“一N比一NM”句式的定量分析

王楠(Wang Nan) 중국어문학연구회 2010 중국어문학논집 Vol.0 No.60

This article is an analysis of the pecial comparative sentence pattern 一N比一NM using quantitative analysis in the coordinate system composed of N axis and M axis. According to the declarative sentence and negative sentences we can make image functions in this coordinate system and prove that the sentence pattern of 一N比一NM is not an expression of contrast results but the gradual condition or a numerically equal conditionof an event. That’s why we call them gradual comparative sentences and equal value comparative sentences.

宋本<清明上河圖>對清明上河主題小說敘事的功能硏究

王楠(Wang Nan) 중국어문학연구회 2020 중국어문학논집 Vol.0 No.120

This paper analyses the narrative function of Song Dynasty"s Qingming Shanghe Tu (清明上河圖). It includes the metaphorical function of Qingming Shanghe Model and the metonymic function of the derivative narrative of Qingming Shanghe Tu. Qingming Shanghe (清明上河) Model is a metaphor in the narrative of Song Dynasty"s Qingming Shanghe Tu. This metaphor has two manifestations: one is to project the sense of distress of the picture into the theme of the story; the other is to project the panoramic painting structure of the picture into the narrative structure of the novel. The former is a metaphor in narrative content, while the latter is a metaphor in narrative techniques. The derivative narrative of Qingming Shanghe (清明上河) refers to the fact that in order to highlight a certain ideological theme, the novelist does not use panoramic narrative techniques, but only chooses a point related to Qingming Shanghe Tu(清明上河圖) to reconstruct the text. Here a certain point may be a part of the content of the picture, a fact related to the picture itself, or even any imagination inspired by the theme of Qingming Shanghe (清明上河).

요가지도자의 멘토링이 참여자의 스포츠자신감 및 운동몰입의사에 미치는 영향

왕남(Wang, Nan),조현철(Cho, Hyun-Choul) 한국웰니스학회 2023 한국웰니스학회지 Vol.18 No.2

小議漢語時間槪念化的轉喩類型

왕남 ( Wang Nan ) 한국중국학회 2018 중국학보 Vol.84 No.-

本文是對時間槪念化的轉喩分類進行的硏究,卽從時間的內部範疇(包括時間的部分與整體範疇、 時間的上下範疇)、時間的外部範疇(包括時間與空間範疇、時間與事件範疇、時間與實體範疇)兩個方面來探討時間槪念化轉喩的類型。而且,時間槪念化不單是只經過一次轉喩,也可能是轉喩和隱喩的聯合作用,也可能是轉喩的多次作用。 This paper studied the classification of Metonymy types in terms of time conceptualization. When Time appears in the part-whole, up-down and two related categories, as the tenor, what kind of vehicles could it construct cognitive structures with has also been discussed in the paper. Moreover, Time conceptualization does not happen in just one metonymy process, but may be the result of the combination of metonymy and metaphor, or is formed through many metonymy processes.

中國動畵電影<大魚海棠>的水意象硏究

왕남 ( Wang Nan ) 한국중국학회 2018 중국학보 Vol.85 No.-

<大魚海棠>是一部具有玄幻色彩的、展現東方古典之美的動畵電影。電影中,“水”無論在電影立意上,還是情節安排上,還是畵面表現上都具有非常重要的作用。電影中的水意象主要有四種:第一,海水象征著萬物之源,第二,井水象征著欲望之壑,第三,洪水象征著逆天之責。第四,雨水象征著思念之?。 Big fish & begonia is an animation fantasy film that shows the classical beauty of the eastern world. In this film, water plays a very important role in the conception, the plot and the scene. There are four main types of water images in the film. First, the sea represents the source of all things. Second, well water symbolizes desire. Third, the flood symbolizes punishment. Fourth, rain represents love and missing.

歷史小說 『淸明上河圖密碼』 敘事結構中的複調與結構現實主義傾向 ― 以 『淸明上河圖密碼:士部』 爲例

王楠(Wang Nan) 중국어문학연구회 2019 중국어문학논집 Vol.0 No.116

Based on the historical materials of Song Dynasty, the series of historical suspense novels of Qingming shanghe tu (Ascending the River at Qingming Festival) code revived 824 characters in the Song Dynasty edition of Qingming shanghe tu (Ascending the River at Qingming Festival) one by one. It tells the secret buried in this masterpiece, reveals the personal fate of the characters who appeared in the picture at that time and the terrible plot behind the prosperity of the Song Dynasty to subvert the foundation of the empire. The novel has a strong polyphonic tendency in content, which has two aspects: respecting characters and restoring history to the greatest extent. Respect for characters means that the author abandons the omniscient perspective, conceals himself and fully endows the characters with the ability to think independently. The author clearly abides by the values of equality, respects historical figures, and tries not to use his own values to judge and intervene. Restoring history refers to the author’s restoring the objective world composed of various groups of people, such as soldiers, peasants, workers, merchants and soldiers, as far as possible on the basis of historical data. This Novel have a strong tendency of structural realism in structure. There are three main manifestations: First, the narrative structure is diversified. The novel adopts the narrative structure of “Chinese Suite Box” and “Connecting Pipe”, and takes the painting of Qingming shanghe tu (Ascending the River at Qingming Festival) as the reference mark. Second, the three-dimensional structure, the use of “document evidence” to create a three-dimensional objective narrative space. The third is the arrangement of time line. The author expresses the relationship between the main line and the secondary line through different time trajectories.

程式問候語“好”的語用化研究 ― 兼論“你好”和“你好嗎”的程式化

王楠(Wang Nan) 중국어문학연구회 2022 중국어문학논집 Vol.- No.134

This paper examines the pragmatic process of hao(好) as greeting. The development of hao(好) has experienced three important stages. The first stage is the Tang and Song dynasties. At this time, hao(好) appears as a morpheme in greetings. haozai(好在) is the greeting when meeting. It has the form of question and statement at the same time.The second stage is the yuan and Ming Dynasties. hao(好) began to become a separate word for greetings. The interrogative function of inquiry greeting gradually weakened, the temporal expression and the addition of body movements appeared in the Yuan Dynasty and inherited and developed in the Ming Dynasty. The yuan and Ming Dynasties was an important period for the hao(好) greeting to change from interrogative to declarative, and it was a transitional period for the hao(好) word from free greeting to programmed greeting. The third stage is from the Qing Dynasty to the Republic of China. The most prominent feature is that the form of person + hao(好) has become the mainstream expression of hao(好) greetings. The expression forms of hao(好) greeting are very diverse. In addition to various modal particles, there are many expressions with the concept of time. nihao(你好) and nihaoma(你好嗎)in modern Chinese are the pragmatic results of nihao(你好) greetings from the Qing Dynasty to the Republic of China. The reason why the word hao(好) can be used in greetings is closely related to its own meaning and the cognitive process of Chinese symbolic language. hao(好) uses physical health to express psychological comfort, which is a metaphor. Using this psychological comfort to express the comfort caused by various situations is a metonymic expression.

現代漢語“周遍句”分析

王楠(Wang Nan) 중국어문학연구회 2010 중국어문학논집 Vol.0 No.63

This article is an analysis of the Universal Sentence Pattern in contemporary Chinese language on the background of logical linguistics and the grammar theories of three levels. The Universal Sentence Pattern is a kind of subject-predicate predicative sentence whose subject possesses the overall indication which is emphasized by the definite grammatical forms. On the views of Logical Semantics, the Universal Sentence Pattern can be divided into three types according to the ways of the realization mode of overall indication, which is principal reference, arbitrary reference and distributive reference.

儺神敘事形象與敘事作用硏究 - 以鄉土小說『儺神』與探險小說『儺神』爲中心

王楠(Wang Nan) 중국어문학연구회 2023 중국어문학논집 Vol.- No.140

電影 《捉妖記》 對 《山海經》 的借鑒以及對中國傳統文化元素的展現

王楠(Wang nan) 중국어문학연구회 2016 중국어문학논집 Vol.0 No.101

There is a very harmonious coexistence between human beings and monsters in the movie of Monster Hunt. Not only the image design of the monsters in the movie but also the fantastic plots such as the monsters have medical properties and a man can give birth to a baby are all got inspiration from the book of ShanHaiJing. Furthermore, there are also many marks of Chinese traditional culture in the movie.