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논문검색은 역시 페이퍼서치

중국학연구검색

The Journal of Chinese Studies


  • - 주제 : 어문학분야 > 언어학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1229-3458
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 67권 0호 (2014)

董越及其≪朝鮮賦≫硏探

高秋鳳 ( Lin Kao Chiu-feng )
중국학연구회|중국학연구  67권 0호, 2014 pp. 3-47 ( 총 45 pages)
12,000
초록보기
This paper investigates Dong-Yue, an officer of Ming Dynasty, his life story, writings and his diplomatic relations with Joseon Dynasty in advance. Through the above exploratory approach, we are able to realize why Dong-Yue can create such a literature works, Joseon Fu, which prose’s interspersed with verse. Afterwards will investigate the following six questions for study: 1.The source of the Joseon Fu; 2.The structures of paragraph and the main points of synopsis of the Joseon Fu; 3.Ideological contents of Joseon Fu; 4. The distinguishing features of the types of literature of the Joseon Fu; 5.Artistic expression of the Joseon Fu; 6.Summig up the values of the Joseon Fu: First, Aspect of historic documents, this will serve as important documents for investigating the geography and culture of Joseon Dynasty, and important historic diplomatic documents for both ancient China and Korea, the effects of a glimpse and consulting as well and a good example of East Asian Sinology books and records exchange; Second, Aspect of literature, that Joseon Fu is advocated earlier to take subject matter of foreign lands, holding the meanings of pleasing and trust, taking the strong points of literature and history, but it is an excellent work of antithetical “Fu” due to it can avoid the traditional habits of exaggerating and decorating. In conclusion, Dong-Yue is an outstanding diplomatic officer of Ming Dynasty, while Joseon Fu is an excellent “Fu” with both the satisfactory of form and content, and values of document and literature.

중국 고전시에 나타난 해당화 이미지

배다니엘
중국학연구회|중국학연구  67권 0호, 2014 pp. 49-71 ( 총 23 pages)
6,300
초록보기
海棠花, 是蔷薇科苹果屬的植物. 一般生于平原和山地, 爲落葉小喬木. 葉柄細長, 基部有兩個披針形托葉. 其花大略在3-7月開花, 5-7朶簇生, 傘形總狀花序, 未開時紅色, 開後漸變爲粉紅色, 多爲半重瓣, 少有單瓣花. 海棠花素有‘國艶’之譽, 其色、香、意俱佳, 古往今來, 有多少文人墨客爲之題詩賦詞, 歐歌讚頌, 進而形成了中國特有的海棠花文化和意象. 本篇論文對于中國古典詩中的海棠花描寫特徵, 在主要三個方向的主題下分析了海棠花的意象. 第一, 中國古典詩中的海棠花尋常象徵着秀麗美人的姿態. 海棠花含有唐玄宗與楊貴妃的‘海棠春睡’和蘇轼秉燭賞海棠的典故啓發, 常以楊貴妃作比海棠, 用美人的嬌憨的醉態和朦朧的睡態來描摹海棠的神韻. 歷代詩人的詩文中, 海棠花常常描寫于含有‘雖艶無俗姿’的美人, 或具有獨特魅力的存在, 所以在詩人畵家筆下, 海棠似娴靜嫵媚的淑女, 嬌媚却不嬌氣的美的存在. 高雅嬌媚之美是海棠花所含有的第一重要意象. 第二, 中國古典詩中的海棠花象徵着堅强、高潔、忍耐、獨立不遷的品格. 海棠花一般不擇土壤, 喜向陽、肥沃的環境, 含有耐寒的品德, 而且風雨摧殘淸香猶存, 風骨錚錚. 中國詩人們一旦提到海棠花或者看到海棠花, 很容易聯想到高潔的品質, 而用來借喩好理想的象徵和自尊獨立的品行, 或者直抒胸臆地表達了對海棠的尊崇. 第三, 中國古典詩中的海棠花還常用於抒發惜花、惜春之情等各種哀歡的表識. 歷代文人對海棠花時, 很容易感覺到凄婉的傷春感情和愛花更惜花的感情, 作者以花喩人且兼用移情手法, 抒發了思鄕、貶謫心態、身世之感等各種抒情. 可以說海棠花的重要價値也在于淋漓盡致地表現出詩人各種哀傷感情的.

만당(晩唐) 마대(馬戴)의 시(詩)

유성준 ( Yoo Seong-jun )
중국학연구회|중국학연구  67권 0호, 2014 pp. 73-106 ( 총 34 pages)
7,400
초록보기
Ma Dai, a poet of the Late Tang, was a native of Donghai東海(Jiangsu). It's estimated that he was born in around 803 and died in around 869. Ma Dai passed the jin-shi examination in 844. Before his passing the examination, he lived in retreat or engaged upon his restless troubles, seeking the social connections necessary to gain a public recognition and high rank; after his passing, he held various provincial and capital posts, which were too low in position and late in time for him to think that he has accomplished his desire in his life. His own personal situation and the confusing backdrop of the Late Tang had made a great influence on his writing poems. This thesis aims to analyze the themes of his poetry. Ma Dai's more than 177 extant poems, most of which consist of the regulated forms, can be divided into four groups. The first group, on the one hand, expressed his militaristic spirit, on the other hand, expressed his antiwar idea. The second expressed the pursuit of retirement, which was born for political reasons. The third poured out complaint of his ill fate, mostly due to his repeated failures in the jin-shi exam. The fourth expressed his homesickness in the wake of the long residence in a strange land. I will say that Ma Dai's poetry was very special in the Late Tang's poem; formed his own independent poetical style, that is, "clean and forceful淸峭” in spite of being influenced by Yao He and Jia Dao's poetry, and must be mentioned as the subject of discussion when Tang's repeatedly chanted poetry is systematically organized.

송대(宋代) 승려 혜홍(惠洪)의 시가연구

임원빈
중국학연구회|중국학연구  67권 0호, 2014 pp. 107-126 ( 총 20 pages)
6,000
초록보기
惠洪是活動于北宋末期的著名詩僧, 在宋代詩壇上占有重要地位, 他以詩歌創作、僧史禅學著述出名。通過對他詩歌創作的內容分析, 本稿要考察惠洪詩歌擁有的成就和特点。惠洪的詩歌大致可以分爲對禅的體會和見解、對山水自然的感想、對世俗生活的關心、對現實社會的認識等四個方面。 首先, 對禅的體會和見解。惠洪的一些詩歌表現對禅理的體會, 事實上更多地表明對自己求道方式的見解。其次, 對山水自然的感想。惠洪大多在山寺生活, 時時表現出對山水自然的感受和情趣, 這種詩歌體現出'淸逸淨寂'和'言淡意遠'的境界。再次, 對世俗生活的關心。惠洪交游廣泛, 這就是詩歌世俗化的一面。但是這種郊游詩歌創作是普遍的現象, 幷不能說明他的詩歌因此具有世俗化的特点。他的詩歌之所以被評价爲有着世俗化的傾向, 是因爲詩中較多表現绮語、飮酒、艶情等內容。最后, 對現實社會的認識。惠洪在十四歲出家之前接受儒家敎育, 他也具有對現實社會的參與意識。雖然這種詩歌數量不多, 但是他喜好用古今人物或治亂提出政治見解, 關心民生疾苦。 惠洪詩歌因爲有上述特点, 才能得到'宋僧之冠'的聲譽, 從而在宋代詩壇上占据重要地位。因此, 惠洪的詩歌創作可以說繼承幷發展過去詩僧們的詩歌創作, 毫不逊色。
초록보기
從蘇東坡的前后《赤壁賦》中, 朝鮮時代的文人們領略到“先生氣節凌宇宙, 先生文章煥星斗”。與此相反, 也有人認爲, 《赤壁賦》不過是点出了江月的“理致”, 而且從儒學的觀点出發, 還對蘇東坡崇尙神仙和佛敎的局限做了批評。 朝鮮時代的文人對蘇東坡飄逸潇灑、不受世俗拘挛的氣質和生平欽慕不已, 認爲東坡的杰作是“漏泄”宇宙“豪氣”揮灑而出的, 因此常常以東坡轉世自居――“擬把漢江當赤壁, 何妨壬戌作庚辰”, 幷衍變出了适合自身情況的“赤壁船游”。 赤壁船游貫穿整個朝鮮時代, 在朝鮮的早、中、晩期持續上演。特別是尙州的洛江船游, 從高麗中期(1196年)李奎報開始, 至朝鮮后期(1862年)爲止, 绵延近700年, 擧辦了51次詩會, 爲東亞船游之濫觞。 總之, 通過人類普遍情緖的共鳴作用, 東坡的前后赤壁賦在文學和人生的角度上成爲朝鮮文人的理想樣板。在中國已難尋觅其淵源的赤壁船游, 呈現出我國的獨特面貌。朝鮮赤壁船游的再演, 充分表現了悠悠歲月長河中所産生的活躍的文化現象。

자성(自省)과 비판(批判) 사이의 깊이 - 왕가신(王家新)의 시(詩)를 논함

김용운 ( Kim Yong-woon ) , 김자은 ( Kim Ja-eun )
중국학연구회|중국학연구  67권 0호, 2014 pp. 149-166 ( 총 18 pages)
5,800
초록보기
"Today"(今天) was a storm-center of the misty poetry. As the succession of misty poetry, Post misty poetry tried to overcome the strong critical spirit and the avant-garde character of "Today". The ‘third generation’ faced more complicated social reality than former generation, further more had to create freer and more experimental poem. Wang Jia-xin(王家新) belongs to 'third generation' from Hubei Wuhan. His creation of poetry originates from the anthropogeographical character and the atmosphere of freedom of 'Reform and Opening-up'. As 'Reform and Opening-up' caused contradiction of marketization and globalization, it created a neglected class of people and intensified social polarization gradually. In this atmosphere, he focused not on the critic about practical contradiction but on independent and personal writing as intellectual. His choice can be the overcome of commercialism after 'Reform and Opening-up', also can be the warning heading for the realism of the distortion at the end of 20th century and the beginning of 21st century. The reason why he reserves critic and keeps distance from the real world is to reach his own esthetics and critic of the past days by securing a political safe zone.

“荒芜英雄路”-论张承志的小说创作

王天泉 ( Wang Tian-quan )
중국학연구회|중국학연구  67권 0호, 2014 pp. 167-183 ( 총 17 pages)
5,700
초록보기
在这篇论文中, 我试图从创作主题、文化心理含蕴、话语形式等方面展开论述, 将作家强烈的民族情感和虔诚的宗教信仰作为脉络和线索贯穿于始终, 从而力求较全面地把握张承志小说创作的整体风貌和隐于文学表象背后的深层意蕴。论文要点如下: Ⅰ. 前言。 论述对张承志的总体印象、论文的大致思路。 Ⅱ. 作品主题。 张承志创作的主题集中体现于人物塑造上, 即一系列具有独立人格和精神的叛逆英雄, 其核心是反叛精神。这种反叛可分为二:一是文化意义上的反叛, 一是宗教形式的反叛, 贯穿其中的是作家执著表现的英雄主义精神——其本质是反对一切专制和任何非人道的思想。 Ⅲ. 文化心理含蕴。 主要运用文化人类学批评的观点, 尝试从原始主义的角度对作品的文化心理含蕴做深入地发掘。 Ⅳ. 话语形式。 张承志的文学话语具有倾诉的本质特征。这种倾诉为作品中激越澎湃的情感驱使而成。因此, 抒情性和主观性就成为作家鲜明的语言风格。同时, 抒情的本质决定了话语形式的诗质特征, 并促使作家最终选择“诗”——即他所谓的“新诗”体作为文学创作的话语形式。此外, 方言、少数民族语言以及宗教语言的大量使用, 使得以汉语写作的张承志的作品呈现出一种非汉化的异文化特质。 Ⅴ. 结语。

중등학교 중국어 교과서 선정을 위한 평가기준 개발 연구

김정은
중국학연구회|중국학연구  67권 0호, 2014 pp. 187-210 ( 총 24 pages)
6,400
초록보기
要提高教育质量, 就要有一套优质的教育课程和一本好的教科书, 除此之外还要学生和老师之间的积极地相互关系。本文的起点是中等学校在选定汉语教科书时使用的教科书的评价标准不太恰当。为了提示汉语教科书的评价标准, 考察了教科书的评价研究, 比较和分析了韩国和美国的汉语教科书的评价标准, 提出了其共同点, 不同点和改善之处。在此基础上先树立了教科书的评价标准的原理, 选择评价领域, 详细项目和评价尺度, 提示了预备评价标准。根据预备评价标准, 汉语教师们实际评价教科书后, 协议了需要修改和补充的内容, 并制定了汉语教科书的评价标准。

동적양태 '요(要)'의 기능분석 연구

박재승
중국학연구회|중국학연구  67권 0호, 2014 pp. 211-229 ( 총 19 pages)
5,900
초록보기
本文主要运用情态和认知语言学、有界化一些概念和理论, 讨论了现代汉语动力情态动词“要”的情态功能。本文的主要内容如下: 首先确定情态的分类标准而且提出“动力情态范畴”和“认识情态范畴”之间的分类标准。在此基础上, 本文把“要”的功能分为“决定的要”和“意愿的要”两个方面, 值得注意的是, 这一分类是由说话人来主持的, 换句话说, 说话人根据语境来做出分类这一工程的。 其次, 如果“X说”形式出现在句子时, 这里的“X”是在这一语境里充当第一说话人的角色, 说话人仅仅能充当“传言者”的角色, 这时表示“能力、意愿”的标记得归类于“非情态动词”, 相反, 说话人能在句子里留下自我痕迹, 这时表示“能力、意愿”的标记得归类于“情态动词”。 最后, 以往的研究根据与程度副词共现能否, 把“想”和“要”分别归类于“无界性标记”和“有界性标记”, 不过, 没有提出这一观点的依据。本文认为, “要”所表示的施事者的意图, 这一语用特征让“要”的意愿极限化、有界化。

동등비교표지 ‘유(有)’의 문법화 연구

최재영
중국학연구회|중국학연구  67권 0호, 2014 pp. 231-257 ( 총 27 pages)
6,700
초록보기
目前爲止, 學術界對于平比句“NP1+有+NP2+W”句型里的標記“有”的語法化硏究得很不充分。本文選擇唐至淸的14種文獻里出現的“NP1+有+□+□”句型進行了窮盡性調査, 試圖揭示領有/存在義動詞“有”向平比標記語法化的條件、机制和過程。考察結果如下: 第一、現代漢語里使用“有”的平比句型爲“NP1+有+NP2+W”, 因此可以設想“有”的語法化發生在“NP1+有+□+□”句型中。按照兩個“□”里出現哪種成分, “有”的語法化經過了如下4個階段。 第一階段:(唐宋)“NP1+有+數量/程度+NP2”句型的普遍使用促使出現“NP1+有+數量/程度+之+A”句型。雖然“之+A”是名詞性成分, 但第二個“□”里開始出現形容詞成分導致第二階段的出現。這一階段的“有”是領有/存在義動詞。 第二階段:(元明)“NP1+有+數量/程度+A”句型的出現。一個句子里同時出現動詞“有”和形容詞兩個謂語, 導致領有/存在義動詞“有”語法化爲系詞。 第三階段:(明)“NP1+有+NP2+A”句型的出現促使系詞“有”再語法化爲平比標記。但這階段出現的“NP2”是“天、海”等, 它們不是“NP1”的比較基准, 而主要用來表示“NP1”的程度非常深。因此, 可以說這階段的“NP1+有+NP2+A”句型還不是眞正的平比句。 第四階段:(淸)“NP1+有+NP2+A”句型里出現“沒”、“這么/那么”等, 形成了跟現代漢語平比句一樣的“NP1+(沒)有+NP2(+這么/那么)+A”句型, 隨之平比標記“有”的語法化更加成熟。 第二、平比標記“有”是兩次語法化的産物, 卽先從領有/存在義動詞語法化爲系詞, 再從系詞語法化爲平比標記。這兩次語法化的机制爲重新分析, 而這種重新分析的發生可用劉丹靑(2009:202~228)提出的“重新分析的无標化解釋”來說明。
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