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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 : 79권 0호 (2014)

“신악부운동”, 정말로 있었나?

정진걸 ( Jeong Jin Geol )
한국중국어문학회|중국문학  79권 0호, 2014 pp. 27-52 ( 총 26 pages)
6,600
초록보기
6,700
초록보기
It is clear that the experience of Zheng He[鄭和] who made seven times voyage to the Western World exerted some far-reaching influences on the literature of late Ming [明] Dynasty. The various informations of the new world broadened writer`s mental horizon and thinking space in most all of the literature genres. The 100 chapter [回]`s Sanbao-taijian Xiyangji Tongsuyanyi [三寶太監西洋記通俗演義] by Luo Maodeng [羅懋 登](or represented by him) is a typical instance of that experiences. Although this first story of the sea adventure in Chinese Literature is not a realistic novel──almost can be a fantasy, it contains substantial meanings in the society and history of late Ming Dynasty. The rich imaginations about overseas countries in this novel, for instance, gave an impetus to the Chinese of late Ming Dynasty who were still not prepared to accept the objective knowledge of the whole world and were self-sufficient for the idealism of the suzerain vassal. In addition, the writer(s) of this novel would like to represent his (or their) displeasure and indignation about the present state of late Ming Dynasty by satire and deriding style. Nevertheless, the sentence quality and story structure of this novel could not fulfill most of high-class leaders` aesthetic requirements at that time, so much as Lu xun [魯迅] in modern China. In point of fact, Xiyangji can be placed a transitional stage in writing style from generational episodes cumulation to individual story writing. So, it was natural that the writer(s) of this novel betray many clumsy workmanships when he (they) tried to make use of some old episodes and other short stories, or when he (they) tried to imitate some sentences of history books and prose texts, or when he (they) tried to joke, even when he (they) tried to show his (their) talent of story writing. As things turned out, Xiyangji has many distinguished marks of experimental writing. In this paper, I studied some types of quoting poetry and prose from outside of this novel. And I found some notable features. Only 86 pieces of poems and phrases are directly quoted without any modification in total 178 cases. With a few exceptions that resulted from the mistakes in copy, most of all the quoted poetry and prose are intentionally modified by writer(s) of Xiyangji, for the purpose of application to his (their) novel`s context. But it is true that not a few confusions induced by these modifications. Without a few very high-class readers, almost all popular readers could not distinguish the modified poem from its original one, especially in the case that the extent of modification is rather high. The prose sentences quoted in this novel were usually from the prose collections by the fairly famous literary men before the writer(s) or contemporary with him (them), history books, and the Confucian scriptures. But almost of all sentences were diversely modified also. In this case, the purpose of modification is far from the case of poetry. Apart from a few modification in consideration of the context, many modifications seems to cross the line. Intentionally or unconsciously the writer(s) reversed the arrangement of words or omitted some words. It make readers cannot grasp the meaning of the whole sentence. In conclusion, the modification in quoting poetry and proses is a very remarkable feature in the Xiyangji text. But we cannot regard the poor workmanship of modification as an immature defect. Because not a few cases suggest that the poorness is made on purpose. In other words, we can think that the writer(s) of this novel intended to hold the so-called `high-class readers` up to ridicule or to satirize them by presenting sets of absurd prose sentences. And in any sense, we can regard this kind of writing as somewhat similar to the `pastiche` of the post-Modernism.

<권술견문록(拳術見聞錄)>과 민족영웅 곽원갑(?元甲)의 신화

유경철 ( Yu Kyungchul )
한국중국어문학회|중국문학  79권 0호, 2014 pp. 113-139 ( 총 27 pages)
6,700
초록보기
The current study explores a couple of aspects involving the myths of Huo Yuanjia, a national hero in the late Qing and the early Republic China. In the myths, two important episodes were most important. One was about his protecting western missionaries and Chinese Christians against the The Boxers in Tianjin and his punishing the head of The Boxers. The other was about his defeating a Russian giant man who used to insult the Chinese by referring to them as the sick men of East Asia. One of the arguments that this study is suggesting is that the two episodes were conceived by a martial arts novel writer and a researcher of martial arts Pingjiang Buxiaosheng, who compiled Huo`s myths completing him to be the national hero by creating Righteous Heroes of Modern Times[Jindai Xiayi Yingxiong Zhuan]. The reason for the claim is the that, except Pingjiang Buxiaosheng, no one in even Chin Woo Athletic Association mention the episodes. The claim was further supported by the series of contrastive text analyses of all the descriptions of Huo in both Biography of Great Strongman Huo Yuanjia [Da Lishi Huo Yuanjia chuan] and Sketches of Chinese Martial Arts [Qianshu Jianwenlu] conducted in the current study. Although the episodes were first released to the public through Xiao Rulin`s Biography of Great Strongman Huo Yuanjia, through the analyses, this paper suggests that Huo in Pingjiang`s Sketches of Chinese Martial Arts was written earlier than that of Xiao. In addition to the introduction of the two episodes, the paper investigates how the two played an important part in making Huo as a national hero. Russian giant man episode―the single battle with the Russian giant man was an alternative choice for the cancelation of the fight with an Western giant man which was originally planned―led Huo to acquire the status and quality of national hero. The Boxers episode, which occurred before the Russian giant man episode, played a role in certifying Huo to be one of best fighters in China so that he can fight with the Russian giant man. The episode is also meaningful in that it removed the obstacle for the Chinese martial arts society by completely denying the society`s relations with the Boxers. Pinjiang`s creation of the Boxers episode demonstrates that his martial artist identity has been an huge influential factor in making Huo as the national hero.

위항(衛恒) 《사체서세(四體書勢)》의 역사적 의의 ― 허신(許愼)의 서체론(書體論)에서 위항(衛恒)의 서세론(書勢論)으로 ―

선주선 ( Sun Joo Sun ) , 염정삼 ( Yum Jung Sam )
한국중국어문학회|중국문학  79권 0호, 2014 pp. 193-228 ( 총 36 pages)
7,600
초록보기
The writing style and the power of strokes in the sphere of writing Chinese characters, respectively 書體shuti and 書勢shushi, developed their own theories from 漢 Han dynasty to 魏晉Weijin dynasties. In Shuowenjiezi說文解字, Xushen許愼 explained eight styles of Qin秦 and six styles of Wangmang王莽. In Sitishushi四體書勢, Weihang 衛恒 explained current four styles and the power of strokes depending on the style. This paper aims to investigate the process that how the transition from shuti to shushi came true, and how the theory of shushi was established.

《논형(論衡)》 난독 구문에 대한 교감 내용 고찰

성기옥 ( Sung Gi Ok )
한국중국어문학회|중국문학  79권 0호, 2014 pp. 229-253 ( 총 25 pages)
6,500
초록보기
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