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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 : 55권 0호 (2008)
5,800
초록보기
本文的硏究目標在于闡明戰國時代諸子百家的“寫作ecriture”與當時的代表性學術机關―稷下學宮的相關性。 爲此, 本文以戰國時代儒家和道家的代表寫作≪莊子≫及≪荀子≫爲硏究對象, 分析了?們與稷下學宮之間的影響關系。 本文是筆者關於歷代中國寫作方式與知識制度之間相關性硏究的一個組成部分。 戰國時代的作品采取了多種寫作方式, 圍繞着中原的話語discourse覇權展開競爭, 百家爭鳴, 堪稱是“寫作的戰國”。 ≪莊子≫ㆍ≪韓非子≫等作品中的寓言, ≪孟子≫中的“連?論斷”, ≪荀子≫中對描寫對象的頻頻羅列, ≪荀子ㆍ正名≫及≪墨經≫等作品中以嚴密的槪念定義―以名擧實, 以及以政治性的論證爲基礎的辯證性論證―持之有故, 類取類予, 這些與前期的≪論語≫, ≪老子≫, ≪墨子≫等的寫作抗衡, 可以稱?其爲“寫作的戰國時代”。 尤其是≪荀子≫和≪莊子≫綜合運用了多種寫作方式, 體現了戰國時代出現的新的寫作理論。 ≪荀子≫積極靈活地運用了辯證, 寓言, 論述等寫作方式以證明自身論述的客觀性和正確性。 ≪莊子≫也在自身的陳述過程中最大限度地限制了說話人的介入, 從而證明自身敍述的客觀性和正確性, 其中還使用了諸多寓言以實現這個目標。 戰國時代的寫作目標是證明自身陳述的客觀性和正確性。 筆者認爲?受到了不同學派的學者聚集稷下學宮, 高談闊論互相爭辯的直接影響。

돈황본 ≪문심조룡(文心雕龍)≫ 재교(再校)

황선주
한국중국어문학회|중국문학  55권 0호, 2008 pp. 19-54 ( 총 36 pages)
7,600
초록보기
The aim of this article is to affirm the importance of Dunhuang edition Wenxindiaolong. Because of loose treatment it is underestimated by now. Especially the interpretation of refined calligraphy needs cautious scrutiny. The dating of Dunhuang manuscript, firstly, can be adjusted to Gaozong(高宗) Period due to the fact that this manuscript is avoiding a character of his name. Secondly scholars have misinterpreted `網` into `綱`, so we must change the involved passage and its meaning. We can find more examples of this type. Thirdly we can newly interpret the meaning of `寫送`. Somewhat like homonym in English `寫` means `瀉`. The text of pre-Song(宋) dynasty, more or less, is the product of many persons who participate in writing, copying, printing and so on. So we must fully examine and prove the genuineness of text. The text need eternal re-reading.

이상은(李商隱) 시(詩)와 서곤체(西崑體)의 연관성에 대한 재검토

김준연
한국중국어문학회|중국문학  55권 0호, 2008 pp. 55-78 ( 총 24 pages)
6,400
초록보기
我們不難發現, 李商隱與西崑詩派的詩歌創作有着深刻聯繫. 因爲西崑詩派詩人們公開地提唱學習李商隱詩, 所以在≪西崑酬唱集≫中所見的李商隱詩的因素極爲明顯. 因而,一些評論家以此斷定西崑派詩完全是剽竊李商隱詩的外在形式, 而在藝術上毫無價値. 還有?一些評論家將李商隱目爲西崑體詩的“開創者”, 而批判李商隱詩單純地追求藝術技巧. 那?, 這樣的評論是不是公允妥當? 本文認爲, 李商隱與西崑詩派的詩歌創作之間的“作用”與“反作用”, 不是那?簡單地得到結論的一個問題, 應當加以進行全面的考察. 西崑作家學習李商隱, 他門有不少詩篇的內容深受李商隱的影響. 例如, 在李商隱的詩作中, 常見的題材是有關南朝及唐代的馬嵬事變, 西崑體詩人也有類似題材的唱和. 可是, 李商隱的“無題詩”大多隱約、 朦?,表現含蓄、 委婉,因此具有模糊性和不確定性, 西崑體詩人的愛情詩有所不同, 對當時皇帝眞宗的“諷諫”的意圖比較突出. 對西崑體詩人詩歌創作的標準來說, 他們一方面用“典麗”的辭藻而糾正白體末流低俗的弊端, ?一方面驅使大量的典故和前人的佳詞妙語,以求對皇帝的幽深的諷諫. 這樣的標準, 李商隱與西崑體詩人也是不盡相同的. 總的來說, 我們不可否認李商隱與西崑體詩人之間濃厚的“親緣性”. 可這不是意味着李商隱詩與西崑派詩完全相同. 卽使他們的詩歌在外形的在面貌上有頗多類似的一面, 不只在詩歌創作動機上有一定的區別, 而且在詩歌發展史上的地位也有相異.
6,500
초록보기
80年代中期以≪一個和八個≫、 ≪黃土地≫爲代表的第五代電影的繁榮, 開創了中國電影事業的一番新局面. 第五代導演共同的經歷和文化背景使得他們都具有相同的對於歷史的眷戀和批判, 對於女性話題的關注, 對於傳統思想及民俗化符號的象征性追求, 他們都試圖站在人文關懷的角度去批判與反思. 本文就以具有較强反思及寓意象征的作品, 陳凱歌≪黃土地≫、 ≪孩子王≫的影像語言來講述寓言式的民族意識及文革時期敎育的反思。 陳凱歌的第一部作品≪黃土地≫借助於畵面, 色彩, 鏡頭運動等電影本體元素進行了大膽獨立的美學追求和藝術創造. 以廣闊沈重的黃土高原寄寓壓抑的民族、 歷史、 文化, 以濁浪滾滾的黃河流水寄寓悲滄的人物命運, ?外鼓樂齊鳴的迎親隊伍, 活躍有力的安塞腰鼓舞, 烈日下的祈雨祭等中國的民風民俗來象征中華民族的堅忍耐苦的精神及愚昧頑固的劣根性. ≪孩子王≫透過各種畵面構圖寄寓了過多的象征、 隱喩, 而使觀衆有着隔離感, 但?透過對文革后期敎育的反思、 知靑老杆强烈的自我意識,折射出對文化、 人的尊嚴和人的價値的思考寓意。 余秋雨說過: “寓言象征是藝術創作的正路, … 不理解寓言象征, 就不會理解百分之五十以上的20世紀佳作”。 ≪孩子王≫影片中的輪形敍事造型與象征文化的字典與老杆之間的矛盾; ≪黃土地≫中八路軍顧靑與從沈睡中被叫醒者翠巧之矛盾痛苦等都是一個封閉的性的、 溫馨的、 愚昧的`鐵屋子`。 陳凱歌透過他的作品以他獨特的影像語言吐露他內心的話語。 古代寓言本是假借一個故事的內容來進行道德勸戒、 揚善懲惡。 如今, 寓言在一幅畵, 一首詩, 一具雕像, 一場戱等各種藝術作品中成長着。 21世紀是影視媒體時代, 不可否認電影是一個?好的大衆媒體, 電影寓言化也正在蓬勃成長。 近年來, 由於國內社會經濟成長迅速, 政治穩定等各種因素, 人們傾向重物輕情、 重外輕裡、 重私輕衆的個人主義愈來愈深, 反之對於民族意識、 歷史文化、 人文關懷等思想漸漸淡化。 回顧80年代民族文化特色較强的第五代導演前期作品, 審視?們的啓蒙性、敎育性電影語言, 得知啓蒙語言的內在矛盾和張力、 實現的艱難性和效果的有限性。 然而作品裡面蘊含的深刻而沈重的思想內涵無疑是讓人深省的。

중국(中國) 문자(文字)의 상형성(象形性)과 표음성(表音性)

염정삼
한국중국어문학회|중국문학  55권 0호, 2008 pp. 105-123 ( 총 19 pages)
5,900
초록보기
Understanding of Chinese characters outside the Chinese cultural bloc has oscillated between two main axes. One viewpoint has emphasized the characters` ideographic features whereas the other one has emphasized their phonetic ones yet, neither viewpoint properly explains the multi-faceted qualities of Chinese characters, which cannot be described solely as ideographs or phonographs. I proposes to point out that one must accurately understand the phonetic characteristics and semantic context hidden behind the mask of ideographs. From its nascent stage, the system of Chinese characters has progressed by embracing the tension between ideographs and phonographs. Thus, I intend to highlight that it is the interrelationship between ideographs and phonographs that has generated the meaning of Chinese characters throughout the history of this writing system. The formation of meanings in Chinese characters does not rely solely on either the semantic links of ideographs or on speech-based phonetic symbols. In general, if we regard the function of writing as mere recording of speech, this view limits too narrowly the meanings generated through display of writing. This is especially true of Chinese writing which keeps some distance from an exact recording of what was spoken. Thus, we must pay attention to the multiple facets exhibited throughout the history of Chinese writing and its interpretation and also understand clearly that Chinese writing has evolved in the midst of the tension between the two axes of phonetic and semantic features. This understanding of Chinese writing will let us see that this very tension was indeed the source of the vitality, creativity, and adaptability of Chinese characters.

『설문해자익징(說文解字翼徵)』의 문자 해설

문준혜
한국중국어문학회|중국문학  55권 0호, 2008 pp. 125-146 ( 총 22 pages)
6,200
초록보기
≪說文解字翼徵≫是朴瑄壽(1821-1899)撰述的一部專門硏究漢字的書, ?是現存的朝鮮時代唯一的文字學著作。 ?以金文資料爲依据, 對≪說文解字≫收錄的9353個漢字中1377個漢字或加以補充, 或進行反駁, 修正了文字解釋上的誤?, 補充了≪說文解字≫體系上的不足。 朴瑄壽的硏究方法和文字理論與當時中國學者相比頗爲獨特。 他認爲≪說文解字≫文字解釋上的誤?是由已變形的字形爲依据進行解釋而引起的。 爲了彌補這一点, 他以當時最古老的字體-金文爲依据, 討論了每個漢字最原始的形, 音, 義。 這一文字硏究方法和當時中國學者相比更爲先進, 更爲科學。 他打破了傳統的文字結構分析法-`六書`理論, 提出了新的漢字結構分析法, 創立了自己獨特的文字學理論。 根據聲符的有無, 他先把漢字分成`文`與`字`, 再把`文`細分成專聲, 專義, 聯從, 繁從等。 這是擺脫將近二千年的六書理論而提出的新的漢字結構分析法。 朴瑄壽分類`文`與`字`以後, 討論了部首和歸屬的問題, 又對漢字中存在的多音字現象、聲符相同而讀音不同的現象、幷將文字硏究的結果應用到經典和銘文的解釋上, 對經典註釋提出異議修正了銘文考釋的誤謬。 可是, 在注釋某些漢字時, 因中國音韻學方面的知識不足以充分而導致了不少錯誤。不僅如此, 由于對漢字發展過程有些誤解而有時把古今字或異體字分別分析成兩個不同的字, 加上傳統觀念對于文字的解說和結構的分析等給予消極影響。 由此可見, 『翼徵』還具有不少缺点, 這也是不可否認的事實。 不過, 如果能勾把這種錯誤先?置一旁, 排除在外, 從『翼徵』中所發現敏銳的問題意識和解決辦法等, 這將會給我們提供更爲科學地、更爲細微地剖析漢字內所存在的各種各樣問題的線頭。

漢語詞法結構與句法結構之對應及其限制 -以複合動詞爲例

임정현
한국중국어문학회|중국문학  55권 0호, 2008 pp. 147-164 ( 총 18 pages)
5,800
초록보기
Our discussion is centered around the derivational mechanism and it`s restriction on the formation of two types of compound verbs (i.e., verb-complement types and verb-object types) in Chinese. Based on the correspondence between Chinese sentence structure and word structure in terms of grammatical relation and liner order of their constituents, this paper attempts to show that these two types of compound verbs are better treated with highly lexicalized syntactic operations, others would follow morphological rules and process in the lexicon.

중국 북경 지역의 상호(商號)에 대한 사회언어학적 연구

박종한
한국중국어문학회|중국문학  55권 0호, 2008 pp. 165-194 ( 총 30 pages)
7,000
초록보기
This study examines closely the linguistic characteristics of trade names (street commercial signs) on outdoor billboards collected in Beijing, the center of politics and economy of China. The summary of the research is as follows: 1. As for the languages used in the signs, people use both Chinese and English. In some cases, Chinese is used exclusively; in other cases, the mixed form of Chinese and English is used. However, the rate of using Chinese exclusively is not very high. Seeing from the point of shop types, clothing shops use English much more frequently than food shops. In the field of clothing, foreign goods are estimated higher in quality and in brand power, so even chinese original brands and commercial signs are advertised in English, emphasizing their stylish images by presenting themselves as foreign products. On the other hand, the preference for local food culture seems to remain strong. 2. As for the number of syllables, 4 syllable words are most frequently used, and 3 and 5 syllable words followed them. Seeing from the point of shop types, 3 syllables are most frequently used in clothing shops. In food shops, there are many 3 and 4 syllable words. There are differences according to shop types in the number of syllables. According to the questionnaires, consumers memorize trade names which are made up of smaller than 3 syllable words. This implies the possibility that trade names can be abridged. 3. In the case of tone, an interesting case that tone has a great influence on the development of trade names is found. Largely in trade names, 4th tone characters are used a lot; on the other hand, 3rd tone characters are used conspicuously little. The reason is that first, as external factors, it receives an effect on the quantity of numbers of characters using a tone, and second, as internal factors, the length and the beat of sound have an effect on the choice of characters used in trade names. 4. Examining the frequency of Chinese characters used in trade names, we know that there are two factors working when developers of trade names choose Chinese characters. One is the relationship of the shop type and the place where the shop is located. The other is the image of foreign brand. 5. I examined the degree of difficulty of Chinese characters used in trade names, applying the standard of Chinese character level list made by HSK office. The proportion of Chinese characters within the range of most commonly used Chinese characters is 95.21% and that of outside the range is 4.79%. Among the characters used in trade names, the possibility of choosing the characters often used in everyday life is high, but the characters of low frequency in everyday life are not avoided. It can`t be said that the degree of difficulty of the characters which are not used in common is always high. All things considered, it can be said that the degree of difficulty of characters used in trade names is not high.
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