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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 : 105권 0호 (2020)

중국 문학예술의 초월적 시공간

오태석 ( Oh¸ Tae-suk )
한국중국어문학회|중국문학  105권 0호, 2020 pp. 1-39 ( 총 39 pages)
7,900
초록보기
이글은 ‘동아시아 전통사유와 문예의 초월적 시공간 표상’이라는 동아시아 시공간 관련 기획의 세 번째 논문이다. 제1편 〈서구 과학철학의 시간과 공간론〉(2018), 제2편 〈동아시아 시공간의 과학철학적 독법〉(2019)에 이어, 본고에서는 중국을 중심으로 한 문학과 회화의 시공간 표상의 특징과 의미를 데이비드 봄 ‘숨은변수이론’과 ‘루프양자중력 이론’의 시공간 이해를 과학철학적으로 재해석했다. 제1장은 먼저 20세기 현대물리학의 시공간 개념을 개관하였다. 그것은 중력에 의한 상호 관계적 얽힘 가운데 국지성ㆍ가변성ㆍ확률성의 특징을 지닌다. 그리고 동아시아 주역, 노장, 불교와 현대물리학 간의 접점적 해석 부분들을 예시 논증했다. 제2, 3장은 중국시와 소설 및 회화에 나타난 시공간의 초월적 양상과 의미를 고찰했다. 중국시에서는 세계와 자연에 대한 시인의 특이점적 깨침으로서의 합일, 정경교융의 심미적 공명, 또는 울분과 분만의 자기 정화 등으로 구현된 시공간적 초월의 의미를 논했다. 중국소설에서는 다중세계적 잠재계가 현상계에 대한 은장된 가능성의 세계로서, 이 두 세계의 주인공들이 상호 얽힘 가운데 현상계에 대한 상상 여행의 양상들을 보았다. 선과 여백, 상호 관계성을 중시하는 다중 초점의 중국화는 사물로서의 대상과 마음의 만남의 주관적 표현 장치로서 공간의 자유로운 생략, 재배치, 굴절을 통한 동적 세계인 작가의 세계정신의 표현으로 나타났다. 또 무의 심미를 확장해 傳神과 여백미, 무색의 문인 수묵화의 발전, 허와 실의 비구분적 경계, 이에 근거한 공간 재배치 등 다양한 방식의 융화와 초월적 표상을 만들어 냈다. 결국 동아시아 회화의 특징은 ① 작가 정신의 寫意적 표현, ② 2차원 캔버스에서 세계에 대한 동적 관찰로서의 散點 투시, ③ 유가 아닌 무색의 수묵화, ④ 여백의 의미 부여로 나타났다. 동아시아 문학예술의 초월적 시공간 표상에 대한 과학철학적 고찰은, 현대물리학의 시공간 개념으로 제기된 특성으로서의 비국소성, 상호 얽힘, 시공간의 탄력성과 양행적 세계이해의 시선을 공유한다. 물론 현대물리학과 동아시아 고전사유의 두 분야가 같을 수는 없다. 하지만 본 연구에서 보듯이 세계에 대한 관점 공유와 해석학적 접점이 존재한다는 점에서, 향후 확장과 심화연구의 필요가 있다고 본다.

《文心雕龍⋅通變》篇의 主旨

팽철호 ( Paeng¸ Cheol-ho )
한국중국어문학회|중국문학  105권 0호, 2020 pp. 39-60 ( 총 22 pages)
6,200
초록보기
Considering the descriptions in Xuzhi(序志) of Wenxindiaolong(文心雕龍) that ‘interprets the name and clarifies its meaning’ and ‘explains the principle and clarifies its core character’, ‘名理相因’ at the beginning of Tongbian(通變) in Wenxindiaolong should be interpreted as ‘the name of the genre and its attributes are closely related.’ That’s why the ‘有常之體’, which means the normative nature of the genre, follows. Combining these facts with the military methodology identified in them, it is clear that Tongbian of Wenxindiaolong discusses a methodology that embodies the normative nature of the genre in its creation. In this way, the reason why discussed the normality of the genre at the beginning of Tongbian of Wenxindiaolong can be explained, and the logical unity of the whole chapter is secured. It can be seen that the existing mainstream view of Tongbian of Wenxindiaolong as ‘succession and innovation in literary creation’ is an overinterpretation of the part of normality of the genre that related to history.

두목(杜牧) 시(詩)의 수사(數詞) 활용 연구

하주연 ( Ha¸ Ju-yeon ) , 김준연 ( Kim¸ Joon-youn )
한국중국어문학회|중국문학  105권 0호, 2020 pp. 61-87 ( 총 27 pages)
6,700
초록보기
This study began with a question why T’ang poet Du Mu was called ‘Dr. Calculation’. Is this nickname impartial and does reflect properly the characteristics of Du Mu’s related works? So we discussed the specific situation of the use of numerals in Du Mu’s 270 poems through statistical analysis. Also, according to poetic styles we analyzed their aesthetic characteristics. Numerals are the part of speech that is used to indicate the number or order. From ShiJing(《詩經》) to QuanTangShi(《全唐詩》), ancient Chinese poems widely used numerals to reveal the special effects inherent. Therefore, the discussion of numerals plays an important role in understanding the aesthetics of ancient poetry. However, up to now the research on the use and effect of numerals has not yet reached the maturity and is limited to partial analysis. This paper calculated the frequency of examples of numeral in QuanTangShi and searched the co-occurrence words that combine numerals and nouns(or quantifiers). Furthermore, we discussed how the poets change numerals as ‘poetic words’. We also discussed how Du Mu used numerals to enhance the aesthetic effect in his poems. First of all, to prove the real meaning of ‘Dr. Calculation’, we analyzed the innovative use of “One,” the repeated use at rhyming couple, and the use of multiple numerals. The results are as follows: First, Du Mu often used the numeral ‘one’ to express ‘hyperbolic contrast’. In addition, the choice of co-occurrence words showed a bold and novel side. Second, in rhyming couple, in order to refine the beauty of the form, Du Mu liked to use numerals, besides often with multiplicity. We think that this way of expression raises reality, is very exemplary and impeccable. The last feature is the continuous use of numerals. Although Du Mu was not the first to use this method, it showed a new aspect of poetry using numerals. Next, we discussed the use of numerals according to the form of poetry. Du Mu not only made a good use of each types of poem, but could also write poems using numerals to suit the characteristics of the form. In the ‘JueJu(絶句)’, which is a more free-spirited type than ‘LüShi(律诗)’, Du Mu used numerals as the central expression to show the main theme of the poem. In addition, in the ‘QiYanLüShi(七言律詩)’, through the break-up of convention and the flexible use, it helps to increase the unique style. At the same time, Du Mu used numerals with artisanship to add rhythm to the ‘GuTiShi(古體詩)’, and achieved the effect of strengthening the refined beauty. In short, among Tang poets, Du Mu is a true ‘master craftsman’ in the field of use of numerals, considering the scale of poems using numbers, and the literary achievements as well. Finally, we hope that this paper can help to raise interest in numerals in the situation where there is still insufficient research on the rhetoric used in classical poetry.

남송(南宋)의 증기(曾幾) 차시(茶詩) 고찰(考察)

김성수 ( Kim¸ Sung-soo )
한국중국어문학회|중국문학  105권 0호, 2020 pp. 88-108 ( 총 21 pages)
6,100
초록보기
This study examines the framework, content, techniques, styles, and ideas of the Tea Poetry by Ceng Ji who was actively engaged in the Tea Poetry from the end of the Northern Song Dynasty to the early days of the Southern Song Dynasty. The Tea Poetry of Ceng Ji was mostly made up of the classical Chinese verse, describing various tea affairs (all affairs regarding picking, boiling, grinding, and storing of tea leaves) related to drinking tea activities, as well as the best quality tea. making people appreciate the trend of tea culture that was popular during the Song Dynasty. In addition, through tea, he used to keep company with his friends and relatives, and sometimes he used tea to reveal his mind or long for a secluded life. Tea Poetry by Ceng Ji exudes the leisurely atmosphere, in which calming style is naturally reflected. In addition, the poetic spirit of Oneness of Dhyana and Tea is revealed in combination of Zen and tea.

제화시문(題畵詩文)의 범위와 시서화삼절(詩書畵三絶) 연구 방법론

이주현 ( Lee¸ Juhyun )
한국중국어문학회|중국문학  105권 0호, 2020 pp. 107-135 ( 총 29 pages)
6,900
초록보기
Poems and proses on paintings are materials which allow researchers to investigate not only the appreciation of its writers, but also the culture related to the paintings. Starting from the words of praise for the themes and objects in the paintings, poems and proses on paintings passed through the experimental period in Tang dynasty and marked a period of prosperity in Song dynasty. While the writing about paintings continued to be developed with the success of painting reviews, some writers expanded their fields as the creators of artworks since the literati painting was introduced in the Northern Song. After then, the number of literati painters worthy of the title of the so-called “Three Perfections 三絶” has soared, and works which writing, calligraphy, painting, and seal combined on the same screen have appeared. From then on, writing has not simply taken up empty space but has become an essential component of the artwork. Therefore, the study of writings on paintings by the Yuan, Ming, and Qing dynasty requires in-depth research based on the original works. Only type-written poems were construed in traditional literary studies, while the writing part was often downplayed in art studies. However, undoubtedly, we should integrate all the elements that appear on the work of art. For advanced research, researchers have to surpass the boundary of literary research which merely focus on internal interpretation and move forward to cultural studies with consideration of the time and space background outside of the artwork.
6,700
초록보기
Osan-zen monks was a Zen monk who was active in Japan in the 14-16th century and was then a Japanese knowledge class. They served in Osan Temple with the support of the warrior power, or political and economic support of the the shogunate, and supported the Ministries with their academic knowledge and diplomatic skills. The Osan-zen monks had a huge impact on the ministry’s preparation of knowledge and awareness on China, especially since they had the highest position in China-related knowledge. In this paper, it was confirmed that the Osan monks accumulated and passed on the vast knowledge related to Chinese poetry, history, and study abroad by means of “collective learning” to accumulate knowledge related to China. In particular, it was confirmed that the knowledge was shared and circulated through the poetry-writing group involving the monks, officials, and shogunates, and that their relationship was further strengthened. In short, the level of knowledge related to China that the government had at that time can be measured through the learning and poetry activities of the Osan monks who played a role as literati class in the 14th and 16th centuries.
7,500
초록보기
This study set out to focus on Jingzhiju Shihua(靜志居詩話) by Zhu Yizun in early Qing Dynasty. The purpose of the study is to analyze shihua(詩話, poetry talks) during Ming published by a Hanzu intellectual at the Ming-Qing transition in the aspect of “description of the history of Ming Dynasty” by a Hanzu intellectual. Jingzhiju Shihua is a collection of poetry talks from Mingshizong(明詩綜), an anthology of poems written during Ming and published by Zhu Yizun. In this book, Zhu Yizun not only tried to preserve the cultural heritage of Ming by including various poems, but also wanted to promote figures of Ming broadly by recording as many authors as possible. Furthermore, he corrected false historical statements based on diverse ground materials and attempted to keep the order of Zhonghua(中華) right by recording and criticizing even works from neighboring Chinese character-based cultural zones under the influence of China. It is estimated that Zhu Yizun as a Hanzu intellectual that decided to give up his resistance against Qing Dynasty chose and discussed “poetry,” the symbol of traditional Hanzu culture, to keep his cultural pride and fulfill his last duty as a subject of the ruined dynasty. Instead of creating “poetry” himself and expressing his tragic emotions as a subject of a ruined state, he decided to collect and preserve “poems” due to the supervision of the Qing Dynasty and self-censorship as a way of fulfilling his duty as a subject of a ruined nation. Jingzhiju Shihua completed in this way is an outcome of him looking back on history as a subject of a ruined nation, reflecting his will to reflect on and reminisce about the times through literature.

《수당연의(隋唐演義)》의 여성 재현과 역사 상상

이지원 ( Lee¸ Jiwon )
한국중국어문학회|중국문학  105권 0호, 2020 pp. 196-219 ( 총 24 pages)
6,400
초록보기
This article practically analyzed how the gender-discriminatory representations of women in the Romance of Sui and Tang Dynasties reconstruct history imaginatively. Historical romances are new historical narratives that form itself through re-writing of previous historical narratives, and the Romance of Sui and Tang Dynasties is one of them. The most distinctive feature of the Romance of Sui and Tang Dynasties is the self-fulfilling narrative structure formed by the representations of women. By representations of women through a sexualized body, the Romance of Sui and Tang Dynasties simplifies and distorts the complex and multiple causes of historical events to clarify causality and completes the reward and punishment of historical events. But not only do women not become the main agents of the act of creating history due to subjectivity and objectification of sexuality, but are sometimes employed as metaphor for male-centered historical imaginations
5,900
초록보기
This paper compared and analyzed the stories of Wangzhaojun(王昭君) in Mazhiyuan(馬致遠)’s zaju hangongqiu(漢宮秋) of the Yuan Dynasty and Youtong(尤侗)’s zaju Diaopipa(弔琵琶) of the Qing Dynasty, and Traces the difference between the two works and their meaning. One of the most famous stories of Wangzhaojun that have Passed down for a long time is Mazhiyuan’s zaju hangongqiu. Wangzhaojun’s tragic image we know is completed by completed by Mazhiyuan. Youtong’s zaju Diaopipa is based on hangongqiu, at first glance, Diaopipa’s narrative looks very similar to hangongqiu’s. However on closer tracking, It can be found that there is a distinct difference between the two works. And It can be found that differences change the narrative of the whole piece. The difference between the two works was due to differences in the author’s personal situation and reasons for creation. through that The different consiciousness of the Yuan Dynasty and Qing Dynasty writers can be partially traced.

곽숭도(郭嵩燾)의 출사(出使) 여정과 《사서기정(使西紀程)》의 성서(成書) 과정

이성현 ( Lee¸ Seonghyun )
한국중국어문학회|중국문학  105권 0호, 2020 pp. 237-265 ( 총 29 pages)
6,900
초록보기
Shixi jicheng (The Record of an Envoy to the West) is the official report and travelogue that records China’s first British Ambassador, Guo Songtao’s fifty one days’ journey from Shanghai to London. Shixi jicheng is a critically important text to understand Guo Songtao’s recognition of the contemporary international situations and China’s successful adaptation to them. Aiming to illuminate Guo Songtao’s unique diplomatic view, which surpasses the one of Chinese proponents of Westernization of his time, this article examines both the text and the context in which Shixi jicheng was written and published. First, I compare and contrast various editions of Shixi jicheng including its English translation. In addition, I investigate contemporary local newspapers, Guo Songtao’s personal diary and various other historical documents along with the progress of dispatching the first resident ambassador abroad and the journey at sea to Europe. Finally, based on the examination, present paper suggests what should be considered in the translation process of Shixi jicheng.
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