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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 : 54권 0호 (2008)

천극(川劇) 현대화 양상과 사례연구: ≪김자(金子)≫

오수경
한국중국어문학회|중국문학  54권 0호, 2008 pp. 193-219 ( 총 27 pages)
6,700
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The modernization of Chinese traditional theatre was processed roughly in two steps in the hitory of People`s republic of China. First step was the reformation of Chinese traditional theatre in the 1950s and the second step is the modernistic revisions after the cultural revolution, especially from the end of 20th century until now. Because the Chinese traditional theatre has so many different types and versions according to the dialects and locality, and the study on the Chinese theatre has to be done seperately in every local theatre In this paper, I focused on Chuanju, the local theatre of Sichuan province. It has a longer history then any other kinds of Chinese theatre such as Kunju, Jingju etc., so it has its own characteristics based on its local culture. In Sichuan province, the fertile tradition of religion and folklore was transmitted from generation to generation. So it created its own way of expression. The success of “Jinzi” of Chungqing Chuanjutuan can be induced from the reasons as below. First of all, the text was revised from Cao Yu`s “Yuanye” and revised to embody the humanism then the thoughts of revenge of traditional society by the replacement of the hero Qiuhu with heroin Jinzi. Secondly, “Jinzi” is mainly based on the music of “Gaoqiang”, but it applied other sources of music freely to meet the need of the theatre. So the music was very expressive. Especially Gaoqiang has the way of side chorus, which can express the feeling effectively. Thirdly, it makd good use of traditional way of roleplaying and acting. The actor Shen Tiemei who took the role of Jinzi created such a vivid image of Jinzi to make everybody love her. She expressed that in order to create the role, she did research on the psychology of the character deeply and tried to use the traditional way of stylized acting to express the feeling and situation, So she not only inherit and develop the theatrical traditions well, but also created the character well. Forth, “Jinzi” make good use of special feat of traditional Chuanju. Because Sichuan has long history and fertile heritage of religion culture, on the stage of Chuanju we also can watch those wonderful performance of `Bainlian(changing masks)`, `Changdao(hiding the sword)` etc. just for the situation. Chuanju “Jinzi” successfully achieved both the general artistic pursue and the distinctiveness of the local theatre. That`s why it gains that much applause. It shows us a very good sample of revision from a modern theatre to a traditional form. It shows us a way of creation not only to keep the characteristics of local theatre from the view of cultural diversity and intangible cultural heritage. but also to meet the high standard of the artistic pursue.

왕안억(王安憶)의 ≪소포장(小鮑莊)≫에서의 `인의사상(仁義思想)` 반사(反思)

권호종 , 퉁여생
한국중국어문학회|중국문학  54권 0호, 2008 pp. 221-239 ( 총 19 pages)
5,900
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尋根小說是20世紀80年代在中國興起的當代文學中的一股潮流。回顧這股文學的興起背景可以從兩個方面說起。一是中國的改革開放讓作家們從集體思維轉爲個人思維, 從政治反思轉爲文化與人性反思, 二是西方思潮的湧入及拉美魔幻現實主義文學影響幷啓發了中國的作家, 使他們開始意識到尋根的問題。然而, 尋根作家們對`根`的理解却是模糊且都不盡相同。他們大都將文學的`根`理解爲中國的傳統儒、道文化。不過也有些人對傳統文化表示否定的態度, 認爲傳統思想都是枯萎的, 原始的邊緣文化才是眞正屬于我們的`根`。還有些作者是包着雙容的態度。正是由于作家們這種不同理解`根`的態度, 加上他們不同生活地域、個人文化感受及審美理想等方面的差異,使他們在創作中各有側重。于是80年代的尋根文學呈現出一番繁榮的景象。 本文就以80年代富有代表性的尋根小說, 王安憶≪小鮑莊≫來淺談尋根文學對傳統`仁義`的反思。王安憶的≪小鮑莊≫一方面通過鮑莊外來村民們的故事批判鮑莊村民打着傳統仁義的旗幟而作出的一些虛僞的非仁義的行爲。如拾來與二?的故事、?秉德與他的?妻子的故事、還有小翠子和撈渣母親的故事。?莊的村民(二?、?秉德、撈渣母親)剛開始都是以眞仁義來對待外來的異鄕人(賣貨郎拾來、?妻子、小翠子)。但是當鮑莊村民二?、?丙德、撈渣母親?到`利`時, 他們又都以虛僞的假仁義來利用賣貨郎拾來、?妻子、童養?小翠子。除此之外還有五保戶?五爺的死也在批判?莊村民們只是`口頭仁義`, 幷不是眞對?五爺有眞仁義之心。?一方面則透過撈渣的仁愛之心;如撈渣對五保戶?五爺的孝心、撈渣對兄長的禮讓之心、撈渣對朋友們及小動物的愛心來宣揚傳統思想中的`眞仁義`。≪小鮑莊≫除了强烈批判愚昧迷信、知天順命的民族劣根性和落后的宗族意識之外, 同時又以寓言化來揭露了`仁義`在中華民族集體无意識里已經等同于某種`原罪`意識。王安憶曾說: “恰恰是寫了最后一個仁義之子的死, 我的基調是反?的。…這小孩的死, 正是宣布了仁義的徹底崩?!許多人從撈渣之死獲得了好處, 這本身就是非仁義的。” 作者透過撈渣之死揭示了`仁義`文化走向衰落的歷史命運, 幷以此來警?我們現代人微薄的仁義觀念。

한국한자음에 관한 칼그렌 가설의 문제점

엄익상
한국중국어문학회|중국문학  54권 0호, 2008 pp. 241-261 ( 총 21 pages)
6,100
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Karlgren (1926, 1940) proposed a hypothesis that the Go-on system of Sino-Japanese was transmitted directly from Eastern and Southeastern China in the sixth and seventh centuries while Kan-on was transmitted from Northen China through the Korean people a century later. This article, however, points out problems of Karlgren`s ideas on the basis of historical studies and attempts to prove that Go-on was transmitted by the Paekche Koreans whereas Kan-on was transmitted directly from China at a later period. This article presents some pieces of linguistic evidence from Sino-Peakche Korean to support this claim.

現代漢語AABB重疊式詞句法功能的定量考察

임해파
한국중국어문학회|중국문학  54권 0호, 2008 pp. 263-288 ( 총 26 pages)
6,600
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This paper analyze the syntactic functions of AABB reduplication words in Modern Chinese. According to the statistical describing of it based on the classification of the basic forms (AB or A and B) of AABB words, we have found: 1. the syntactic functions of AABB words are diversified in the sentences. 2. To be an adverbial modifier in a sentence is the primary function of syntax for AABB words; to be an attribute modifier or a predicate is the secondary function of syntax for it; and to be a complement or a nominal element is the lesser function of syntax for it. 3. The reduplication form of AABB could change the trait of the basis (AB or A and B) of AABB words. 4. Sometimes the AABB word can be used as a subordinate clause alone, which shows the syntactic independency of it. 5. Sometimes the AABB word can be used with the same kind of syntactic element in a sentence, which shows the illegibility of its syntactic function. 6. Every AABB word has its own characteristics of the syntactic function, so it is necessary to identify its role in the part of speech one by one.
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本稿以中國的小學『語文』科目爲中心, 主要探討中國學校敎育中的古詩文敎育方式, 進而摸索與韓國漢文科目敎育課程的聯系性。隨着韓國2009年施行的新敎育課程里, 漢文敎育的核心內容爲`短文-散文-漢詩`, 于是培養漢詩文的解讀能力乃成了其敎育課程安排的着眼点。從這一点來看, 筆者認爲應多關注共享古典文言文傳統的東亞漢字文化圈的漢文敎育。尤其是中國,把將古典漢詩文視爲語文敎育的一部分來敎學,因此對結合現在的語言生活和古詩文的方式上頗具啓發性。 通過本文得出幾項主要特征如下。中國小學的古詩敎育是在語文敎育的脈絡中進行敎學的。在這個脈絡中的古詩敎學,優先考慮的是語言中的音樂層面,而不是古詩理解的知識層面。且在同一脈絡中聯系童?的形式與古詩的形式,因此顯然與聲音變化和反復造成的音樂性有密切的關系。 考察中國『語文』敎科書的古詩敎育, 對韓國漢文敎育的主要參照点:就是有關漢詩敎育方法以及作品的層次別安排上,需要較爲細致的考量,尤其是背?和視覺材料是値得參照的方法。除了這種基本方法外, 在漢文敎育的年級別、班級別設計上可運用的標准如下:以『語文』來說, 第一, 考慮受敎育者的水平與條件來安排作品的順序。第二, 就詩的語言表現方式做層次別分類, 幷根据其深化程度安排作品。第三, 考慮到學生個人日常生活的社會關系范圍, 就以其主要關系爲中心安排作品。 韓國漢文科目敎育課程中,把漢文科目的性質與目標設爲`增進東亞漢字文化圈的相互瞭解與交流貢獻`已達數年,但依然說不淸其實際成果。韓國的漢文敎育爲超越韓國語文生活的范圍,名副其實的扮演`東亞漢字文化圈`相互瞭解與交流的角色,日后應累積有關中國與日本等東亞語文敎育現實方面的周密而持續性的硏究成果。

이개선(李開先) ≪보검기(寶劍記)≫ 및 관련 자료 역주(5)

이창숙 , 허윤정 , 이지원 , 이현정 , 박양화
한국중국어문학회|중국문학  54권 0호, 2008 pp. 313-353 ( 총 41 pages)
11,600
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1,000
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