현대중국어 어휘소 {看}의 다의성 고찰

정성임 중국학연구회 2004 中國學硏究 Vol.- No.30

This research is to purpose to show you the polysemy of a lexeme "see" in modern Chinese. The lexeme {看} has the basic principle, "to see." The {看} of the lexeme "see" has been developed according with the social changes. The lexeme "see" in modern Chinese has been given the shape to the meaning by the phenomena of compound word. But if you look up the items of the lexeme "see" that is clarified to the headword in dictionaries, you will find out the meanings that can be used as a individual {看} are arranged in the same item. That each explanation must be arranged to each item of meanings, because they are components for individual {看}. So this research has defined the {看} of the lexeme "see" depend on the relationship of the compound word of the lexeme "see" in modern Chinese and clariofied the polysemy of these {看}. I refered to a HANYU CHANGYONG YONGFA CIDIAN and XIANDAI HANYU BABAICI for the examples of the lexeme "see".

[군사 : 체제 및 정권유지] 개방정책에 영향을 미치는 분한군과 지속되는 선군정치

정성임 북한연구소 2008 北韓 Vol.- No.441

군사 : 강성대국 건설의 군사적 담보 - 자력갱생을 통한 군사력 강화와 사상통제 및 군민단결 강조

정성임 북한연구소 2009 北韓 Vol.- No.446

중국어 ‘V1的V1, V2的V2’의 의미와 화용 연구

정성임 한국중국언어문화연구회 2020 한중언어문화연구 Vol.- No.58

The same predicate comes before and after ‘的’, as shown in ‘老的老, 小的小.’ This study aims to focus on the meanings of ‘V1的V1‚ V2的V2’ where this structure is used repeatedly. First of all, it looks at the structural characteristics of ‘V1的V1‚ V2的V2’ and syntactic constraints based on the existing findings, reveals the semantic relationship between ‘V1’ and ‘V2’ in ‘V1的V1‚ V2的V2,’ and presents the semantic representation of ‘V1的V1‚ V2的V2.’ Finally, it discusses the contexts necessary for reasoning ‘V1的V1‚ V2的V2’ and describes the correlation with iconicity principle to increase understanding of ‘V1的V1‚ V2的V2.’ The following results could be drawn. In ‘V1的V1‚ V2的V2,’ if ‘V1’ and ‘V2’ are adjective, the semantic relationship of [±opposition], [±spectrum], and [±totality] appears and if they are verbs, the semantic relationship is [±opposition], [±associativity], and [±totality]. In vertical relationship representing one extreme to the other extreme, [+opposition] is usually restricted by sequential conduction, but in other equal relationship, it is not greatly restricted by sequence. As meanings for ‘V1的V1‚ V2的V2,’ it presents ① simplification through examples, ② classification of roles, ③ unfavorable condition, ④ resignation of choice, ⑤ too bad about being left little, ⑥ state description of deepened characteristics, ⑦ reasons for positive situations, ⑧ legitimacy of acts, ⑨ claim of imperativeness, ⑩ advice about prevention in advance, and ⑪ occurrence of unwanted thing. ‘V1的V1‚ V2的V2’ is difficult to be interpreted solely and ambiguous. It is a strongly context-dependent expression in which referents or dual meanings can be reasoned through linguistic context, physical context, and socio-cultural context. It was found that in this ‘V1的V1‚ V2的V2,’ form and meaning had a correlation with iconicity, i.e. principle of sequence, principle of distance, and principle of amount. This study aimed to help Korean learners who learn about Chinese language in understanding ‘V1的V1‚ V2的V2’ to reduce errors in use and help educators give a proper explanation to learners. It is hoped that further studies consider Korean language corresponding to Chinese ‘V1的V1‚ V2的V2’ and make a comparative analysis on the two languages.

"거(去)+VP"와 "VP+거(去)"의 특징 연구

정성임 한국중국언어학회 2015 중국언어연구 Vol.0 No.58

本文選取常常會硼到的一個小問題有目的意義的去十VP和VP+去的差別作僞切入點,對去+VP和``VP+去兩潮結構作了探討。VP+去內部語義結構有多種,其中一測是語義開系僞目的關係,這根有目的意思去+VP結構痕相似。本文以第二語言學習著感到困惑的句式有目的意義的去十VP和VP+去僞晶出體點,從句法,語義,語用三個方面探討去+VP``和VP+去的差異對其進行比較分析。綜合所述,本主發現了去和VP組合時位置不伺, 去VP和VP+去各有不同的表意功能,語序不同的結構在功能上一般是不相同的。由於語義上VP+去的``VP是非現實特徵,受事態助詞了“,過,否定詞沒實用的制約,語用上受常常類使用的制約。VP+去的語義ㆍ語用的特徵根句法現象有相關性。

태조 왕건 친제<SUB>親製</SUB> 원주 흥법사지 진공대사 탑비의 조성배경

정성권(丁晟權) 한국국학진흥원 2016 국학연구 Vol.0 No.31

원주 흥법사지에는 진공대사 충담의 탑비가 있다. 진공대사는 921년 태조 왕건으로부터 왕사에 임명되었으며 흥법사에서 주석하다 940년 입적하였다. 입적 직후 승탑과 탑비가 조성되었다. 탑비는 941년 건립되었고 태조 왕건이 직접 비문을 작성하였다. 태조 왕건시기 비문이 작성되거나 건립된 탑비는 모두 11개이다. 이 중 유독 흥법사지 진공대사 탑비만 태조 왕건이 친제하였다. 기존의 학설은 그 이유를 진공대사 충담이 심희의 제자였다는 점에서 찾고 있다. 즉 심희로 대표되는 신라 불교의 정통성이 고려로 계승되었다는 것을 보여주기 위해 태조 왕건이 충담비의 비문을 직접 작성했다는 것이다. 이 글은 기존의 학설 이외에 진공대사 탑비가 새로운 통일왕조 고려의 등장을 신라의 유민들에게 알리고자 건립된 기념물의 성격이 있음을 주장하였다. 이에 대한 근거로 진공대사 탑비 비문과 비슷한 시기(940)에 작성된 「개태사화엄법회소」 와 동시기에 건립된 개태사 석조삼존불입상을 분석하였다. 이와 함께 탑비가 위치한 흥법사가 강원도나 경상도쪽의 구 신라 유민들이 개경으로 나아가기 위해 반드시 거쳐야 되는 병목과 같은 교통의 요지였음을 밝혔다. The Stele of the Buddhist Saint Jingongdaesa is located in Heungbeopsa temple site in Wonju city. It was erected in 941. Kign Taejo, the First King of Goryeo Dynasty reconstructed the Zen Buddhist Heungbeopsa temple for the Buddhist Saint Jingongdaesa. It was his wish to educate the people in the way of Zen, and along whith the neighboring Geodonsa Temple in Wonju and Godalsa Temple in Yeoju Heungbeopsa temple played a signigicant role during the early part of the Goryeo Dynasty period. Jingongdaesa returned from studying in China and became the royal monk to King Taejo. It is said that when Jingongdaesa entered Nirvana in 940, King Taejo wrote the epitaph himself. The epitaph is an abstract from writings of King Taejong from the Taeng dynasty of China and carved onto the monument in the character style of Wang Huiji. The original monument was damaged, and the body of it including the stone coffin containing the ashes of Saint Jingongdaesa was moved to the National Museum in Seoul. The construction style is indicative of the ambitious spirit of the people at the beginning of the Goryeo Dynasty period. To explain that why King Taejo wrote the epitaph by himself, this article study about the stone Buddha triad image at Gaetaesa that was built in 940. The Gaetaesa stone Buddha was made in the site that the Later pakje’s King surrender to Kign Taejo. In other words, the stone Buddha triad image was built in the historical and symbolic site that Wnag Geon finally achived the unification of the Later Three Kingdoms. In the same reason King Tajon built The Stele of the Buddhist Saint Jingongdaesa in Heungbeopsa temple. Because Heungbeopsa temple is a major transportation point, It was a perfect place to propagate of new country-Goryeo Dynasty-newly built.

‘目’과 ‘眼’의 의미 확장 분석

정성임 중국인문학회 2005 中國人文科學 Vol.0 No.30

The object of this research is to analyze the expansion of the meaning for "目(eye)" and "眼(eye)" that mean "an eye" in Chinese. To get this object, I tried to analyze the concept of "目(eye)" and "眼(eye)" on the basis of explanations in the dictionary and at the same time research the pattern of the expansion of the meaning.In antient Chinese, both "目(eye)" and "眼(eye)" had been used as lexemes but in modern Chinese, only "眼(eye)" has been used as a lexeme. At the beginning of marking for "an eye", "目(eye)" that was created after the physical shape of an eye had been used. But time goes by, people's consciousness has been broken into parts, it had caused "眼(eye)" to show up and involve the early function of "目(eye)". In addition to, "目(eye)" and "眼(eye)" has taken some parts. "目(eye)" is taken when people express the formal aspect and "眼(eye)" is taken as people mean the functional and structural aspects. In general, both "目(eye)" and "眼(eye)" used to express the formal, structural and functional aspects.In written laungauge, "目(eye)" is mainly used and in spoken laungauge, "眼(eye)" is used. But people certainly use "目(eye)" to express itemes or the records that are from a game of Baduck and "眼(eye)" is surely used to mean the spot in the board of Baduck.

현대중국어 차원 낱말의 의미소에 관한 고찰

정성임 중국학연구회 2004 中國學硏究 Vol.- No.29

This research paper makes a study of the meanings and the relationships of the word groups:{長}/{短}, {遠}/{近}, {高}/{低}, {寬}/{窄}, {厚}/{薄}, {大}/{小}, {粗}/{細}. These are based on the dimentional concepts that are used for Mathemetics. One dimentional space is a concepts that states, lines spread into space, and includes length, distance, height and depth. The two dimentional space speaks for surfaces and areas. It includes width, thickness. The three dimentional space is consists of volumes, and is connected with thickness. The meanings are based on the sameness and difference of the "seme" about each word that comes from each dimension. This paper asks whether the meanings have some different things, and what semantic field is composed by the word? The sentences that are showed up in this paper ,and the meanings of the words refer to "the dictionary of common used words" (Chinese changyongci yongfa cidian Lee Xiao-qi and 4 rearchers, 1997).

『祖堂集』 [口部動作/입동작]의 동의관계 고찰

정성임 중국인문학회 2004 中國人文科學 Vol.0 No.28

殉'字의 형성 원리와 문화적 매커니즘

정성임 전남대학교 인문학연구소 2010 용봉인문논총 Vol.36 No.-

The principle of the Chinese character xùn [殉]′s invention and its cultural mechanisms are summarized as follows, based on language and culture of two Chinese periods Yin Dynasty and Han Dynasty. 1. In Shang period and Han period, all of four characters xú n[旬], xùn[侚], xùn[徇], and xùn[殉] were used to express 'the death committed following the person in death". The character sǐ[死] symbolizes ′the death of living things.' According to the “Xiaozhuan” and other literature, the character xùn[殉] appeared in Qin period and Han period. The concept of yún[歺],the ideogram of xùn[殉], refers to a meaning field and involves the concept of xún[旬], the phonogram of xùn[殉]. In the character xùn[殉], yún[歺] stands for the ideogram of xùn[殉] and xún[旬] refers to both the ideogram and the phonogram of xùn[殉]. So, the character xùn[殉] belongs to sideographic characters. 2. Shang people used the character sǐ[死] to express the three meanings: (1) the ruler′s death, (2) the ruled people's active death, and (3) their passive death. In this period the death forcing the ruled people to sacrifice themselves appeared already. In the beginning the ruled people′s voluntary, sacrificial death following their ruler in death were customarily committed. After revolutions of the Yin Dynasty and the Zhou Dynasty, a city st ate started to be shaped in the stratified society in which ways of life of agriculture, commerce and industry were established. The Yuan Shen(believing in an omnipotent person) Culture declined, and instead, the foundation for the country′s system started to be laid on the basis of Confucian Culture. The ruler abolished the sacrificial object system not only to win popularity but also to establish the foundation of the country, and came to follow a burial system. The cultural mechanism which enabled the appearance of the character xùn[殉] is the Yuan Shen Culture.