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중국어문연구회> 중국어문논총> 곽박(郭璞)의 진대(晉代) 한어(漢語) 입성운(入聲韻) 음운체계

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곽박(郭璞)의 진대(晉代) 한어(漢語) 입성운(入聲韻) 음운체계

Guo Pu’s Rusheng Phonology of the Jin Dynasty

權赫埈 ( Kwon¸ Hyokjun )
  • : 중국어문연구회
  • : 중국어문논총 107권0호
  • : 연속간행물
  • : 2021년 10월
  • : 1-53(53pages)
중국어문논총

DOI


목차

1. 서 론
2. 연구개 폐쇄음 운미
3. 치조 폐쇄음 운미
4. 양순 폐쇄음 운미
5. 결 론

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초록 보기

This study is designed to reconstruct phonology of Rusheng[入聲] as reflected in the Guo Pu[郭璞]’s glosses and rimes, which will be employed as main clues to set up his phonological system. Guo Pu(AD 276―324) has left a massive number of sound glosses to some exegetic and literary works, and a handful of rimes in his extant verses. His glosses include the fanqie spellings [反切法] and the direct phonetic notaions[直音法] which, along with his rimes, are claimed to signal a certain phonology of Jin Dynasty[晉代], halfway between Old Chinese[OC] and Middle Chinese[MC]. For our discussion, we take up Zheng-Zhang’s OC and MC systems as reference with minor modification to his MC medials.
The conclusions are stated as follows:
MC 1st div. Wu Rime[屋₁韻] stays as it was in OC, while the other rimes from OC Wu Group[屋部] and Jiao Group[覺部] are on the way toward MC. The formation of Duo Rime[鐸韻] and Yao Rime[藥韻], both of which will belong to Dang Rime Group[宕攝] in Late Middle Chinese, has been completed. Mo Rime [陌韻] of Geng Rime Group[梗攝] does not appear to have progressed much out of OC as of the Guo’s period. MC Xi Rime[昔韻] has two different OC Duo Group[鐸部] origins, one of which had a long vowel *-aa-, the other of which had a short *-a-. In Guo’s phonology, the former is postulated to retain -aa-, while the latter is assumed to be in the transitional phase making its way toward -e- which is believed to be occasioned by the 3rd div. medial. Mai Rime [麥韻] and Xi Rime[錫韻] have retained their vowel as -e- without changing its sound value throughout the periods from OC to MC. It is entirely possible that MC Zhen Rime Group[臻攝] and Shan Rime Group[山攝] have been formed. Xian Rime Group[咸攝] does not seem to have been fully formed, while the formation of Qin Rime Group[侵攝] may have been almost completed in the Guo’s system.

UCI(KEPA)

I410-ECN-0102-2022-700-000912928

간행물정보

  • : 어문학분야  > 중어중문학
  • : KCI등재
  • :
  • : 계간
  • : 1226-4555
  • : 2765-4060
  • : 학술지
  • : 연속간행물
  • : 1988-2022
  • : 1716


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110권0호(2022년 07월) 수록논문
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1≪동국정운(東國正韻)≫ 안의 개음절 복수음을 갖는 입성자의 계승 양상 연구

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

2현대중국어 후행결속 현상 분석

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

3≪釋迦如來十地修行記≫ 술보구문 연구

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

4의미연결망분석과 감정분석을 통해 본 한국 언론의 중국 보도와 반중 감정 ― 코로나 19 사태 전후를 중심으로

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

5關於≪論語≫“己所不欲, 勿施於人”一語的議論及其辨義

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

6刺客의 탄생, 능력의 발견 ― ≪史記≫ <專諸傳> 깊이 읽기

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

7위태로운 천하: 명말 時事小說≪遼海丹忠錄≫에 나타난 對明·後金·朝鮮 인식

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

8선봉시와 설치미술의 만남: 어우양장허(歐陽江河)·쉬빙(徐冰)의 '봉황(鳳凰)' 해독

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

9한·중 현대 연극사의 재구성 ― 김명곤의 <격정만리>와 톈친신(田沁鑫)의 <질풍노도(狂飆)>를 중심으로

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.

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10영화 <海灘的一天>이 말한 사랑의 신화와 시대의 종언

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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1곽박(郭璞)의 진대(晉代) 한어(漢語) 입성운(入聲韻) 음운체계

저자 : 權赫埈 ( Kwon¸ Hyokjun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 1-53 (53 pages)

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This study is designed to reconstruct phonology of Rusheng[入聲] as reflected in the Guo Pu[郭璞]'s glosses and rimes, which will be employed as main clues to set up his phonological system. Guo Pu(AD 276―324) has left a massive number of sound glosses to some exegetic and literary works, and a handful of rimes in his extant verses. His glosses include the fanqie spellings [反切法] and the direct phonetic notaions[直音法] which, along with his rimes, are claimed to signal a certain phonology of Jin Dynasty[晉代], halfway between Old Chinese[OC] and Middle Chinese[MC]. For our discussion, we take up Zheng-Zhang's OC and MC systems as reference with minor modification to his MC medials.
The conclusions are stated as follows:
MC 1st div. Wu Rime[屋₁韻] stays as it was in OC, while the other rimes from OC Wu Group[屋部] and Jiao Group[覺部] are on the way toward MC. The formation of Duo Rime[鐸韻] and Yao Rime[藥韻], both of which will belong to Dang Rime Group[宕攝] in Late Middle Chinese, has been completed. Mo Rime [陌韻] of Geng Rime Group[梗攝] does not appear to have progressed much out of OC as of the Guo's period. MC Xi Rime[昔韻] has two different OC Duo Group[鐸部] origins, one of which had a long vowel *-aa-, the other of which had a short *-a-. In Guo's phonology, the former is postulated to retain -aa-, while the latter is assumed to be in the transitional phase making its way toward -e- which is believed to be occasioned by the 3rd div. medial. Mai Rime [麥韻] and Xi Rime[錫韻] have retained their vowel as -e- without changing its sound value throughout the periods from OC to MC. It is entirely possible that MC Zhen Rime Group[臻攝] and Shan Rime Group[山攝] have been formed. Xian Rime Group[咸攝] does not seem to have been fully formed, while the formation of Qin Rime Group[侵攝] may have been almost completed in the Guo's system.

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2再論“保障”現代義的來源

저자 : 韓銀實 ( Han¸ Yinshi )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 55-68 (14 pages)

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This article explores the source of the modern meaning of “Bao Zhang” by studying the evolution of its meaning and how it spread among the countries in Chinese character cultural circle. The original meaning of “Bao Zhang” was “a material object that plays a protective role, like a city wall or a bastion”, while its modern meaning is “an abstract thing that plays a protective role”. So the meaning of “Bao Zhang” evolved from “a concrete one” into “an abstract one”. The evolution happened because characteristics of the nouns that accompanied by “Bao Zhang” had changed from “concrete” into “abstract”. However, when “Bao Zhang” was used as a verb, its meaning didn't change throughout the years. But its object changed from “a real person or thing” into “an abstract thing”. The evolution of the meaning of “Bao Zhang” is a process of meaning expansion. During this process, what appear was just an additional meaning of “Bao Zhang”, not a new word, which shows a clear difference from the formation of a typical “original loan word”.

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3중국어 [주어+有+NP+VP]구문과 '有'의 기능 분석

저자 : 李슬기 ( Lee¸ Seulki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 69-87 (19 pages)

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Until now, most Chinese scholars regard the [subject + 有+ NP + VP] construction as a derivative form of an ontological sentence and regard 'VP' as a subsequent component of the ontological sentence, and mainly focus on the properties of the subsequent component and the correlation between the ontological and the subsequent component. research has been predominant. This paper examines the point that [subject + 有+ NP + VP], which is a representative form of derivation of the existential syntax in Chinese, represents both 'existence' and 'possession', and that this syntactic form, which has been classified as a subtype of a conjunctive sentence, has various semantic relationships. It started by raising doubts about having in this paper, from a diachronic perspective, we examine what kind of organic relationship between the Chinese [subject + 有+ NP + VP] syntax and the function of 'you(有)' and what kind of transition process they have undergone, and based on the theory of cross-linguistic analysis from a synchronic perspective. As a result, the function of the character 'you(有)' in Modern Chinese and the syntactic, semantic, and pragmatic characteristics of the [subject + 有+ NP + VP] syntax were newly analyzed.

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4现代汉语类后缀'狂'的分析

저자 : 黄春燕 ( Huang¸ Chunyan ) , 韩容洙 ( Han¸ Yongsu )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 89-106 (18 pages)

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While language reflects the development of modern society, these changes also affect language to a certain extent. With the increase of changes, more and more modern Chinese new words follow suit. 'The quasi-affix' are one of the important ways to derive new words. In modern Chinese vocabulary, these words are used more frequently in everyday life or in various media, news and newspapers.
The research on 'the quasi-affix' began in the 1940s and was first paid attention to them by 吕叔湘. Combining the various statements, we summarize the characteristics of affixes of the same kind into three points: varying degrees of falsification in meaning; the productivity is high; and the position is fixed. 'The quasi-affix' appearing in front of the component components are 'the quasi-prefix', and those appearing after the component components are 'the quasi-suffix'. After '狂' being affixed, appears after the constituent components, so it is called the quasi-suffix '狂'.
For the quasi-suffix '狂', we must first understand the path of its affixation. Next, we need to understand the related structure of the quasi-suffix '狂', including the number of syllables and parts of speech of its constituent components, and the structure. Finally, we must understand the emotional color of the quasi-suffix '狂'. The meaning of a word will reflect the subject's emotion or attitude towards the objective object, and the newly created word the quasi-suffix '狂' family words will also reflect the subject's emotion or attitude towards this objective object.
A detailed understanding of the quasi-suffix '狂' can provide teachers with some teaching basis when teaching, and can also provide some reference rules for foreigners learning Chinese.

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5汉语法律语体省略考察 ― 以≪中华人民共和国宪法≫为例

저자 : 尹若男 ( Yin¸ Ruonan ) , 金美锦 ( Kim¸ Migeum ) , 殷树林 ( Yin¸ Shulin )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 107-125 (19 pages)

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In Constitution of the People's Republic of China, the omitted component is mainly the subject, and the syntactic function of the omitted component and the recall component are often the same. The positions of the omitted component and the recall component in the sentence are mainly symmetrical and head-tail, and the form is unified. The clauses where the omitted component and the recall component mainly have no interval, and the interval is small. There are more anaphoric ellipsis, less encyclopedia knowledge ellipsis, and no cataphoric ellipsis; more clausal ellipsis, less subordinate clausal ellipsis and simple clausal ellipsis. Accessibility and hierarchy are important factors that affect the ellipsis of Chinese legal register. The syntactic functions of the omitted component and the recall component are different in accessibility, the interval and topicality also affect it. The hierarchy mainly reflects in coordinative relation, subordinative relation and structural parallelism between clauses. The omission and recall of low-accessibility components, as well as the low-frequency forms of cross-sentence ellipsis and cross-paragraph ellipsis, tend to shorter interval, recall components are all with high topicality and can often be explained in hierarchy.

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6외발 소수자 '兀者'의 함의 고찰 ― <양생주>와 <덕충부>를 중심으로

저자 : 高志英 ( Ko¸ Jiyoung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 127-150 (24 pages)

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There are many disabled people in Zhuangzi. Among them, Youshi of Yangshengzhu, Wang Tai of Dechongfu, Shen Tujia and Shushan The Toeless are an acquired disabled people. Youshi was expressed as one foot and the other three people was expressed as Wuzhe(兀者). In Shuowen, the word Wu (兀) means “high and flat above”. However, Kangxi dictionary added the meaning “cutting feet”. However, in the original sense of Wu(兀), Wuzhe(兀者) was not just a punished person, but also highly educated, could have been the one who received the “Criminal Punishment Of Cutting Off The Feet”.
Those who have been punished and cut their foot are likely to have been involved in matters of national interest. It also shows that, in reverse terms, they were in positions that could affect national interests. It is not clear why the people in Zhuangzi were cut their foot, but Zhuang Zi's descriptions suggest that they were in some position and were well-educated. Therefore, the three Wuzhe(兀者) characters in Dechongfu should not be regarded as “the person with their feet cut off”, but rather as a double meaning, adding to the meaning of “Proud Loneliness”. Just like “Sun Bin(孫臏)”.
Zhuang Zi showed “life(生)” through Youshi, and “virtue(德)” through Wuzhe (兀者). This can be said to be not only a role model for the disabled to grow and nurture their remaining lives, but also a token or an example if they are full of their inner virtues.

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7석개(石介)의 서문(序文) 연구(硏究)

저자 : 李承信 ( Lee¸ Seungshin )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 151-172 (22 pages)

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Xuwen(序文) is consisted of various sanctions and composition. It clarifies the thesis and appeals to emotions through expression techniques such as contrast and gradation and so on. In the Xuwen(序文), Shijie(石介) emphasizes trust in historical facts and values his own perspective on literature, Confucian ideas, literary theories, and values. It secures persuasive power by simply and coherently speaking in accordance with the prose style of Zengxu(贈序) and Shuxu(書序), while showing off its writing ability through a mixture of opinions and writings, or rich emotions, or through cool-headed rationality. In addition, the accent and admiration are at their peak, while the sentences are consistent from beginning to end with one thesis through proper admiration and reflection, maximizing the literary effect. His Xuwen(序文) gains credibility based on historical truth, chooses to persuade him by appealing to emotions, or maintains objectivity in a consistent tone. In addition, he explicitly and clearly expresses his view of history, Jingxueguan(經學觀), literary theory, and political ideas through the introduction of a simple sentence. All of these are his thoroughly prepared valuable values and positive contributions to Guwen(古文) movement. Therefore, a re-evaluation of Shijie(石介)'s Xuwen(序文) should be carried out, and other prose styles should be continuously studied. This continuous study is expected to help understand the transitional phenomenon of early Song dynasty Guwen(古文) movement and to study the basis of the sentences of the breeder, including Ouyangxiu(歐陽修). In fact, Xuwen(序文) can be evaluated very positively in terms of composition, relief, plain language, and effective investigative techniques. Thus, there is room for reconsideration of a series of negative assessments of his prose being bizarre, obfuscated and unusual. In addition, it was considered to be a great sentence that is consistent with clarity of the thesis, effective composition and technique, compared to Ouyangxiu(歐陽修)'s Xuwen(序文), which has taken a step further in various sanctions, themes, and expression techniques. Xuwen(序文) by Shijie(石介) should be re-examined in the history of Chinese traiditional prose, and his influence on the Guwen(古文) movement should never be overlooked.

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8王夫之的六朝文學觀

저자 : 徐寶余 ( Xu¸ Baoyu )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 173-196 (24 pages)

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Wang Fuzhi's(王夫之) comments on the literature of the Six Dynasties have extremely important value in the history of poetry. Before Wang Fuzhi, no scholar had fully affirmed and praised the literature of the Six Dynasties like him. This is mainly because his conclusion was based on the selection of poetry in the past. This is different from the generalization of those general commentators. Wang Fuzhi's affirmation of Six Dynasties literature is mainly reflected in six aspects. First, he refuted the theory of “rise from decline”(起衰論). In his opinion, the Song's theory of “rise from decline”(起衰論) was wrong. Compared with the Tang Dynasty, the literature of the Six Dynasties was not a decline. The poetry of the Six Dynasties inherited the Zhou-Han(周漢) and opened the Tang Dynasty. The Six Dynasties should not be regarded as a decline. Second, the poems of the Six Dynasties preceded the poems of the Tang Dynasty. The most mature modern-style poems in the Tang Dynasty originated in the Six Dynasties; Tang poetry often drew nourishment from the Six Dynasties poems, and most of fine verses came from the Six Dynasties. In terms of subject matter, technique, structure, rhyme, and words, they were all influenced by the Six Dynasties literature. Fourth, there are differences in the literature of the Six Dynasties. Wang Fuzhi divided it into three stages: Jin-Song(晉宋), Qi-Liang(齊梁), and Chen-Sui(陳隋). In general, it was the highest in the Jin-Song dynasties. However, even so, he did not deny Qi-Liang or Chen-Sui completely. Fifth, Wang Fuzhi also had a unique understanding of the poetic styles of the Six Dynasties. For example, he respected the Five-character poem of Jin-Song Dynasties, and believed that the Four-character poem of Shen Yue(沈約) were the best, and Xiao Yi(蕭繹) Seven-character quatrain was the vowel of the past dynasties. Sixth, it has pioneering and exemplary significance in the discussion of situational affair. The aspects of sentiment and scenery, matter and emotion, reason and poetry fully embodied his dialectical concept, which neither negated the scenery, matter, and reason in poetry, but also took care of emotion and essence.

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9보여주고 들려주는 붓다 고사 ― 돈황본 <八相變>의 공연 방식과 필사본 제작

저자 : 鄭廣薰 ( Jung¸ Kwanghun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 197-225 (29 pages)

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Baxiang bian 八相變is a Dunhuang bianwen 敦煌變文based on the Baxiang story of Buddha. A Baxiang story consists of eight stages, from the Buddha's birth to his death. Since the 'xiang' 相of 'Baxiang' can be said to be a kind of scene, it is closely related to Buddhist paintings, similar to the 'xiang' in 'bianxiang' 變相. The relevance of this term to painting is one of the characteristics of the typical Dunhuang bianwen works, so this paper will analyze the characteristics of Baxiang bian from the perspective of pictorial storytelling.
One of the important elements in the pictorial storytelling of bianwen is the use of a verse-introductory formula. This formula is a unique phrase used when showing a picture to the audience at the beginning of verses. There are two types of verse-introductory formulas in bianwen: '~處, 若爲陳說' and '當爾之時, 道何言語?', and Baxiang bian uses the latter. Keeping the assumption that the form of the performance of bianwen may vary depending on the verse-introductory formula, this paper suggests that the storytelling of Baxiang bian did not use a picture scroll but rather used a mural scene or a large bianxiang containing several scenes
Bianwen storytelling was a multimedia performance that included stories, songs, and pictures, and it was very popular at the time. People desire stable possession of popular stories, which leads to the production of works for reading. Since Baxiang bian was also a popular story performance, in this paper, the manuscript of Baxiang bian is considered to be an early form of written work, reflecting its popularity.

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10명대(明代) 일용유서(日用類書)를 통해 본 사민(士民) 여성의 일상과 교육

저자 : 金芝鮮 ( Kim¸ Jiseon )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 107권 0호 발행 연도 : 2021 페이지 : pp. 227-253 (27 pages)

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This paper is intended to analyze the daily lives and educational situations of various women in the Ming Dynasty through Encyclopedias for Daily Use. Encyclopedias for Daily Use have explanations of food, clothing, and very trivial things. The content of Encyclopedias for Daily Use is so popular that it has a device that even people who don't know the letters can read it. It is poetry and illustration. Poetry is short and can be memorized quickly if you follow the rhythm, and Illustrations have an educational effect that allows you to know the content just by looking at the picture.
Inside Encyclopedias for Daily Use, there are poems and illustrations, which allow female readers to understand life-related knowledge. By analyzing how Encyclopedias for Daily Use deliver food, pregnancy, childbirth, and childcare to female readers, one can understand the daily lives and cultures of various female readers in the Ming Dynasty.

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