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한국중국어문학회> 중국문학> 중국 근대 국어 교과서에 나타난 여성상 ―청말민초 소학교 국어 교과서를 중심으로

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중국 근대 국어 교과서에 나타난 여성상 ―청말민초 소학교 국어 교과서를 중심으로

Image of Women in Modern Chinese language Textbooks: Focused on Chinese Textbook of Elementary School of Qingmo Minchu Period

강설금 ( Jiang Xue-jin )
  • : 한국중국어문학회
  • : 중국문학 101권0호
  • : 연속간행물
  • : 2019년 11월
  • : 137-160(24pages)

DOI


목차

1. 들어가며
2. 여성의 대상화에서 주체로
3. 중국 모델에서 중·서양 모델로
4. ‘中體西用’에서 ‘中西倂用’으로의 편찬원리
5. 결론

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초록 보기


						
The images of women in modern Chinese language textbooks in China show that they have developed from the ‘wise mother, good wife’(賢母良妻) to the Women Students, Nuguomin(女國民). And the pace of evolution is very fast. The three kinds of Chinese textbooks covered in this paper deserve to represent women’s images of early modern education, and have the following characteristics. The 1901 textbook contains the Chinese people’s desire to leap from traditional to modern education. The 1907 textbook is an early female textbook that shows the image of a woman recognized by the time. The 1914 textbook describes the women’s image during the revolutionary era that women’s social roles should be fully expanded after the republic’s inauguration.
This paper used the “role analysis” method to more effectively compare the appearance of women appearing in each textbook. A woman’s story is divided into four elements: the main character, space, role and counterpart. Using this method, the authors of textbooks can understand the intended female image more clearly. As modernization progresses, the space, roles, and types of people who appear in textbooks vary. The characteristic of women in textbooks during this period is to develop from incidental to self-reliant. From being limited to a woman who raised her child and helped her husband, it develops into a general who defeats the rebels. The women’s image in modern Chinese textbooks has changed from ‘Chinese Substance and Western Function’ (中體西用) to Zhongxibingyong in both its content and its formal aspects.

UCI(KEPA)

간행물정보

  • : 어문학분야  > 중어중문학
  • : KCI등재
  • :
  • : 계간
  • : 1226-2943
  • :
  • : 학술지
  • : 연속간행물
  • : 1973-2020
  • : 1395


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1자아 쓰기와 이야기 쓰기 ―중국고전시가에서의 서정(抒情)과 서사(敍事)

저자 : 김상호 ( Kim Sang-ho )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 1-24 (24 pages)

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This essay attempts to redefine the genre characteristic in Chinese classical poetry by applying the two concepts of “self” and “narrative.” In the traditional period, the literati in ancient China believed that literary works must express one's emotions. Although the rigid rule that emotions should be expressed in a lyrical genre and that the narrative delivery system should be implemented in the epic style did not exist, over time the literati increasingly tended to differentiate clearly between the roles of the two items. After learning from various texts of the Han Dynasty 漢代, the literati successfully created a poetic self that could represent the poet's emotions since the Wei Jin 魏晉 period, and they even tried to standardize the types of emotions expressed by the poetic self. Through the Jian'an 建安 period, the emotions in literary works were restricted to “the refined and empathic style.” For this reason, while in many poems of the Wei Jin 魏晉 and Six Dynasties 六朝 period, we can easily find the poetic self succeed in interiorizing emotions, we cannot find the embodiment of narrative which is considered to interrupt the delivery of emotions. I think the narrative delivery system was initiated early, but the initiative was taken away from self-expression only rarely in Chinese lyric poetry. The following several features appeared in the successful cases of the narrative delivery in Chinese poetry. First, pure fiction must be avoided and narrative must be based on an event that actually happened or is likely to happen in real life. Second, when delivering narrative in poetry, the literati paid attention to the way of highlighting some short scenes rather than constructing the overall framework. Third, no matter how much the literati appreciated the value of narrative in Chinese poetry, they did not acknowledge the authority of narrative to overpower the poetic self. In conclusion, the poetic self seized the absolute authority in Chinese verse, whereas the narrative element in verse was only an auxiliary means to express the emotions of the poetic self. We may, therefore, reasonably conclude that “poetry expresses intent(shi yan zhi)” was the only doctrine that controlled the writing world of the literati until the end of the traditional period in China.

2『악부시집(樂府詩集)』 소재 한위(漢魏) 동요(童謠)의 문학사적 의미 연구

저자 : 金俊淵 ( Kim Joonyoun ) , 侯美靈 ( Hou Meiling )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 25-52 (28 pages)

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在中國詩歌硏究中, 較之以文人詩爲代表的雅文學, 以民間歌謠爲代表的俗文學一直不被關注, 很多詩歌史硏究竟避而不談。童謠屬於俗文學, 因大多收錄在史書的 《五行志》中, 一開始就被貼上“詩妖”、“讖語”的標簽幷因與災異、陰陽五行等扯上關系而不被重視。但如果對可作爲五言詩起源的童謠理解不足的話, 將會妨碍古典詩歌尤其是在詩歌發展史上占據重要地位的漢魏詩歌的解讀。所以本文選取 《樂府詩集》中以 “童謠”爲題名所收錄的19首, 加上其它童謠4首共23首漢魏童謠作爲硏究對象, 具體分析了這些童謠的主要內容, 幷挖掘了它們在詩歌文學史上的意義。
本文所討論的童謠幷不是兒童歌唱的顯示童心的兒歌, 而是指以 “批判現實”和 “預言”爲兩大軸心的特殊而且復雜的文學現象。漢魏童謠大多爲成人所作, 因受到當時盛行的天人合一學說及五行學說影響, 被賦予較强的政治性及預言因素, 同時又通過天眞爛漫的兒童之口傳播開來, 更增添了其神秘色彩。除去歌頌英雄人物及地方官員政績的極少數童謠以外, 漢魏童謠的主要內容不外乎兩類: 要麽是對現實生活的批判, 要麽是具有較强政治意味的預言。盡管和文人詩相比, 童謠的內在價値幷不高, 但曾被看作是五言詩的起源的漢魏童謠, 其外在價値體現在詩歌發展變遷過程中的文學史意義中。所以本文從四個方面探討了漢魏童謠的文學史意義, 繼承了政治詩的傳統, 三言詩創作的堡壘, 與漢魏風骨的一脈相承, 文學批評上的初步展開。漢魏童謠繼承幷發展了 《詩經》 “興觀群怨”的學說中 “觀”和 “怨”的傳統, 體現了政治詩歌的政敎功能。在批判現實方面, 與曹氏三父子及建安七子的漢魏風骨一脈相通, 同時史學家在 《五行志》中收錄幷通過解釋童謠以表達對歷史事件的解讀, 這涉及到文學批評中的整理、品第、批評階段。因此, 對這些在詩歌發展史上占有一定地位的童謠進行分析探討, 也是很有價値的。

3单篇幅全本白蛇故事年画的图像和叙事 -从图像与故事互文的角度切入

저자 : 庞建春 ( Pang Jianchun )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 53-65 (13 pages)

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This paper interprets the story deduction information contained in the Folk-Picture of White Snake Story from the perspective of image and story intertextuality. 6 full-text Folk-pictures of White Snake Story are divided into two categories: Gongjian, and Sancai genres of Folk-Picture have different units and ways of connecting stories. In this way, even if the story is roughly the same, it can bring different “reading” enjoyment. The Sancai of story comic books are practical and relatively close to the Chinese folk rap text. With the help of some scenes, we can judge which kind of story text the original is. However, because White Snake story has a rich form of popular literature, it is very difficult to determine which script the folk painter draws from. The deductive features of Folk-Picture can be interpreted according to some unfamiliar and common plots in the pictures. This paper points out that story Folk-Picture are not simply pictorial texts, but a kind of story telling relying on oral inheritance. For story study, the rich White Snake story Folk-Pictures are a treasury to be developed.

4중국의 천둥신(雷神)에 관한 소고(小考) ―명칭을 중심으로

저자 : 이주노 ( Lee Joo No )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 67-83 (17 pages)

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I investigate Gods of thunder in china as a part of nature deity focising on their name in this article. Gods of thunder in china have a very various name, that is, leishen(雷神), leishou(雷獸), leigong(雷公), leishi(雷師), leiwang(雷王) and leigui(雷鬼), etc. Generally speaking, these names change from a defied being to a personified being according to the changes of the times. In this process, Taoism and folk beliefs absorbed popular reverence and fear for God of thunder into their own religious dogma. Some sect of Taoism installed leifu(雷府) and built a hierarchical system. In this system, supreme deity took charge of wind, rain, thunder and lightning. This hierarchy of multideity is a result oft Gods of thunder in china melted into Taoism and folk beliefs naturally and an indication of personification in Gods of thunder.

5中国动画电影中的哪吒叙事研究 -以<哪吒闹海>(1979)与<哪吒之魔童降世>(2019)为例

저자 : 王楠 ( Wang Nan )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 85-100 (16 pages)

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This paper takes Prince Nezha's Triumph Against Dragon King(1979) and NE ZHA(2019) as examples to study Nezha narration in the film. There are mainly four aspects: First, the image of Nezha. In Prince Nezha's Triumph Against Dragon King(1979), Nezha is a naughty boy with a sense of justice and simple mind. In NE ZHA(2019),he is a naughty boy who hides his innocence and lonely. Second, the relationship between Nezha and his father. In Prince Nezha's Triumph Against Dragon King(1979), Li Jing was rigid, weak and did not fulfill his father's responsibilities. The contradiction between Li Jing and Nezha is actually the reflection of the contradiction of position and class. In Nezha(2019), the father-son relationship returns to the family. Li Jing's love for Nezha is generous and tolerant, which is also a manifestation of the relationship between parents and children in today's society. Thirdly, Nezha's hostile relationship. The main hostile relationship of Nezha in the movie Prince Nezha's Triumph Against Dragon King(1979) is the feudal ruling forces represented by the Dragon King. Nezha has the dedication spirit needed by the era after the Cultural Revolution. The main contradiction in NE ZHA(2019) is the contradiction of existence, that is, the contradiction between fate and self-development, which is manifested in secular prejudice and destiny. Fourth, the narrative climax of the film. The narrative climax in the movie Prince Nezha's Triumph Against Dragon King(1979) is the scene of Nazha committing suicide. The main dramatic conflict in NE ZHA(2019) is to overcome oneself, so the climax is the scene of fighting against the heavenly thunder. The rewriting of traditional Nezha narration in the two films reflects the characteristics of different times.

6산업혁명의 맥락에서 본 청말(淸末)의 중상론(重商論)과 상전론(商戰論)

저자 : 이화진 ( Lee Hwajin )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 101-118 (18 pages)

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This study reviewed the idea of mercantilism and commercial war which developed around “newly rising class” like translators, diplomats and compradors of late Qing Dynasty, by which new recognition of social classes was demanded. In particular, this study newly identified the meaning of commercial war and new social order of last Qing dynasty, by attempting an analysis based on the context and aspect in the process of globalization of industrial capitalism conducted under the influence of the first industrial revolution from the U.K. Therefore, in the history of modern Chinese intelligence, the theory of mercantilism and commercial war can not be limited to the transitional thinking system of “Yang-Wu(洋務)” and “Bian-Fa(變法)”.

7원테쥔의 중국 생태문명 담론에 관한 고찰

저자 : 공상철 ( Kong Sang-chul )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 119-135 (17 pages)

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此文根據溫鐵軍的觀點來考察中國的 “生態文明”研討的現況及問題。主要內容包括該戰略提出的背景和現實基礎、具體的實踐情況, 以及構建本格話語中的課題等。
回想一下, 正是由於鄉村社會起到了一切費用的堆積場作用, 以及發揮了 “勞動力蓄水池”的作用, 中國才能不間斷地進行現代化進程。又要包攬中國現代化進程中所形成的諸多矛盾和傷痕的治愈, 這是當今中國鄉村的命運。
而且, 世界金融資本展開了無限擴張戰爭, 奠定社會穩定化和 “可持續發展”的基礎也是一部分由鄉村社會來承擔。從這個意義上來講, 需要從 “後現代”的角度上關註和評價面向 “生態文明建設”的中國做出所的探索和努力。

8중국 근대 국어 교과서에 나타난 여성상 ―청말민초 소학교 국어 교과서를 중심으로

저자 : 강설금 ( Jiang Xue-jin )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 137-160 (24 pages)

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The images of women in modern Chinese language textbooks in China show that they have developed from the 'wise mother, good wife'(賢母良妻) to the Women Students, Nuguomin(女國民). And the pace of evolution is very fast. The three kinds of Chinese textbooks covered in this paper deserve to represent women's images of early modern education, and have the following characteristics. The 1901 textbook contains the Chinese people's desire to leap from traditional to modern education. The 1907 textbook is an early female textbook that shows the image of a woman recognized by the time. The 1914 textbook describes the women's image during the revolutionary era that women's social roles should be fully expanded after the republic's inauguration.
This paper used the “role analysis” method to more effectively compare the appearance of women appearing in each textbook. A woman's story is divided into four elements: the main character, space, role and counterpart. Using this method, the authors of textbooks can understand the intended female image more clearly. As modernization progresses, the space, roles, and types of people who appear in textbooks vary. The characteristic of women in textbooks during this period is to develop from incidental to self-reliant. From being limited to a woman who raised her child and helped her husband, it develops into a general who defeats the rebels. The women's image in modern Chinese textbooks has changed from 'Chinese Substance and Western Function' (中體西用) to Zhongxibingyong in both its content and its formal aspects.

9중국어 방언과 상고 중국어 연구

저자 : 변지원 ( Byun Jiwon )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 161-176 (16 pages)

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This paper shows what modern Chinese dialects, ie, modern Chinese dialects, have to do with the study of Old Chinese, and looks at what is controversial in its reconstruction. In the end, it aims to reconsider what the study of Old Chinese should be. Chinese dialects have been settled as one of the essential language resources in the reconstruction of Old Chinese. They can be regarded as completely changing the flow of Old Chinese reconstruction after the acknowledgment in that they provided an opportunity to overcome the limit of depending on only written sources. It is expected to contribute to the study of Old Chinese with both the reconstruction of proto forms of modern dialects as well as ethnic languages around China.

10现代汉语 “数⋅量⋅(名)”结构的谓语功能研究

저자 : 孔凡莲 ( Kong Fanlian )

발행기관 : 한국중국어문학회 간행물 : 중국문학 101권 0호 발행 연도 : 2019 페이지 : pp. 177-202 (26 pages)

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The quantitative phrases and 'Numeral + Quantifier + Noun' Structures of modern Chinese can not only appear on the subject and object position, but also can be directly used as predicates without using verbs. This article takes the representative 'S + Numeral + Quantifier + (Noun)' construction, 'Splace + Numeral + Quantifier + Noun' constructions and “S + yi + temporary quantifier + Noun” constructions as our research object and analyzed their syntactic and semantic features. And then we made a tentative explanation of the formation and cognitive mechanism of the three constructions from the perspectives of the assertions of the quantity and quantity phrases, the whole-par structure relationship between the subject and the predicate, and the coercion of the construction. At last we explained the meaning of the existence of the three constructions from the perspective of pragmatic function.

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102권 0호 ~ 102권 0호

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78권 0호 ~ 78권 0호

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91권 0호 ~ 91권 0호

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97권 0호 ~ 97권 0호

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82권 0호 ~ 82권 0호

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96권 0호 ~ 96권 0호

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69권 0호 ~ 69권 0호

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53권 0호 ~ 53권 0호

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77권 0호 ~ 77권 0호

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101권 0호 ~ 101권 0호

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84권 0호 ~ 84권 0호

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68권 0호 ~ 68권 0호

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76권 0호 ~ 76권 0호

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89권 0호 ~ 89권 0호

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100권 0호 ~ 100권 0호

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83권 0호 ~ 83권 0호
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