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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 : 75권 0호 (2013)
초록보기
劉香女故事以劉香女爲主人公, 記述了出身於卑微貧苦人家的劉香女, 在嫁入有錢人家之後, 遭受到婆家的各種迫害, 但憑著强烈的宗敎信念, ?忍受住種種苦痛, 最終完成修行得道成神的過程。 本文以葉憲祖的傳奇<雙修記>、 吳方言地區的<劉香寶卷>和福建省福州評話<劉香女>這三部作品爲硏究對象, 先考察各個作品之間的共同點和不同點, 然後以此爲基礎, 就女性認識進行比較硏究。 這三部作品中都存在著婆家與?婦間的對立關系, 這種對立關系實質上反映了儒學世俗主義與佛敎禁欲主義之間的對立關系。 這種對立關系因三部作品所采取的不同的世界觀而有所不同。 <雙修記>和<劉香女>是在個人道德與人性層面上建構了善與惡的對立關系, 而<劉香寶卷>中劉香女來自社會底層的弱者身分則使之成爲佃農和平民的代表, 從而使對立關系擴展至婆家與?婦間、 窮人與富人間、 民與官之間這樣多個層面之上。 像劉香女這樣的社會底層人物要想擁有自己的語言與行動, 其唯一的途徑便是宗敎信念。 這種宗敎信念不僅存在於精神領域, 而且還表現在對肉體上的童貞的一種執著。 女性將父權制對女性所要求的性別義務進行顚覆性的解釋幷將之轉化爲一種道德主體。 不過, 這種道德主體對於各個作品中的劉香女所具有的含義略有不同, 而且劉香女們的社會認同性與地位也有所不同。 就共同點而言, 這種道德主體性都是三個作品中忍受婆家迫害的劉香女用來維護自尊的手段: <劉香女>中的劉香女能勾超度婆家人, 因而得到家庭成員的認可。 而<劉香寶卷>中的劉香女則作爲一名道姑, 成爲主流社會的批判者, 得到社會成員的尊重。 三部作品不僅在創作主題、 觀衆、 讀者方面有所不同, 而且還反映了福州方言區與吳方言區間的不同。 此外, <劉香女>與<劉香寶卷>都存在著性別差別與尊重女性這樣互相矛盾的立場。 對此, 本論文是這樣解釋的: 父權制下的女性在將性別差別、 厭惡輕視女性這樣的社會主流意識形態深深烙於內心之後, 反而能勾將女性問題提出來進行共同討論幷要求獲得社會的認可。
6,100
초록보기
This paper investigates the interaction between the literati and the commercial art market through Zheng Xie 鄭燮 (1693~1765) in Yangzhou 揚州 in the eighteenth century. Zheng Xie was a scholar-official painter; his life and thoughts were stereotypical in traditional Chinese literati. On the other hand, he is considered as one of the Eight Eccentric Masters of Yangzhou [揚州八怪], and he may have been part of the literati who lived in the art market in the city of Jiagnan 江南. In particular, he presented an actual price list for his paintings and calligraphy, which would be regarded as a non-literati practice in the tradition of the literati painters, as literati paintings were never treated as a commodity openly in this way. It seems that Zheng Xie`s identity as part of the literati contradicts such a price list. However, when taking the sociocultural environment of Yangzhou into consideration, this can be interpreted in different ways. Yangzhou was a newly ascended city in Jiagnan in the eighteenth century, not only an economical center but also a cultural center. It grew due to the influence of salt merchants [鹽商], highly placed government officials and due to Emperor Qing 淸`s collaborative efforts. In particular, salt merchants played an important role in the project of Yangzhou. They led the literati culture of Yangzhou as connoisseurs, consumers and as patrons of numerous literati, including scholars, artists, and writers. Nonetheless, some who had not high cultivated tastes tended to boast about their sociocultural status and sought to possess the things of literati culture. Moreover, given that Zheng Xie had lowered his art`s prices so that they could be purchased by the middle class of Yangzhou, the sociocultural value of his art may have been diminished in the eyes of wealthy merchants. Therefore, his price list could be reinterpreted as ridicule due to the vulgarization of the literati culture in the commercial art market of Yangzhou. While his price list may have been created as an effect of the symbolic exclusion by wealthy merchants, when it was combined with his paintings and his status as a retired scholar-official painter, it is in fact a celebration of Zheng Xie`s arts and of him. The main themes of his paintings were orchids, bamboo and rocks, which were standard literary subjects, and he represented himself through these themes. As a result, this may have been a strategy related to his brand image in the commercial art market of Yangzhou.
6,100
초록보기
At the time when Chinese traditional Gezhi(格致) met western science, the statements of Bowu(博物) and Gewu(格物), which were commonly used along with Gezhi, appeared during the transition of thinking towards Wu(物). These statements were not merely synonyms of Gezhi. They were in the middle of the epistemological conversion that happened in the process of conceptual differentiation, such as Wu for a Ren(人) and Wu for Ziran(自然). One of the most distinctive contributions of Gezhi to modern China might be the differentiation of Xue(學). The passion for enlightenment made it possible - The enlightenment for national salvation continuously facilitated tensions between the old and the new. Despite of the positive effects of the differentiation, however, the severance caused by the differentiation might be inevitable. This was because science, also known as the study of differentiation(Kexue, 科學), then again, ironically, tried to integrate the whole knowledge system under another concept. Maybe, these two conflicting phenomena represent a modern-day desire that pursues individuality and, at the same time, totality. In this sense, Kexue itself in modern China was a symbol of differentiation and integration. In addition, interestingly enough, these concepts had made not only such chronological history, but also the space for discussions. Museums and exhibitions, the terms of which had been used without any difference, started to show their own features along with the transition of awareness towards Wu. Also, Shuyuan(書院) adopting Gezhi began to define knowledges of modern education. From this time when Kexue replaced Bowu, Gewu and Gezhi, Wu has been engraving its concept on the space, attempting to converse its concept from the natural philosophy into knowledge and property of things.
초록보기
Geographical knowledge not only preceded but it also motivated, regulated, and dominated all other modern knowledge China had to acquire during it`s struggle to transform itself into a youthful modern nation. `Daluzhi jingwu`(大陸之景物; Scenery of the World) section of the Tuhuaribao(圖畵日報, 1909~1910) might well be seen as visual practice related to `geographical imagination` of the times. Pictures of world`s renowned places `Daluzhi jingwu` section presents are most likely reproductions of photographic images produced in the West, which will also apply to most of those that show Chinese places and landscapes. Images of spots in Shanghai or places worth noticing nearby the modern city seem to have been produced based on original sketches since the media was Shanghai based, but nevertheless the mode of representation was oriented towards modern-western photographic representation. Thus the mode of visual representation adopted by the `Daluzhi jingwu` section in itself suggests inevitable presence of the Western point of view. Visual images of places of the world that `Daluzhi jingwu` section presented, compared to those of former late Qing pictorials, were more accurate, or photographic in representing forms, and as a result emphasized the differences in places and spaces. `Daluzhi jingwu` in general divides the world into two contradicting spaces, one which is oriented by modern functions and values, another which is of exotic landscape. It is not difficult to discover here the Orientalist`s gaze that had been consolidated passing the 19th century, golden age of European colonialism, or deep rooted dichotomy of modern-western geography. A sense of sharp comparison between the West and China, always accompanied the ardor for strong and wealthy Chinese nation, both of which evidently were inherent in the process of choosing the places to be shown in `Daluzhi jingwu`. Although traces of traditional mode of visual representation still apparent when showing Chinese scenery could be interpreted as instances of resistance, internalization of the dominant gaze of the West is obvious in the case of `Daluzhi jingwu`.

20세기 초 신문잡지에서의 중국의 시간

백광준
한국중국어문학회|중국문학  75권 0호, 2013 pp. 119-141 ( 총 23 pages)
6,300
초록보기
近代報刊上常出現有關時間的論述, 基本上是?計量化有關的, 便是在一定時間內所測定的數据, 幷且有關速度的論述也不勝枚擧。 當時中國甚爲關注所計量的時間, 是因爲那些報道被看作文明的知識, 也就是說, ?以文明的表象?中國相遇。 不過, 要注意的是, 其大多排列在“雜俎”欄目, 這就說明有關時間的觀念仍然是屬于“新知識”, 就等于陌生的觀念。 在此情況下, 當時圍繞着紀年展開了一番熱烈的爭論,, 是?稀奇的事情, 所以是引人注目的事情。 首先, 爭論的兩方爲改革派、 革命派, 因此, 不難看出他們着眼于那番爭論所涵盖的政治的含義, 是因爲紀年的出發點是因政治的立場而分岐的。 與此同時, 不容疏忽的是, 報刊自身的要求也影響到改革派對紀年的立場。 新聞媒體也有自己的要求, 尤其是注重同時性的實現, 自然更注意到紀年的實用性。 各媒體皆安排“大事記”欄目, 以時間爲序, 排列一定時間內所發生的主要事件。 ?主要對待的大事大多是文明國家的事件, 這意味着大事記隱含內內在含義, 卽將中國時間暗自?文明國家的時間連接起來。 那?, 我們如何看待當時中國近代時間的情況。 按考察, 租界如上海等地到十九世紀末已進入近代時間裏, 而內地未必盡然, 是因爲“時計”還僅存沿海地區, 因此當時中國存在着多層次時間。 不過, 不論當時觀念是否發展到左右人們生活, 報刊不斷登載有關近代時間的報道, 借此近代時間逐漸落實到中國內地之中。 相比, 近代中國的時間?近代産業發展却未有密切關系, 而急於?上文明世界, 不顧當時觀念如何, 將?作爲“近代智識”不斷進行接受。
5,800
초록보기
本論文的目的在於重新評?早期《申報》地位與參與《申報》制作的人物。 在以往的硏究, 大部分認爲1898年戊戌變法改革之前的《申報》是以營利爲目的的商業報紙, 幷且受外國人資本的統治, 因此?幷未符合言論的基本條件, 也沒執行政治、社會上言論的角色。除此之外, 由於《申報》是外國人創刊的報紙, 因此難免帶有外國人視野的色彩, 幷且參與制作的人物文化水平幷不太高, 所以在擴散新知識方面《申報》也沒起?大的作用。 但是本文認爲, 早期的《申報》反而制造出開放的討論場地, 在形成新聞媒體的公共領域上擔任了重要的角色。 通過楊月樓事件, 我們可知在社會問題上《申報》十分重視政府與老百姓之間的溝通, 幷且把報紙的批評作用解釋爲中國傳統, 表明《申報》能勾成爲中國近代發行時間最長的報刊, 幷不只因爲?有商業性的緣故。 調査有關編輯《申報》的編輯人經曆與其他報刊制作人員以及其周圍的`新學`相關機構的人物聯系網, 可知他們是知識分子, 文化水平幷不低, 而且他們在早起《申報》的活動, 幷不是爲私人而努力, 而是有公共意識的人士。 《申報》的制作人員, 以當時的租界爲中心的公共領域, 接觸到了世界幷代表了當時跨越相交的分眼光, 也是生産新知識的共同體聯網之一分子。

청말 민주/민권, 전제 개념과 정치담론

차태근
한국중국어문학회|중국문학  75권 0호, 2013 pp. 161-192 ( 총 32 pages)
7,200
초록보기
19世紀后期中國發生了劇變, 其中對中國影響最大的是政治方面. 長期以來中國政治觀念和制度比較穩定而沒有發生過?大變化. 而至淸后期中文世界里開始出現有關西方近代政治觀念和制度的槪念, 同時發生所謂西方的的沖擊的武力沖突. 鴉片戰爭前后, 對中國比較影響的西方政治觀念或制度是以選擧和任期爲中心的美國政治制度. 但是, 這一制度通過華盛頓的傳記介紹于中國, 中國知識分子也居于中國歷史上記憶接受. 也就是說, 中國人用以堯舜的“擧賢禪讓”的故事爲象征的“公”的槪念來解釋美國政治制度和華盛頓的政治思想. 至19世紀后, 又開始出現西方的議會制度和人民的權利槪念. 在政治體制方面, 中國知識分子一般傾向于君民共主, 而不是民主. 可是淸日戰爭以后, 在日本明治維新的影響之下, 中國知識分子企圖政治改革, 爲此積極傳播西方近代權利觀諸如民權, 民主, 自主, 自由和國家等觀念. 這可以說是“權利政治”運動. 但是他們的政治運動依然進行于君主立憲的構架, 而沒有提出革命. 而隨之出現了進化(天演), 專制, 民族等槪念. 這些槪念則與民權/民主槪念結合形成革命思潮. 其中專制和民族槪念爲反滿州政府革命運動提供了認識和理論基礎. 這一時期的政治運動可以說“否定性的政治”. 但是,  面臨着具體實現體制改革的問題, 又浮現民主政治的現實條件. 一些人認爲中國人民已具有爲民主共和的自治能力, 而主張共和立憲運動. 而一些人則認爲中國人民在兩千年的長期專制統治之下, 失去了自治能力, 因此中國无法推進共和民主政體, 而反對革命, 主張開明專制(梁啓超). 可是后者的觀点不能看作爲完全是反民主的, 而后可以評价爲他們爲我們思考西方近代民主政體的根本缺陷而繼續探索創新制度提供問題意識.
6,400
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In the early 1900s, magazine media claimed their age to be `an age of excess` and wanted to show political passion in this excess space. At that time, the concept of vocabulary of the magazine media existed in the process where different political passions collided and cooperated in the acquisition and competition for legitimacy of various translations and concepts of vocabularies rather than the currently applied, clearer, modern vocabularies. This means that concepts of vocabularies of our modern times which seem more fixed than familiar were in the process of formation as various ways of thinking and political passions were tensed just like in the state of articulation of Stuart Hall. Therefore, they more clearly demonstrate the state of articulation of various ways of thinking. This article focuses on the problems arising from the state of articulation of these vocabularies and aims to interpret the contexts of fragmentation or combination of these words. In the early 1900s, `happiness` articulated with various concepts of vocabularies to generate discourse contexts. `Happiness` is not only a word related to individual desire, pleasure, interest, and human nature. It is also articulated with the principles of various social organizations about individual-society surrounding public and private divides in the process of interpretation of utilitarian ways of thinking. Also, these concepts articulated with `happiness` are further articulated with ethics in the process of interpretation of concepts of vocabularies such as economy and livelihood, which results in tension. In the early 1900s, the issue of `happiness` covered welfare society and individual `happiness` of the nation while the global capitalism expanded. In the process, it may become a significant historical reference system to be considered by the 21st century contemporary China which aim to subjectivate its individuals and their society.
7,800
초록보기
構式語法理論在1990年代逐漸興起, 短短二十多年裏取得了顯著發展。 該理論作爲認知語言學的一種新理論模式。 構式是形式和語義的匹配, ?具有獨立的語義和語用功能。構式語法理論强調解釋語言的整體, 包括詞彙、 句法、 語義、 語用因素。 構式語法在30多年的發展過程中, 引起了語言學界的極大關注, 特別是Goldberg的硏究有非常深遠的影響力。 近幾年在中國語言學界內也有不少學者在做這方面的硏究, 例如, 漢語雙賓語構式硏究、 把字句構式硏究、 存現句構式硏究、 動補構式硏究等等。 本文依據Goldberg的論元實現的一系列討論, 對動詞與構式的整合進行了考察。 在此過程中, 構式層面的論元角色和動詞層面的參與者角色相聯, 參與動詞與自己的具體角色相聯。 參與者角色旣受構式的制約也受動詞的選擇限制, 幷以構式論元角色整合而成爲一個完整的句子。

從事件結構角度看狀補話語功能的對立模式

임소정
한국중국어문학회|중국문학  75권 0호, 2013 pp. 255-269 ( 총 15 pages)
5,500
초록보기
By examining the use of one-syllable-adjectives in the modern Chinese, this paper examines the “mirror structure” created by adjectives acting as adverbial in front of a verb, and as complement when placed behind a verb. Focusing on the interactions between adjectives and verbs, this paper illustrates the aspect attributes of Adj.+V and V+Adj. from an event structure perspective. Based on this, the author seeks to explain the contrastive features found in the “mirror structure” of adverbial-complement formed in the discourse function level.
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