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중국어문논총 update

Journal of Chinese Language and Literature

  • : 중국어문연구회
  • : 어문학분야  >  중어중문학
  • : KCI등재
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  • : 연속간행물
  • : 계간
  • : 1226-4555
  • : 2765-4060
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수록정보
수록범위 : 1권0호(1988)~111권0호(2022) |수록논문 수 : 1,737
중국어문논총
111권0호(2022년 10월) 수록논문
최근 권호 논문
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KCI등재

저자 : 金兌垠 ( Kim Taeeun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 1-28 (28 pages)

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This study is an analysis of Chinese phonetic loans, which normally borrow the sounds of words in a source language. Chinese has several types of phonetic loans, and the main reason why it has different types of phonetic loans is that the Chinese writing system uses ideographic characters. Yinyijieci is a very unique type of Chinese phonetic loans, and it shows not only the perceptual similarity of pronunciations between a source language and Chinese language, but also a particular meaning from the group of Chinese characters consisting of a phonetic loan. Chinese speakers prefer yinyijieci to pure phonetic loans, and thus this study proves the reason with two different theoretical analyses, namely Optimality Theory(OT) and Conceptual Blending Theory(CBT). For the reasonable OT analysis, this study proposed *C-Meaning constraint, and it made yinyijieci an optimal candidate. The reason why *C-Meaning can be proposed was explained by the CBT analysis for yinyijieci. Through these analyses, this study tried to find one of persuasive answers for the reason why a pure phonetic loan had disappeared into history and yinyijieci replaced it, just as Kekoukele replaced Kekekenla. In order to support the discussion, several different yinyijieci such as mini, heike, and taizi were analysed as well. This study differs from previous loanword studies, in that both phonological and semantic analysis were considered together.

KCI등재

저자 : 金俊秀 ( Kim Junsoo ) , 盧慧靜 ( Roh Hyejeong ) , 李玉珠 ( Lee Ok Joo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 29-66 (38 pages)

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Reconstructing the Qieyun sounds has been subject to extensive research in the historical phonology of Chinese. Qieyun, a rhyme book compiled by Lu Fayan in AD 601, is arguably the most crucial source in tracing the sounds of Middle Chinese. However, the reconstructed sound systems differ to a large extent due to different linguistic sources as well as phonetic and phonemic analyses employed for the studies. The present study adopts phonological typology, which explains sound distributions across languages, as a methodological tool to compare the reconstructions of the Qieyun vowel system from Martin (1953), 周法高(1954, 1968, 1984), 藤堂明保(1954, 1957, 1980), Baxter (1992), 麥耘(2009), and 潘悟雲(2000, 2014, forthcoming). A close examination on the reconstructed vowel systems reveals that they differ in vowel inventory size, distribution of peripheral vowels and internal vowels, and distributional relations with such features as highness, frontness, and roundness. Taken together, Pan's revised system (forthcoming) conforms with vowel universals and provides a natural vowel system from a typological perspective. This study further suggests that it is not in fact a six-vowel system as Pan claims but should be regarded as an eight-vowel system comprised of the phonemes /a, i, u, e, a, o, ɤ, ə/.

KCI등재

저자 : 李슬기 ( Lee Seulki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 67-88 (22 pages)

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This paper pays attention to the phenomenon that the semantic functions of the degree adverbs 'gèng(更)' and 'hái(還)', which constitute the same Chinese 'bǐ(比)' character comparative sentence, are not completely identical and do not intersect each other. Based on the Corpus analysis, the syntactic, semantic, and pragmatic differences of 'gèng(更)' and 'hái(還)' in comparative sentences were analyzed from various angles. From a syntactic perspective, the difference in syntactic function was analyzed by comparing and analyzing the predicate and adverb types, major syntactic forms, and conjunction patterns of the predicates 'gèng(更)' and 'hái(還)' in the comparative sentence of the 'bǐ(比)' character. wanted to clarify. Also, in this paper, from the point of view that the distinct syntactic difference between the two adverbs of precision reflects the semantic difference, the adverbs of degree 'gèng(更)' and 'hái(還)' in the comparative sentence of 'bǐ(比)' are particularly different in quantity complements. The purpose of this study was to elucidate the semantic and pragmatic causes of taking the form, and also in-depth comparison and analysis of the main semantic and pragmatic characteristics of the 'bǐ(比)' advice used with the two degree adverbs.

KCI등재

저자 : 崔信惠 ( Choi Shinhye )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 89-116 (28 pages)

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This paper examines the category, structure, and function of 'Zi, Yu, Wang, Xiang, Dao, Zai, Gei' that appear after the verb. As for 'Zi, Yu, Wang, Xiang', it is common to see that these are preposition, and that they function as prepositional complement behind the verb. In the case of 'Dao, Zai, Gei', the most inconsistent views appear as to whether they are viewed as forming a prepositional phrase complement as a preposition or functioning as a result complement as a verb. Therefore, in this paper, in particular, the categories of these three components and the characteristics and functions of the structures they form were examined in detail.
In the structure of 'V+Dao+X', it was suggested that 'Dao' is a verb and functions as a result complement because 'Dao' can have aspect marker 'Le' and 'Guo', the object(X) can be omitted or moved, and 'De/Bu' can be inserted between the verb and 'Dao'.
Next, although 'Zai' in 'V+Zai+X' may have aspect marker 'Le', it is more appropriate to assume that 'Zai' in this structure functions as a preposition category as it cannot form probable complements and is difficult to move or omit an object.
Finally, although 'Gei' of the 'V+Gei+X' structure can appear with the aspect marker, it is rare to have 'Guo', it is difficult to move or omit the object(X), and it cannot form probable complements with the 'De/Bu' character inserted, so it is more appropriate to view it as a preposition like 'Zai'. As a result, among the 'Zi, Yu, Wang, Xiang, Dao, Zai, and Gei' that appear after the verb, 'Dao' functions as a result complement as a verb category, and the remaining 'Zi, Yu, Wang, Xiang, Zai, Gei' can be seen as forming a prepositional complement.

KCI등재

저자 : 王帅 ( Wang Shuai )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 117-145 (29 pages)

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This paper analyzed the misordering error of Korean learners about “Num+Ci(次)” based on HSK corpus. On this basis, the teaching and pratice methods for Korean students was also presented. “
Ci(次)” is not only one of the most frequently used words in the modern Chinese language, but also one of the most grammatically important verb measure word at a beginner level in learning the Chinese language. Meanwhile, the most obvious error made by Korean learners of the Chinese language is the misordering error. The misordering error is a type of error occurred when the order of an adverbial phrase and a complement is switched, and it is hard to locate “Num+Ci(次)” and an object. This paper analyzed the reasons for the misordering error from the perspective of linguistic typology. In a comparison associated with the corpus data, learners who use a different native language of different language category shows a clear difference in the appearance of the misordering error. However, learners who use a different native language of the same language category show similarity in error pattern and error rate. In specific, Korean and Japanese are both classified as an SOV language category, and “Num+Ci(次)” locates before a verb. On the other hand, both English and Chinese follow the basic order of an SVO language category, in which locate “Num+Ci(次)” after a verb in general. Herein, when it comes to the misordering error of “Num+Ci(次)”, Korean learners and Japanese learners show similar patterns, whereas learners who use English as their native language barely make the misordering error. In this regard, it is difficult to say that dialogues, interpretations, and exercises regarding “Ci(次)” in Chinese language books are for Korean learners. Hence, developing a Chinese language book is needed to overcome the error frequently made by Korean learners.

KCI등재

저자 : 李知恩 ( Yi Jieun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 147-171 (25 pages)

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The Yuan dynasty(1206-1368) was an era in which a large number of Yuan operas about ghosts appeared. In the Yuan dynasty, 15 kinds of ghost operas were produced, which accounted for a fairly high proportion of all Yuan operas. The fact that a large number of ghost opera were born in the Yuan Dynasty is an interesting point, and it is considered worthy of investigation into the phenomenon and its causes. In this paper, based on the last point of view among the various layers of ghost opera, we try to uncover social conflicts such as contradictions and antagonisms contained in ghost operas, and to examine the substance of the horror conveyed in ghost operas. For this purpose, the work used as a study object is Shengjinge of the Yuan Dynasty. In Chapter 2 of this study, the outline of the work and the main character are summarized, and in Chapter 3, the reality of the true horror conveyed by the work is examined, and the reasons for the creation of numerous ghost operas in the Yuan Dynasty are examined.

KCI등재

저자 : 楊善惠 ( Yang Seonhye )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 173-206 (34 pages)

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In traditional China, objects of laughter in 'funny stories' get diversified as years pass. Also, laughter inducement elements of the characters which are the objects of the laughter revealed fragmentation, routinization, and universality. A discourse on funnie stories was expanded from the issue of sharing and communicating laughter itself by making human intrinsic problem situations as laughs, to the issue of being strenghthened in community order and social benefits.
In other words, 'funny stories' act not only as fun itself, but also as a tool generating a social discourse.
We can see comedy mostly in languages, bodies, actions, situations, and unusual characters. During Ming Qing period, funny stories in amusement of language focusing on language itself decreased and those using amusement of language as satires on social phenomenon increased. Once more, as an understanding in human and human body became deeper, funny stories utilized for social discourses appeared while we had fewer stories inducing laughter only by body conditions and function disorders.
Specific characters and behaviors of various people could be fuctioned as key words for analyzing a society at that time. Related stories show common laughter-inducing mechanism and they are supposed to drive people's re-creation.
Originally, folk funny stories started to record funny simple stories. But now, it entered creation stage. This means they recognized beauty of laughter in social dimension, not only in personal dimension. Also, it is supposed to drive another folk funny story creation.

KCI등재

저자 : 盧仙娥 ( No Suna )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 207-236 (30 pages)

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The purpose of this paper is to study the body shape methods of female characters in the Qing dynasty novel A dream of Red Mansions. This novel was written by Cao Xueqin(1715~1763) at the time of the most severe oppression against women. First, through the progressive view of women of Wang Yangming in the late Ming Dynasty, to understand the background of respecting women in the novels of A dream of Red Mansions. And this novel contains a unique sense of respect for women centered on 'Girls'. Chapter 2 will examine the premise that the female characters's body in A dream of Red Mansions is embodied, focusing on the concept of a girl made of water and the girls's space 'Grand View Garden'. Chapter 3 will examine in detail the way in which the body of a female characters in A dream of Red Mansions is embodied, focusing on spirit, desire, and subject consciousness. A dream of Red Mansions's sense of respect for women is to recognize women as individuals, and the female characters's body, which is embodied by spirit, desire, and subject consciousness, can be seen as an active counterpart to an unreasonable feudal society.

KCI등재

저자 : 朴炫坤 ( Park Hyoungon )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 237-290 (54 pages)

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你道 is a cliched narrative that can be easily identified in vernacular novels, provoking the reader's curiosity about the next passage. The narrative is sometimes set as 且聽下回分解at the end of each episode of the work, but it just suggests the next episode, so it is inferior to the 你道 in terms of the influence it has on the narrative of the story in the work. Therefore, the discussion on the narrative style of vernacular novels should begin with the 你道. However, 說 唱本, the original copy of vernacular novels, have largely been lost, making it difficult to perform the fundamental study on the 你道. Meanwhile, 石派書≪龍 圖公案≫ has been found, which is a representative work of chivalrous novels written in the mid-Qing Dynasty as one of the series of ≪三侠五义≫ 說唱本. Therefore, if a fundamental study on the 你道 that has influenced the narrative of the work is carried out through comparison between the two texts, it will be possible to grasp not only the influence of the 你道 on vernacular novels, but also its action in the creation of texts. In the case of a study on the 你道, so far, it has focused a lot on the discussion of its function only by analyzing the texts of the novels in general, suggesting that the research achievements are lacking in various perspectives. It is clear that the comparison between the above two texts will be one of the research achievements for the diversity of the 你道 that can supplement the above-mentioned problem. For the study of such diversity, this study is intended to discuss that the 你道is set as in the case of sentences before the same viewpoint of narratives for linking the preceding and following paragraphs, unlike its existing function that arouses readers' curiosity. This type of the 你道 makes readers accept sentences from the same point of view without letting them perceive it as an existing single form. This is because when they go through such a process, they can move to the main contents of 'Ep. 1' that develops from the following of the 你道 in the previous paragraph, and furthermore, they will be able to focus on those main contents. Thus, this study will conduct a comparison between two texts for the purpose of considering the various characteristics of the 你道, and it is believed that the research results derived therefrom will provide a new direction for the study of the 你道's diversity.

KCI등재

저자 : 權夽映 ( Kwon Eunyoung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 291-313 (23 pages)

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Based on the fact that there were about 400 Chinese novels published, translated, and distributed in the Joseon Dynasty, changes in the Chinese novel view by period were examined, and in the process, various reviews criticized Chinese novels were collected and summarized. In this paper, based on the reading and criticism of Chinese classical novels by Joseon writers in the 19th century, Joseon writers are conducting research to find out through which process they read and distributed them, and further how they criticized them. Compared to the criticism of Chinese classical novels and Korean classical novels that poured out in the 18th century, the content of the 19th century is relatively small and the content is simple.
I t may be because Joseon Dynasty writers in the 19th century did not enjoy reading Chinese novels and writing feelings and impressions, but sometimes created themselves. As such, it is also worth examining how the society and culture of the late Joseon Dynasty affected when Joseon writers moved on from reading Chinese classical novels to creating.
In the course of this study, I visited the library of East Asia at the University of Berkeley in the U.S. During the Joseon Dynasty, writers not only read and appreciate books, but also selected their own books, selected sentences, bridged and criticized, and published books themselves. In addition, in the 19th century, it was assumed that Joseon writers moved away from the framework of reading to creation in Chinese novels, so it was worth examining the impact of society and culture in the late Joseon Dynasty, so they are collecting data for the study. I think this visit to the East Asian Library at the University of Berkeley in the U.S. was an opportunity to inspire interest and enthusiasm for research in old books. In the course of this study, it was possible to find evidence that interest in Korea-China comparative literature and Korea-China cultural exchange took place in various fields from book exchanges to direct communication and academic exchanges of writers.
Continuing this research process, it can be seen that Chinese novels were not excluded in the past when writers of the Joseon Dynasty gained knowledge through reading and examined their views. Through the criticism of Chinese classical novels, you can not only compare the criticism of Korean-Chinese novels, but also understand the worldview of writers at the time and point out the context of the values of the historical and cultural times. At that time, the study of Chinese novels, reading, and criticism, as well as writing methods, needed to be interested in Chinese literature and East Asian history and culture research, so we will proceed with this study in a wider and in-depth to enhance academic value.

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