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논문검색은 역시 페이퍼서치

중국문학검색

CHINESE LITERATURE


  • - 주제 : 어문학분야 > 중어중문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-2943
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 43권 0호 (2005)

≪論語·八佾≫“繪事後素”辨析

당윤희
한국중국어문학회|중국문학  43권 0호, 2005 pp. 1-17 ( 총 17 pages)
5,200
초록보기
In the Analects of Confucius, Confucius discussed with his pupil Zi-xia(子夏) about one verse of the Shih Ching, and Confucius concluded the means of that verse with `Hui shi hou su(繪事後素)`, furthermore Zi-xia enlightened with the concept of courtesy. The conclusion `Hui shi hou su(繪事後素)` was expressed so metaphorically that has brought about many translations. The most convinced translations were suggested by Zheng-xuan(鄭玄) in Han dynasty and Zhu-xi(朱熹) in Song dynasty, this explained the 素 is white board and that the 素 is white color. The two renowned scholars explained the relations of the 繪事 and the 素 differently and resulted in different translations. In this report the translations of Zheng-xuan and Zhu-xi are considered to more likely implicate the concept of courtesy in base than the painting itself. Because the concept of courtesy of an epoch often express the ideas of courtesy regulated to the standards of the epoch. So Zheng-xuan in Han dynasty stressed the class system, insisting white color to separate the mass of colors, and Zhu-xi in Song dynasty focused on the one`s inner life, insisting the one`s inner life be like white board. Discriminating the true translation itself, this report is on behalf of Zheng-xuan, because the art pattern and the uses of vocabularies in Confucius` epoch are more similar to Zheng-xuan`s translation.

제도적 글쓰기로서 한부(漢賦) ― 초보적 문학 양식의 시험

홍상훈
한국중국어문학회|중국문학  43권 0호, 2005 pp. 19-35 ( 총 17 pages)
5,200
초록보기
基本上, 漢賦可能是一種被縱橫家之后裔們創發的文體. 他們爲了适應于漢代政治社會上的新變化, 發揮了豊富的想象力和絢麗的修辭, 從而創造了一種新的諷諫形式. 同時, 他們積極變容了儒家的(詩經(學來提高了漢賦在文壇上地位. 最初, 西漢的皇帝們大多?愛好漢賦新奇宏博的鋪陳和溫柔敦厚的勸戒. 可是, 因爲漢賦內含着太多的瑋字和過分的諷諫內容, 皇帝們隨漸對?失去了興趣. 尤其是大多漢賦作家不能适應于越來越崇實的儒家合理主義, 結果就是不太長久的漢賦興旺時代?快就轉向到衰退了. 處在從口語記?移到書面著作的西漢時期, 漢賦當然包含着多種多樣的瑋詞. 可是, 更重要的一点是: ?初步體現了一種制度化的文學樣式. 筆者認爲漢賦是中國傳統時期第一個把作家的姓名表明的文學性寫作. 特別, 漢賦通過虛設假想的對話、活用四四六六句法而諷諫的寫作原則承前啓后, 啓發了后輩作家. 所以, 我們可以說?基本上具有了文學樣式的構成要素. 揚雄說的“能讀千賦則善賦”暗示當時漢賦已經具有了比較濃厚的寫作傳統, 而開始?到了一種文學樣式的立足之地. 雖然寫作漢賦的文人當初想不到除了皇帝以外的讀者, 但是我們已知道不少漢代文人愛誦司馬相如、班固一樣著名作家的作品, 而且主動地試圖了模倣寫作. 這樣的事實明確證明漢賦具有比較廣大的讀者或者愛好群體. 要之, 漢賦就是在中國歷史上兼備文學制度的基本要素―固有創作規律和作家、讀者―的第一個文學性寫作樣式. 所以, 如果我們片面地强調?所引起的消極影響的話, 我們就會忽略了漢賦客觀的歷史意義.
5,000
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修和辭二字連成一詞最早見于周易。中國修辭學界大都把這一論述作爲漢語修辭學的源頭。在有關中國修辭學的敍述之中, 所謂修辭立其誠的含義似乎已經普遍了。但是就修辭立其誠的具體含義而言, 我們可以發現其中存在着`修省`與`修飾`兩種不同層次的看法。對修辭學的不同觀点其實反映了這兩種不同的意義。中國古代訓?學者主要是從倫理道德的角度來討論這一問題, 從而導致的反求內心是貫穿中國傳統文化的基本修辭觀念。由于中國古代人文學科歷來重視個人的道德修養, 他們硏究修辭不是爲了追逐外飾, 而是爲了修養品德。這與劉?以語言修飾的角度來討論的態度相反。19世紀末飜譯家把西方的rhetoric飜譯成修辭時, 他們把rhetoric只是當作一種口舌技巧, 當成一種說服他人的手段。卽使rhetoric飜譯成修辭, 他們認爲中國固有的修辭却不局限于rhetoric, 甚至認爲這與中國傳統的修辭完全兩樣。要劃淸界限, 我們必須回歸其本來語境, 對之作尋本探源的考察。爲此, 筆者考察了有關修辭的論述, 對修和辭的具體用法和意義與根据文獻的成書背景, 幷就修辭的語義演變提出了基本看法。
8,200
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嘉祐5年(1060)正月, 王安石曾經伴送契丹正旦使回國, 他和契丹使幷?18天, 然後回到開封. 這個送伴路程, 具體地說起, 就是這樣: 王安石1月8日左右離開開封, 1月15日左右在貝州遇到了沈?, 2月中旬, 回到開封, 所以他到陳橋時, 歎息說: “失却新年一半春.”(<陳橋>) 他在送伴路程中, 寫了不少詩, 那些詩篇可分爲如下兩種. ① 從開封到白溝驛路程中寫的是: <長垣北>·(七古)·(五古)·<王村>·<次韻柳子玉同年>·<呈柳子玉同年>·<發館陶>·<永濟道中寄諸舅弟>·<宋城道中>·<道逢文通北使歸>·<河間>·<寄謝師直>·<塞翁行>·<白溝行>(從以上詩篇中, 可以考察到具體的寫作地點), <餘寒>·<飛雁>·<愛日>·<春風>·<寄吳沖卿二首>(其二)·<寄育王山長老常坦>·<寄朱昌叔>(七古)·<寄朱昌叔>(七律). ② 從白溝驛回到開封路程中, 寫的是: <乘日>·<宿雨>·<寄深州晁同年>·<次御河寄城北會上諸友>·<陳橋>(從以上詩篇中, 可以考察到具體的寫作地點), <欲歸>·<寄純甫>. 但其中的<宋城道中>, 筆者?懷疑是<宗城道中>之誤. 王安石的送伴路程如下: [開封→陳橋→滑州(韋城)→?州→南樂→大名→館陶→永濟→臨淸→宗城→貝州(恩州)→冀州→深州(靜安)→河間→莫州→雄州→白溝驛] 歐陽修至和2年(1055)派遣到遼國, 賀道宗登位, 他由恩州和冀州而北行, 所以我們可以說王安石路過的那個路程, ?可能是北宋使遼人利用的公式路線.

『당송팔대가문초(唐宋八大家文?)』의 기원(起源)에 관하여

백광준
한국중국어문학회|중국문학  43권 0호, 2005 pp. 95-113 ( 총 19 pages)
5,400
초록보기
茅坤一生志乎古文, 而後人給他的評價幷不大, 他的選集≪文?≫却留下了?大影響。≪文?≫一刊行了, 初學者就將?奉爲入門的最佳工具書, 在他們思維上受到?大影響。因此, 我想考察≪文?≫登場的起源, 以便了解當時士人的心態。 首先, 茅坤對當時的文風持有反對的態度, 是因爲大多傾注于剽竊和模倣。依他看, 這是由于以李夢陽爲首的“復古派”而造成的。那?, 茅坤有何主張??他的主張可被分爲兩個, 一是“得其道而折衷于六藝”, 二是“萬物之情, 各有其至者”, 而這是附屬于第一個主張, 他的主張大槪爲在文章方面上得到對象的精髓, 根据聖賢的旨趣加以調整, 從而寫出文章。基本上, 他的見解符合歷來古文家的看法, 他的影響主要表現在有意構築“文統”的籌劃。他按照自己所定的理論整理出古文發展的系譜來, 卽始于六藝, 而經過史記, 繼續到八大家, 再截至茅坤當時“唐宋派”。尤其是, 他在唐宋時代恢復古文上强調韓愈和歐陽修的功勞, 顯示出恢復古文的欲望。這樣的思維當然說明≪文?≫的背景, 而還有一個起源, 這是一定要看到的, 是?八股文有關。 他對八股文堅持像主張古文那樣的態度。他認爲當時八股文旣頗爲講究新奇, 又失爲剽竊和模倣。那?, 他所想的佳文是?樣的??有趣的是, 他的看法幾乎有同于古文, 也得基于六經進行寫作, 我們由此可以推導出他將古文和八股文視混爲一談。換言之, 我們可以說他一面希望恢復古文, 一面不忽略古文?八股文的聯系, 要把八股文包容在古文書寫里。 ≪文?≫來自如上的兩個起源, 這可以從考察≪文?≫的編輯意圖和批評方式得以證明。在≪文?≫的評語上, 有關古文的還多一些, 而尙有一些針對八股文的言論, 特別是蘊含着古文理論容易轉化爲八股文的實際?外一個欲望。這多少使后來古文家注意古文和八股文的關系, 這是茅坤在文章發展上留下的較大影響。

자전적 소설로서 ≪홍루몽≫의 성격과 의미

최형섭
한국중국어문학회|중국문학  43권 0호, 2005 pp. 115-134 ( 총 20 pages)
5,500
초록보기
This Paper is intended to show Hongloumeng`s features and meanings as autobiographical novel. Hongloumeng has been known as Caoxueqin`s autobiographical novel since Hushi`s Hongloumenglunzheng(l92l). Including Hushi, Study tendency of Yupingbo, Zhouruchang, Pengqiyong, and Wushichang are called as Kaozheng school or Xinhongxue school. They focus their attention on the direct relations of author`s real experience with literary work`s details. This Paper also is fundamentally based on their studies. I, however, direct my attention toward descriptive and narrative features manifested in Hongloumeng. Above all, I maintain that autobiographical novel forms a flow in 18th century middle China. Including Wuiingzai`s Rulinwaishi, Shenfu`s Fushengliuji, and Xiajingqu`s Yesoupuyan, Caoxueqin`s Hongloumeng is one of very important autobiographical novels. I think that realistic autographical writings were changed into fictional autobiographical novels in this times. Hongloumeng as autobiographical novel reveals descriptive and narrative features and meanings such as the following. first, Hongloumeng is written through artistic treatments on field of author`s real experience. So, this work shows features mixed by realistic and fictional elements. second, present and past times overlapped in narrative world of this work. this character is illustrated in Jiabaoyu`s two selves which can be called old self and young self, present self and past self. Finally, I think that we can find mixture of confession and explanation of author or hero Jiabaoyu in narrative of this novel. Author begins to make a confession in the beginning of this work. But, ultimately Jiabaoyu who reflects self-portrait of author consistently defenses his justness, explains his conduct and selection in the narrative. In the end, This novel distinctly shows tendency of individualization and internalization, which also are caused by Hongloumeng`s features as autobiographical novel.

동아시아의 곽독희(郭禿戱)와 신라고려(新羅高麗)의 무애지희(無?之戱)

안상복
한국중국어문학회|중국문학  43권 0호, 2005 pp. 135-155 ( 총 21 pages)
5,600
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The purpose of this paper is to suggest of possibility that `Muaejihee` is a model of puppet play as `Guakdokhee`. If `Muaejihee` is accepted as a model of puppet play as `Guakdokhee`, it can fill up a vacancy on the history of east asia puppet play. So I made the discussion on the theme of this paper through three aspects tool, form and purpose of `Muaejihee` with various documents of Korea and China. As a result, I could conclude my assumption that `Muaejihee` is a model of puppet play as `Guakdokhee` is very reasonable. In many aspects, there is no difference in the meanings of gourd as equipment for `Muaejihee` and a word `Gokdu` and `Guakdok`. Both of `Muaejihee` and `Guakdokhee` have the same form of performance dancing and singing. And both of them have the same purpose of performance an idea of emptiness too. Finally, I thought if my suggestion is reasonable the historical value of `Muaejihee` must be re-perceived and re-estimated.

한국의 중국고전여성문학 연구

류창교
한국중국어문학회|중국문학  43권 0호, 2005 pp. 157-178 ( 총 22 pages)
5,700
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The purpose of this paper is a study on the research of Chinese traditional women`s literature in Korea. This sketches the outline of the research and to help for searching the way to study Chinese traditional women`s literature in Korea. The Result is as following. In the aspect of dynasty, studies on the Tang`s women`s literature is abundant. In the genre, most of them is on the poetry; poetry(74), novel(34), drama(5) etc. On the author and work, the first is on the Song`s Li Qingzhao, next is on the Shi Jing, Lienuzhuan, Xie Tao etc. In the research method, much of them is to sketch the outline or look into the women`s image and women`s character. Until now, the research of Chinese traditional women`s literature in Korea is like as reclaim wasteland. When we look around the texts on the history of Chinese literature or history of Chinese poetry published in Korea, we can see there is almost nothing introduce women`s literature except Li QingZhao and Cai Yan. This is a complete contrast to U.S.A`s situation. To develope the research of Chinese traditional women`s literature in Korea, we have to think about these several aspects. First, translation on works. Translation of original text is a basement of study on the foreign literature. Second, translation on the secondary book for example, on the history of Chinese women`s literature. Third, in future, we have to publish essay and books on our own viewpoints.
초록보기
本論文的目的在于指出朝鮮王朝士大夫的中國觀及其歪曲的原因, 特別由具體闡述洪大容(1731-1783)的中國觀。在朝鮮王朝時代下, 朝鮮和中國兩國國勢的相差太多, 所以朝鮮士大夫的中國觀一定有歪曲。可是從朝鮮封建社會結束以來, 兩國的關系又結束了。最近兩國的關系又密切了, 在此不但更應該需要正確地定立中國觀 而且需要反省過去的中國觀 隨之, 本文先簡略地敍述對中國相關曆史后, 具體闡述洪大容的中國觀。在使行?里, 較明確地表現出士大夫的中國觀。因此, 把≪使行?≫作爲硏究的對象。其中, 金昌業(老稼齊)(1658-1721)的≪燕行?≫(1713)與洪大容(湛軒)(1731-1783)的≪乙丙燕行?≫及朴趾源(燕巖)(1737-1805)的≪熱河日記≫最爲著名。 這三個之中, 以≪乙丙燕行?≫的描寫最爲精密。 洪大容的≪燕行?≫大部分是以見聞和實物詳細描寫爲主。而且對中國的好感與對朝鮮的貶斥較明顯地進行了對照, 甚至有讓人們誤會的地方, 好像別的國家人寫這作品的感覺(如貶斥朝鮮)。還有指出淸朝的失政, 這觀念是以華夷觀爲標准的, 所以缺少平衡。總之, 尊重而認定中國, 同時而批判滿族的皇權與政治。于是可以說, 洪大容的≪乙丙燕行?≫內容的中國觀就是朝鮮王朝士大夫的典型的單純思考方式。

김용 무협소설 연구의 쟁점

김진공
한국중국어문학회|중국문학  43권 0호, 2005 pp. 197-208 ( 총 12 pages)
4,700
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從前, 關于武俠小說的硏究一般都不免缺乏學術性和深刻性. 這是由于兩種習慣化的考察觀點. 一個是過于愛好武俠小說的讀者的觀點. 他們盡量誇張武俠小說的文藝美學的價値. ?一個是尊崇傳統文學觀念的所謂`正統文學硏究者`的觀點. 他們把武俠小說看做不足登大雅之堂的低賤娛樂品. 本論文批判以上的兩種觀點都根據于(高級文學-通俗文學(兩分法考察武俠小說. 本論文旨在對于最近武俠小說硏究新傾向的批判性檢討. 主要論點是第一, 武俠小說和傳統的俠義類小說之間的關係. 第二, 武俠小說的近現代性和金庸的國家意識形態. 第三, 金庸的武俠小說是否歷史小說? 第四, 金庸武俠小說的虛無色彩或者所謂`反武俠小說`的特徵.
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