논문 상세보기

중국어문연구회> 중국어문논총> 再論“保障”現代義的來源

KCI등재

再論“保障”現代義的來源

Re-discussion on the Source of Modern Meaning of “Bao Zhang”

韓銀實 ( Han¸ Yinshi )
  • : 중국어문연구회
  • : 중국어문논총 107권0호
  • : 연속간행물
  • : 2021년 10월
  • : 55-68(14pages)
중국어문논총

DOI


목차

1. 引 言
2. “保障”的詞義分析
3. “保障”的傳播與共享
4. “保障”現代義的來源
5. 結 論

키워드 보기


초록 보기

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”.

UCI(KEPA)

I410-ECN-0102-2022-700-000912933

간행물정보

  • : 어문학분야  > 중어중문학
  • : KCI등재
  • :
  • : 계간
  • : 1226-4555
  • : 2765-4060
  • : 학술지
  • : 연속간행물
  • : 1988-2022
  • : 1737


저작권 안내

한국학술정보㈜의 모든 학술 자료는 각 학회 및 기관과 저작권 계약을 통해 제공하고 있습니다.

이에 본 자료를 상업적 이용, 무단 배포 등 불법적으로 이용할 시에는 저작권법 및 관계법령에 따른 책임을 질 수 있습니다.

111권0호(2022년 10월) 수록논문
최근 권호 논문
| | | |

KCI등재

1중국어 음역어의 생성과 소멸에 대한 소고 ― 음운 적응과 의미 합성 분석을 중심으로

저자 : 金兌垠 ( Kim Taeeun )

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

다운로드

(기관인증 필요)

초록보기

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

2음운보편성의 관점에서 본 ≪切韻≫ 모음체계

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)

다운로드

(기관인증 필요)

초록보기

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

3중국어 '比'자문 정도부사 '更'과 '還'의 의미·기능 비교

저자 : 李슬기 ( Lee Seulki )

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

다운로드

(기관인증 필요)

초록보기

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

4'V+개사+X' 구조 연구

저자 : 崔信惠 ( Choi Shinhye )

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

다운로드

(기관인증 필요)

초록보기

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

5语言类型学视角下的“Num+次”错序偏误考察 ― 以韩语母语者为中心

저자 : 王帅 ( Wang Shuai )

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

다운로드

(기관인증 필요)

초록보기

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

6元代鬼神劇에 내재된 공포의 실체 ― 元雜劇≪生金閣≫을 대상으로

저자 : 李知恩 ( Yi Jieun )

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

다운로드

(기관인증 필요)

초록보기

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

7중국 전통시기 笑話의 희극적 상상력과 심미의식 고찰 ― ≪笑林≫, ≪啓顔錄≫, ≪笑府≫, ≪笑林廣記≫를 위주로

저자 : 楊善惠 ( Yang Seonhye )

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

다운로드

(기관인증 필요)

초록보기

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

8≪紅樓夢≫ 속 여성 인물의 몸 형상화 방식 연구

저자 : 盧仙娥 ( No Suna )

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

다운로드

(기관인증 필요)

초록보기

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

9서술 시점의 리듬 조절에 의해 설정된 你道와 그 의미 ― 說唱本石派書 ≪龍圖公案≫과 ≪三侠五义≫와의 비교를 중심으로

저자 : 朴炫坤 ( Park Hyoungon )

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

다운로드

(기관인증 필요)

초록보기

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

1019세기 조선 문인의 중국소설 독서와 비평 ― 洪奭周 一家와 李圭景을 중심으로

저자 : 權夽映 ( Kwon Eunyoung )

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

다운로드

(기관인증 필요)

초록보기

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.

123
권호별 보기
같은 권호 다른 논문
| | | | 다운로드

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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”.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

KCI등재

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)

다운로드

(기관인증 필요)

초록보기

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.

12
주제별 간행물
간행물명 최신권호

KCI등재

중국어문논총
111권 0호

KCI등재

중국언어연구
102권 0호

KCI등재

중국어문학지
80권 0호

KCI등재

중국학보
101권 0호

KCI등재

중국문학
112권 0호

KCI등재

중국문학연구
88권 0호

KCI등재

중국현대문학
102권 0호

KCI등재

중국어문학
90권 0호

KCI등재

중국언어연구
101권 0호

KCI등재

중국어문논총
110권 0호

KCI등재

중국산문연구집간
12권 0호

KCI등재

중국언어연구
100권 0호

KCI등재

중국어문학지
79권 0호

KCI등재

중국문학
111권 0호

KCI등재

중국문학연구
87권 0호

KCI등재

중국언어연구
99권 0호

KCI등재

중국현대문학
101권 0호

KCI등재

중국어문학
89권 0호

KCI등재

중국어문논총
109권 0호

KCI등재

중국현대문학
39권 0호
발행기관 최신논문
자료제공: 네이버학술정보
발행기관 최신논문
자료제공: 네이버학술정보

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기