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청대 《홍루몽》 속서의 주변인물 서사 연구 : 묘옥 서사를 중심으로
趙旻祐(Cho, Min-Woo) 한국중국소설학회 2020 中國小說論叢 Vol.61 No.-
지금까지 청대 《홍루몽》 속서의 유형은 주인공 임대옥 서사를 기준으로 분류되었다. 그러나 현 유형에서는 《홍루몽》 속서의 관계성 혹은 통시적인 흐름을 관찰하기 어렵다. 원서와 속서의 관계를 고려할 때 속서의 특징은 주인공보다 주변인물 서사에서 발견될 수 있으며, 이에 본 논문에서는 주변인물 중 하나인 묘옥을 중심으로 청대 《홍루몽》 속서에서 묘옥 서사의 변화에 대해 살펴보고자 한다. 본 논문에서는 청대 11종 속서의 묘옥 서사를 분석하여 크게 세 개의 유형으로 나눌 수 있음을 논했다. A유형은 묘옥이 등장하지 않으며 B유형은 묘옥이 선녀가 되고 C유형은 묘옥이 환속하여 결혼하는 서사를 보인다. 본고는 묘옥 서사를 통해 후대 속서에서 기존 속서의 주변인물 서사를 참고하여 주변인물 서사를 완성해나가는 특징을 발견하였고, 속서의 주변인물 서사 연구는 홍루몽의 각 속서 서사의 시대적 관계성과 저술과정을 살필 수 있기에 효과적인 분류법으로 제안할 수 있다. This paper study and categorize the narrative of MiaoYu, which is a minor character in the sequels of The Dream of the Red Chamber(HongLouMeng). Traditionally, the sequels were supposed to continue the story of the previous masterpiece, so they were often categorized according to the main characters of The Dream of the Red Chamber, such as LinDaiyu or JiaBaoyu, and their plotline. However, this classification was not effective to show the patterns of the sequels’ own development. By analyzing a minor character called MiaoYu(妙玉) in different narratives of the sequels , this paper aimed to rethink and re-classify the types of The Dream of the Red Chamber’s sequels in Qing Dynasty. Taking 11 The Dream of the Red Chamber sequels published in the Qing dynasty as examples, this paper categorized the narrative of MiaoYu as three types. Type A, which contains four sequels, MiaoYu was almost absent or only mentioned by other characters insignificantly; Type B, MiaoYu became a female celestial in nearly all the four sequels; Type C, which contains three sequels, authors tried to rewrite and reverse the MiaoYu narrative by depicting her returning to secular life and marriage. The literary value and the narrative skill of the The Dream of the Red Chamber sequels had long been doubted. However, by analyzing the three types of MiaoYu’s narrative, which represented the different reactions and attitudes toward a beautiful woman captured by muggers, it is clear that these subsequent works have shown a chronologically change which may partial reflect the history of mentalities in Qing dynasty. Therefore, I argue that the classify the types of The Dream of the Red Chamber’s sequels by minor characters is a useful standard.
趙旻祐(Cho, Min-woo) 중국어문학연구회 2015 중국어문학논집 Vol.0 No.94
Known as the world’s first complete translation of the Qing novel The dream of Red Chamber, the Naksunjae version of The dream of Red Chamber, in the light of translation, revealed some interesting features of cultural and interpretational differences. This article points out that Chosun translator of The dream of Red Chamber seemed to have some difficulties in translating some Chinese words or sentences, which reflect the Qing Dynasty culture. After analyzing, this article suggests that although the translator had enough capability to translate The dream of Red Chamber, there were still incorrect translations remained. These mistranslations can be categorized in four groups, 1) the names of cuisine 2) the terms in Chinese drama 3) dialogues of chinese people, and 4) words reflect Manchu(滿州) culture. In spite of the examples of mistranslation, this study finds that the translator struggled to find correct meaning by using context clues in The dream of Red Chamber. Moreover, some examples of mistranslation, such as “冤家”, shows that the original meaning and translation meaning may complement each other, and thus enlarge the interpretation of The dream of Red Chamber.
趙旻祐(Cho, Min-woo) 중국어문학연구회 2017 중국어문학논집 Vol.0 No.102
This paper focus on two versions of “SuiHan” in Zhang Yao-Sun(張曜孫)"s life. The first version of “SuiHan(歲寒)” is a painting, which is called “Sehando(歲寒圖)” painted by Kim Jeong-Hee(金正喜). In 1845, Kim Jeong-Hee"s disciple Lee Sang-Jeok(李尙迪) brought the painting to Beijing, and Zhang Yao-Sun hosted a banquet in Beijing to see the “Sehando”. The second version of "SuiHan" was found in a novel called Xu Hong Lou Meng(續紅樓夢), which is a sequel of The Dream of the Red Chamber written by Zhang Yao-Sun. One of a big event in Xu Hong Lou Meng is that Lin Dai-Yu, as the first visitor, took a walk in the new garden built by her younger brother Lin Qiong-Yu. Lin Dai-Yu visited the garden and named the new buildings inside. Coincidentally, the main building in the garden was named “SuiHan-Lou(歲寒樓)”. On this ground, this paper will explore the linkage between the two “SuiHan”. Firstly, I try to analysis the novel in Redology. Secondly, I will show the lifelong friendship between Zhang Yao-Sun and Chosun scholars, especially with Kim Jeong-Hee and Lee Sang-Jeok. Finally, I discuss the reason for Zhang Yao-Sun writing “SuiHan-Lou” in his novel, which is result from his delightful memory with his friends Kim Jeong-Hee and Lee Sang-Jeok.
變之正: 中唐소설 『柳氏傳』의 주제와 백제 장수 사타리
조민우(Cho, Min-woo) 한국중어중문학회 2019 中語中文學 Vol.- No.76
The well-know “Tang Chuanqi (唐傳奇)” Liushizhuan (柳氏傳) in mid-Tang dynasty (中唐), had for a long time been deemed as a love story of “Hanyi(韓翊)” and “Liushi(柳氏)”. Therefore, most previous studies of Liushizhuan regard the main theme of Liushizhuan is nothing more than a romance. However, this paper suggests that the main theme of Liushizhuan is “Justice at the age of disorder (變之正)” and argues that Liushizhuan is full of social critics which indicate the social problems of mid-Tang dynasty. First of all, this paper argues that the main plot of the novel is coordinated with the idea in the end of the novel’s “epilogue(文末議論)”. The author of Liushizhuan presented three incidents of how the lovers were separated and meet again at the age of disorder. By analyzing the narrative structure of these incidents, I find similar rhetoric patterns lead to the same question of “Is this could call as a justice in the age of disorder”, echoed in the “epilogue”; therefore, I argue that the author tried to point out several important social problems in mid-Tang dynasty, and asking the readers to think of the solution. Also, this paper observed the villainous character “Shazhali(沙吒利)”in the novel, and analyzed the two features of Shazhali: the status as a foreign general and Tang emperor’s favorite courtier; and the silence and still description in the novel. I suggest that Shazhali is a symbol that represents a social issue of Diaspora in mid-Tang dynasty.