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논문검색은 역시 페이퍼서치

중국어문논총검색

Journal of Chinese Language and Literature


  • - 주제 : 어문학분야 > 중어중문학
  • - 성격 : 학술지
  • - 간기: 격월
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-4555
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 85권 0호 (2018)

對韓中雙語詞典飜譯的批判性考察 ― 基于飜譯等値理論下的韓中雙語詞典飜譯

왕보하 ( Wang Baoxia )
중국어문연구회|중국어문논총  85권 0호, 2018 pp. 1-20 ( 총 20 pages)
5,500
초록보기
The paper based on the case of the Korean-Chinese Dictionary published by the Institute of Korean Culture at Korea University, presents a study on the problem of headword translation and example translation of Korean-Chinese bilingual dictionaries on the viewpoint of learners’ lexicography with critical perspective, to discover problems and further be helpful for building up theories and practice activities of Korean-Chinese dictionaries’ compilation. In bilingual dictionaries, first of all, lexical meaning translation embodies in headword translation. The problem of headword translation in Korean-Chinese Dictionary, such as taking a part for the whole, regarding individual cases as general ones, having one-sided views, unequivalent situation, inaccurate translation, untranslated annotation, causes unequivalent lexical meaning of some words. Second, part of speech of the source language headwords is different from the target language words which causes unequivalent in grammar. Third, the situation that the stylistic and register of equivalent Chinese words are different from the source language headwords but they are not be defined or tagged in the original text, causes unequivalent in stylistic. Besides, the cases of explaining certain concepts by using category concepts causes the situation that the pragmatic value is not in existence. As an important part of a dictionary, example and headword translation constitute the soul of the dictionary. From the view of lexical meaning equivalence, form equivalence and function equivalence of example translation in Korean-Chinese Dictionary, some problems exist. First, because of the non-equivalence of lexical meaning between source language headwords and target language words in examples, the situation that the function of explanation could not be fulfilled occurred. Second, the forms of some target language of examples were adjusted,which causes non-equivalence of forms between source language and target language and makes certain differences from the lexical meaning of source language examples . Third, the expression of some target language is not standard and veritable enough, and the situation of adopting equivalences unthinkingly also exists.

漢語幷列式疊加介詞的內部語序小考

류운 ( Liu Yun )
중국어문연구회|중국어문논총  85권 0호, 2018 pp. 21-48 ( 총 28 pages)
6,300
초록보기
This study focuses on the superimposed prepositions in modern Chinese, like “自從”, “自打”, “打從”, “從打”, “由打”. These prepositions is a special category of parallel superimposed prepositions in modern times Chinese. They are composed by monosyllabic prepositions with same or similar semantic meanings. These monosyllabic prepositions merge together and complement each other, so as to become a new category of disyllable prepositions with same semantic meaning. Chapter Two conducts a comparative analysis on superimposed prepositions and their superpositions on synchronic plane. Comparative analysis mainly takes three perspectives as below: first, the uses of prepositions are summarized from the perspective of semantic function. According to the semantic feature of the prepositions introducing the objects, we can categorize the prepositions into 4 types: a) time start, b) place start, c) scope start, d) origin. In each type of preposition, superimposed prepositions and monosyllabic prepositions have huge difference in the choice of object and VP. Second, the features of each preposition’s word order in sentence are analyzed, The syntactic position of preposition. The analysis focuses on the differences of before superposition and after superposition and also where these differences stem from. Finally, the topic function of superimposed prepositions is discussed. Almost all the superimposed prepositions can be place at the beginning of a sentence as a sub-clause or a preposition guide to introduce the objects followed, but they can’t be the topic in all the circumstance. Chapter Three explores the morpheme’s order within the superimposed prepositions based on the diachronic level. The morphemes’ order in a superimposed preposition are not random arrangement, but based on certain principle. Morphemes are mainly arranged in two ways: fixed order and temporary order, which is influenced by syntax, semantics, rhythm, etc. Fixed order is mainly decided by the lexicalization and part of speech. Temporary order is influenced greatly by the semantic meaning, and meeting the requirement of rhythm and avoiding repetition also influence the temporary order.

어휘적 중의성을 통해 살펴본 ‘也’ 구문과 ‘-도’ 구문의 비교연구

하두진 ( Ha Doojin )
중국어문연구회|중국어문논총  85권 0호, 2018 pp. 49-81 ( 총 33 pages)
6,800
초록보기
The adverbial elements of Chinese language come between the subject and the predicate and modifies the predicate while sitting in front of it. However, ‘也’, which is one of such adverbial elements sometimes modifies not only the predicate but also the subject or the objective in the sentence, depending on the intent of the speaker. Due to such a characteristic, this element may have dual meanings. The speaker may, based on the meanings he/she intends to deliver, select the center of the meaning. After this, a preceding phrase which is in the opposite of the following phrase in terms of the meanings appears, forming a ‘類 同’ relationship. The center of meaning, which is modified by ‘也’ may be a single entity or a multiplicity of them. But, when it modifies multiple elements, a prerequisite that covers the entire centers becomes necessary, and, for this reason, it is classified as a ‘marked’ form. In Korean language, ‘-도’ is a supportive element that can be used in six different meanings. Of these the meanings that correspond to its Chinese counterpart is (1) adding something on top of something else, and (2) enclosing two different objects or events into one. The ‘-도’ element that is used in this meaning can be joined by a subject/object, predicate, adverbial phrase, or supportive element phrase suffix. The comparative analysis of ‘也’ in Chinese and ‘-도’ in Korean resulted in the following conclusions. ‘也’ in Chinese is an adverbial element and comes in fixed positions in a sentence. It comes between the subject and the predicate and modifies either NP or VP to highlight the target of modification as the center of the meaning of the sentence. Its Korean counterpart, ‘-도’, is different as its position in a sentence is more flexible. Also in a ‘-도’ phrase, the meaning (1) is highly comparative to its Chinese counterpart, while (2) is relatively differentiated. And, how it corresponds in either of these two forms is determined by whether the modified target of ‘也’ is a subject or not. Lastly, the analysis using sample sentences in modern Chinese novels showed that it is usually a noun that comes in the subject position of a ‘也’ phrase, while the predicate position is occupied by an action verb. Also, the analysis of the sample sentences in the perspective of the context in which the center of meaning appears showed that, in most of such sentences, the subject was being modified as a single target, followed by predicates and objectives. Marked formats appeared scarcely. In summary, the ‘也’ phrases of Chinese and the ‘-도’ phrases in Korean turned out to be highly comparative. Therefore, it could be said that this can be a grammatical form that could be learned easily by Korean students who learn Chinese as the second foreign language. However, in addition to the similarities, there were differences as well. And, as this study was limited to a part of the meanings of ‘也’ phrases, further studies are mandated in terms of a larger scope in the future.

소상팔경(瀟湘八景)과 유종원(柳宗元)의 영주산수(永州山水) 체험과의 관련성 고찰

권석환 ( Kwon Seokhwan )
중국어문연구회|중국어문논총  85권 0호, 2018 pp. 83-104 ( 총 22 pages)
5,700
초록보기
This study aims to identify the origin of the Xiaoxiang Eight Scenic Spots and the landscape culture, which began in the Ding in the Northern Song Dynasty. The Eight Scenic Spots is the result of ‘the proprietary of natural space’, ‘human geographic expression of Xiaoxiang region’, and ‘Pingyuan landscape of Xiaoxiang region’. It is closely related to the landscape culture of the Tang dynasty. Particularly, Liu Zongyuan, who was relegated to Xiaoxiang region, and others tried to classify, name, and inscribe the natural landscape through ‘Bayu’ and ‘Baji’. It is the proprietary of the natural landscape indicated in the Eight Scenic Spots. Liu Zongyuan said that Xiaoxiang region was a remote area, 3,000 ri away from the capital, and the land of barbarian, and people of this region lived in the fog. The abundant wetlands and wide plains mostly match with the landscape of the Xiaoxiang Eight Scenic Spots. It can be said that the experience, sightseeing, and the portrayal of the scenery of Liu Zongyuan influenced the selection of the Eight Scenic Spots. Underappreciated feeling of Liu Zongyuan, which was described in ‘Yuxishixu’ and ‘Yongzhoubaji’ was in the same line with ‘enmity’ and ‘discharge’ images of Xiaoxiang region, accumulated in Xiaoxiang Eight Scenic Spots Figure. ‘Chicunqianli’, suggested by Liu ZongYuan in ‘Yongzhoubaji’, was connected to the artistic conception of Pingyuan landscape in Xiaoxiang Eight Scenic Spots Figure. Moreover, the ‘emptiness seek with spirit’ and ‘static seek with mental led to the ‘nihility and reality combining’ and ‘writing nihility in reality’ stages of Chinese landscape painting. Consequently, ‘Bayu’ and ‘Baji’ of LiuZongYuan spread to Xiaoxiang region beyond Yongzhou and met the Xiaoxiang Eight Scenic Spots.
6,100
초록보기
History is a narrative in which the author selects references according to his intention. However, it is hard to realize what kind of reference has been used or excluded by an author while in the process of the history compilation. Sima Guang(司馬光), for example, referred to more than three hundred historical documents while he was compiling Zizhitongjian(資治通鑑), and cross referred to at least four to five sources for any one event in history. Zizhitongjian-Kaoyi(資治通鑑考異) explains why one reference was chosen over another when evaluating historical sources. It holds value in the fact that it shows the process of selecting the appropriate sources for compilation, unlike most other counterparts whereby authors choose certain sources without explanation. This thesis focuses on “Tangji(唐紀)” of Zizhitongjian-Kaoyi to understand the boundary of history in Sima Guang(司馬光)’s point of view. He did not include ‘official history(正史)’ just because they were deemed official; neither did he exclude narratives just because they were deemed unofficial such as ‘Xiaoshuo (小說, Miscellaneous notes)’. He had his own standard of evaluating documents, and included sources which deemed fit in his standard. His sources do show his own perspectives and assumptions, but he seeks to speak of history that teaches us lessons. This reflects how much literary narratives are included in the process of compiling and editing history.

당전기(唐傳奇)에 나타난 여걸 고찰

김낙철 ( Kim Nakchul )
중국어문연구회|중국어문논총  85권 0호, 2018 pp. 131-154 ( 총 24 pages)
5,900
초록보기
In Chinese literature, Tang Chuanqi(唐傳奇) was a form of short story in the classical language which developed in the Tang dynasty. A hero is a main character of a literary work who, in the face of danger, combats adversity through feats of ingenuity, bravery or strength, often sacrificing their own personal concerns for a greater good. No one can deny the recognition of respect for men and discrimination against women contained in the Tang dynasty. Women were often not individualized, but praised as a group for heroic deeds. People say that women can not do this job, of course there are some exceptions. Anyway, the cultural repertoire of heroic stories requires different qualities for each gender. Tang Chuanqi’s writers took to finding their own problems, naturally leading to a connection with modified subject. They shall be called ‘Heroine Novels’. Heroine novels of Tang Chuanqi can be categorized according to the female features of realizing heroines into the four types. Liwazhuan(李娃傳)·Xiexiao’ezhuan(謝小娥傳)·Shangqingzhuan(上淸傳) and Hongxianzhuan(紅線傳)·Sheyinnang(?隱娘) literally succeeded the tradition of women’s superiority like so called active women to the next generation. This paper considered true meaning and values of heroine novels in Tang Chuanqi.

≪文心雕龍≫<原道>篇 硏究

유병갑 ( Yeu Byeonggab )
중국어문연구회|중국어문논총  85권 0호, 2018 pp. 155-181 ( 총 27 pages)
6,200
초록보기
In the study of literary theory, what kind of method is adopted and the results of the study may be quite different. So the research method is not correct, the result will be hard to be trusted. In my opinion, During the study of the Yuandao of Wenxindiaolong, most scholars reluctantly concluded according to the philosophical contents of Confucianism, Taoism, Zenism and Metaphysics and Liu Xie’s Yuandao words. Therefore, Not the same opinion divergence. In order to correctly grasp the significance of Liu Xie’s literary theory, the author studies his literary experience and theoretical content according to his own theory of ‘talent, spirit, knowledge and practice.’ Through this research, we can get that Liu Xie is not stick to the thought of one school, Instead, it integrates the thinking of each school and the vision of great vision to establish its own system of literary theory. Liu Xie continued to ask the question of literature in the process of building his own theoretical system of literature. How to develop? What are the problems in the literary world? Correct the distortion of literature, etc. Then, Liu Xie recognized the difference of literary between natue language and humanities. Liu Xie believes that literature (generalized Literature) is born and grown-up with the world. From the modern perspective of literary understanding Xie has not yet reached a certain level, contain ambiguity. However, in the exposition of Liu Xie theory, we can find that he has clearly recognized the difference between natural and human. There are two stages of emotional involvement and the use of the diction between nature and humanity. In his discourse on Yuandao, Liu Xie discusses in detail the process of the origin, formation and development of humanism, which means that the basic purpose of Liu Xie’s Yuandao is to clarify the meaning of humanity.
5,900
초록보기
It can be said that the ideology of Art Thesis·Antithesis·Synthesis is the total of the most typical art experience in the history of Chinese poetry development. The confrontation and unification of the contradictory elements, included in works of art can be identified by the propositions of literary theory. Among the propositions, “Feeling” and “Scenary” contains those features intactly. Thus, this paper aimed to consider the archetype, the semantic category and the value of the artistic sceneries, completed in the process in which each of “Feeling”, a subjective subject of creation and “Scenery”, an objective object ① took one-way action and ②moved towards convergence again. For comprehending specific action of “Feeling” and “Scenery”, according to the topic presented above, a personal poetic theory was selected. Focusing on the poetics of Qian Qian-yi, who was the leader of the poetical circle from the late Ming to the early Qing dynasty, first, this paper examined the semantic category and the value of the archetype of “Hakmunjigyeong”, completed through active action of the creative subject. Second, this paper analyzed the semantic category and the value of the archetype of “the true feeling that the luck of the times means”, completed through active action of the objective object. Third, this paper identified the relation between “Feeling”·“Scenery” and Art Thesis·Antithesis·Synthesis by looking into the process in which the key elements of Qian Qian-yi’s poetics; learning, the mind of spirit, and the luck of the times, were converged within the frames of the creative subject and the objective object.
5,900
초록보기
Ye Xie is a major literary critic of the Qing Dynasty period. The focus of existing research on his poetic theory is on poetry creation theory and poetic criticism. In particular, the argumentation towards his systematic view of poetry, which is based on the subjective and objective conditions of poetry creation, comprises an absolute majority of existing research. What I have noticed is that there is one point that is overlooked in these arguments. That is, the definition of the concept is not clear: the definition’s ambiguity of the concept for an implication of the main terminology presented in terms of subjective and objective condition by the author. To grasp and evaluate the thoughts and intentions contained in the main terminology of ancient writings at this point in time, I think that it is our priority to set up the identical “understanding structure” in order. To make an appropriate assessment, it is necessary to comprehensively consider the meanings of individual terms or paragraphs of the corresponding terminology in the context of the era environments, personal situations, and semantic relevances with other essays.
8,100
초록보기
In this article we watched the way of the imagery of Liu Bang(劉邦) in the recent Chinese film story, which are the movie “White Vengeance(鴻門宴傳奇)” directed by Li Rengang(李仁港) in 2011 and “The Last Supper(王的盛宴)” directed by Lu Chuan(陸川) in 2012. In the movie “White Vengeance” the director Li Rengang(李仁港) emphasized the character of Zhang Liang(張良) and Fan Zeng(范增), who were respectively the advisors of Liu Bang(劉邦) and Xiang Yu(項羽), who are well-known heros in history. Zhang Liang and Fan Zeng were described as a wise baduk(圍棋) player. Especially, old aged Zhang Liang is the leading characters who remonstrates old stories about the ‘Hongmenyan(鴻門宴)’ in the film. Futhermore, the action scenes in the movie are very technically and splendidly portrayed by computer graphics as much like martial arts films. The movie communicates ideas that Liu Bang was not a real winner for he suffered from anxiety and the sense of guilty in the rest of his life, although he had Han(漢) dynasty. Likewise, Xiang Yu was not a real loser, for he could be together with the royal person including Yu Ji(虞姬) even when he is about to die. In the movie “The Last Supper”, the director Lu Chuan(陸川) focused the relationship among Liu Bang, Xiang Yu and Han Xin(韓信), and depicted the anxiety and the fear which Liu Bang experienced in his life. Liu Bang could be the boss of anti-Qin(秦) army with assistance from Xiang Yu and narrowly escaped death in the ‘Hongmenyan(鴻門宴)’ with charity of him, but it ended in the death of Xiang Yu and the victory of Liu Bang who wanted to be emperor. Han Xin(韓信) was a petty office in the army of Xiang Yu, but was appointed to a great general by Liu Bang. Han Xin won consecutive victories in Chu-Han Battle(楚漢戰爭), defeating Xiang Yu to death and accomplishing a feat for the establishment of Han(漢) dynasty. But Han Xin was suspected of rebellion and killed in the trap in conclusion. The two movies mostly described the defection of the character of Liu Bang and the anxiety he suffered in all his life despite the highest position and the most powerful authority in his nation.
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