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중국어문연구회> 중국어문논총> 미래를 나타내는 조동사 ‘회(會)’와 ‘요(要)’의 비교 연구

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미래를 나타내는 조동사 ‘회(會)’와 ‘요(要)’의 비교 연구

A Comparative Study of Auxiliary Verbs ‘HUI’(会) and ‘YAO’(要) Representing Future

李恩洙 ( Lee Eunsoo )
  • : 중국어문연구회
  • : 중국어문논총 109권0호
  • : 연속간행물
  • : 2022년 04월
  • : 39-62(24pages)
중국어문논총

DOI


목차

1. 서 론
2. ‘會’와 ‘要’의 미래 의미
3. 미래 표지 ‘會’와 ‘要’가 보이는 몇 가지 차이
4. 결 론

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초록 보기

The auxiliary verbs ‘HUI’(會) and ‘YAO’(要) play a key role in representing future in Chinese. However, when these two auxiliary verbs represent future, in some cases they are replaceable and in others they are irreplaceable.
We believe that these phenomena are due to the basic difference in meaning between the two auxiliary verbs. ‘HUI’(會) represents only the prediction of future ‘after reference time’. On the other hand, ‘YAO’(要) may represent the state of ‘volition’ or the ‘situation being imminent’ state in ‘reference time’ in addition to the future meaning ‘after reference time’. Therefore, ‘~SHI’(時) representing a specific time point can only be used with ‘YAO’(要), which can represent the situation in ‘reference time’. In addition, adverbs indicating that a certain state have already begun or persist in ‘reference time’ such as ‘GANG’ (剛) and ‘ZHENG’(正) can only be used with ‘YAO’(要), which can represent the situation in ‘reference time’. In addition, ‘YAO’(要) represents the state of ‘volition’ or the ‘situation being imminent’ state in ‘reference time’, therefore, the predicates that follows ‘YAO’(要) are limited to those with dynamic meaning.
On the other hand, ‘HUI’(會) represents only the situation ‘after reference time’, but cannot represent the situation in ‘reference time’. Therefore, it cannot be used with ‘SHI’(時) to indicate a specific time point, and it cannot be used with ‘GANG’(剛) or ‘ZHENG’(正) to indicate a situation that has already begun or persist in reference time. In addition, since ‘HUI’(會) represents only the situation ‘after reference time’, the predicates used with ‘HUI’(會) are not limited to those with dynamic meaning.

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간행물정보

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


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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.

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2현대중국어 후행결속 현상 분석

저자 : 金慧京 ( Kim Hyekyung )

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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.

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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.

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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.

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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 )

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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”.

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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.

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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.

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

저자 : 鄭聖恩 ( Jung Sungeun )

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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.

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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 )

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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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Cognates in two languages or in any single language are words which are both semantically and phonologically connected among themselves. There should be phonological alternations in regard to relations among them. Wang Li, in his work Dictionary of Cognate Words [≪同源字典≫], has categorised the alternations of initial consonants of various cognate sets, as well as of finals, into several types. This study pays special attention to his methodology of classifying the shift types of zhang series initials which alternate with themselves or with other initials as there is room for rectification about his phonology of this series. He reconstructed this series as palatal affricates/ fricatives, and consequently subdivided the concept of “alliteration [雙聲]”, the traditional shift type of initial consonants, into 5 types, i.e., (quasi-) alliteration, (quasi-) side button [(準)旁紐], adjacent button [鄰紐]. But some influential scholars working on Old Chinese phonology found that phonology of this series should be simply revised to alveolar stops or sonorants which accompanied the 3rd grade medial j, and their systems are claimed to be more persuasive than the Wang Li's. We take up Zheng-Zhang's Old Chinese phonology as our departing point of discussion. Under this postulation, quasi-alliteration and quasi-side button among cognate words should be integrated into alliteration and/or side button in terms of relation between zhang series and duan series [端組]. The alternations among yi initial [以母], chuan initial [船母] and shu initial [書母] should be revised to alliteration as all of them shared the identical segment *l in Old Chinese. We have reached conclusions that quasi-alliteration and quasi-side button types should be removed, and that the scope of adjacent button should be sharply narrowed in accordance with the revision of the zhang series in Wang Li's Old Chinese phonology.

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2미래를 나타내는 조동사 '회(會)'와 '요(要)'의 비교 연구

저자 : 李恩洙 ( Lee Eunsoo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 39-62 (24 pages)

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The auxiliary verbs 'HUI'(會) and 'YAO'(要) play a key role in representing future in Chinese. However, when these two auxiliary verbs represent future, in some cases they are replaceable and in others they are irreplaceable.
We believe that these phenomena are due to the basic difference in meaning between the two auxiliary verbs. 'HUI'(會) represents only the prediction of future 'after reference time'. On the other hand, 'YAO'(要) may represent the state of 'volition' or the 'situation being imminent' state in 'reference time' in addition to the future meaning 'after reference time'. Therefore, '~SHI'(時) representing a specific time point can only be used with 'YAO'(要), which can represent the situation in 'reference time'. In addition, adverbs indicating that a certain state have already begun or persist in 'reference time' such as 'GANG' (剛) and 'ZHENG'(正) can only be used with 'YAO'(要), which can represent the situation in 'reference time'. In addition, 'YAO'(要) represents the state of 'volition' or the 'situation being imminent' state in 'reference time', therefore, the predicates that follows 'YAO'(要) are limited to those with dynamic meaning.
On the other hand, 'HUI'(會) represents only the situation 'after reference time', but cannot represent the situation in 'reference time'. Therefore, it cannot be used with 'SHI'(時) to indicate a specific time point, and it cannot be used with 'GANG'(剛) or 'ZHENG'(正) to indicate a situation that has already begun or persist in reference time. In addition, since 'HUI'(會) represents only the situation 'after reference time', the predicates used with 'HUI'(會) are not limited to those with dynamic meaning.

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3≪勸善金科≫ ― 중화와 내륙 아시아 불교문화의 조화

저자 : 申智瑛 ( Shin Jeeyoung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 63-89 (27 pages)

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Operas in China have not been just a simple cultural entertainment but a factor deeply involved in shaping the structure of Chinese mentality and consciousness as well as spreading the notion of Zhonghua. The Qing Dynasty engaged in a variety of cultural projects statewide to secure the stability of its multiethnic society. Publishing play scripts and sponsoring staged plays were one of its key theater activities. Palace operas of the Qing Dynasty went beyond just being an entertainment but a part of the court protocol, a state-governed culture and more than just performing arts on stage. The “Short Opera” was a performing art for formality that aimed at affirming inner solidarity while the “Grand Opera” served more to strengthen relations with neighboring states and reinforcing grip and control. This thesis studies on Quanshanjinke, one of the long palace operas that represent the highlight of the court culture, focusing on how it was received and spread socially and figure out what influence those operas had on the royal culture and subsequently draw their common cultural features and characteristics. Chinese operas - a key part of Chinese culture that had taken roots in places all over the world - have played a crucial role in forming consciousness in Chinese people regardless of their social class or status. Therefore, it is a meaningful work in terms of cultural history to find out in detail the content and roles of the court operas that were pursued as state projects. The era of the Qing Dynasty has often been referred to together as the Ming-Qing Dynasties which may have diluted its own unique features. But since the 21st century, the perspective focusing on the Great Qing Empire is gaining traction instead of the aggressive efforts for Huaxia conventionally thought as the empire's success factor. To better understand the Quanshanjinke, we need to look into the historical backdrop in the early Qing days when the continued efforts were made to put the inland Asian Buddhism at the center of the world. The Qing Dynasty was still not stable in the Buddhist world during the early days of the Emperor Kangxi. Efforts to invite the Fifth Dalai Lama continued even into the Emperor Shunzhi reign and finally paid off by the Great Fifth's visit to Beijing. Through the visit, the Dynasty could earn the chance to join the inter-Asian network including Mongolia and Tibet. There are relics and artifacts that illustrate the fusion of cultural harmony between Zhonghua and the inland Asia strongly connected around the Tibetan Buddhism. One major example is the Eight Outer Temples in Chengde built during the Kangxi reign to escape the summer heat. That is a case in point where a world order was being established based on both the Tibetan Buddhism and the tradition of the nomad including from Manchuria, Mongolian and Tibet. The grand palace operas must have played a certain role in firming and demonstrating such world order to the outside world. The staging of the Quanshanjinke at Chengde to welcome foreign delegations (and avoid summer heat) may be considered a proactive ruling measure to promote Buddhism. Unlike other preceding Xiwens, the court opera covers the story of the revolt of the military governor (Fanzhen) and how it was contained. Its staging seems related to the fact that the Emperor Kangxi contained the Revolt of the Three Feudatories and set up a powerful central government at that time. It can also be seen as embracing the narrative of loyalty and filial piety to clearly show that he is the legitimate Confucian successor of Zhonghua. As a result, the Quanshanjinke became the opera that both covers the Buddhist narrative from the Mulian Saves Mother and the narrative of loyalty and filial piety to confirm the legitimacy as Confucian successor of Zhonghua.

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4中韩古典长篇家门小说对比研究 ― 以≪雪月梅≫和≪玉树记≫为中心

저자 : 赵治成 ( Zhao Zhicheng )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 91-116 (26 pages)

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Chen Lang's Xueyuemei and Sim Nung-Sook's Oksugi are family novels that appeared in the late feudal society of China and South Korea. This article examines the background, creative mode and writer consciousness of the two works.
In the part of written background, Xueyuemei and Oksugi embodies the development characteristics of family novels in the later feudal societies of China and South Korea. On the basis of genius and beauty novels, Chen Lang broke through its creative mode of simply depicting love between men and women. By adding other elements such as wars and heroes, he realized the innovation of creative mode, and at the same time achieved the purpose of showing his personal talents and ideals. Under the atmosphere of improved acceptance of novels in the late Joseon dynasty, Sim Nung-Sook also used the method of combining original works, depicting the love between men and women and the story of meritorious deeds in the works, and at the same time made personal desires replaced and satisfied.
In the part of creative mode, both Xueyuemei and Oksugi completed the creation of works through the structure of “family debut, family unity and joint contribution”. The difference is that Oksugi adds the marriage between the Wang family and the Ren family, the connection between Jia Youxian and Lvye, and the conflicts between the wives and concubines caused by Mrs. Sheng in the last part of the work. In the content part, the two works are based on a large number of original novels, through combination, transformation and other methods to complete the creation of the “love + hero” model. It's just that unlike Xueyuemei which all borrowed from Chinese works, Oksugi used Chinese and Korean classical novels while shaping the image of love and heroes, and finally made the works show a more complex fusion characteristic.
In the part of writer's consciousness, both Chen Lang and Sim Nung-Sook achieved the purpose of showing their talents and the substitute and satisfaction of life's desires through the creation of novels. At the same time, Chen Lang, as a figure who has not obtained a formal official position, expressed the hope that the country should select talents based on talent rather than a single imperial examination by depicting the process of protagonists of various identities making contributions through recommendation and other methods. As a descendant of scholar-officials, Sim Nung-Sook projected his own family into the works, and realized his desire for life through the process of marriage between various scholar-officials, fighting against enemies together, and sharing prosperity and wealth.

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5전후 타이완에서 자유의 의미 ― 천잉전의 <탕첸의 희극>을 중심으로

저자 : 李賢馥 ( Lee Hyunbok )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 117-150 (34 pages)

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After the war, Taiwan opened up a space to construct its own modernity, including discussions on freedom. Chen Yingzhen(陳映真) showed that not only the incompetent and ideological freedom of Mainlander(外省人) liberals but also the American-style freedom that failed to overcome problems under material development and fell into decadence could not solve the problems which Taiwan faced at the time. On the other hand, he suggested building the subject who awakened national consciousness and tried to realize the ideal of historical development as the solution of problems.
In postwar era, Mainlander Taiwanese liberals' claim of individual freedom showed incompetence in historical reality, but it brought back individual independence and freedom, which had been erased by grand narrative, to the modern stage. But they were still elitist and isolated themselves from their mental wounds in the mainland China. But American-style freedom also couldn't be a solution because of decadence and corruption of its subjects. Furthermore, China and the Chinese could be second-class citizens in the world built by the United States and finally be vanished. He also criticized lack of idealism in Taiwan at that time. In this situation Chen Yingzhen thought the people needed indentify themselves as Chinese, that is, awaken national consciousness of Chinese, and set an ideal for a nation to advance and strive for it. Overcoming the national crisis that still existed in the Cold War world by setting and pursuing ideals, it was the point for him to meet the Mainland China

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6黃庭堅 交遊詩 譯解(1)

저자 : 朴玟貞 ( Park Minjung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 151-171 (21 pages)

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Huang Tingjian's poetry is difficult to read because of tits academic tradition, exercise poetic language&verse, and the characteristics of using a lot of literary quotation. Therefore, even though numerous studies have been conducted on Huang Tingjian's poem at home and abroad, the complete translation of Huang Tingjian's poems has not been published so far. There is no doubt that in order to consider the characteristics, a close analysis of Huang Tingjian, the completion of the formation in the characteristics of Song Dynasty, is necessary to convert to 'Songshi' at that time, understand Song Dynasty scholar-officials and the characteristics of Songshi itself. In addition, 'Jiangxi Poetry School', which focuses on Huang Tingjian, has been of constant interest in the literary world of the Chosun Dynasty. Under the influence of the 'Jiangxi Poetry School', numerous outstanding poets were produced.
Considering these values and needs, complete translation of Huang Tingjian is underway, among them, I tried to present detailed translation and annotation of five poems―Two form of pre-Tang Poems to Sushi (古詩二首上蘇子瞻), Recall Tao Yuanming during stay in Old Pengze (宿舊彭澤懷陶令), Harmony to Li Chang Uncle in use the rhyme sequence of a poem(次韻公擇舅), In autumn, think comes to mind, give it to Suzhe (秋思寄子由), Respond to my father-in-law, Sun Xinlao (和答外舅孫莘老) sent to major figures who influenced his life, political position, poetics, and the formation of poetry. It is hoped that continuous reverse work on Huang Tingjian's poems can be the cornerstone of research in related fields.

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7조선 고종 <북묘묘정비(北廟廟庭碑)> 주석과 번역(3)

저자 : 洪潤基 ( Hong Younki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 173-193 (21 pages)

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The Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) is the one that recorded the purpose and process of building the Northern Shrine (北廟). It was written and built in 1887 by King Gojong (高宗), the 26th king of the Joseon (朝鮮) Dynasty.
The significance of this paper is as follows. First, for the first time, annotation was added to the Northern Shrine Memorial Stone for GuanYu and this paper is the first complete translation. Second, through the translation of this paper, it was found that King Gojong believed that the spirit of GuanYu helped him and his wife, Minbi (閔妃) to revive when the Imo Military Revolution (壬午軍亂) (in 1882) and the Gapsin Coup (甲申政變) (in 1884) broke out. Third, through the translation of this paper, it can be seen that King Gojong's cultural perception of GuanYu is not based on History of the Three Kingdoms (三國志) but mainly based on the fictional story created by Mao Zong-gang (毛宗崗)'s novel Romance of the Three Kingdoms (三國演義).
The contents of the part translated in this paper are as follows. First, when GuanYu (關羽) was alive, he made achievements in drowning seven legions of CaoCao (曹操) and defeating them. Second, it is the will of heaven that a Northern Shrine in honor of GuanYu was built under a rock wall engraved with the word “The spirit of Zengzi (曾子) and Zhuzi (朱子) stands tall like a wall (曾朱壁立)”. Third, King Gojong built the Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) to commemorate the spirit of GuanYu appearing during the Imo Military Revolution (壬午軍亂) and the Gapsin Coup (甲申政變) and helping him and his wife, Minbi (閔妃). Fourth, this inscription was written in 1887 by Min Young-hwan (閔泳煥) under King Gojong's order.
This paper is a follow-up to the Annotation and translation of Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) written by Joseon (朝鮮) Dynasty's King Gojong (高宗) No2, published in the Volume 106 of the Journal of Chinese Language and Literature in August 2021.

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