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수록범위 : 1권0호(1994)~67권0호(2019) |수록논문 수 : 1,042
중국어문학지
67권0호(2019년 06월) 수록논문
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KCI등재

1량한(兩漢) 굴원평론(屈原評論)의 특징과 의의 탐색

저자 : 김민나

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 7-42 (36 pages)

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本文以兩漢屈原評論爲主題, 探討了兩漢屈原評論的特徵和意義. 兩漢屈原評論是貫穿了整個兩漢文學史的重要文學現象.
首先, 本文考察了兩漢屈原評論興盛的兩個原因. 一是漢王朝的黃老思想政策和楚聲愛好, 二是屈原的悲劇生涯以及楚辭的藝術魅力. 以此二原因明示了兩漢屈原評論興盛的外在、內在要因.
其次, 本文探討了兩漢屈原評論的焦点和評論展開的特徵. 文中從兩方面來對此加以闡明. 其一, 對作家人格和創作動機以及作品藝術特點的評論, 其二,隨着時代思潮和評論家個人的立場展開的爭論. 通過以上的探討, 本文闡明了兩漢屈原評論的以下特徵與意義.
從評論焦點來講, 這段時期屈原評論可大致分爲屈原人格評論和創作動機評論以及屈原作品藝術評論. 由此看見, 兩漢屈原評論就是獨立作家作品評論的開端.
另外, 從兩漢文人對屈原及其作品的爭論來看, 這段時期的爭論主要集中于其人及其作品思想與經學思想的內在矛盾, 都是在儒家思想的評評論標準下進行的. 從屈原的人格評論角度來看, 不僅有對其高潔品格的贊頌與質疑, 還有對其'殉國(自殺)'行爲及對'怨'的創作動機的爭論. 從屈原作品藝術特點評論的角度來看, 主要有對屈原作品藝術想象的爭論.
不過, 從對屈原作品華麗修辭的評論來看, 這段時期的評論都熱情地讚揚了屈原作品文辭華美的特點. 對屈原作品藝術特點的如此評論, 遂漸掙脫了儒家的文學評論範式, 體現出更加獨立, 更加注重文學性的審美趨勢, 爲魏晋南北朝'文學的自覺'做了準備. 尤其在經學盛行的班固時期, 這些評論能勾脫離儒家的審美標準, 擺脫政治倫理的束縛, 肯定其文藝審美特色, 表明了漢代文人文藝認識的進步.
由此可知經過兩漢時期衆多評論家對屈原及其作品<離騷>的評論, 突顯了屈原的人格魅力, 肯定了<離騷>的浪漫主義的藝術成果, 楚辭被提到與《詩經》竝稱的地位, 成爲中國詩歌的兩大源頭. 同時這段時期的評論給漢代文論提供了有關作家論與作品論的新的文藝評論標準, 爲魏晋南北朝'文學的自覺'做了堅實的鋪墊.

KCI등재

2《화간집(花間集)》 몽사(夢詞)의 '꿈(夢)'에 대한 표현양상 연구

저자 : 이옥하

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 43-70 (28 pages)

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詞是宜于探求人們精神世界或表現抒情的詩體, 所以我們會發現在唐五代詞與宋詞當中有很多作品運用了夢題材。詞史上夢題材的正式運用是從《花間集》夢詞開始。首先對《花間集》夢詞的夢題材表現類型進行分析, 其硏究結果如下:
《花間集》夢詞的夢題材表現方法有三種類型――敍述型、境界型、无夢型。敍述型夢詞指的是作品里有具體的夢境敍事或含蓄的敍事。另外, 境界型夢詞都包含“覺夢”表現, 幷其“覺夢”上添加聽覺刺激, 表示做夢的不如意。最后,无夢型夢詞都是沒有實際夢境有關的表現, 只有“夢難成”與“舊歡如夢”的表現來呈現對相思的含蓄。通過上述的分析, 可以了解到《花間集》的夢題材是一種情感詞匯, 不管表現類型, 它們的最終目標都是要將相思情感淋漓盡致的表現出來。
另外, 通過對《花間集》夢詞的夢題材美學功能剖析得出以下結論:
其一, 通過夢與現實界線的模糊, 呈現出夢特有的夢幻性以及時間和空間的超越美學。其次, 對情感的含蓄以外, 《花間集》夢詞的三種夢題材表現類型分別呈現出詩中之畵美、幷置的立體美、簡省美與喩象美。
由此可見, 通過對《花間集》夢題材表現類型的分析, 可以了解《花間集》夢詞夢題材是構成花間風格的核心情感符號, 幷且它奠定了宋代夢詞發展的基底。

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Korean and Chinese scholars gave the name “the four precious things of the study” to tools such as brushes, ink stick, paper and ink stone for practical epicure. The name suggests that Korean and Chinese scholars did not simply recognize the writing instruments of the time as a practical tool for writing, but sometimes attached rather special meanings, such as taking a friend's side and looking at some kind of emotion, or sometimes looking at the objects of appreciation by adding to the meaning of fancy decorations.
Ink stick, despite being an indispensable tool for epicure, may have been relatively unnoticed compared to brushes and ink stone because it has worn out in the process of ink.
Scholars from Korea and China not only consumed the ink stick, but also produced it themselves, exchanged it and showed off friendship, and owned and appreciated it for life as if it were a show of its image as an avid collector.
In this perception of Korean and Chinese scholars, ink stick is not simply a tool for writing sentences. Ink stick is a medium to confirm friendship with friends and to keep exchanges going. Ink stick also functions as a symbolic presence that adds to the authority of a king who dreams of an ideal country. Finally, ink stick also functions as an ethical tool to constantly remind people of their identity as a scholar.
A poem on ink sticks by Korean and Chinese scholars shows that ink sticks have not only been a tool for descriptive practice, but have also been reborn as objects rich in human spirit and value.

KCI등재

4이지의 여성교육

저자 : 金惠經

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 91-115 (25 pages)

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在李贄思想最有特色的一部分乃是他的女性觀。依據由陰陽二元論衍變而生成的夫婦論,在道學弊害達到頂峰的明代末期,他居然提出了男女平等的獨創理論。從1593年開始,李贄在湖北省麻城縣當過了梅澹然等幾位女性的師父。這些年輕也才華蓬勃的士族婦女們,竟然成了李贄晩年的最大快樂兼依靠。她們眞誠地追求道的眞諦,以證明了李贄所提出的男女只不過是形體之異的理論。於是,李贄跟女性弟子們進行著佛學修道的輔導,幷通過這些敎育實踐表出了一系列有關敎育的見解。他對她們的敎育內容是跟男性無異的旣精闢又高明的修養論與治學方法。然而,李贄的敎育實踐在麻城當地引起了沸騰的輿論,最終招來了喪生之禍,但其中仍保存著至今不可堙滅的先進性意義。總而言之,爲道學所治理的僞善社會孕育的各種矛盾,讓李贄勇往發揮了超越世俗謬見的嶄新理論與實踐,他的女性敎育活動也是其中之一。據此,我們可以說,這才是目前李贄在女性主義方面獨享盛名的首要原因。

KCI등재

5여성, 늙음을 말하다 ― 16세기~ 17세기 중국 강남 여성 시인의 삶과 노년

저자 : 김의정

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 117-146 (30 pages)

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It is strange to modern people to see a white-haired old lady reflect on her life in a lonely way. Because women of old age of past are almost completely forgotten to us now to the question of whether they were actually alive or not. However, with the development of women's culture in the early Qing and lately Ming, they walked out of the painting and talked about themselves, and watched their old age without qualms.
This study covered works of XuYuan(徐媛), ShenYiXiu(沈宜修), GuRuoPo(顧若璞), ShangJingLan(商景蘭) and LiYin(李因) among female poets who continued their work until old age in the Jiangnan(江南)area of the Ming Dynasty. Based on various examples in this paper, we tried to reconstruct the sentiments and consciousness of the old woman in the traditional period. It covered their daily lives and emotions, followed by their attitude toward life and death, centered on monody(悼亡詩), and finally, a poem of reflection on life.
In doing so, we looked at the differences between women's old age and men's age, and ultimately how they managed to cope with their old age and what the message was for us.

KCI등재

61930년대 《소아(小雅)》 시간(詩刊)의 창간과 편집 특징

저자 : 이경하

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 147-175 (29 pages)

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“Xiaoya”(1936) was the magazine launched between “Modern”(1932) and “New Poetry”(1936) in the 1930s and is considered to have provided an important stage for the development of modernism of the new poetry. “Xiaoya”, the only contemporary modern poetry magazine in the Huabei area at the time, actively published magazines under the editorial policies of Wu Benxing and Li Zhangbo, Due. However, “Xiaoya” has disappeared into the backdrop of history with a short history of less than a year after Sino-Janpanese War.
How would the editors of “Xiaoya” want to build their “poetry garden”? In this article, I reviewed the contents of the editor's message, “Yi de zhai's Notes of Poetry”, which was created by using the blank space between the advertisement and the works in the magazine.
First of all, “Xiaoya” showed intimate relationships between the poetry world that they were aiming for and the different magazines through poetry introductions and magazine advertisements. Although “Xiaoya” did not include any commercial advertisements, the exception was the promotion of poetry and magazine advertisements, most of which were major 'modern' poets of the 1930s.
Also, through the “Yi de zhai's Notes of Poetry” box located in the blank space between works, what the “Xiaoya” was aimed for was repeatedly emphasized. And it was summarized the pursuit of the implicit and sincere poetry, and the opposition to the Hu Shi's vernacular style and the long poems. In accordance with this editorial policy, the works were presented with true-hearted works using implicit theorists, and no 'Hu Shi's vernacular style' was found in the “Xiaoya”.

KCI등재

7김염과 영화감독 손유(孫瑜)의 교류 및 영화제작 ― 항일영화 <야매괴(野玫瑰)>와 <대로(大路)>를 중심으로

저자 : 한재은

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 177-200 (24 pages)

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This study aims to investigate 'the films with the topic of anti-Japanese movement' jointly produced by Kim Yeom called “Film Emperor” and the figures in the world of Chinese film, especially film director Sun Yu through their exchanges. Especially, Actor Kim Yeom, he was born in Seoul, Korea, who went to China, following his father, Kim Pil-sun who fled to China. Later, arriving in Shanghai with a dream of becoming an actor, he climbed the top spot in the film world of Shanghai in the 1930s. Sun Yu was a film director who selected him and helped him debut as an actor. Their meetings had many influences in each of their lives of film. In addition, as companions in the world of film, they made many exchanges and produced films together.
Shanghai in the 1930s, when Kim Yeom, film director Sun Yu were active in the world of film was in the most brilliant time of culture. And yet, at the same time, with Japanese invasion, it was a chaotic time when “January 28 Incident” and “August 13 Incident” broke out in Shanghai. They produced films, such as < Wild Rose > and < The Big Road > with a historical commitment, centering around the theme of anti-Japanese movement. In the films, Kim Yeom appears as an image of a strong, courageous young man with an anti-Japanese sentiment.
Exchanges of Kim Yeom with the people concerned with the films, such as film director Sun Yu had deep influences on each other. In addition, it is noted that there was a history of the anti-Japanese movement of Korea and China as a common fate through artistic and cultural activities of films as well as political or military activities. Their meetings and exchanges provide an important clue in the histories of the exchanges and friendship between Korea and China.

KCI등재

8'유랑지구'의 이율배반: '허망'과 '희망' ― SF영화 《유랑지구》와 원작 소설 비교를 중심으로

저자 : 김정수

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 201-222 (22 pages)

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The purpose of this thesis is to investigate the SF characteristics and its meaning of Liulang Diqiu which caused the syndrome. First, in the grammar of SF, First, it shows not the conquest of space but the wandering earth, So, basically there is no imperialist idea, Second, because it presupposes the aging of the sun, which is the basis of the earth's survival, it does not project internal anxiety to external enemies, but rather creates an intrinsic reflection moment for oneself. These are distinctive features of the SF movie Liulang Diqiu.
The novel Liulang Diqiu show the collective madness that explodes over the soil of the paradise of reason, evangelism of value, extreme nihilism, and The movie Liulang Diqiu shows a heroistic narrative that sets an external crisis of clash with Jupiter and overcomes it. In this movie, the narrative feature, anti-imperialist and intrinsic reflection of the original wandering district is completely nullified.

KCI등재

9《방언류석(方言類釋)》의 표제어 어휘 연구 ― '천(天), 지(地), 인(人)' 부(部)를 중심으로

저자 : 崔炳善

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 223-269 (47 pages)

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本稿是以硏究近代漢語語彙爲目的, 爲此選擇了屬於近代漢語時期的朝鮮語彙集《方言類釋》, 對此進行了漢語語彙現象的考察。
《方言類釋》是1778年(正祖2年)在朝鮮由精通易學的實學的大家,卽北學派的鼻祖徐命膺下令譯官洪命福匯集漢蒙淸倭四種語言幷把它們按意義分門別類以後飜譯成當時韓國語的一部多種語言詞典。
爲了能勾具體地考察出《方言類釋》裏的漢語語彙現象, 本稿主要是針對《方言類釋》裏的標題語的 '天文', '地理', '時令' 以及 '親屬·稱呼' 類漢語語彙進行硏究的。
具體方法如下:
首先考察了《方言類釋》的 '天文', '地理', '時令' 以及 '親屬·稱呼' 類的語彙與《譯語類解》, 《華語類抄》的傳承關系和排列規則,發現《方言類釋》的 '天文','地理', '時令' 以及 '親屬·稱呼' 類的語彙幾乎都是傳承了《譯語類解》,幷增加了許多新的語彙。
其次把收錄於 '天文', '地理', '時令' 以及 '親屬·稱呼' 類的語彙與《譯語類解》, 《華語類抄》的語彙進行了比較,發現大部分語彙一直沿用至今,但也有一些消失成爲死語, 比如 '拙婦, 渾家, 夜來, 年時, 舊年, 開年, 晩夕' 等, 還有一些語意發生了變化或成爲方言語彙, 僅在局限的方言區使用的, 比如 '天道, 日頭, 昨兒箇, 下晩, 晌午, 爹, 孃孃' 等。
通過這次硏究, 本人不但弄淸了編纂《方言類釋》的漢語語彙的排列規則,而且還弄明白了一些近代漢語語彙與現代漢語語彙的差異之處。不過要想更具體、更深入地硏究近代漢語語彙, 還需與其他譯學書, 卽《同文類解》, 《蒙語類解》, 《倭語類解》等進行詳細的考察才可。因本稿只對 '天文', '地理', '時令' 以及'親屬·稱呼' 類的語彙進行了硏究, 因此還有待以後修正, 補充。

KCI등재

10《중주음운집요(中州音韻輯要)》 안의 중주음(中州音)과 북음(北音)의 특징과 오방언(吳方言)의 영향 연구

저자 : 구현아

발행기관 : 중국어문학회 간행물 : 중국어문학지 67권 0호 발행 연도 : 2019 페이지 : pp. 271-302 (32 pages)

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本硏究分析《中州音韻輯要》里的中州音和北音的語音體系幷與其它南曲韻書的語音進行比較, 考察了它們的音韻特征。首先,《音韻輯要》的中州音大部分反映了全濁上聲變全濁去聲的情況。南曲韻書里有全濁變全濁去聲的特征,所以《音韻輯要》的中州音與中州的語音無關。第二、北音里微母和疑母變零聲母,非、敷、奉母河流,通攝合口三等消失i介音,但基本保留全濁聲母,皆來韻和家麻韻的喉牙音沒有i介音,部分匣母和影、云、以母,日母和禪母合流,表現了吳方言的特征。這些吳方言的特征是《中州音韻》、《韻學驪珠》、《增訂中州全韻》共有的,可見當時吳方言對南曲韻書的影響很大。總之,《音韻輯要》的中州音和北音與實際的中州語音和北方音無關,反而近于當時的吳方言。這說明當時吳方言的語音深入地影響到《音韻輯要》的音韻體系。

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(2006)홍길동41회 피인용

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한양대학교 고려대학교 이화여자대학교 한국외국어대학교 서울대학교
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