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중국어문논총 update

Journal of Chinese Language and Literature

  • : 중국어문연구회
  • : 어문학분야  >  중어중문학
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수록정보
수록범위 : 1권0호(1988)~110권0호(2022) |수록논문 수 : 1,716
중국어문논총
110권0호(2022년 07월) 수록논문
최근 권호 논문
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KCI등재

저자 : 具賢娥 ( Khoo Hyunah )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 1-42 (42 pages)

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Dongguk Jeongwun is the first rhyme book to record Sino-Korean since the creation of Hangeul. Most of entering tone in Dongguk Jeongwun have -ㄱ, -ㄹ ㆆ, -ㅂ final, but multiple sounds appears in 48 letters. These letters don't have open syllable sound in Guangyun(廣韻), and open syllable sound start to appear in Jiyun(集韻), Gujinyunhuijuyao(古今韻會擧要), Hongwuzhengyun(洪武正韻) etc. This study compared open syllable sound in Dongguk Jeongwun with fanqie in Jiyun, Gujinyunhuijuyao, Hongwuzhengyun. Most of them are based on Fanqie in These Chinese rhyme book. And some of open syllable sound are based on 'Sangdong(上同)' character in Dongguk Jeongwun. Furthermore, this study examined the changes in sound from Dongguk Jeongwun and its transmission patterns through comparison between rhyme book of Chosun Dynasty, Chinese character dictionary, Chinese character learning book, and Chinese character dictionary in Modern period. As a result, most of the rhyme book of Chosun Dynasty recorded as entering tone, and when it reached the Jeon-un okpyun(全韻玉篇), various pronunciations appeared. In the Chinese character dictionary of Modern period, it reflects the changed pronunciation of modern Korean, new definitions are added or some definitions are changed. As such, the succession in historical literature fromDongguk Jeongwun to modern Chinese characters is very complex and diverse. Based on this study, it is expected that the relationship between the nature of Dongguk Jeongwun and modern Chinese characters will be clarified in detail in the future.

KCI등재

저자 : 金慧京 ( Kim Hyekyung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 43-68 (26 pages)

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Backward binding is a unique phenomenon in that reflexives, which mainly function as substitutes, precede their referents and can be bound by the referents without being c-commanded. This paper aimed to determine the nature of such phenomenon and explain the cognitive and syntactic mechanism which enables it. Language data shows us that backward binding is certainly induced by speaker's pragmatic purpose and thus is non-syntactic by its nature. However, considering that c-command cannot be abolished in the binding theory, we must assume that non-syntactic factors can help establishing internalized c-command relation, which enables such exceptional binding relationship.
Since backward binding occurs in order to emphasize the affectedness upon the referent, the referent in the sentence must recognize and perceive the thing caused the influence, which is the subject of the sentence. This helps establishing an internalized empty pronoun. The empty pronoun can easily be interpreted to be co-indexed with the following referent, and it also binds the preceding reflexive by c-commanding it. Therefore, the reflexive can be bound by the referent through the assumed empty pronoun.
Assuming such backward binding process makes the phenomenon not contradictory to syntactical principles and makes it possible to be explained in the same way as many other cataphora. Through backward binding, the speaker empathizes with the referent and describes the event from the referent's perspective. This helps depicting a recursive and unintentional effect upon the referent.

KCI등재

저자 : 朴元基 ( Park Wonki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 69-107 (39 pages)

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Seokgayeoraesipjisuhaenggi was written by a Buddhist monk during the Goryeo Dynasty in Korea. This work 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 Yuan and Ming Dynasty.
This study focused on Verb-complement constructions in this literature, which were classified into four subcategories based on some sort of criterion. These four subcategories are 'Verb-resultative complement', 'Verb-directional complement', 'state complement', and 'potential complement'. Each subcategory can be divided into more detailed categories. 'Verb-resultative complement' can be sub-classified according to its semantic orientations: recipient-orientation complement, agent-orientation complement, verb-orientation complement. The verb-orientation complement is also called 'phase complement'. The Verb-directional complement can be sub-classified into simple directional complement and compound directional complement. Each of these is divided into directional meaning and resultative meaning usage again. The state complement is divided into Result type & Descriptive type. The potential complement is divided into V-de-C, V-de-O.
Each complement construction objectively reflects the situation of the complement construction during the Yuan and Ming Dynasty. Although the volume of this work is not large, it fully reflects the objective situation of the language at the time. This paper compared and examined through the literature of Yuan Dynasty and Shuihuzhuan(水滸傳) of the Ming Dynasty, and found that much of them were similar as a result. In particular, the Yuan and Ming Dynasty was the period of simplification of the Verb-complement constructions, and this work shows this character well.
We expect Seokgayeoraesipjisuhaenggi to be sufficiently used as a major basis for Early Modern Chinese Complement research in the future.

KCI등재

저자 : 鄭素英 ( Jhong Soyoung ) , 金希敎 ( Kim Heegyeo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 109-137 (29 pages)

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This study analyzed the perspectives of Chinese reports in the Korean media. The analysis methods used in this paper are semantic network analysis and opinion mining analysis. As of January 1, 2020, in Big Kinds, this article has collected articles from the two years before and two years after that. The scope was targeted to the Chosun Ilbo, the representative of the conservative media, and the Hankyoreh, the representative of the progressive media. In order to see whether anti-Chinese sentiment has changed in Korea before and after COVID19, the analysis standard was set to January 1, 2020. As a result, it was found that both media reported on China in a much more negative direction after COVID19 than before. The Chosun Ilbo's reports on China before Corona19 mostly focused on politics and economy, but the reports after Corona19 had a lot of negative articles stating that the origin of Corona was China. In the case of the Hankyoreh, before Corona19, there were many articles about inter-Korean talks and North Korea-US talks, and after Corona, various topics were reported, including articles related to Corona. However, while the total number of articles decreased, the number of negative reports increased. But the Hankyoreh did not clearly show the intention to use the Corona19 incident to hate China, and was very careful in calling Corona19 the Wuhan virus or the Wuhan pneumonia. The Hankyoreh's indifference to China has increased in the wake of the COVID-19 outbreak. The amount of articles has decreased, and the direction of articles has changed.

KCI등재

저자 : 姜聲調 ( Kang Seongjo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 139-165 (27 pages)

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This paper is try to examine the interpretation of the original text, analysis the structure of grammar and sentence, retort on the related arguments, settlement of the keywords meaning and conception classified the meaning about one phrase among the Analects of Confucius at the standpoint related with the Teaching a Reading of Chinese Classics “what you do not want done to yourself do not do to others”. I would like to argue about the how the Chinese scholars interprets what you do not want done to yourself, do not do to others” in the chapter of Yan Yuan and Prestige of Word among the Analects of Confucius, they used to consider that phrase as a Golden Rule in Ethics or power will of egoist, convert it to affirmative words. In order to retort against the arguments I'd like to apply the grammatical analysis and settlement of meaning for its vacabulary and concept, original text interpretation. In fact, on original text, we can induce that the “A man of Virtue try to seek from himself” up to “taking it and compare with similar case near by himself” finally it effect upon to others. And also it might be lovely toward the person, not biased and excessive, insufficient based upon value, significance of self, that is to say it is a process of Reciprocity(Shu, 恕). Deciphering the original text, it's meaning might be that a man of virtue seek after himself, If he think it is a something not to be accepted, do not give it to others. Saying on this deciphering, The meaning of this phrase “What you do not want done to yourself, do not do to others” is not a direct interpretation upon this phrase but is indirect description. That is to say it is a way of interpretation. I think that the teaching of Confucius employed a meaning from the original text “a man of Virtue try to seek from himself” up to “Reciprocity(Shu,恕), and finally lead to practice it and get to result of lovely emotional attitude “Benevolence”.

KCI등재

저자 : 金光一 ( Kim Kwangil )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 167-195 (29 pages)

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The purpose of this article is to clarify the social and cultural meaning of 'assassin-retainer(刺客)' newly defined by Sima Qian(司馬遷). In the Memoir of Assassin-retainers, The Grand Scribes Records, the new content of the concept of assassin-retainer is filled by describing the deeds of five figures during the Spring and Autumn Warring States Period. For this reason, if a word is copyrighted, the copyright holder of 'assassin-retainer' can be said to be Sima Qian.
However, Sima Qian's 'assassin-retainer' has a richer meaning than the modern meaning of a contract assassin. In order to understand the assassin-retainer devised by Sima Qian, it is necessary to consider the social status of assassin-retainer as much as the act of “poking and killing.” In order to reveal these characteristics, it was closely tracked how Sima Qian embodied the Zhuanzhu(專諸) that can be called the original form of assassin-retainer.

KCI등재

저자 : 金曉民 ( Kim Hyomin )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 197-228 (32 pages)

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Liaohai Danzhonglu (遼海丹忠錄), the current-affair novel (時事小說) in the late Ming Dynasty (明末) describes situations among the Ming Dynasty, Later jin, and the Joseon Dynasty (明·後金·朝鮮) in the rapidly changing East Asian situation by focusing on the wars between the Ming Dynasty and the Later jin in the early 17th century. The work 'realistically' narrates acute international dynamics and vividly reveals the aspects of awareness of the contemporary interested countries from the viewpoint of the Ming-Qing transition period when ideals of “Chinese world order” are farthest from the realities. Awareness of each country in the work generally reveals double aspects and shows the aspects that relative recognition and vigilance awareness are remarkable.
In the case of the Ming Dynasty, it still reveals the ideal ideology as the Celestial Empire (天朝大國) and the Chinese empire, but it shows the tendency which reveals relative recognition or vigilance awareness to be very aware of peripheral/external powers and look at itself on the defensive in the realities of the acute international relationships more strongly. And “China consciousness” is emphasized as a country that has a nationalistic tendency.
In case of the Later Jin, it basically shows the tendency to reveal the negative perception of degrading and despising the other countries consistently based on the traditional perspectives of Chinese and Barbarian (華夷觀). On the other hand, it often cast light on their strong points and reveals awareness of looking at the Later jin and “China” as the relative relationships as each country. And it reveals that it actually regarded the Later Jin as “the neighboring enemy country” (隣敵國) by expressing thorough antagonism as another aspect of relative recognition in the meantime.
In case of the Joseon Dynasty, the relative view which look at it as the independent foreign country and the viewpoint of the perspectives of Chinese and Barbarian to look at it as a representative foreign “subordinate country” that supports the “Chinese world order” are generally mixed. In the work, the Joseon Dynasty shows the tendency to be regarded as the small and weak “subordinate state” and at the same time, is recognized as the foreign country to make sure to cooperate with to defend the country called the Ming Dynasty and object to check not to make it cooperate with the Later Jin, “the neighboring enemy country.”
On the other hand, the work continues to cause nationalistic sentiment and appeal to the heart to defend “the country.” It is worthy of a representative example which makes people get a sense of the aspect that a kind of discussion on patriotism is narrated and becomes popular through the popular medium called the novel as the development of Chinese narrative genre meets the historical background of the Ming-Qing transition period. And it is also another good example to show that the genre of the novel played a unneglectable role of reflecting and reproducing “China”'s perception of the self and others.

KCI등재

저자 : 鄭聖恩 ( Jung Sungeun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 229-257 (29 pages)

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Xu Bing's 'Phoenix' is an installation art on display in the Beijing Central Business District created by collecting 12 tons of industrial waste. In response to Xu Bing's 'Phoenix,' Ouyang Jianghe created a long poem “Phoenix” to construct the intertextuality between avant-garde poetry and installation art. Ouyang Jianghe identified Xu Bing's objet so-called 'Phoenix' as 'the ruins of an old urn-like thought' of human civilization. At the same time, various historical significances and metaphors given to the signifier of phoenix are explored through the genealogy of 'Phoenix' in the time spanning from ancient China to the present and contemporary times. Phoenix is a divine bird that an era of prosperity in China, but the heavy weight of Phoenix hanging from the scaffold in the form of construction waste creates an illusion of the prosperous age and makes it more difficult to fly.
Both Xu Bing and Ouyang Jianghe were interested in the deconstruction of the writing system under the influence of Jacques Derrida's différence and deconstruction theory as well as the exploration of the fabrication of East-West civilization and the exchange of civilizations. In the long poem “Phoenix,” the flight of Phoenix is acquired by a momentary sense in the difference of the language of flying (飛) and non-flying (不飛). At this time, industrial waste, a material form of Xu Bing's Phoenix, is converted into millions of diamonds and revived as a freely flying Phoenix.
Phoenix by Xu Bing and Ouyang Jianghe is a 'symbol' representing China and a kind of 'device' for recognizing the self and the world. The two Phoenixes pose an astronomical question to the world about the current crisis of humankind and its complexity, such as the global crisis, human civilization, the low-level perception of workers and the environmental and economic problems of industrial waste. Moreover, the answer to this question will work as a play of various metaphors and signifiers between waste (廢Fèi) and flying (飛Fēi) according to the spatiotemporal background of Phoenix and the viewing style of the observer.

KCI등재

저자 : 吳明善 ( Oh Myeongseon )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 259-278 (20 pages)

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This study attempts to examine the theater histories of Korea and China through Kim Myung-gon's Passion Faraway and Tian Qinxin's Bursting Gale and Raging Waves, and investigate how important figures in the theater history are historically portrayed. As for Passion Faraway, this study examined the flow of the theater history in Korea from the 1920s to the 1950s in a sharp relationship with historical reality, and as for Bursting Gale and Raging Waves focusing on the life of Tian Han, an indispensable writer in the Chinese theater world, this study deeply coped with the inner side of the 'hero' and the tragic fate. The two works commonly used the method of a play in the play, and tried to communicate the past and the present, and wanted to express this in the theater. However, Passion Faraway emphasized the historical consciousness through chronological composition, while Bursting Gale and Raging Waves focused on the inner description through the flow of consciousness of the protagonist. The similar material of describing the early theater histories of Korea and China and the similar composition of the operation of a play in the play unfold in completely different directions as seen above.
This is due to the difference in the writer's consciousness or historical consciousness between the two writers. Kim Myung-gon restored the narrative hidden by the ruling power in the theater history and tried to recognize the history from a variety of perspectives, not from a balanced or unidirectional perspective. Tian Qinxin equates life and death throughout the play, and focuses on the flow of consciousness of the characters, dispelling the sharp debate between reality and history. These fundamental differences in the reality and historical perception of the two writers also make a huge difference in the portrayal of history in the play.

KCI등재

저자 : 陳性希 ( Jin Sunghee )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 279-302 (24 pages)

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If a film director's works are recognized by the public and critics as 'modernistic' ones, regardless of the times in which they are produced, and his works lead to the discussion of 'modernity', then it would be evident that they bring about the fundamental reflection and speculation on the art of cinema. In this aspect, Edward Yang's films may be 'modernistic' across time and space, because of the narrative He attempted to embody through his films and the mode in which He treated it.
That Day On The Beach is a film exhibiting the life of two females facing the traditional institutions and customs imposed on them in different ways, along with the dramatic development of economy and the modernization in 1970s and 80s. Edward Yang shows that it is impossible to judge right from wrong, regardless of whatever lifestyles an individual selects in the paradigm of times, and that individuals realize the truth of their life, in lives with a lot of characters. He also opens the possibilities of various interpretations, by abstractly reorganizing the process in which a female called Jari actively cope with the hardship of her life and then becomes reborn as a subjective female, and describing it with the 'exceptional flashback' and the reproduction method in which a privileged and certain moment is rejected. Such abstract and disintegrated ambiguity may be the aesthetics characterizing Edward Yang's films. Then, He established his peculiar film aesthetics based on the continuous cinematic experiments and practices, and therefore, contributed to subliming the cinema to the art which it takes long time to closely read, rather than mere entertainment, by extending the time and space for the cinema.

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