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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 : 65권 0호 (2018)
초록보기
爲了進一步了解中日古代戱劇的關系史,本文擬對印中日三國山車戱的歷史發展進行比較,所得的主要內容大略如下: 第一、從歷史的角度來看,最早開始山車戱的國家是印度,其次是中國,最晩的是日本。且這三個國家的第一個山車戱都與佛敎有密切關係, 基於此, 筆者認爲中日兩國的山車戱都是來源于佛敎的。 第二,從宗敎儀式的觀点來看,山車的造型一般模倣當地寺廟的神殿, 及山車巡行基本要靠人力, 而中國和日本山車戱也保持這一特点。 第三,近世以前日本祗園會之散樂空車和久世舞車及延年之唐船,從字義來看,它們無疑是模倣唐宋時代的樂車和陸船, 這明明表示兩國山車戱有密切關系。 第四,自古以來,中國廟會中與山車一起出場的雜戱,大都是所謂散樂,而日本祭祀中的雜戱也是經過中國傳來的散樂。 第五,進入明淸以后,中國廟會發生變化, 卽臺閣代替山車的現象比較明顯, 與此不同,日本祭祀沒有這種變化, 一直重視山車。所以,筆者認爲大約15世左右中日兩國的山車戱開始分道揚鑣。 爲了抛塼引玉, 進行了以上的探討。希望本文對亞洲山車戱硏究能引起更多的關注及討論。
6,700
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潘岳的<悼亡詩> 3首收入在《文選》之後, 悼亡詩就成爲了悼念亡妻的專稱. 但由於禮敎久築的心理定勢下, 創作悼亡詩的人寥寥無幾, 直到中唐之前傳世的悼亡詩只有十幾首. 安史之亂帶來的巨大改變, 使人們開始關心悼亡詩, 而韋應物·元稹等詩人通過寫大量的悼亡詩, 使悼亡詩的詩歌體裁蔚爲大觀. 中唐悼亡詩采用的表達技巧及其運用方法一直影響到淸代, 成爲一個慣例. 然而一直以來, 探討悼亡詩的人不少, 然多從探討悼亡詩史入手, 或傾向於潘岳<悼亡詩> 3首的內容及藝術特色, 較少有人探討中唐悼亡詩. 基於此, 本文對中唐悼亡詩作了綜合深入的硏究. 全文由4個部分組成. 第1章提出了探討中唐悼亡詩的目的及硏究現狀, 幷突出硏究中唐悼亡詩的必要性. 第2章論述了悼亡詩的源流及成立背景. 經過論證察覺到, 悼亡詩的開始可以追溯到《詩經》, 而悼亡詩不是一時間出現的詩歌體裁, 而是通過漢武帝,潘岳等人們對悼亡體裁的關心下才合成的題材之一. 第3章闡釋中唐悼亡詩的詩詞中的運用及表現手法. 第一, 通過“晩上”, “秋天”等表達憂傷的時間及季節詞語來寫出悲傷的情景. 第二, 通過亡妻的遺物來深化作者的悲傷. 第三, 直接表達作者的感情. 第四, 古今對比. 第五, 以子女爲媒介表達悲傷心情. 第六, 夢見亡妻的方式來表達悲傷心情. 第4章是通過前3章的梳理和分析, 論述中唐悼亡詩的價値及意義, 幷作了總結.

이제현(李齊賢) 사(詞)의 연장사(聯章詞)로서의 면모

김수희
중국어문학회|중국어문학지  65권 0호, 2018 pp. 65-88 ( 총 24 pages)
4,400
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LiQixian Ci represents Ci-poetry of the Gaoli Dynasty and there is a lot of research on it. This article looks at it from a new perspective, ‘Chapter-after-chapter Style’. His Ci works are divided into ShanshuiBajing Ci and Jixing Ci according to the material. The former is already recognized as Chapter-after-chapter Ci. So I looked at Ci-Poetry tradition singing landscape first. Emeishan Jixing Ci was not recognized as Chapter-after-chapter Style. But can raise the possibility from the Title and contents of Ci. According to this, Poetic tendency of Emeishan Jixing Ci must be understood in the flow of Ci-poetry of the Southern Song Dynasty.

북경팔경(北京八景)과 명초(明初) 문인(文人)의 산수경영 고찰

권석환
중국어문학회|중국어문학지  65권 0호, 2018 pp. 89-107 ( 총 19 pages)
5,400
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The study is about how “BeiJing Eight Scenic Spots of early Ming Dynasty” is different from its previous times. Also, the study has recognized the writers’ literary character by looking at where they came from and their government services. Consideration is given to the literary expression shown in “The poem of BeiJing Eight Scenic Spots.” Although the BeiJing Eight Scenic Spots of early Ming Dynasty is the emulation of previous times of Eight Scenic Spots, it is a necessary part of Landscape management that needed to move the capital and build the imperial capital. Also, the study of BeiJing Eight Scenic Spots has been approached from a political geography perspective and understood the safety of power and the beauty of landscape in an analogical relationship. Furthermore, many of the writers at that period used the setting and description of the landscape as a meaning of national achievements. Most of the writers of BeiJing Eight Scenic Spots are from JiangXi Province, and worked for Imperial Academy, Hanlimyuan. They provided the ideology of the national managements, and they have something in common that participated in the institutionalization of big-budget productions. Finally, the writers of the BeiJing Eight Scenic Spots praised the achievements of dynasty, thanks for the dynasty’s bless, and compliment the permanent power of the government.
5,700
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Liyuan Opera(梨園戱) is considered to have inherited the tradition of Nanxi(南戱), and is also regarded as the oldest Chinese local opera with centuries of history. Quanzhou(泉州), a port city in Fujian(福建) province where Liyuan Opera was formed and developed, has been the center of international trade and commerce since Song dynasty resulting such performing arts to flourish. On the other hand, Fujian province being relatively cut off geographically and culturally from other parts of China made it possible for Liyuan Opera to develop stably for centuries. Liyuan Opera retains the most traditional Nanxi repertoire and keeps its own distinctive performing conventions of acting and music. In 1954, Fujian Province Liyuan Experimental Troupe(福建省梨園戱實 驗劇團) received huge attention when it participated in the Huadong(華 東) opera performance festival. Since the 1990s, excellent playwright Wang Renjie(王仁杰) has created many masterpieces such as < Scholar Dong and Madam Li(董生與李氏) > and < Lament of the Melancholy Widow(節婦吟) >, which were performed by the outstanding actress Zeng Jingping(曾靜萍) who has won “Meihua Awards(梅花獎)” two times. The remarkable success of Liyuan Opera results from performances based on the spirit of “Return to the Tradition and Open up the New(返本開新)” which was pursued by playwright Wang Renjie and actress Zeng Jingping. It shows the values and directions that many Chinese local operas should follow.
6,800
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How did imperial subjects cope with the aporias of legal and human rights as a modern legal system was forcibly implemented in colonial Taiwan? This article examines the toll of legal change on Taiwanese and their embryonic yet resolute resistance to the enactment of laws concerning the measurement system, the patent system, and the maintenance of public order, represented in Taiwanese fiction by Lai He, Yang Shouyu, and Rong Yingzhong. Wrestling with the imbroglio of legal rights and colonial coercion, they devised sociocultural mechanisms through which to extricate themselves from it. Furthermore, the article explores the ways in which Taiwanese creatively tapped into regional resources such as metis or practical knowledge (James Scott), public opinion, and trust based on mutual recognition and eco-cultural awareness, irrespective of race and nationality, as they had to live with a relentless barrage of law enforcement and thought control. With a focus on the relationship between the implementation of law and temporality, this study shows how the colonized perform their agency with praxis in order to renounce the capitalist model of living for profits and self-interest; it thus presents a significant case study for contemplating the possibility of dismantling the imperial governance system from within. An in-depth analysis of an alternative mode of communal life and the counter-“othering” of Japanese by Taiwanese brings the nuanced but profound voice of the colonized back into the current discussions of colonial Taiwanese literature as well as of imperial formations (Ann Stoler), which have, by and large, centered on the politics of identity formation and neglected the agency of imperial subjects under colonial dominance.
6,000
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本文針對韓中日三國的同形異義詞‘工夫’進行了比較硏究。韓中日三國被稱爲漢字文化圈, 這說明韓國與日本古代文化在很大程度上受到了漢字文化的影響。本文將漢語史分爲四大時期: 上古期、中古期、近代、現代, 主要以橫向(漢語自身演化)和縱向(漢字詞主要在韓日的傳播與受容)的角度宏觀硏究語言與文化交流的關係。 ‘工夫’詞義的來源可分爲中古白話系、唐代佛系、宋明儒系, 這些三種體系基本上都從民間白話詞語形成的。從橫向來看, ‘工夫’由中古白話系的‘役夫’、‘時間’、‘造詣’、‘本領’等變成唐代佛系的‘明心見性’、‘禪定’, 再衍化而爲宋明儒系的‘存心養性’之義。從縱向來看, ‘工夫’的部分用法傳入到韓國與日本, 在文化接受過程中得到水乳交融, 都形成了似而不同的語言文化。 ‘工夫’雖然僅僅是一個同形異義詞, 但從中可以揣摩出漢字文化圈三國文化的普遍性與特殊性。

《원성운학대성(元聲韻學大成)》에 나타난 입성자(入聲字) 변화 연구

구현아
중국어문학회|중국어문학지  65권 0호, 2018 pp. 191-215 ( 총 25 pages)
6,000
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《元聲韻學大成》明代萬曆戊寅年(1587年)濮陽來編寫的韻書,這部韻書里入聲字顯示三種獨特的特征。第一、入聲字之下另注“北X”條,第二、-p, -t, -k韻尾想混,第三、有的入聲字派入到陰聲韻里。首先,《元聲韻學大成》里的“北X”條繼承了《中州音韻》,收錄字大致相同。《中州音韻》雖是中國南部的曲韻書,但《中原音韻》的基礎上編寫,作者也已經得知這個事實,因此把《中州音韻》里的語音寫成“北”音。還有,入聲韻尾的想混意味入聲韻尾已經弱化而變爲喉塞韻尾。部分入聲字的韻尾完全消失,派入到陰聲韻部。這種事實表示作者的方言里入聲字處於韻尾弱化或消失的過程。《元聲韻學大成》的聲、韻、調收到明代吳語的影響,但同樣以吳語爲基礎的《聲韻會通》和《倂音連聲字學集要》里入聲字韻尾不想混,于陽聲韻保持對立,因此不能確定《元聲韻學大成》里入聲弱化是否反映當時吳語。總之,《元聲韻學大成》里入聲字的表現在中國的歷史語音著作里非常革新的部分,通過這部分的分析能勾知道入聲韻尾弱化以及派入陰聲韻的實際過程。
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本文對《蒙古字韻》與《飜譯朴通事》之舒聲韻進行對照分析,從中發掘相互間的韻母系統之變化特點。《蒙古字韻》與《飜譯朴通事》各成書於1308年和1517年,兩書各反映元代和明代官韻之音韻系統。通過對《蒙古字韻》與《飜譯朴通事》之舒聲韻進行對照分析,發現了五種明顯的變化特點,其特點如下: 第一,開口·三等韻的部分正齒音字,其主要元音[i]受聲母的影響變爲舌尖後元音。支韻·[i]韻母的正齒音字在左右音標爲“ᅟ/ᅳᇫ ㆍ”;庚韻·[iŋ]韻母的正齒音字在左右音標爲“ᅟ/ᅳᇰ ᅟ”ᆞᇰ ;侵韻·[im]韻母的正齒音字在左右音標爲“ᅟ/ᅵᆷ ᅟ”ᆞᆷ。 第二,合口呼的脣音字變爲開口呼。支韻·[ui]韻母的脣音字在左右音標 爲“ㅣ/ㅣ”或“ㅢ/ㅢ”;眞韻·[un]韻母的脣音字在左右音標爲“ᅟ/ᅳᆫ ᅟ”ᅳᆫ ;寒韻·[uαn]韻母的脣音字在左右音標爲“ᅟ/ᅥᆫ ᅟ”ᅥᆫ。 第三,歌韻·[ɔ]韻母有不同的韻母變化。舌·齒·半舌音字和零聲母字在左右音標爲“ㅓ/ㅗ”;喉牙音字在左右音標爲“ㅓ/ㅓ”。 第四,[ian]韻母的韻腹[a]受韻頭[i]的[+高位性]和韻尾[n]的[-高位性, -低位性]之影響發生元音高化,而在左右音標爲“ᅟ/ᅧᆫ ᅟ”ᅧᆫ。第五,[-m]韻尾大部變爲[-n]。

“還是”用於句首時語用語義功能分析

초육매
중국어문학회|중국어문학지  65권 0호, 2018 pp. 243-258 ( 총 16 pages)
5,100
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本文以在語篇中具有關聯作用的、用於句首的“還是”爲硏究對象,運用篇章分析銜接理論探討它的篇章功能,考察“還是”在語篇中的位置、出現的語境、連接的前後項之間關系、語用功能及其相關語義、情態功能。希望能爲相關的閱讀、寫作敎學提供一些參考。
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