간행물

중국문학 update

CHINESE LITERATURE

  • : 한국중국어문학회
  • : 어문학분야  >  중어중문학
  • : KCI등재
  • :
  • : 연속간행물
  • : 계간
  • : 1226-2943
  • :
  • :

수록정보
수록범위 : 1권0호(1973)~96권0호(2018) |수록논문 수 : 1,321
중국문학
96권0호(2018년 08월) 수록논문
최근 권호 논문
| | | |

KCI등재

1중국(中國) 역대(歷代) 도망시가(悼亡詩歌)의 사회문화적(社會文化的) 배경과 문학예술적(文學藝術的) 특징 연구

저자 : 주기평 ( Ju Gi-pyeong )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 1-18 (18 pages)

다운로드

(기관인증 필요)

초록보기

悼亡詩是個用詩歌形式來悼念先亡夫妻的一種文學藝術樣式。中國悼亡詩有很悠久的來源, 先秦以前在 《詩經》中已經出現了悼念死亡的詩歌, 其悼念的對象各不同。但在漢代以前的詩歌中, 除了漢武帝的 《秋風辭》、《李夫人歌》、《落葉哀蝉曲》以外、難以找到類似悼亡詩的詩, 眞正的悼亡詩可以說到西晋孫楚 《除婦服詩》、番岳 《悼亡詩》3首以后才開始。魏晋南北朝悼亡詩形式和敍述方式上的主要特點是, 一, 寫出寂寞荒凉的居處和墓地。二, 寫出亡者的遺物。三, 組詩的趨勢。這樣敍述方式表明魏晋南北朝悼亡詩的對於漢代的繼承。 唐宋悼亡詩只不繼承前代的典型, 而再加上自己時代的固有特色。一, 贊美亡妻的美貌和品德。二, 寫留下的子女。三, 寫夢境的方式。 明淸時期悼亡詩在詩人和作品數量方面有了起飛的發展, 繼承了以前時期悼亡詩的典型, 只止於沿襲魏晋南北朝和唐宋時期傳統, 在風格和敍述方式上沒做出自己時代的固有特色。這成爲明淸悼亡詩墮落了缺少眞情的例行性悼念詩的主要原因。明淸時期悼亡詩的主要特點是, 一, 典型性和例行性的强化。二, 沒有寫子女。三, 女性悼亡詩人的增加和悼亡詩范圍的擴大。

KCI등재

2사마천이 남긴 이릉에 관한 기억

저자 : 양중석 ( Yang Joongseuk )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 19-34 (16 pages)

다운로드

(기관인증 필요)

초록보기

李陵之禍是司馬遷一生中影響最大的事件。司馬遷在李將軍列傳里詳細地記述李廣的行迹。不過沒有寫好他對李陵的看法。司馬遷不能直接提到自己的意見, 因爲當時這不是容易提出的話題。盡管如此, 司馬遷對李陵幷沒有完全沈默。在這項硏究中對司馬遷所重視的記錄和記憶的關系進行硏究。硏究過程中, 我們可以發現司馬遷的敍述技巧, 以歷史的手段來發表自己的意見。

KCI등재

3소식(蘇軾) 시(詩)의 해학(諧謔)과 웃음

저자 : 강민호 ( Kang Minho )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 35-60 (26 pages)

다운로드

(기관인증 필요)

초록보기

Poetry and humor are fundamentally relevant. However, the pursuit of humor can undermine the quality of poetry. Su Shi(蘇軾) naturally used high-quality humor with truth and philosophy based on abundant learning and sense of humor. So, it kept up with the unconstrained and harmonious aspect of his poetry. Through this, the poetry of his own unique style was formed by cleverly mixing humor and dignity that are not easy to coexist with. Su Shi created many poems with humor in various situations. He wrote a lot of Xiti(戱題) poems and wrote poems by reacting humorously to the names of various buildings and objects. He added humor to poems with political criticism to enhance the effect of satire. When he communicated with others, humorous poems broke down the walls of each other and made them easy friendly. He got the power to stand up again by restoring laughter through humorous poems when he fell into a disappointment. One important reason why he was able to get broad love from the masses and accept all kinds of difficult situations he encountered, was not to lose laughter through his rich humor. That aspect is well expressed in his poetry.

KCI등재

4이청조(李淸照) 관련 논사절구(論詞絶句)의 기술관점(記述觀點) 연구

저자 : 김지현 ( Kim Jihyun )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 61-85 (25 pages)

다운로드

(기관인증 필요)

초록보기

本論文以歷代論詞絶句中有關李淸照的作品爲硏究材料, 考究古代文人如何看待及認知李淸照, 經分析得出如下三個個觀點。 第一, 對其稱頌。在詞、詞學理論、詩、賦、字體等各領域內, 對李淸照的文學才華和貢獻的贊頌屢見不鮮。皆是從對 “文人李淸照”的好感和認可中而來。第二, 對其憐憫。李淸照在富裕環境下度過安穩的中靑年時期, 經歷戰亂後, 晩年孤苦, 此後所寫之詞多爲悲嘆身世。文人們感同身受, 因而寫下帶有憐憫之情的論詞絶句。第三, 聚焦其女性身分。此類論詞絶句, 不僅道出李淸照是多才多藝的才女, 亦反映她與大部分普通女性相同, 其人生深受其丈夫的影響。旣認爲女性身分必然是她的束縛, 同時評價 “身爲女子”的她才華出衆。 論詞絶句中生動反應了古代文人對李淸照的認知。常見各朝代以李淸照類比如李白、司馬相如、蘇軾等中國古代文豪的句子。在各個詞派內, 對李淸照的贊頌或憐憫的描述比比皆是。由此可見, 近代以前, 李淸照在文學的高尙地位已然確立。

KCI등재

5試論李淸照 〈如夢令〉之 “爭渡”

저자 : 류진 ( Liu Zhen )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 87-105 (19 pages)

다운로드

(기관인증 필요)

초록보기

The character 'Zheng爭'(competing) in 'Zhengdu爭渡'(competing for boating), 'Zhengdu' presented in Rumengling如夢令(Song of Dreams) has always been disputed of what the real word is between 'Zheng' and 'Zen怎'(how). First of all, according to the interpretation of the dictionary, and combined with the works of ancient times, it can be seen that 'Zheng' is commonly used as borrowing character 'Zen' in classical poetry. However, the pronunciation of the 'Zheng' on behalf of 'Zen' is not certain. Also Li Qingzhao attaches great importance to the rhetoric of the Ci詞 (Poetry). The writer of this paper believes that 'Zheng' itself is not only matching with rhythm but also the context, which is more persuasive than the viewpoint of borrowing character from 'Zen'. Secondly, from the use cases of the words of Quan Songci全宋詞(Complete collection of Ci Poetry in Song Dynasty), the situation is, when 'Zheng' instead of 'Zen', generally they don't appeared together with the action verbs. However, the 'Du渡'(boating) in 'Zhengdu' is a action verb. At the same time, 'Zhengdu' is a idiom, which has always been used as the meaning of competing for boating. Finally, through analyzing the situation in Li Qingzhao's works, we can see that 'grabing the time' which derived from 'competition' is more in line with the meaning of 'Zheng'. That is, 'Zhengdu' is means 'competing for boating.' Although Li Qingzhao is famous for being a Wanyue(graceful and restrained poetic genre) lyricist, Rumengling is created in her early lifetime, which the main melody is prone to be fresh, grace, happy and smooth. The translation of 'competing for boating' is a true reflection of the write's refreshing early life.

KCI등재

6명대(明代) 시선집(詩選集)을 통해 본 唐詩에 대한 지식의 창출과 수용

저자 : 최석원 ( Choi Seokwon )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 107-125 (19 pages)

다운로드

(기관인증 필요)

초록보기

This paper is intended to identify the process of creationg and forming knowledge, 唐詩 -selections were studied and examined the problems of interpretation and recognition of Ming Dynasty intellectuals. In this article, I summarized the publication status of the Ming Dynasty's 唐 詩selections and reviewed the 唐詩's acceptance and reproduction process through representative 唐 詩selections. Ming Dynasty's 唐詩selections have something in common, such as the system of classification. Despite these common features, it was clear that the criteria for selecting works were different. Based on this research, I tried to establish that Ming Dynasty's 唐詩selections was not just intended for literary assertion.

KCI등재

7청궁(淸宮) 삼층대희대(三層大戱臺)의 함의

저자 : 이창숙 ( Lee Changsook )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 127-144 (18 pages)

다운로드

(기관인증 필요)

초록보기

Five three-tiered stage buildings had been constructed during the Qing Dynasty Palace in China, and two of them remain. A three-tiered stage building has three stages from the first floor to the third floor, and has a few top-down passageways and a mechanism inside which actors and equipments can climb up and down. Also, A few water tanks were installed in the basement to spray water onto the stage. This three-tiered stage building originates from Aoshan(鰲山) that is the immortal space in ancient myth. By setting up stages in the Aoshan, three-tiered stages building equipped with symbolism and performing function. During Kangxi era, a two-story temporary building with two stages appeared on Beijing street, which entered the palaces and evolved into fixed buidling. The major work performed in the three-tiered stage is liantaibenxi(連臺 本戱). Immortals and Buddha, ghosts and people appear on the three-tiered stage. The boundary line between stage and audience disappears, and the gods, Buddha and ghosts of the Holy World appear to serve for the emperor of the Human World on the real ground. The passage between Holy World and Human World is the three-tiered stage. Thus, the three-tiered stage is the center of the total universe. The Manchurian emperor is located at the center as the head of the total universe.

KCI등재

8청대 문인(文人)의 존재 방식과 정체성 ―장학성(章學誠)을 중심으로

저자 : 최형섭 ( Choi Hyoungseob )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 145-175 (31 pages)

다운로드

(기관인증 필요)

초록보기

This study was made with the purpose of reconsidering the way of existence of literati(文人), the meaning of writing, and the relationship between cultural power and political power, focusing on Zhang Xuecheng(章學誠, 1738-1801) in the middle of the Qing dynasty. Here, 'Wenren(文人)' was used as a concept equivalent to 'the literary intelligentsia', in other words, 'literati' of English rather than the concept of 'the literary man'. Firstly, Zhang Xuecheng was the person who had lived 64 years of life from Qianlong(乾隆) 3 to Jiaqing(嘉慶) 6, in particular, one of the representatives of the Chinese literati and scholar in the mid and late 18th century. He was born in a typical Gangnam gentry family from Kuaiji(會稽) in Zhejiang province. During adolescence he was grown and educated in hometown Shaoxing(紹興) and Yingcheng(應城) in Hubei province, but Beijing was the city that had the greatest influence on him. After he entered Guozijian(imperial capital academy) at the age of 25 in Qianlong 27(1762), he was mainly active in Beijing and had lived a life of wandering in Zhili(直隸), Henam, Anhui, Hubei province etc. He exchanged ideas with many literati and scholars who led the 18th century. He had many patrons Such as Shen Yefu(沈業富), Ou Yangjin(歐陽瑾), Zhu Fenyuan(朱棻元), Zhu Yun(朱筠), Liang Guozhi(梁國治), Bi Yuan(畢沅), Xie Qikun(謝啓崑) etc, who were prominent government officials and scholars of the time. In spite of passing imperial examinations and becoming the jinshi(進士), he gave up being a bureaucrat, and decided to live as a marginal literati out of office. With the help of his patrons, he solved economic problems mainly through non-regular workers such as tutor, the chief of the local academy, muliao(幕僚, provincial official's adviser) etc. Most of non-official literati in the middle of the Qing dynasty resolved their livelihood problems through irregular jobs like Zhang Xuecheng, while they kept maintaining their identity as intellectuals. Secondly, in intellectual discourses of the 18th century, the academic world was largely divided into moral philosophy(義理), philology(考據), literature(文章, or 詞章). The question of how to define and evaluate the value, relation and status of these three was different according to discussants. However, overall, literary texts were valuated as being less meaningful and worthy than the scholarly texts to deal with moral philosophy and philology. The writings of Zhang Xuecheng generally had the character of a scholar rather than of a literary man, and the meaning and value of his writings could be found in scholarly writings rather than in literary writings. As summarized in the words, “moral philosophy could be proved by philology, literature was the tool to express it,” he established the scholarly identity he should seek through the way of integrating moral philosophy and philology centering on the historical writings. Thirdly, including Zhang Xuecheng, Quan Zuwang(全祖望), Yuan Mei(袁枚), Wang Mingcheng (王鳴盛), Zhao Yi(趙翼), Quan Daxin(錢大昕), Yao Nai(姚鼐) etc, represented the Chinese literati and scholars in the 18th century. Coincidentally, they all resigned early and left office, or gave up being official despite passing imperial examinations, and engaged in teaching and writing as marginal literati out of institutional power for a very long time. The backgrounds of their abandonment or early resignation were different, but the ambition and desire to leave the endless works for posterity could be said a common part. In addition, it was necessary to consider that it was a matter of choosing one of the two, in which the 18th century literati could hardly combine official and scholar because of specialized scholarships. It also seemed to be related to the situation that cultural power was becoming a part of the individual choice of Han Chinese literati, for the Manchu regime could not create the leading cultural power.

KCI등재

9만청(晩淸) 시기 상하이 《점석재화보(點石齋畵報)》의 시각번역과 도상관습

저자 : 민정기 ( Mihn Jungki )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 177-206 (30 pages)

다운로드

(기관인증 필요)

초록보기

“Translation” although generally means communicating the meaning of a source language to a target language based on assumption of equivalence, it also has wider usages, as in “cultural translation”, “visual translation”, and “multimedia translation”. The latter usages of "translation" needless to say involves broader semiotic resources or modes of representation than the former. It includes image, color, music, and of course language. When we use the term “visual translation”, it means that we will be focusing more on interrelation between modes of representation than when we base our work on the term “visual representation”. In this paper I have examined how events told in words are “translated” into “visual language”, and the consequences, regarding the picture-reports of the late Qing pictorial magazine Dianshizhai Huabao(點石齋畵報; DSZHB). The Shanghai based DSZHB was published every ten days for 14 years, from 1884 to 1898. Founded by Ernest Major, a British publisher who was already quite successful in news and publication business in Shanghai by the time he launched the DSZHB on the verge of the Sino-French war. Most of the pictures in the DSZHB were visual “translations” of events pre-told lingually, few were “translations” of existing images, and much fewer were drawings of what was actually witnessed. Previous researches show that specific news contents definitely came before the drawings, a good part of them being articles from the Shen Bao. “Translation” that happens here is similar to what happens between languages, which is executed on the basis of equivalence of meaning and syntax that is imagined, assumed, experienced, and verified through countless practices. In this paper, I have focused on the materiality of the DSZHB that condition the process and results of the visual translation, which includes the size of the paper space, the composition of the picture-reports, technology used, and most importantly the pictorial conventions. Visual translation in the DSZHB relied heavily on pictorial conventions as the artists had to draw people, things, and places that they did not actually know for the sake of the visual “reality” that the magazine pursued. This, together with other material conditions brought surplus, shortage, and shift in meanings that the image carry in comparison to the lingual text. In rare cases the visual representation even ran counter to what the lingual text told. Overall, conventional use of pictorial resources inevitably gave the images of the DSZHB a rather conservative tone as in the case of illustrations of Ming and Qing novels, as discussed by Robert Hegel.

KCI등재

10莫言小說韓譯本對鄕土語言的審美再現 ―以 《蛙》和 《生死疲勞》 韓譯本爲例

저자 : 조보로 ( Zhao Baolu )

발행기관 : 한국중국어문학회 간행물 : 중국문학 96권 0호 발행 연도 : 2018 페이지 : pp. 207-220 (14 pages)

다운로드

(기관인증 필요)

초록보기

“Folk Language” is the carrier of rural literature. Folk literature is virtually a combination of literary folk language and folk theme. This paper takes Mo Yan's novel Frog and Life and Death are Wearing Me Out in Korean version as a example, makes an analysis of the reproduction effect of the folk language aesthetic in their Korean versions from the rhyme, vocabulary and rhetoric. Through imitation and adaptation, the translators reproduced folk songs, dialects and rhetoric which are difficult to translate in the novel. Mostly preserve the interest of the native language and the local culture in Mo Yan's novels can be preserved abroad.

12
권호별 보기
가장 많이 인용된 논문

(자료제공: 네이버학술정보)

가장 많이 인용된 논문
| | | |
1연안해역에서 석유오염물질의 세균학적 분해에 관한 연구

(2006)홍길동 외 1명심리학41회 피인용

다운로드

2미국의 비트코인 규제

(2006)홍길동심리학41회 피인용

다운로드

가장 많이 참고한 논문

(자료제공: 네이버학술정보)

가장 많이 참고한 논문

다운로드

2미국의 비트코인 규제

(2006)홍길동41회 피인용

다운로드

해당 간행물 관심 구독기관

서울대학교 고려대학교 한국외국어대학교 동국대학교 단국대학교
 87
 62
 46
 40
 40
  • 1 서울대학교 (87건)
  • 2 고려대학교 (62건)
  • 3 한국외국어대학교 (46건)
  • 4 동국대학교 (40건)
  • 5 단국대학교 (40건)
  • 6 연세대학교 (39건)
  • 7 전남대학교 (26건)
  • 8 성균관대학교 (26건)
  • 9 광주가톨릭대학교 (24건)
  • 10 이화여자대학교 (23건)

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기