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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 : 72권 0호 (2015)

The lexicalization path of "不至于+VP"

( Jung-im Chang )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 1-35 ( 총 35 pages)
7,500
초록보기
本文調査“不至於”的來源和詞匯化的過程。現代漢語裏出現的“不至於+動詞句”表示情況不會發展到某種地步。現代漢語的“不至於”是從上古漢語的“不至於”衍變、發展出來的。上古漢語的“不至於”的結構本來是“否定詞+移動動詞+表示到達點的虛詞。” 値得註意的是,從上古漢語開始,“不至於”已經開始慢慢兒地詞匯化了,幷不僅僅是“至於”的否定形式。就是說,“至於”後邊常常出現表示處所、時間、人等的[+具體]的名詞。與此相反,“不至於”後邊흔少出現這種名詞,而出現表示情況、程度、結果等的[+抽象]名詞。上古漢語的“不至於”和現代漢語的“不至於”在語義上、語法上有大大的區別。在語法上,現代漢語的“不至於”後邊只能出現動詞短語。與此相反,上古漢語的“不至於”後邊不但出現動詞短語,而且出現近指的指示代詞“此”,名詞或者名詞短語,也出現抽象名詞。在語義上,現代漢語的“不至於”後邊只能出現[+反面]的動詞短語。與此相反,上古漢語的“不至於”後邊不但能出現[+反面]的名詞或者動詞短語,而且也能出現[+正面]的名詞或者動詞短語。總之,上古漢語裏出現的“不至於”的語法上、語義上的範圍比現代漢語的“不至於”廣得多。近代漢語時期在“不至於”的詞匯化過程當中,是壹個過渡期。這個時期,“不至於”後邊開始最頻繁地出現[+抽象,+反面]的動詞短語。還有値得註意的是,≪朱子語類≫裏出現壹次“至於”被用作壹個動詞(不是“動詞+虛詞”)的例子。但是,≪朱子語類≫裏出現的壹個“不能至於”的例子表示“不至於”這個時期還是“否定副詞+動詞”,還沒有像現代漢語壹洋變成壹個詞。到了二十世紀,“不至於”的詞匯化完成了,五十年代文字改革以後,“不至於”也簡化爲“不至於” 了。

論文 : "NP+好-V"與"NP+容易-V"的對比分析

( Xing-yan Guo )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 37-52 ( 총 16 pages)
5,600
초록보기
In modern Chinese, “Hao” of “NP+hao-V” means “easy”, and “NP+hao-V” is used more frequently than “NP+rongyi-V”. “NP+hao-V” and “NP+rongyi-V” have many differences in the sentence meaning, syntactic component, the degree of construction. On the one hand, the construction degree of “NP+hao-V" is very high but it has certain restrictions in“V . NP” choice. On the other hand, the construction degree of “NP+rongyi-V” is not high but it doesn’t have any restrictions to “V” or “V-NP”. There are many sentences that can``t be expressed with “NP+hao-V”, but could be used “NP+rongyi-V” instead, at the meantime the term “NP+rongyi-V” doesn``t express “it``s easy to do something”, which means “high possibility”, the meaning of the sentence is changed. The term “NP+hao-V” is mainly used in spoken English while “NP+rongyi-V” can be used both in spoken language and written language.

≪열선전(列仙傳)≫의 조력자 모티프 고찰

권영애
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 53-94 ( 총 42 pages)
11,700
초록보기
≪列仙傳≫的助力者領域出現了六個母題: 傳授母題、責罰母題、報恩母題、空間超越母題、追從母題、後援母題。這些母題與反面人物和主角領域的母題構成≪列仙傳≫仙話的世界。助力者領域的六個母題以最少的線索夾雜在該領域的故事裏,形成了故事的因果關系,但沒有帶動具體的情節,或者形象塑造得不周到。從如今的小說觀點來看,可說這些結構흔單純,但각是古代小說裏常看到的現象。而母題是在作品裏提出各個靈活的不同情況,促進讀者的推測,因此타是可爲後代的作家觸發有關的想象的媒介。六個母題卽慘與抉定作品的主題、協助人物的性格,對於作品結構也有所貢獻。每部作品都按照情節組合六個母題,而在作品的結構上,主角的個人身빈作爲故事的發端,傳授母題裏的服藥指導母題、經書贈與母題、符錄贈與母題、責罰母題、報恩母題、後援母題作爲故事的展開,道術授敎母題作爲高潮,空間超越和追從母題作爲故事的結尾。在六個母題裏,傳授母題中服藥指導、道術授敎和空間超越母題是仙話裏自然産生的。我們可以推測這些母題是隨著仙話的理念和目的發生的固有母題。服藥、道術和空間超越母題與成仙直接關連,也是走向神仙和成立仙道的基礎母題。其他母題看起來,是從神話、傳說、民間故事借鑒的母題,收錄於仙話中幷有了壹定的地位。

바흐친의 카니발 이론으로 분석한 유영(柳永) 사(詞)의 특징

정명기 ( Myung-ki Jung ) , 김준연 ( Joon-youn Kim )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 95-129 ( 총 35 pages)
7,500
초록보기
Although there was a clear distinction between elegance and vulgarity in the field of culture and literature in the premodern society of China, we can sometimes encounter some literary works beyond this distinction. For example, Liu yong’s ci’ poetry provide us with their basic interchange model. We think the reason why former researchers didn’t put emphasis on this problem is that they had no theoretical foundation about cultural interchanges. Russian literary critic Mikhail Bakhtin had established “Carnivalesque” and derived carnival and the carnivalization of literature from the reign of the “Serio-comical” with the examples of Socratic dialogues and Menippean satire. Within the Socratic dialogue carnival affects all people into the behavior and rituals in to the carnivalistic life, as in every individual is affected by carnival, meaning everyone is a constant participant of carnival. Now that Bakhtin had given us a hint to solve the problem, we can explain the characteristics of Liu yong’s ci’ poetry from the view of cultural interchange. Bakhtin’s theory guided us to go to the answers to three problems: First, we could assure there was double-sideness of formal or informal culture; and we could clear up the cause why Liu Yong went another way at a long distance from the majority of Northern Song Dynasty’s literati; finally, we could have good knowledge of Liu Yong’s popularity at that time. As a result, we could arrive at conclusion that Liu Yong’s ci’ poetry showed two remarkable characteristics analogous to carnival: emotional release and revolutionary order.

중국 전통 < 아집도기(雅集圖記) >의 문체적 특징 연구

권석환 ( Seok-hwan Kwon )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 131-153 ( 총 23 pages)
6,300
초록보기
The Gathering Paint’s narrative writing is a document of The Gathering Paint which changes the image to the text and, switches ‘spatial vision’ to ‘means thinking’. The type of writing was created in the period of Northern Song Dynasty. It had appeared when the step of writing which had reinforced the culture of Scholar bureaucrat to spread. The reasons that Literati in the past dynasties created The Gathering Paint’s narrative writing are firstly, they tried to supplement the blank of history with reproducing the characters of Gathering Paint, secondly, the purpose of accession the Gathering Paint’s high culture to cultural value and lastly, they putted the expression of the social responsibility and hidden alert with the domination of Literati nobleman’s two conflicts called amusement and moral training. The Gathering Paint’s narrative writing newly designed with the writer’s point of view that makes reader to appreciate aggressively. Moreover, the point of describing the character’s mental appearance can show it has different quality from the Paint’s narrative writing.

≪삼국연의≫의 용 이미지와 ≪주역≫ 건괘(乾卦)의 형상화

서성 ( Sung Seo )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 155-172 ( 총 18 pages)
5,800
초록보기
The Romance of the Three Kingdoms(≪三國演義≫) describes struggle heros and construction of the country in the Three Kingdoms period. The novel used ‘dragon’ images very effectively which has developed rich in the ancient China, and was to help complete an effective and integrated narrative. This paper is particularly ‘dragon’ image of what is said in the three aspects that contributed to the story. First, one of the most successful image depicting a dragon is ‘Discuss Heroes Warming up the Wine’, which passage expressed Cao Cao and Liu Bei character through the dragon images. Second, the ‘dragon’ auspicious(符瑞) concentrated to Wei and Wu in the historical books, but the novel is hardly employ these departments, literary shaped as a dragon image was given to the Shu. Third,growth and decline of Shu and Liu Bei was shaped dragon images from the Qian Gua(≪乾卦≫) in the Zhouyi(≪周易≫). Besides, Literary power robust and strong aesthetics to inspire people in the novel is also related to the shape of these forces associated with the Zhouyi Qian Gua. These factors are considerably significant in that it is a work thatcomplements the traditional reading of the novel and see the novel as a new angle.

≪삼국연의≫에 나오는 망치류 병기에 관하여

홍윤기 ( Youn-ki Hong )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 173-194 ( 총 22 pages)
6,200
초록보기
There are many hammer weapons in The Romance of the Three Kingdoms (≪三國演義≫). The purpose of this paper is to investigate the features of the novel description about these hammer weapons: hammer(鎚chui), iron hammer (鐵鎚tiechui), copper hammer(銅鎚tongchui), melon hammer(瓜gua), golden melon hammer(金瓜jingua), iron caltrop hammer(鐵질藜骨타tiejiliguduo). Through this investigation, we can know the following features: First, some hammer weapons did not exist in Han(漢) Dynasty and three kingdoms(三國) period. Actually these weapons have been appeared in the Song(宋) Dynasty, about eight hundred years later. Second, most of the characters who are using these hammer weapons are fictional characters. They are not historical people in The History of the Three Kingdoms(≪三國誌≫). They have a negative images - not enough intelligence, violent, uncivilized and tricky barbarian. In order to improve the reader’s interest, the writer deliberately has brought the some latter period hammer weapons into the novel, mixed uncivilized and tricky barbarian with these, and finally has created a negative image characters who are using hammer weapons.

論文 : 孫悟空"大鬧天宮"故事素材來源新說

초대평 ( Da-ping Xiao )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 195-214 ( 총 20 pages)
6,000
초록보기
There are three diffrent opinions on the source material of the story about Sun Wukong(孫悟空)’s fight with Huangdi(黃帝)(which we called Danao Tiangong(大鬧天宮)). In my opinion,although there are some similiars between the story of Danao Tiangong(大鬧天宮) and the story which is from Baopuzi Neipian(≪抱樸子ㆍ內篇≫ mentioned in Wang Sisi(王四四)’s paper, and thestory which is named “Dingshengwang’s raising to the sky(頂生王昇天)”mentioned in Chen Yinque(陳寅恪)’s paper,but the relevances between the stories are not mentioned in their papers above. The viewpoint claimsed in this paper is that the source material of the story of Danao Tiangong(大鬧天宮) is the story of Chiyou(蚩尤)’s fight with Huangdi (黃帝).Evidences are as follows.Firtly,there are also many similiars between the story of Chiyou(蚩尤)’s fight with Huangdi(黃帝) annd the story of Danao Tiangong(大鬧天宮).In this paper meticulous compare and analysis are did to reply it.Secondly, and also the more importantly,the relevances between the two stories are prompted .That is the image of Sun Wukong(孫悟空) is fused with the image of Chiyou(蚩尤) . For example, Sun Wukong(孫悟空)’s external image comes from Chiyou(蚩尤). Additionally, the detail about Sun Wukong(孫 悟空)’s eating iron shot and drinking copper juice druing the period when he is suppressed under the wuxing mountain(五行山) , is from the records of the tribe of chiyou’s eating iron shot and drinking copper. Accoriding to the similiars between the story of Chiyou(蚩尤)’s fight with Huangdi(黃帝) and the story of Danao Tiangong(大鬧天宮), and the relevances between the two stories,we can make a conculion that the story of chiyou(蚩 尤)’s fight with Huangdi(黃帝)is the prototype of the story of Danao Tiangong(大鬧天宮). In another word,the conculion is that the source material of the story of Danao Tiangong(大鬧天宮) is the story of Chiyou(蚩尤)’s fight with Huangdi(黃帝)

≪수호엽자(水滸葉子)≫의 인물 서사(敍事) 시탐(試探)

문정진 ( Jeong-jin Moon ) , 오경희 ( Kyung-hee Oh )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 215-244 ( 총 30 pages)
7,000
초록보기
Depending on the different volumes of Water Margin (i.e. 100, 70, or 120-volume publications), the characters in the work are described differently as heroes or villains by the storyteller, except for Song Jiang. Unlike other characters, Song Kang’’s personality is clearly set with the word, righteousness, in the Personalities of the Story of Water Margin. This is because of the ‘Personalities’ of the game in the Personalities of the Story of Water Margin. Through Ju Tong, Hua Rong, and Li Kui, the description of the game in the work reflects the value and ethics of the times. Also, Shi Jin, Li jun, and Guan Sheng reveal the originality of Chen Hongshou in the text of Water Margin, and Gao Dasao, Wan Xiaoqi, and Lei heng have readers understand making a relationship and communication. And via the performance of the game, the characters around Song Jiang in the work imprint different individualities from the storyteller’s viewpoint in readers’ minds. Interestingly, the figures of the ten characters in the Personalities of the Story of Water Margin look at different places. Not only the lines of sight, but also the ways they are facing at are not fixed or clear. The captions of the character drawings also have various perspectives, meaning that it is not a coincidence that the relationships, for example between one character and the society, the character and another character, the character and the drawer, and the character and readers, are linked to each other. The numerous viewpoints of the Personalities of the Story of Water Margin, which are not fixed on just one person, can be regarded as an effort to make the readers figure out a situation from various angles and positions. Through the captions of the character drawings in the work, Chen Hongshou is linked with the characters and the game performers, and shows his way of understanding towards Water Margin’s characters.

論文 : 李漁≪十二樓≫中的女性群像以及由此表現出的李漁的女性觀

왕비연 ( Fei-yan Wang )
중국어문연구회|중국어문논총  72권 0호, 2015 pp. 245-268 ( 총 24 pages)
6,400
초록보기
This paper studies the female imagery in Li yu’s Twelve Structures (≪十二樓≫) and analyzes Li yu’s views of womanhood expressed in his classic collection of stories. The ancient Chinese literati held that a man under the influence of wine or women should not be judged. This implied women were less than fully human, with their own thoughts and needs, but were rather like wine, a source of pleasure. In keeping with the era, Li yu’s Twelve Structures pays no heed to female autonomy or character except for Lady Shu’s(舒娘子) in ‘Fengxian Structure’(<奉先樓>). In general, women are seen like toys to give, sell or play with. Some might be clever, beautiful, or special somehow, yet dutiful treatment, such as faithfulness to them, was simply not their due. Li yu’s depictions of womanhood vary somewhat by class. His writing on underclass women is full of jokes and shows them like chess pieces in games men play. He writes with less frivolity and more reserve about higher class and noble-women. As a working writer, Liyu had to consider what would sell. Most of his stories thus feel fresh and novel. Only in Fengxian Structure, is his tone grave and sober. Lady Shu is, of course, a highly respectable woman. Li yu’s basic low evaluation of women was common and acceptable among late Ming and Early Qing Dynasty Period literary men. His book still reveals some realistic aspects of women’s lives in that time.
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