成/ㄹ/,但有不少轉寫成/ㄴ/或/ㅇ/。這說明泥母和來母的注音有所混淆。第四,‘j’轉寫成/ㅈ/或/ㄱ/, ‘x’轉寫成/ㅄ/或/ㅆ/。見系的聲母有尖團音之分。第五,平舌和卷舌音注音沒有什么區分。第六,‘r’和零聲母都轉寫成/ㅇ/。至于韻母的注音比較,個別特殊韓文轉寫音的硏究等有待今后繼續硏究。

“快 ······了”結構語義分析

彭靜
중국어문학회|중국어문학지  64권 0호, 2018 pp. 215-234 ( 총 20 pages)
5,500
초록보기
“Kuai······le” is one of the common structures in spoken Chinese. “Kuai” is an adverb of time, which means that something is close to or about to happen soon. “Le” is auxiliary word, which means change. The words or phrases which can be put into “kuai······le” can be a noun (phrase), or a verb (phrase), or an adjective (phrase), or a subject-predicate phrase. However, not all nouns, verbs, adjectives and subject-predicate phrases can be put into this structure. This article discusses the words or phrases and their meanings which can be put into this structure, which words or phrases can put into this structure and which can not, and also explains the reasons why they can or can not be put into this structure.

基於缺省邏輯的函數推理

王宏偉
중국어문학회|중국어문학지  64권 0호, 2018 pp. 235-252 ( 총 18 pages)
5,300
초록보기
The research on Default in linguistic had a long history, and the terminologies used to define this phenomenon have also been verified, but better widely known as Omission. Even not a small number of the researchers ignored the difference and mixed them in usage, but in this research paper, it was found that there had been substantial difference in between. Omission is more Grammarian-based method, while Default is more Pragmatics-based method. In this applied linguistics prevailing era, the research on Omission is no longer focus on the analysis or reasonable explanation of those grammarian rules, weakening the status of Omission syntax. The conveying of information is not only through the grammar but also, or saying in a bigger portion, through the speculation during the real communication and the cognitive context behind it. The Default Function could explain this finding brief and to the point. In this paper it started with a detailed inference from the previous research on the definition of Default Function, adding the prosody component and Paralinguistic Features into “D”, redefining the scope of Paralinguistic Features, so as to revise the function for a better expression of the Default phenomenon. It is known by now, there has not been much research on this topic, and this is also the first paper on the revision and intensification of Default Function in linguistic. Hopefully the research on Default in cognitive context in this paper could make some contribution in opening the black box for further understanding our human’s brain.
6,100
초록보기
The present study examined differences in the usages of Chinese repetitive adverbs ‘you(又)’ and zai(再) in terms of syntax, semantics, and pragmatics. As a result, it was possible to confirm that, in explaining the usages of you and ‘zai’, simplistic explanations such as “These words are used mainly in the past tenses and the future tenses, respectively” led to many errors among learners. Korean-speaking learners of Chinese are taught that, in expressing repetition, ‘zai’ is used in the future tenses and you are used in the past tenses. However, ‘zai’ can be used in the past tenses in the case of hypothetical sentences, and you can be used in the future tenses when accompanied by circular situations or optative verbs. In addition, you and zai differ in the locations of both optative verbs and negative adverbs and in usage when adjectives combine with reduplicated verbs. In addition, there are differences according to combination with zai(在), which indicates resultative complements and progression, and in the aspect markers that are frequently combined. Meanwhile, the present study was able to confirm through both an analysis of learners’ errors and semantic map model analysis that learners’ errors were based on influence from the usage of the word ‘ddo’ in Korean, their mother tongue. Because the Korean word ‘ddo’ has diverged semantically in a manner nearly identical to that of the usage of ‘zai’ in Chinese, Korean-speaking learners of Chinese strongly tended to use ‘zai’ even in situations where you were required. Consequently, in future education, it will be necessary especially to explain in greater depth the usages of ‘you’, which differ from those of repetitive adverbs in Korean.
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