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수록정보
수록범위 : 1권0호(1994)~78권0호(2022) |수록논문 수 : 1,161
중국어문학지
78권0호(2022년 03월) 수록논문
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KCI등재

1신선설화에서 자연의 생명력 체현과 자기 초월의 의지 ― 『列仙傳』, 『神仙傳』의 수련자를 중심으로

저자 : 鄭宣景 ( Jung Sun Kyung )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 7-37 (31 pages)

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In this paper looking into the relationship between nature and practitioners in Taoist immortal narratives who pursued immortality and to extend their lives, I tried to figure out that to be a Taoist immortal is the result of the will of self-transcendence with which men wanted to unify themselves and nature. In a life-centered worldview it was analyzed at what point the desires and empirical knowledge of the people of that time intersected and grew into a unique cultural product as the Taoist immortal focusing on the practitioner's posture and attitude. In the process of discussion, this paper includes the reflection on narrow-minded thinking that considers and criticizes the existence of 'Taoist immortal' as a component with anti-natural characteristics of only the outer shell of Taoism.
The practitioners of Liexian zhuan(『列仙傳』) and Shenxian zhuan(『神仙傳』) tried to embody the vitality of nature in their body by imitating animal behavior and taking Taoist immortal drug made of plants and minerals. They practiced to recreate the vitality of animals, plants, and minerals in the body of a microcosmic human being and to resemble the eternity contained in nature. For practitioners, nature was an organic principle and method with infinite potential to complete their body and mind wholly.
To become a Taoist immortal is not against nature, but a willingness to return to nature through nature, and an attempt to transcend one's own limits through self-control and regulation. It is not the pursuit of destroying or conquering the order of nature, but the result of efforts to embody the tao of nature in own body. It is not only a pursuit to extend the life of the body, but also a journey to desire the liberation and freedom of the soul.

KCI등재

2도교 신선설화의 현대적 변용 ― TV 애니메이션 <꼬마 신선 타오>를 중심으로

저자 : 鄭暋暻 ( Cheong Minkyung )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 39-63 (25 pages)

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< Little Wizard Tao > is a TV animation that has been steadily loved by infants since July 2009, and thanks to its popularity, the second one was produced and announced in 2013.
In this paper, the Taoist imagination expressed in < Little Wizard Tao > was examined in three ways. First, the path to becoming Taoism's ultimate goal, immortal was examined in terms of Alchemy, that is, the outer and inner cinnabar. In Taoism in China, the outer cinnabar gradually pursued the inner cinnabar due to the harmful effects of the outer cinnabar, but the outer cinnabar played a pioneering role in scientific and medical fields, and the inner cinnabar was fused with Buddhism and Confucianism, expanding to the field of personality training. In the background of the school, < Little Wizard Tao > deals with the process of little Taoist Wizard becoming immortal through training, so the podium technique played an important role in creating a story. Second, in < Little Wizard Tao >, we looked at how Taoism's concept of a small universe is being used. Taoism thought that the same phenomenon occurred in the body because it thought of the body as a world and embodied the logic of Mother Nature as it was. In < Little Wizard Tao >, the body is viewed as an energy-circulating and orderly world, and even diseases and psychological effects are expressed through insects. Finally, we looked at the aspects of nature and environmental protection in < Little Wizard Tao >. Since Taoism itself believes that humans should live in harmony with nature as part of nature, it depicts characters coexisting in nature in < Little Wizard Tao >. In particular, when it comes to nature protection, bioethics were delivered more effectively by visualizing everything in nature as a living spirit.

KCI등재

3도연명(陶淵明)의 전기(傳記)에 나타난 '무현금(無絃琴)'과 그 전개의 양상

저자 : 李顯雨 ( Lee Hyunwoo )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 65-99 (35 pages)

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This paper reviewed the historicity of Tao Yuanming(陶淵明)'s anecdote about the 'stringless zither(無絃琴)' in the biography of Tao Yuanming in historical books and examined the aspect of its development.
The anecdote about the 'stringless zither' is not told by Tao Yuanming, but is in a biography recorded by another person, and academia has raised objections against the contents about Tao Yuanming and music in the anecdote. This paper reviewed whether there are any problems in the interpretation of the biography based on Tao Yuanming's narration and other related data.
After the anecdote about the 'stringless zither' was established, it continued to develop through a combination with metaphysics(玄學) and the doctrine of the Zen sect(禪學). The 'stringless zither' came to be recognized as profound content under the influence of 'YOU WU ZHI BIAN(有無之辨)' and 'YAN YI ZHI BIAN(言意之辨)' in the metaphysics of the Wei and Jin Dynasties of China. The mood of 'DE YI WANG YAN(得 意忘言)' of Tao Yuanming and the 'stringless zither', the core of which is 'none(無)', naturally came to have a link with metaphysics.
In addition, Tao Yuanming's unworldly image and metaphysics, 'YAN BU JIN YI(言不盡意)' etc. facilitated the transition to Zen meditation and 'BU LI WEN ZI(不立文字)' of the doctrine of the Zen sect, so that the 'stringless zither' rose to the level of a Zen language for 'enlightenment(妙悟)'. Because the anecdote that Tao Yuanming heard silent sounds with the heart through the 'stringless zither' shared a context with the notion that Zen is essentially inexpressible in language. The 'stringless zither' was extended to related Zen languages such as 'flutes without holes(無孔笛)' and 'books without letters(無字書)' under the influence of Zen.
Therefore, the 'stringless zither' developed into a philosophical concept and literature language against the backdrop of metaphysics and the doctrine of the Zen sect, and greatly affected the literary circles and worlds of thought in ancient Korea as well as in China.

KCI등재

4장대(張岱) 시 연구 ― 오언률시(五言律詩)를 중심으로

저자 : 金宜貞 ( Kim Eui Jeong )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 101-128 (28 pages)

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Research on Zhang Dai has long been buried and recently re-emerged. As a brilliant prose and historian, his life in the upheaval of the late Ming and early Qing left behind a lot of thought for modern people in itself. In particular, he did'nt choose extreme suicide or betrayal, immersed in writing with proper distance from the Qing government, consequently his life could have produced a variety of records. Among them, the poetry part was not so much illuminated, so the research was very limited. This study illuminated the poetic world of Zhang Dai. The scope of research is limited to the Five-character-ancient-verse 173 poems. And I classified and considered five types: poems of recall with emotion, poems of everyday life, poems of describing objects, poems of landscape, poems of relationships. Through this research, it will help other poets study, it can also contribute to understanding cultural indicators; calligraphy, GuQin(古琴), garden, book collection.

KCI등재

5근대 동아시아의 전쟁과 바다 ― 『해국도지(海國圖志)』의 서술 시각을 중심으로

저자 : 徐光德 ( Seo Kwang Deok )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 129-156 (28 pages)

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It was the defeat in the Opium War that led the Qing Dynasty to pursue modern policies to improve its maritime power. If the Opium War was the event that led to the modernity of East Asia as well as China, it is no exaggeration to say that the modernity of East Asia originated from war. The Opium War was a naval battle, and the majority of the wars that occurred in East Asia after that were naval battles. The Opium War led Chinese to understand the world through the naval battle with England and seek changes in the Qing Dynasty. The text that represents this is Haiguotuzhi(『海國圖志』). Haiguotuzhi(『海國圖志』) was known as a book that promoted the modernization of China by promoting the acceptance of Western culture due to its nature as a world geography book, but as Wei Yuan(魏源) said, Haiguotuzhi(『海國圖志』) is a military book. In this article, I explored why the texts related to military and war were written with the characteristics of world geography, and examined the circumstances in which the modern times of China and East Asia were forced to come from war (the Battle of the Sea).

KCI등재

6사오쉰메이(邵洵美)의 『꽃 같은 죄악』 속 데카당스 표현양상 연구 ― 에로티즘의 금기 속 위반의 욕망

저자 : 智海善 ( Ji Haesun )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 185-206 (22 pages)

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The purpose of this study was to explore how the decadence was expressed in 『The Flower like Evil』, the second poetical work written by Shao Xunmei. Shao Xunmei had composed his poem based on literary tendency of the decadence writers in the western world he was infatuated with while studying in UK. His poetic expressions are strongly imbued with aesthetic and decadent characteristics of some writers including Baudelaire, Verlaine, Swinburne, and Oscar Wilde. All of them put high value on importance of absolute beauty, which are on the opposite side of the beauty that can be compared with religion or moral values. The 'infringement' of the morals, religion, and tradition which had been tabooed in traditional society and it was selected as a main way of his expression. And this 'infringement' was headed for the women.
Most women expressed by the decadence movement artists in the western world were 'femme fatale.' They're often portrayed from men's perspective, easily putting focus on their sexuality. Shao Xunmei also displays erotic visualization of women in his poem. The sexual instinct is absolute purpose and unconditional desire for all human beings who are the only animals who indulged with it. But they have tabooed it traditionally. Shao Xunmei's had taken erotic visualization of women who stimulates human instincts as a main way of expression in pursuit of sensual pleasure against the infringement of taboo which has been carried out.
However, the decadence writers who emphasized femme fatale in the western world in the late 19th century could be explained as contemporary spirit of art in terms of culture. But it was not easily accepted in China and thus, Shao Xunmei found it difficult to be justified with his literary works in the literary world. Furthermore, the decadence movement artists in the western world attempted to take 'decline' and 'downfall', as key substances for the poem, from the meaning of appreciation and decadence while bringing the world of the beauty into a realm of futility. But Shao Xunmei's poetic expression was limited with somewhat superficial interpretation, which is limitation of his poetry writings.

KCI등재

780후(後), 90후(後)세대 문화생산과 소비방식 연구 ― 웹툰, 웹 애니메이션, 애니메이션 영화 <십만 가지 썰렁한 유머 (十萬個冷笑話)>를 중심으로

저자 : 安榮銀 ( Ahn Youngyeun )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 207-233 (27 pages)

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What is interesting about < 0.1 million cold jests > is that this content not only embodies the characteristics of media convergence culture, but also contains the 'redundancy' and 'loser sentiment' of China's 80's and 90's. If a webtoon containing the 'redundancy' and 'loser sentiment' of the Korean youth generation is called a 'tacky' webtoon. the sensibility of the Chinese youth generation can be said to have a Chinese 'tacky'.
In terms of narrative, the characters in < 0.1 million cold jests > which represents the emotions of the Chinese youth generation, are scriptural characters well known to those born in the 80s and 90s. However, < 0.1 million cold jests > expresses their aesthetic desires by destroying the roles and characteristic, and making them "unfamiliar." In addition to that, in terms of language, cynicism in a self-projective form is revealed through 'Wulitou', 'Tucao' expressions and methods.
This study focuses on the case of web animation and re-mediation into movies of the webtoon < 0.1 million cold jests >, and first, identifies the emotions of the 80th and 90th generations revealed through narratives and self-reflective cynicism expressed in various ways.
Second, the aim is to explore cultural production and consumption patterns suitable for the new era and new generation through analysis of external devices that are considered important elements that reveal the emotions of those born in the 80s and 90s in webtoon and web animation < 0.1 million cold jests >.

KCI등재

8부정문에 사용된 부사 '병(并)'과 '우(又)'의 담화·화용 기능

저자 : 李娜賢 ( Lee Nahyun )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 235-256 (22 pages)

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This paper studied the difference between 'bing' and 'you' used in negative sentences in discourse and pragmatic. In the meantime, many scholars have said that both adverbs emphasize negation when used in negative sentences. However, we judged that there would be differences between the two adverbs in terms of pragmatics and discourse, and analyzed them in two aspects of focus and discourse strategies.
First, if we analyze the focus of the two sentences, 'bing' is focused on the sentence containing 'bing'. However, 'you' has a focus on the preceding clause or the following clause. This can also be confirmed by the stress of the two sentences. If we look at the intention of discourse, as we already know 'bing', that the 'refutation' is an important discourse intention. However, it is also used as a 'politeness maker' when making a request to the listener. On the other hand, 'you' functions to indicate information known to the speaker and listener. The speaker uses the information known to the listener to express refutation or show familiarity.

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9『한객시존(韓客詩存)』 속 아회도(雅會圖) 제화시(題畫詩)

저자 : 姜必任 ( Kang Pilyim )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 257-283 (27 pages)

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Hanke Shicun (『韓客詩存』) includes literary gathering paintings or various poems shown in a literary gathering painting. Each mission to Yanjing had different individuality from others in the composition of the delegation, activities in Yanjing, Qing's literators met there, etc. Therefore, they commemorated and recorded their A-hoe gatherings by making A-hoe paintings themselves by a devoted painter or a participated writer. Especially, the fact that Joseon's personnel were mostly pupils of Kim Jeong-Hee or those in the school of Kim Jeong-Hee such as Lee Sang-Jeok or Oh Gyeong-Seok who left A-hoe paintings in Hanke Shicun (『韓客詩存』) implicates they might have been directly or indirectly affected by the exchanges via A-hoe paintings by the predecessors, i.e., Kim Jeong-Hee and Ju Hak-Nyeon.
Though it is important to complete the artistic format by equipping with all the three of poem, writing and painting, the writing and poem added to the painting can supplement the content of the painting as they include the information relating to the A-hoe gatherings, composition or situation of the literators participated in the gathering, their intelligence and nobility, the sense of the A-hoe gatherings, etc.
Traditionally, literators' A-hoe gatherings tended to have de-political and unworldly characteristics. To the contrary, the exchanges between the literators of Joseon and Qing dynasties have a certain distance from unworldly tendency as one side of the gathering has positional peculiarity as Joseon's mission. The content expressed in the attached writing & poem to the A-hoe paintings in Hanke Shicun (『韓客詩存』) reflects this characteristic of A-hoe's. So, it mostly described the prominent capability and nobility of the mission personnel, gladness of meeting a friend far from overseas, regret to be parted after a short meeting with the delegation to go back to their country soon, and the sadness of farewell. This can be said that the vibe of A-hoe and A-hoe paintings had been changed along with the purposes and values of the person who appreciates them.

KCI등재

10現代漢語“有VP”的三個特殊句式

저자 : 陈换常 ( Chen Huan Chang )

발행기관 : 중국어문학회 간행물 : 중국어문학지 78권 0호 발행 연도 : 2022 페이지 : pp. 257-278 (22 pages)

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This study analyzed three special phrases of '有VP' in modern Chinese. These are '有VP', which forms sentences independently, '有VP' for habitual meaning, and '有VP' to express anti-actual assumptions. First, in the answer to the question, all the subject and VP components in front of the '有VP' structure can be deleted, and only '有' can form a sentence independently. This means that '有' still retains the practical meaning of 'being' to some extent and is not grammatically used as a aspect mark.
Second, '有VP' generally expresses an event that has already occurred in the past, but it can also indicate habitual behavior, so it also functions as a habitual marker. Considering that it is usually an auxiliary verb, an adverb, or an end-of-sentence investigation that indicates habit in Chinese, the possibility that '有' is an auxiliary verb.
Third, '有VP' can refer to the anti-realistic assumption, which is an upward additive anti-factual thought, with a kind of 'regret', It can represent the function of the modality. Therefore, the property of '有' is highly likely to be a multifunctional word formed by adding various grammatical functions while still retaining the meaning of the 'being'.

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