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Journal of Chinese Language and Literature

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수록정보
수록범위 : 1권0호(1988)~106권0호(2021) |수록논문 수 : 1,673
중국어문논총
106권0호(2021년 08월) 수록논문
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KCI등재

1≪釋迦如來十地修行記≫ 부사 연구

저자 : 朴元基 ( Park¸ Wonki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 1-49 (49 pages)

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Seokgayeoraesipjisuhaenggi was written by a Buddhist monk during the Goryeo Dynasty in Korea. This literature is typical of Early Modern Chinese, and it was written during the Yuan Dynasty of China. Until now, there have been several editions of this, but here, the Nakeunbon edition has been studied as the main material. According to research so far, it was written in 1328. In terms of overall style, grammar, and vocabulary, this literature reflects the language of the Song & Yuan Dynasty.
This study focused on adverbs in this literature, which were classified into eight subcategories based on some sort of criterion. These eight subcategories are 'time adverbs', 'range adverbs', 'additional adverbs', 'negative adverbs', 'connection adverbs', 'degree adverbs', 'modality adverbs', and 'state/means adverbs'. Each subcategory can be divided into more detailed categories. Adverbs in each subcategory consist of ancient adverbs and Early Modern adverbs. Since this work is centered on the literary style, there are many ancient adverbs and a high percentage of appearances. Nevertheless, there are still many adverbs of Early Modern times, especially adverbs that represent the typical form of adverbs in Early Modern times. There are many one-syllable adverbs that reflect ancient times, but many two-syllable adverbs also appear. Based on all of this, we are confident that this literature is clearly a reflection of the language of the Song & Yuan Dynasty.

KCI등재

2'很V', '很VP' 연구

저자 : 崔信惠 ( Choi¸ Shinhye )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 51-75 (25 pages)

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Based on Corpus, this paper examines the types of modern Chinese 'Hen+V' and 'Hen+VP' and the features of each type and examines the function of 'Hen' in these structures.
First of all, verbs that can receive the modifier of 'Hen' by themselves generally corresponded to psychological verbs. In the case of non-psychological verbs, it was possible to receive the modification of 'Hen' by expressing a state or evaluation meaning like an adjective, out of the action meaning of a typical verb.
The verb phrases that received the modification of 'Hen' were largely in the form of Verb-object phrase, Pivotal construction, Verb-complement phrase, and Quantity phrase, and Verb-object phrase occupied the majority.
Verbs and verb-object phrases, pivotal constructions, and verb-complement phrases that are modified by 'Hen' all refer to attribute meanings or to indicate status or evaluation meanings corresponding to adjectives, and thus have gradability semantic qualities; Therefore, 'Hen' that appears with them is used as a function to reinforce this level of gradability. In particular, when the verbs themselves do not have stative or gradable semantic qualities, the 'Hen' that appears before these verbs can be viewed as a 'Property Semantic Marker' indicating that the latter verb phrase is an attribute meaning rather than a meaning of action, facts, or events.
On the other hand, unlike other structures that receive the modification of 'Hen', Quantity phrases generally have aspect markers 'Le' or 'Guo' after the verb, indicating facts or events rather than attribute meanings. It was characterized by having a quantifier indicating a small amount or an indefinite amount in the form.
When 'Hen' appears before a verb with such a quantity phrase, the phrase emphasizes that the speaker subjectively considers the presented quantity to be large. We believe that 'Hen', which appears together with the quantity phrase, has been grammaticalized in the process of expanding the context, and has functioned as a Viewpoint Marker indicating the speaker's subjective viewpoint and evaluation by subjectivization. We proposed that this 'Hen' can be categorized as a 'Multiple Viewpoint Marker', which is considered subjectively high for the presented objective quantity.

KCI등재

3现代汉语“在”的时空范畴与否定 ― 以动词“在”为中心

저자 : 张珈源 ( Zhang¸ Jiayuan )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 77-97 (21 pages)

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This paper uses the Cognitive Grammar to analyze the reasons why both “他昨天不在家” and “他昨天没在家” can be used. This is mainly related to the grammatical features of the verb “Zai”, “Zai” is characterized relative to cognitive domains of space and time.
The spatiality of “Zai” is embodied in the combination of its later locative words, The temporality of “Zai” is shown in its progressive meaning combined with its subsequent verbs. Scholars generally believe that the temporality of “Zai” is derived from spatial metonymy, but the author thinks that “Zai” itself has the characteristics of time and space.
When the space domain of “Zai” is highlighted, “Zai” is characterized with the static feature, and use he negative marker “bu”. When the time domain of “Zai” is highlighted, the negative sentence of “Zai” generates an end point on the time axis, which needs to use the negative marker “Mei”. The prominence of cognitive domains is actually related to the speaker's subjectivity, that is to say, the speaker's subjective ideas may be affected by various internal and external factors, which activate the concepts in different cognitive domains and make them show different usages at the syntactic level.

KCI등재

4上海话的完整体标记 ― 以“仔”和“过”为中心

저자 : 张玉芳 ( Chang¸ Ockbang )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 99-121 (23 pages)

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In this paper, we discussed the source and semantic functions of the Perfective Markers 'Zi(仔)' and 'Guo(过)' in Shanghai Dialect, as well as the difference between Shanghai Dialect Perfect Marker 'Zi(仔)' and Mandarin Perfect Marker 'Le(了)', Experiential Marker 'Guo(过)' in Shanghai dialect and the 'Guo(过)' in Mandarin.
The Aspect Marker 'Zi(仔)' in Shanghai dialect comes from the verb 'Zhe(着)' which means attachment. It is not only a mark of Perfect Aspect, but also a mark of Durative Aspect. If the verb before 'Zi(仔)' is an action verb, it tends to correspond to '了₁'; when the verb before 'Zi(仔)' is a positional verb or a posture verb, it generally corresponds to 'Zhe(着)'.
The Experiential Marker in Shanghai dialect originally had several forms such as 'guo(过)', 'guoxie(过歇)' and 'xie(歇)', but now there is only one Aspect mark 'guo(过)'. 'Guo(过)' in Shanghai dialect can also be used as Phase complement and Aspect Markers, but there is also 'Guo(过₃)' in Shanghai dialect, which means repetition of actions. The difference from other southern dialects is that, in Shanghai dialect, the adverbs 'chong xin(重新)','you(又)','zai(再)' and so on must appear before 'Guo(过₃)'.
The elimination of the Shanghai dialect - the Perfect Aspect Marker 'Zi(仔)' and the disappearance of the Experiential markers 'xie(歇)' and 'guo xie(过歇)' all show that Shanghai dialect is increasingly influenced by Mandarin, which is an inevitable trend of language development.

KCI등재

5華夷觀과 '중국의식'의 시각에서 본 ≪水滸傳≫

저자 : 金曉民 ( Kim¸ Hyomin )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 123-154 (32 pages)

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Using the 120-chapter edition Water Margin as the main research object, this paper studied the 'Perspectives of Chinese and Barbarian' and 'China consciousness' shown in Water Margin, and examined the characteristics of the text and the contexts of forming it. The traditional idea of Chinese and Barbarian including the Chinese order of the all-under-the-heaven system is revealed in Water Margin, but 'China consciousness' of the nationalistic features as a 'nation' is more clearly emphasized. The Song Jiang group described as loyal heroes can also be a result to reflect contemporary context in several layers in the long process that the relevant stories were created and novelized. The country's safety was dangerous in the late Northern Song Dynasty itself, the background of the story. The Southern Song Dynasty that Shuihu's heroic tale began to be in fashion was the period right after the ruin of the Northern Song Dynasty by the Jin Dynasty. The Yuan Dynasty, when Shuihu hero-related plays were prevalent, was ruled by Mongolia. The period that it was created as the novel was around the late Yuan and early Ming Dynasty which was overflowing with the anti-Yuan feeling. In the late Ming Dynasty that it began to be in fashion as the novel, when nationalistic sentiment was rising again due to the invasion of Japanese pirates, the rise of the Manchus, and furthermore the invasion of the 'Western barbarians'. In the context which can be a perceptual change in the civilization map from 'the all-under-the-heaven system' to 'a nation' like this, the story of Song Jiang group had difficulties in escaping from the framework of the nationalistic idea to be again born and widely welcomed as a hero in the novel, and on the contrary, such appearance was more required. 'Loyalty' of 'defense of the fatherland' was put up as the primary value in Water Margin as a natural consequence. In addition, the point that they became the greatest hero that ever lived in the tragic ending and the value of loyalty and righteousness which is paradoxically more emphasized through this tragic also can be regarded products in this framework after all. Like this, Water Margin is in a pivotal position in terms of Chinese nationalistic hero narratives and made a considerable contribution to expansive reproduction of the Chinese nationalistic feeling as it was in fashion as very popular reading. And the meanings and values of the Song Jiang group's tragic which could not be sublimated into the more universal level leave somewhat to be desired, but this should be seen as the basic limit resulting from the story of Water Margin and the historical context of forming it.

KCI등재

6≪금병매화집≫의 그림 속 문자 표현 연구

저자 : 徐盛 ( Seo Sung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 155-180 (26 pages)

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In the picture centered on antithetical couplet(對聯) and scroll in Illustrations of Jin Ping Mei(金甁梅畵集) drawn by Cao Hanmei(曹涵美), the painter serialized 500 pictures for a long period of time and used them consistently from the beginning to the end, about 30 percents in total. It is noteworthy that the written characters representation(文字表現) is displayed into the figure, and the shape and typeface of each Calligraphy work have been carefully arranged. Since the letters were included in the figure, there was the relationship between the picture and the letters could appear better than any artwork.
The painter first focused on the decorative aspect of the character and discovered that the Chinese traditional typeface was a form that evoked a kind of cultural sophistication and political and economic power. Used in place buildings to represent constant social status and wealth levels, as well as cultural atmospheres, and sometimes used as the primary means of maintaining constancy in long illustrations.
The painter also paid attention to the semantic aspect of the written characters, complemented the content of the scene with the written characters consisting of verse, and poetic eleganized(雅化) the incident and the person. Also, explicit sexual situations and scenes were treated figuratively to maintain a certain level without falling to the Illustrations of Jin Ping Mei vulgar level. In addition, obscene and corruption caused by fierce conflicts and contradictions between people were purified in didactic words and admonitioned(鑑戒). Seen in this way, the painter was able to produce various effects on the use of written characters representation that no illustrator had ever tried, and was able to express his interpretation of the novel Jin Ping Mei(金甁梅).

KCI등재

7王夫之的經文關係論

저자 : 徐寶余 ( Xu¸ Baoyu )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 181-202 (22 pages)

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Jiangzhai shihua(薑齋詩話), written by Wang Fuzhi(王夫之), can be regarded as a book on discussing the relationship between classics and literature. On the part of the book of songs, it normally realized some artistic techniques from the later poetry creations, such as Quyingfa(取影法)、Zhubinfa(主賓法)、Yingchenfa(映襯法). These techniques, all summarized from the creation of future literature, were applied to the book of songs text analysis, so as to provide specific methods and methods for literary interpretation.
On the otherwise, The book of songs, as the classic of Confucian, was always regarded as a model of later literary creation. Wang Fuzhi would like use the terminology of Confucian classics to request and evaluate the literature. At the meaning time, he also talked about the bad influence of the Book of Songs on the later literature. Obviously, it's not fully affirmed for it's the extreme, there are still criteria for judging right and wrong.
The interest of poetics, by Wang Fuzhi, can be roughly summarized as Zhuke Hutong(主客互通) and Jingwen shuangjie(經文雙解). The Zhuke Hutong(主客互通) means readers use their own emotions to experience and feel the emotions in The Book of Songs. Xing-Guan-Qun-Yuan(興觀群怨), Wang Fuzhi called it Siqing(四情), which becomes the link that maintains the reader and the Book of Songs. Siqing(四情) connects the ancient feelings with the present feelings, thus providing the possibility for the interpretation of the Book of Songs and literary reading. Interpreting the Classics by literary and restricting the literature by Classics has received double effect of interpretation.

KCI등재

8≪萬曆野獲編·果報≫ 飜譯 및 註釋(1)

저자 : 李承信 ( Lee¸ Seungshin ) , 蔡守民 ( Chae¸ Soomin )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 203-229 (27 pages)

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Wanliyehuobian(萬曆野獲編) is a highly regarded academic material for providing valuable materials to researchers in fields such as history and literature. Based on the vast historical data in this book, researchers have been conducting in-depth research.
“Wanliyehuobian·guobao” out of Wanliyehuobian's 28th volume consists of 15 episodes. In this paper, the four episodes of “Shengguozhinüzhihuo(勝國之女致禍)”, “Wangguohoufeiliuluo(亡國后妃流落)”, “Yinchanglong(尹昌隆)” and “Chouguizheren(仇鬼責人)” are translated and annotated.
Shen Defu(沈德符) records his personal opinion and assessment of historical events and figures, with events centered on characters and stories in “Wanliyehuobian·guobao”. This reflects the historicality and literature, especially in “Wanliyehuobian·guobao”, reflecting the literary nature of the book. As inferred from the formation, “Wanliyehuobian·guobao” mainly deals with historical events and figures, writing punitive justice.
Shen Defu tried to explain all the historical figures and the characters of the time, revealing that causality and retribution were true beyond time and space. In particular, the realization of causal retribution through ghosts with a grudge can be evaluated as having novel literary characteristics because of the possibility of fiction. In these episodes, we can also see the fate of women during the war, their social customs, cultural habits, the virtuous and cruel concept of retribution of Confucianism, and the reincarnation and retribution of Buddhism.

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9王夫之≪薑齋文集·九昭≫ 역해(3)

저자 : 趙成千 ( Cho¸ Sungchun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 231-251 (21 pages)

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WangFuzhi's JiangZhaiWenJi(薑齋文集)·JiuZhao(九昭) is an important work of his old age, originally at the end of ChuCiTongShi(楚辭通釋) which was completed in 1635. The motive of Wang Fuzhi for this work is that he imitated Qu Yuan(屈原)'s ChuCi and wrote this work, because his career and enthusiasm for serving the government of Nanming(南明) is Similar to Qu Yuan(屈原) in the process of interpreting ChuCi. Therefore, this work adopts the method of confession and adds his interpretation behind the poem.
Reffering to Qu Yuan, Wang Fuzhi expressed his emotions in him. It is a very important document to understand the spirit of Qu Yuan & Wang Fuzhi and to understand ChuCi&ChuCiTongShi.
This study conducts research on the translation and annotation of “DangFen(蕩愤)”, “DaoJie(悼孑)” in JiuZhao.
“DangFen” is about washing away Qu Yuan's anger. At first, Qu Yuan tried to unite with Qi(齊)to battle against Qin(秦), but the plan was restrained by ZhangYi(張仪) and JinShang(靳尚). The Furious had been accumulated, but there was no way to solve it. Even after being expelled, Qu Yuan couldn't forget to fail to avenge the enemy and to fulfill his will. Therefore, this sentence envisioned conquering Jin and expanding the territory to the Jing River(泾水) & the Wei River(渭水) and thought of fulfilling Qu Yuan's will and washing away his anger.
“DaoJie” mourned that there had been no one to assist with the king, and although he was expelled, expressed the love for the country that he still felt sympathy for him and wanted to take care of him.
These two sentences represented Wang Fuzhi's heart regarding the historical situation in the late Ming Dynasty and the early Qing Dynasty and the court reality of the government of Nanming. This is because the history, times, and circumstances of the two people were similar even though the times of Qu Yuan and Wang Fuzhi were different.
Wang Fuzhi highly implied and symbolized his emotions through myth, allusion and metaphor. it is the literary characteristics of the two works and is also attributed to the historical environment of the late Ming Dynasty and the early Qing Dynasty.

KCI등재

10조선 고종 <북묘묘정비(北廟廟庭碑)> 주석과 번역(2)

저자 : 洪潤基 ( Hong¸ Younki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 106권 0호 발행 연도 : 2021 페이지 : pp. 253-273 (21 pages)

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The Northern Shrine Memorial Stone for GuanYu(<北廟廟庭碑>) is the one that recorded the purpose and process of building the Northern Shrine. It was written and built in 1887 by King Gojong, the 26th king of the Joseon Dynasty.
The part translated by this paper is related to the Imo Military Revolution(壬午軍亂) (in 1882) and the Gapsin Coup(甲申政變) (in 1884) in The Northern Shrine Memorial Stone for GuanYu(<北廟廟庭碑>). King Gojong identified the Qing(淸國)'s troops who overpowered the Imo Military Revolution and the Gapsin Coup as the spirits of GuanYu. In addition, we can see that King Gojong(高宗)'s cultural perception and emotional affinity for GuanYu is not based on History of the Three Kingdoms(三國志) but mainly on the fictional story and the images of the novel Romance of the Three Kingdoms(三國演義).
This paper is a follow-up to the Annotation and translation of Northern Shrine Memorial Stone for GuanYu(<北廟廟庭碑>) written by Joseon(朝鮮) Dynasty's King Gojong(高宗) No1, published in the Volume 103 of the Journal of Chinese Language and Literature in February 2021.

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