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고려대학교 중국학연구소> 중국학논총> 중국어 부사어의 유형 분류와 후치 부사어 ‘得’ 자문의 성립 ― 전치 부사어 ‘地’ 자문과의 비교를 중심으로

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중국어 부사어의 유형 분류와 후치 부사어 ‘得’ 자문의 성립 ― 전치 부사어 ‘地’ 자문과의 비교를 중심으로

A Study on the Classification of Adverbials and ‘De(得)’ Post-posing Adverbials in Chinese ― Comparison with ‘De(地)’ Pre-posing Adverbials

오유정 ( Oh Youjeong )
  • : 고려대학교 중국학연구소
  • : 중국학논총 66권0호
  • : 연속간행물
  • : 2019년 12월
  • : 25-47(23pages)

DOI


목차

1. 들어가며
2. 중국어 보어와 부사어에 관한 선행연구
3. 부사어의 유형별 특징과 통사적 위치에 대한 고찰
4. 중국어 부사어의 유형 구분과 통사적 위치
5. 나오며

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초록 보기


						
This paper proposes that the ‘De(得)’ Buyu(補語) can be assumed as ‘Post-posing adverbial’ and ‘De(得)’ as an adverbial mark as well as ‘De(地) in Chinese.
According to the discussion of the subtypes of the manner adverbials and their relevant syntactic positions by Geuder(2002), adverbials can be classified as ‘pure manner adverbial’, ‘agentive manner adverbial’, ‘transparent manner adverbial’ and ‘resultative manner adverbial’. Based on this, I argue that De(地) Pre-posing adverbials take on the roles of ‘pure manner adverbial’ and ‘transparent manner adverbial’, whereas De(得) Post-posing adverbials take on the roles of ‘resultative manner adverbial’ and ‘agentive manner adverbial’ in Chinese.
It should be noted that the PTS(Principle of Temporal Sequence) have an important bearing on the word orders of verb and adverbials. i.e., De(地) Pre-posing adverbials represent the manner of verb event or the state of agent during the verb event, whereas De(得) Post-posing adverbials represent the result/goal of the verb event or the speakers evaluation of the agent after the verb event.

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간행물정보

  • : 인문과학분야  > 동양사
  • : KCI등재
  • :
  • : 계간
  • : 1229-3806
  • :
  • : 학술지
  • : 연속간행물
  • : 1984-2020
  • : 814


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1理 개념 분석을 통한 주희의 논리적 체계 탐구

저자 : 김선중 ( Kim Seonjung )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 1-23 (23 pages)

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Zhu-Xi's texts introduce one to an entirely different conceptual world. Since we are separated by a vastly different time and place, there is a considerable gap between Zhu-Xi's conceptual world and our own. Therefore, for us living in the present, Zhu-Xi's use of language may seem vague and full of logical errors. if scrutinized, however, his systematical relation between concepts can be found.
This essay attempts to elucidate Zhu-Xi's logic structure through an analysis of the concept of li(理). Li is one of the most important concepts addressed by neo-Confucianism. But some of the descriptions given to li seem to contradict each other. In order to resolve the contradictions between the descriptions related to li., a hypothesized logical framework (the distinction between the features of a things composition and functions) has been suggested, and the detailed categories were analyzed. Moreover, the essay claims that li is not an independent substance, but a kind of categories.

2중국어 부사어의 유형 분류와 후치 부사어 '得' 자문의 성립 ― 전치 부사어 '地' 자문과의 비교를 중심으로

저자 : 오유정 ( Oh Youjeong )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 25-47 (23 pages)

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This paper proposes that the 'De(得)' Buyu(補語) can be assumed as 'Post-posing adverbial' and 'De(得)' as an adverbial mark as well as 'De(地) in Chinese.
According to the discussion of the subtypes of the manner adverbials and their relevant syntactic positions by Geuder(2002), adverbials can be classified as 'pure manner adverbial', 'agentive manner adverbial', 'transparent manner adverbial' and 'resultative manner adverbial'. Based on this, I argue that De(地) Pre-posing adverbials take on the roles of 'pure manner adverbial' and 'transparent manner adverbial', whereas De(得) Post-posing adverbials take on the roles of 'resultative manner adverbial' and 'agentive manner adverbial' in Chinese.
It should be noted that the PTS(Principle of Temporal Sequence) have an important bearing on the word orders of verb and adverbials. i.e., De(地) Pre-posing adverbials represent the manner of verb event or the state of agent during the verb event, whereas De(得) Post-posing adverbials represent the result/goal of the verb event or the speakers evaluation of the agent after the verb event.

3關於楚辭和漢賦的想像旅行作品裏作家和直接讀者之間的關係

저자 : 鄭旭眞 ( Jeong Wookjin )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 49-78 (30 pages)

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这篇論文比較一篇楚辭和兩篇漢賦中的想像的旅行. 比較的作品是屈原的<遠遊>, 司馬相如的<大人賦>和張衡的<思賢賦>. 这篇論文主要目的是考察作家怎麽样安排對直接的讀者和作品的裏主要人物之間的距離. 爲了實現这個目的, 首先參考作品創作的背景包括作家的身分和作家跟直接的讀者的關係等的問題. 其次要考慮的是比較主要人物由甚麽原因離開自己的家, 就是要分析因起主要人物內部矛盾的原因. 然後这篇論文作對每個作品中想像的旅行方向的分析. 因爲作家講究中國傳統議禮上的方向, 每個旅行都按着同樣的方向進行. 讓我們瞩目的是主要人物的自我發展因起歷史意識. 旅行的科程當中主要人物自覺他走的方向是跟一個中國王朝的興亡盛衰有關. 最後遠遊和<思賢賦>的主要人物回家. 反而<大人賦>的主要人物留在天空, 因爲不像別的作品, <大人賦>的主要人物是皇帝自己而作家作这篇作品的目的是獻上皇帝欣賞.

4老舍의 ≪抓藥≫ 서사에 담긴 함의

저자 : 김수진 ( Kim Sujin )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 79-97 (19 pages)

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Most of Laoshe's works have consistently received high praise and popular popularity in terms of completeness and artistry. In this paper, I tried to re-examine the meaning and significance of the works revealed in the narrative of Laoshe's novel Zhuyao (抓藥: Buying Chinese medicine), which had not been noticed because of his low evaluation.
The plain and sincere writer Luyin and the stern peasant Ertou suffer tragedy because of the red cover book. Their tragedy was nothing but ordinary comedy for a critic whose name was Qingyan with no professional ethics. The climax of the novel's tragedy lies at this point.
Luyin's intentions were good when he wrote a book for good and simple farmers, including Ertou. Ironically, however, it did not deliver medicine to the sick father in time. After all, in the tragedy of his father's death, Ertou blames him, contrary to Luyin's intentions. Ertou's relationship with Luyin, which should be in solidarity, creates a clear boundary that cannot be surpassed by Ertou, who regarded Luyin as the object of his life's resentment. Critic Qingyan is portrayed in the work as a figure who is always innocent. However, he is a Immoral person, with only a little bit of sorry for the tragedy of others caused by his carelessness. His image reflects Laoshe's view of the left critics of the time. Will Luyin be in jail without sin and out of prison? The novel ends with an open ending, leaving room for Qingyan to save him.
It can be assumed that Lapshe's own image is projected to Luyin, and that leftist critics are projected to Qingyan. That is to say, Laoshe had a hopeful desire for leftist critics at the time.

5왕강(王剛) 장편소설 ≪오, 나의 잉글리쉬 보이(英格力士)≫ 小考

저자 : 金鍾碩 ( Kim Jongseok )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 99-130 (32 pages)

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In Chinese contemporary literary circles, Wang Gang is a writer with a unique modifier of “the Xinjiang writer” and “the Xinjiang complex”, whose novels have received positive recognition from mainstream literary and critics.
Wang Gang's novel Ying Ge Li Shi(=English), published in 2010, is a novel that inspired the world to recognize the name of Wang Gang. This novel has received many awards. such as, “novel double crown Award for the year” of DangDai in 2004, “The book of Ten Big Book” of Chinese times in 2006 and nominated for the “Mao Dun prize for literature“ in 2008.
This paper made Wang Gang's novel Ying Ge Li Shi the subject of analysis. This novel is a typical growth story about a boy's self-identity. The novel is based on his experience growing up in the Xinjiang region in northwestern China during the Cultural Revolution. As “a writer born in the 1960s”, his literary epic is differentiated from the writers' group of the new period in terms of experience and in historical memory. He used a semi-autobiographical narrative pattern using the boy's narrative view. In the novel, he expressed his pursuit of humanity by talking about the process of spiritual growth from a boy's point of view rather than from a huge narrative style and political point of view.
First, analyzed the growth(=initiation) of the main character, Liu Ai. As a growth novel, Ying Ge Li Shi revealed to us Liu Ai's growth in the rational enlightenment of Wang Yajun, a “positive Guidance”. His growth, along with Wang Yajun's guide, may be defined as the type of growth in self-discovery. Second, this paper made an analysis of the figures of intellectuals during special era, called the Cultural Revolution.
Wang Gang expressed the creative characteristics of the “1960s Born Writers' Group”, which focuses on the growth of “person” and “life”, away from the nationalistic limitations and “huge narrative” seen in existing literary epics through Ying Ge Li Shi. In addition, by successfully creating the Guidance figure of growth lacking in the literary epic of “1960s Born Writers' Group”, the novel presented new possibilities for growth, successfully depicting a true “role model” that deviated from the typical Chinese growth novel through traditional ideological discipline.

6瞿秋白의 동방문화관 탐색 ― 1920년대 초반 논술을 중심으로

저자 : 이현복 ( Lee Hyunbok )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 131-159 (29 pages)

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Based on Marxist materialism, Qu Qiubai criticized Eastern cultural group who attempted to deny the historical development of society and return to old ethics. It is his mission to build a new culture for all mankind in the face of conflict between Western capitalist culture and Eastern ethics and morality. But he did not completely deny Eastern culture. Culture is a matter of the subject's attitude and method, and the creation of a new culture was also to reestablish the subject's ethics and morals. At this time, the particularity of the East was related to the construction of a new culture. Debating with Eastern culturalists, Qu Qiubai pointed out the errors of anti-state and anti-capitalist views in the light of the historical materialism and, criticized Eastern culural group for asking to return old ethics and old system. Instead he suggested the popularization of benovelence, righteous and morality as a new culture. Qu Qiubai noted the possibility of peasants under particular circumstances in China. In the past, peasants, who occupied the majority of the population, were subordinates to the gentry for the sake of their private interests. Quchubai wanted to separate them from the former ruling class, gentry. He tried to separate the peasants and the gentry not only economically and socially but also ethically and morally. Qu Qiubai demanded that the peasants overcome the limitations of the petit bourgeois and move away from the old ethics of loyalty to the sovereign(忠君) and filial obedience(孝順). He also demanded them to organize and unite in an active(積極), courageous(勇進), rebellious(反抗), uplifting(興奮) spirit for the benefit of humanity including the peasants itself. The establishment of this new morality of the peasants promoted the revolution of the proletarian class in solidarity with the working class, which in turn realized the real liberation of mankind.

7越劇 ≪春香傳≫에 나타난 春香 형상의 변모 ― 唱劇 ≪春香傳≫과 비교를 중심으로

저자 : 李知恩

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 161-185 (25 pages)

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The topic in this study is about the character of Chunhyang in the Chinese Yue opera Chunxiangzhuan(1954). In order to approach the subject, need to understand both various versions of Chunhyangjeon and the original work that influenced the Yue opera Chunxiangzhuan. Yue opera Chunxiangzhuan is an remake of the script of the North's National Classical Arts Theater. At a similar time, Cho Un(1900~?) and Park Taewon(1910~1986) arranged the Chunhyangjeon in Changgeuk. In North Korea, Changgeuk Chunhyangjeon was performed in December 1954 with a major revision by Jo Un and Park Taewon. The Yue Oprea of Chunxiangzhuan is not an translation of Changgeuk Chunhyangjeon. However, the timing of the production is close, the composition and title of the act and scene is almost identical, and considerable similarities can be found in contents and stage direction. The purpose of this study is to examine the similarities and differences between the two works, focusing on the character of the Chunhyang, and to identify the causes of the two works.

8大女主敘事的流行與女性話語的局限 — 以小說≪延禧攻略≫、≪芸汐傳奇≫爲例

저자 : 王楠 ( Wang Nan )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 187-204 (18 pages)

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This paper takes the novel Story of Yanxi Palace and Yunxi legend as the research object to discuss the commonness and characteristics of the heroine narrative in the two novels, as well as the intertextuality of the narrative text and social environment. The reason why the time background of the heroine narrative is generally set in ancient times is that the focus of the heroine narrative is not focused on the fight for gender equality, but more on the perfect counterattack of the female characters in the adversity, which is a challenge to the male discourse hegemony in the traditional society. The heroines in the novel Story of Yanxi Palace and Yunxi legend are not only independent in character, but also have advanced consciousness in their thoughts. The narration of the great heroine is mainly aimed at the female readers, which reflects that the female consciousness in the public opinion has been paid attention to and the social image of women has been reconstructed in the literary text. The heroines of Story of Yanxi Palace and Yunxi legend bring the satisfaction to modern women, which is the pleasure of revenge. People's focus is not on the binding force of social morality, but how to eliminate it. There are two limitations in the narrative text: the paradox caused by the narrative background and the superficialization of female consciousness caused by capital intervention. Therefore, in order to seek long-term development, the great heroine narrative must make changes, that is, the individual life value of women should be the focus of narrative.

9≪도덕과 법치≫의 '중국' 상상

저자 : 김도경 ( Kim Dokyung ) , 정민영 ( Jung Minyoung )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 205-229 (25 pages)

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Since 2016, the ideological & moral education of China has been renamed “Morality & Rule of Law.” At the same time, the compilation and publication of textbooks has also been changed into state affairs. This paper analyzes what changes have taken place in the textbooks, and suggests what is the meaning of those change. The changes can be summed up in four: first, there has been an increased explanation of the Chines Constitution; second, a section has been added to explain China's basic system; third, there has been a lot of detail explaining the state apparatus; finally, there are more depictions of national identity. But these four changes are not necessarily related to the rule of law. Rather, what is highlighted in all those cases is a description of the country, China. It was in order to strengthen the education of the rule of law that “Morality & Rule of Law” have been created, but what was strengthen in the textbooks is the imagination of China.

10북경대 소장 ≪洪湛軒尺牘≫ 原文 및 校譯(Ⅱ)

저자 : 강찬수 ( Kang Chansoo )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 66권 0호 발행 연도 : 2019 페이지 : pp. 231-255 (25 pages)

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This is the second paper in a series of research courses that examine HongDamHeon Cheokdok(≪洪湛軒尺牘≫), kept in the Rare Books Collection Division of Peking University library, comparing 13 letters--from the tenth to the 22nd letter--with the domestic literary collection and translating it back into Korean.
Most of these letters were written in February 1766 when the Chosun's envoy, Hong Dae-yong(洪大容), stayed in Beijing, and only the 22nd letter was written by Hong Dae-yong in late July of the same year to ask his regards to a scholar of the Qing Dynasty, Yan Cheng(嚴誠), after he returned to Chosun.
Through a comparative study of these letters and Hong Dae-yong's DamHeonSeo (≪湛軒書≫), a collection of documents published in the Chosun Dynasty, I investigate and reveal the differences between the two books, as well as an unknown story not written in DamHeonSeo (≪湛軒書≫), such as the postscript at the end of the 10th and 13th letters.
In addition, the 11th letter includes NonSeongSeo (≪論性書≫) written by Chosun's Kim Won-haeng(金元行) and annotations written by a scholar of Qing Dynasty. On the basis of these contents, I examine the traces of high-level academic exchanges and discussions made between scholars of both Dynasties.

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