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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 : 68권 0호 (2014)

『고망언(姑妄言)』속 인물(人物)의 명명(命名) 특징(特徵)과 의미(意味)

이수민 ( Lee Su-min )
중국학연구회|중국학연구  68권 0호, 2014 pp. 3-23 ( 총 21 pages)
6,100
초록보기
命名是一種藝術, 由於漢字和中華文化的獨特性, 漢語的命名更具有獨特的藝術魅力。人物命名一直是中華民族漢字文化的一個重要組成部分, 而這一點在文學作品中, 尤其是明淸時代的世情小說中體現得尤爲明顯。這些文學作品中的人名充分反映了中國古代優秀作家對姓名學的審美意識和審美趨向。淸代長篇章回小說《姑妄言》中冠以姓名的人物有五百人之衆, 幷且這些人物命名巧妙, 獨具特色, 寓意深遠, 影響廣泛, 十分値得我們進行深入的硏究。本文從人物的命名方式、人物的命名特點和人物的命名藝術等三方面對《姑妄言》進行了考察。 從人物命名的方式來看, 全書共用到諧音、寓意、範字、歸類、行序等多種方法, 它們幾乎涵蓋了中國人常用的所有命名方式。從人物命名的特點來看, 《姑妄言》具有其他同類作品所不具備的特點。作者十分巧妙地運用了大量的諧音詞, 且在這些諧音詞中, 含貶義的名字占了絶大多數。作者幾乎是逢名便諧音, 逢諧音的名便含貶義。作者在給小說中的某些人物命名時, 還擅於把一個名字賦予多種寓意。一人雙名也是《姑妄言》中人物命名的一大特色。對小說裏的那些次要人物, 作者多是一人取一名, 而對小說中的主要人物, 尤其是小說的主人公, 作者則是不遺餘力地爲一人取雙名。《姑妄言》中的人名幷非信手拈來, 而是作者曹去晶精心揣摩的結晶。這些人名大都標新立異、耐人尋味, 有的反映了人物的性格、身分和社會地位等, 有的則暗示了人物的命運, 還有的表現了作者的愛憎褒貶觀念。

‘왕괴(王魁)’ 고사(故事)를 통해 본 송대(宋代) 사회상 연구(硏究)

이시찬 ( Lee Si-chan )
중국학연구회|중국학연구  68권 0호, 2014 pp. 25-48 ( 총 24 pages)
6,400
초록보기
本文通過有關王魁負桂英故事的硏究, 分析了宋代社會的幾種社會 現象。本硏究主要圍繞以下三類問題展開: 一是從'王魁'人物形象看宋代科擧文化。二是從女主人公'桂英'人物形象看宋代妓女文化。三是通過類似王魁故事的幾篇宋代小說內容考察當時的倫理道德觀念的變化。 關于第一類問題, 筆者得知'魁'、'秋試'、'試南宮'、'御試'的意思及宋代科擧制度的幾個具體形式。也有關'初考官'、'復考官'、'詳定官'等詞匯, 得知宋代科擧的嚴格審査過程。還有現在中國山東省招遠市仍分散存在着爲了紀念王魁的各種事迹。 關于第二類問題, 考察了宋代妓女文化, 尤其是太學生和妓女的獨特關系。宋官方保障了太學生和妓女的相見, 而且當時妓女們的經濟上的能力和愿望以及詩詞方面的文學素質。 關于第三類問題, 宋代小說主要透過女性形象顯示了當時靑春男女之間蔓延的自由戀愛意識和切近現實生活, 帶有明顯的倫理道德觀念上的世俗化傾向。但其中也發現當時社會對女性仍然要求的忠節等封建倫理。宋代流行的理學思想和從市民階層那里萌芽的强烈的自由戀愛觀念, 旣互有矛盾, 又有影響后代愛情小說的主題意識的世俗化傾向。 總之, '王魁'故事揭露了宋代的各種社會現象, 尤其是士人負心現象和由女性主動爭取愛情的突出現象, 使'王魁'故事充分地提高小說史上的地位。

두보(杜甫)의 제화시(題畵詩) 고(考)

정호준 ( Jeong Ho-jun )
중국학연구회|중국학연구  68권 0호, 2014 pp. 49-86 ( 총 38 pages)
7,800
초록보기
This study examine the features of DuFu's the Titled Paintings 20. The Titled Paintings introduce and describe the picture, it is a poem that captures the feeling of the poet or the argument of the poet collectively. The Titled Paintings can be a special kind of Poems on Thing, it is originated from the expansion of the material of the poem itself in the development of Chinese painting art. Many poets has left the Titled Paintings in Chinese history. Among them, DuFu has left a large footprint in the Titled Paintings area. Of course, as everyone knows, The appearance of the poem that poets added a poem in earnest on paintings began in the Song Dynasty, though DuFu's the Titled Paintings was a great contribution in the development of the poetry to combine the painting arts and the poetry arts. Nevertheless, in our country, rather than to study separately only DuFu's the Titled Paintings, until now, has seen the research as part of the poem-on-thing. This situation, there has been insufficient to consider only the excellence of DuFu's the Titled Paintings and its features. Therefore, in this report, I examined the artistry and the features of Dufu's the Titled Paintings 20, I considered by dividing DuFu's the Titled Paintings into the theme of pictures of a green pine trees, landscapes, horses, cranes, hawks and so on. And I analyzed artistic features of these poems. In this research, I found that DuFu's poem has a variety of materials and an understanding beyond the boundaries between the arts. Thus, it is opportunity to look at the association of the different genres of art and the study of the literature itself. I think this research direction is in line with the consilience currently pursuing research of Chinese.

중국당대 소설문학의 상처와 치유의 미학 - 왕샤오뽀(王小波) 『황금시대(黃金時代)』를 중심으로

박정원 ( Park Jeong-weon )
중국학연구회|중국학연구  68권 0호, 2014 pp. 87-108 ( 총 22 pages)
6,200
초록보기
Literature expresses the feelings of a human being. It’s is also a reflection of society. it gives pleasure to man, also gives teachings. literature through catharsis to cleanse the human emotions. it heal the wounds of the human and Historical Trauma. that called “Literary Therapeutics”. Since 1998, China began research on the Literary Therapeutics. most research studied. the concept of Literary Therapeutics, features, functionality, utility, limits, respectively etc. This Article study on wound and healing of wangshaobo's < Golden Age >. unlike other works, this novel not describe seriously wound of Cultural Revolution, and described very lightly. this attitude give tp readers a healing effect. this novel dismantled political reality and historical trauma, and it is nothing chosen to rational and objective manner, it is chosen to on-rational and subjective manner.

한중 정치소설의 발전양상에 대한 일고찰

문대일 ( Moon Dae-il )
중국학연구회|중국학연구  68권 0호, 2014 pp. 109-132 ( 총 24 pages)
6,400
초록보기
近代韓中兩國文人共同的目標是以“政治小說”來改變整個社會格局, 以求救亡圖存、自主獨立。從而在韓中文藝界, 飜譯或創作政治小說成爲一種潮流, 風靡一時, 還出現了各種的相關文章、評論文、讀后感等。從文學史角度去看, 政治小說大大提高了小說本身的地位, 也重視了小說的感染力以及其對社會的影響。這對此后“新小說”的發展提供了很好的理論基礎。但是, 政治小說過于注重政治性和對社會敎化方面, 相對而言, 忽視了其“文學之美”。本文通過韓中兩國文人的政治小說以及其相關資料具體分析來考察兩國的近代政治小說的發展脈絡。

동(東)ㆍ중(重)의 동원(同源)관계에 관한 고찰 -『설문통훈정성(說文通訓定聲)』의 동성부(同聲符)를 중심으로

박흥수 ( Park Heung-soo ) , 고경금 ( Ko Kyung-keum )
중국학연구회|중국학연구  68권 0호, 2014 pp. 135-152 ( 총 18 pages)
5,800
초록보기
本文從『說文通訓定聲』豊部第一組收錄的五十一個字中挑出了以“東”或“重”爲聲符的12個字, 分別對這些字進行考釋, 找出它們意義上的共同点。爲此我們首先要確定這些字的詞根, 卽字根。過去人們都認爲“東”的本義是“日在木中” , 但通過考證我們發現“打包在囊中的谷物”才是“東”的本義;另外我們還論證了“重”字是人背着“東”的形象, 兩者在字形、字義上也是同源關系;最后我們考察了“歱”、“踵”、“動”、“腫”、“ ”、“種”、“湩”、“凍”、“涷”、“緟”、“棟”、“鍾”字, 這些字都是“東”字和“重”字的同源字, 都含有共同義素“程度深”或“程度高”, 由此可見形聲詞的聲旁不僅僅有表音功能, 還有表意功能。

“灑家”考

沈貞玉 ( Shim Jung-ok )
중국학연구회|중국학연구  68권 0호, 2014 pp. 153-166 ( 총 14 pages)
5,400
초록보기
“灑家”是一個自稱代詞, 對它的通行時代、地域及産生的源頭, 人們目前還沒有完全一致的認識。從“灑家”和“咱家”發音的相似、特点、流通地域和時代以及它們的影響力等方面可以得出結論:“灑家”就是“咱家”, 它們的不同應該是由于不同地域的語音差異在書面文字系統中的反映造成的。

시간부사 ‘재(在)’의 문법화 과정 및 기제

염죽균 ( Lian Zhu-jun )
중국학연구회|중국학연구  68권 0호, 2014 pp. 167-191 ( 총 25 pages)
6,500
초록보기
本文通過廣泛考察先秦至淸代的語料, 認爲時間副詞“在”早在魏晋南北朝就已零星出現, 但它一開始只出現在南方官話著作中, 這表明它是在南方方言的影響下産生的。時間副詞“在”到淸朝末期在一部分南方官話中已經逐漸發展成熟, 但進入北方官話則是在1919年新文化運動之后。由于時間副詞“在”在魏晋南北朝就已出現, 所以我們認爲它幷非是在明淸時期由介詞“在”虛化而來, 而是在此之前直接由動詞“在”演變而來的。動詞“在”由表示“處于某個場所”, 發展爲表示“處于某種被動狀態之中”, 再發展爲表示“處于某種活動過程之中”, 這種從指向空間上的一個点到指向一個片段的語義變化, 使它能勾在隱喩机制的作用下完成從空間到時間的轉換;同時, 動詞“在”后可直接帶VP賓語, 也使它能勾通過重新分析机制變爲修饰VP的副詞。

노신(魯迅) 연설 텍스트의 수사학적 분석 - 소리 없는 중국(無聲的中國)(1927. 2. 18.) -

임소라 ( Lim So-ra )
중국학연구회|중국학연구  68권 0호, 2014 pp. 193-223 ( 총 31 pages)
7,100
초록보기
本論文以魯迅1927年的演講稿爲硏究對象, 探討他如何通過演講說服當時的聽衆, 把自己的思想和見解傳達給他們。這篇演說是1927年2月18日魯迅在訪問香港中華基督敎靑年會時候發表的演說。魯迅在這篇演說中再一次提到了1917年創作的“文學革命”的重要性。主要以亞里士多德和西塞羅提出的修辭學理論爲中心, 分析這篇演講稿。著重分析演講稿的著想、排列、表現的修辭學體系。著重是演說者對於主題將展開怎樣的構思的決定性階段。排列是整理思路的順序、論據的順序, 有效的、合理的排列結構的階段。表現是將他們轉換爲易於聽衆接受的語言。 著想的部分, 演講稿中修辭的狀況結構化。“魯迅(誰), 把文學革命的重要性(什麼), 通過演說(怎樣), 向參加香港中華基督敎靑年會的聽衆(向誰), 用白話文告訴大家反帝、反封建的時代精神(怎樣的效果)。” 演講稿中含有政治演講的要素和成分, 所以認爲這篇演講屬於政治演講。爲了整理出這些要素的論據, 對包含論據的部分進行分類。 排列的部分包括緖論、豫備本論、核心本論和結論四個部分。緖論是從第一段落到第三段落, 主要說明“得到好感”、“幇助理解”和“引起關注”。豫備本論部分是從第四段落到第七段落, 主要說明“事實報告”和“獲得信賴”, 還有對緖論中“幇助理解”進行補充說明。核心本論是從第八段落到第十五段落, 主要闡述論證“文學革新”和“思想革新”。形成修辭學中的三段論的論述結構。結構藏第十六段落到第十八段落, 主要說明魯迅演講稿的槪要和對民衆發出的“感情添言”。 表現階段主要表現爲隱喩和明喩。在隱喩的表現手法中“古董”可以表示“舊的、久遠的”, “路”可以表示“我們的未來、命運”。通過使用隱喩能使聽衆的腦海里比較長久地保留對魯迅的記憶。這樣的表現手法對刺激聽衆的情感比較有幇助。魯迅通過隱喩的表現手法將“文學革命”的主題精神傳達給聽衆。比喩連接語出現以後, 開始使用明喩手法。魯迅通過明喩的表現手法, 作爲附屬說明的工具, 能使聽衆比較容易的理解案件。
6,800
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Under the leadership of the CCP, several agencies and institutions have been currently involved in the anti-corruption campaign in the PRC. Among them, the Central Commission for Discipline Inspection (CCDI) is one of the most important organizations. The CCDI is an organization run under the National Congress of the Communist Party of China and was originally charged with rooting out corruption and malfeasance among party cadres. However, as the Ministry of Supervision was incorporated into the CCDI in 1993, and as the CCDI was authorized to set up the Central Leading Small Group for the anti-corruption campaign in 2002, the CCDI has been emerging as the core of the core agencies in the anti-corruption campaign in the PRC. This article is to look into the history, organizations and functions of the CCDI in Chapter II, and to inquire its relations with other institutions, such as the Politics and Law Commission (PLC) of the CCP, the Ministry of Public Security, the People's Procuratorate, the People's Court in Chapter III. In conclusion, this article confirms that the Politburo Standing Committee of the CCP controls the anti-corruption campaign in all sectors, and then to investigate and schematize how the CCDI leads the campaign as a mechanism of the leadership of the CCP.
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