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金順珍(Soon-Jin Kim) 중국어문논역학회 2017 中國語文論譯叢刊 Vol.0 No.40
본 논문은 장톈이의 장편동화 《大林和小林》, 《秃秃大王》, 《寶葫蘆的秘密》을 분석 대상으로 하여 이들 작품 속 환상세계가 지닌 사회적, 개인적 의미구조와 그 역할에 대해 고찰하고 있다. 본 논문에서 주요 분석 대상으로 삼고 있는 《大林和小林》, 《秃秃大王》은 중화인민공화국 성립 이전에 발표된 작품이며, 《寶葫蘆的秘密》은 중화인민공화국이 성립된 이후의 작품이다. 그래서 이 작품들 속에서 드러나는 아동이 환상세계와 싸우는 방법 및 현실에 대한 인식은 분명히 1930년대와 1950년대에 각각 다른 시대적 특성을 지니고 있다. 하지만 장톈이가 아동들에게 전달하고자 하는 노동과 실천 그리고 집단의식의 중요성은 전 작품에 걸쳐 모두 잘 드러나고 있다. 장톈이의 장편동화는 계몽적 ‘가르침’과 읽기의 ‘즐거움’을 모두 중요하게 여기고 또한 이를 충돌되지 않게 유지하고 있기 때문에 더욱 우수하다고 평가된다. This essay explores the world of fantasy in children’s novels by Zhang Tianyi (張天翼, 1906-1985), such as the Big Lin and Little Lin (大林和小林), Bald the Great (禿禿大王), and The Secret of Baohulu (寶葫蘆的秘密), focusing on its social and personal meanings and functions. The Big Lin and Little Lin and Bald the Great were written before the establishment of the People’s Republic of China in 1949, whereas the Secret of Baohulu is a post-1949 publication. The dates of publication separate these three works in terms of how children fight with the world of fantasy and of the recognition of reality, for they reflect clearly different spirit of the times of the 1930s and of the 1950s. Yet, the meaning and the practice of labor and the group identity that Zhang Tianyi attempts to relay to children run through all of these three novels. Zhang Tianyi’s novels for children demonstrate excellence in maintaining the balance between pedagogical emphases of enlightenment and pleasure of reading.
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<언어, 교육> : 중국어 신조어와 "80후(80後)"의 문화 소고(小考)
김순진 ( Soon Jin Kim ),한용수 ( Yong Su Han ) 경희대학교 비교문화연구소 2015 비교문화연구 Vol.39 No.-
China has been experiencing a series of changes after gradually opening up its society. Such changes have now seeped into almost every sector of the society, leading to overall change. While the political system has been maintained without much change, the structure of life for Chinese has undergone a shift, especially in the sectors related to industry or the economy. The Chinese have adopted capitalism in their own way, leading to fast growth in their industries. Those who were born in the 1980s amidst such change (so-called the post-80s generation) are now playing a major role in Chinese society. Understanding this generation can help understand some of the most important phenomena in today’s China. Therefore the language used by this generation is in particular meaningful as language often reflects the society it is used in. This study focuses on the newly created words arising from the lifestyles of the post-80s generation to better understand how the China’s move towards a more open society over the past three decades have brought about changes. The work culture and consumption styles of the post-80s generation are also showing some collective characteristics. As such, a review of newly created Chinese words related to this generation is expected to increase understanding of the overall Chinese society and Chinese culture of today.
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김순진(Kim, Soon-Jin),한용수(Han, Yong-Su) 강원대학교 인문과학연구소 2020 인문과학연구 Vol.0 No.66
인도의 불교가 중국에 유입되면서 불교적 색채관과 중국의 오색관의 색채이론이 결합되어 불교 색채어에 상징적 의미를 부여했으며 색채어로 그들의 사상이나 신앙을 표현했다. 불교에서 흰색은 빛을 상징하여 부처의 영혼, 육체와 지혜를 상징하고 검정색은 어둡고 깜깜해서 지혜가 없는, 삶을 속박하는 속세를 나타내며 파란색은 종교에서 신의 영역으로 상징되어 부처의 현현방식은 언제나 파란색으로 묘사된다. 또한 파란색은 천상의 지식을 지닌자, 진리를 깨달은 자를 상징하므로 青莲으로 ‘불교의 눈(佛眼)’을 나타낸 것이다. 불교에서 노란색은 범속을 초탈한, 신성하고 경외로운 색채로 간주하여 후주이후 승려들의 복장은 노란색으로 많이 착용했으며 불교의 사찰 건물색은 대부분 노란색이다. 불교문화에서 색채어의 의미는 불교의 기본적인 사상을 전제로 하여 해석되고 있으며 인연의 원리가 담겨있다. 본문에서 불교 색채어의 의미를 분석하고 코퍼스 자료를 활용하여 색채어의 사용빈도 및 활용을 분석함으로써 색채어의 불교적 함의를 깊이 있게 이해하는데 도움을 주며 현대 중국인들의 생활언어습관을 관찰하는데 일정한 데이터를 제공할 것으로 기대한다. With the influx of Indian Buddhism into China, the color theory of Buddhistic perceived meaning of color and Chinese perceived meaning of five colors combined to give symbolic meaning to Buddhist color terms, and the ideas or beliefs were expressed by using color terms. In Buddhism, white symbolizes the Buddha"s spirit, body and wisdom by symbolizing the light, black represents the world that binds a life without wisdom because it is dark and invisible, and blue symbolizes the God’s realm in religion and is used to describe Buddha’s incarnation. Also, blue symbolizes a person with the knowledge of heaven and a person who realized the truth, thus representing the ‘eyes of Buddhism’ with 青莲. In Buddhism, since yellow is regarded as a color that rises above the common crowd, sacred and awful color, most of the monks wore yellow clothes and most of the Buddhist temple buildings were also yellow-colored. The meaning of color terms in Buddhist culture has been interpreted based on the basic ideas of Buddhism and contains the principle o relationship. By analyzing the meaning of Buddhist color terms in the text and analyzing the frequency of use and utilization of color terms using Corpus data, It is expected that it will help to deeply understand the Buddhist implications of color terms and provide certain data in observing the daily linguistic habits of modern Chinese people.
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김순진(Kim Soon-jin) 한국외국어대학교 외국문학연구소 2002 외국문학연구 Vol.- No.11
This thesis is written as an attempt to examine women's sexuality by inquiring the catchphrase, that is 'the liberation of individuality of the new cultural period in China; for it lacks any consideration about the question of sexuality. Since the 20th century, the voice of women in China can be characterized as one's efforts to find their identity and sexuality which has long been oppressed and hidden in Chinese society. Throughout its long history, womens sexuality has habitually buried under the gender of 'the mother'. Here, the question which has been continuously raised even by many contemporary feminists is: how can we relate the 'mother' with women's sexual identities? From this point of view, this thesis will scrutinize the relationship between women's sexuality and 'the mother' by examining 'the Red Rose and the White Rose' written by Zhang, Ai-Ling who led an active life in Shang-hai. At the same time, as the emphasis on the women separated from the gender of the mother can never be the question detached from the problem of patriarchy, the patriarchal power relations is also examined. In 'the Red Rose and the White Rose', Ai-Ling Zhang presents Zhen-bao Tong as a typical man of modern Chinese society, who is hypocritical as well as self-contradictory. He becomes a straight modern man by fixing his double gaze upon women in which women are dichotomized between the prostitutes and the mother. This thesis finds the reason Zhen-bao Tong dichotomizes women as such from the needs to legitimize his inner desire. However, as this 'law' of Zhen-bao works only in his imaginary world, it cannot help but resulting in his separation from the rest of the world/the other as well as his self-alienation. Dichotomized roses by patriarchal power are never dominated by Zhen-bao Tong. Rather, his dual gaze upon which women are dichotomized puts him into a crisis. Nevertheless, Zhen-bao Tong is represented a straight and a normal person in the real world. Zhang, Ai-Ling, through the medium of Zhen-bao's gaze, carefully examines the gap exists in the male gaze upon women. Here, Ai-Ling Zhang shows that Zhen-bao's dichotomy does not simply objectify women, but it also serves as the means to avoid difficulties for men. In addition, the author reveals a self-destructive inner contradiction innate in the male gaze as well as envies that brings for women. That is to say, it posits women in the position of man by endowing the mother with the power of the Phallus, thereby enabling the son as a man to hide under the shadow of the mother, while the mother has to confront herself with daughters so as to protect her son. But this is the very point where Ai-Ling Zhang, by overlapping the image of the red rose and the white rose, materializes the images of mother. However, an important point that should be mentioned here is that within Ai-Ling Zhang's scheme of things, the image of the patriarchal motherhood is much more powerfully presented than that of the individual women's sexuality. And this can be seen from the way in which Wang, Jiao-rui and Meng, Yan-li admit their own sexualities and define their positive identities from the presence or non-presence of their child. This structure is a result of unconsciously embodied patriarchal ideology in which unproductive women are seen as being unable to obtain the true women's sexuality. In addition, this can also be seen as having reflected the author's desire for dedicated motherhood resulting from the author's own memory of deserted childhood; the author experienced somewhat disintegrated family life with the parents' divorce. And here, we can see the individual author's limitation as well as a limitation of the period of 1940s. Nevertheless, it is still the case that the efforts to define women's identity and the images of motherhood through an angle of women's sexuality are a revolutionary attempt made in this period. This thesis is written as an attempt to examine women's sexuality by inquiring the catchphrase, that is 'the liberation of individuality of the new cultural period in China; for it lacks any consideration about the question of sexuality. Since the 20th century, the voice of women in China can be characterized as one's efforts to find their identity and sexuality which has long been oppressed and hidden in Chinese society. Throughout its long history, womens sexuality has habitually buried under the gender of 'the mother'. Here, the question which has been continuously raised even by many contemporary feminists is: how can we relate the 'mother' with women's sexual identities? From this point of view, this thesis will scrutinize the relationship between women's sexuality and 'the mother' by examining 'the Red Rose and the White Rose' written by Zhang, Ai-Ling who led an active life in Shang-hai. At the same time, as the emphasis on the women separated from the gender of the mother can never be the question detached from the problem of patriarchy, the patriarchal power relations is also examined. In 'the Red Rose and the White Rose', Ai-Ling Zhang presents Zhen-bao Tong as a typical man of modern Chinese society, who is hypocritical as well as self-contradictory. He becomes a straight modern man by fixing his double gaze upon women in which women are dichotomized between the prostitutes and the mother. This thesis finds the reason Zhen-bao Tong dichotomizes women as such from the needs to legitimize his inner desire. However, as this 'law' of Zhen-bao works only in his imaginary world, it cannot help but resulting in his separation from the rest of the world/the other as well as his self-alienation. Dichotomized roses by patriarchal power are never dominated by Zhen-bao Tong. Rather, his dual gaze upon which women are dichotomized puts him into a crisis. Nevertheless, Zhen-bao Tong is represented a straight and a normal person in the real world. Zhang, Ai-Ling, through the medium of Zhen-bao's gaze, carefully examines the gap exists in the male gaze upon women. Here, Ai-Ling Zhang shows that Zhen-bao's dichotomy does not simply objectify women, but it also serves as the means to avoid difficulties for men. In addition, the author reveals a self-destructive inner contradiction innate in the male gaze as well as envies that brings for women. That is to say, it posits women in the position of man by endowing the mother with the power of the Phallus, thereby enabling the son as a man to hide under the shadow of the mother, while the mother has to confront herself with daughters so as to protect her son. But this is the very point where Ai-Ling Zhang, by overlapping the image of the red rose and the white rose, materializes the images of mother. However, an important point that should be mentioned here is that within Ai-Ling Zhang's scheme of things, the image of the patriarchal motherhood is much more powerfully presented than that of the individual women's sexuality. And this can be seen from the way in which Wang, Jiao-rui and Meng, Yan-li admit their own sexualities and define their positive identities from the presence or non-presence of their child. This structure is a result of unconsciously embodied patriarchal ideology in which unproductive women are seen as being unable to obtain the true women's sexuality. In addition, this can also be seen as having reflected the author's desire for dedicated motherhood resulting from the author's own memory of deserted childhood; the author experienced somewhat disintegrated family life with the parents' divorce. And here, we can see the individual author's limitation as well as a limitation of the period of 1940s. Nevertheless, it is still the case that the efforts to define women's identity and the images of motherhood through an angle of women's sexuality are a revolutionary attempt made in this period.
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김순진(Kim, Soon-jin) 한국외국어대학교 외국문학연구소 2010 외국문학연구 Vol.- No.37
본 논문에서는 婦女雜誌에 발표된 남성 신문화 운동가들의 여성해방과 관련된 글을 중심으로 중국 근대시기의 여성해방론 속에 숨겨진 여성의 배제 과정을 살펴보고자 한다. 부녀잡지는 1915년 上海 商務印書館에서 발행된 여성 간행물이다. 초기 王蕴章 시기의 婦女雜誌는 현모양처를 고취했다는 이유로 비판 받고 章锡琛 주편 시기로 변화된다. 초기의 婦女雜誌는 비록 ‘賢母良妻’를 모토로 내세웠지만 결코 ‘삼종사덕’에 의해 남성의 ‘장식품’이 되었던 구시대의 ‘賢母良妻’의 모습을 그대로 요구하지는 않았다. 더욱이 이들의 여성 계몽 대상은 ‘구가정’의 여성들까지도 포함하고 있었다. 이후 章锡琛 체제의 婦女雜誌는 엘렌 케이의 사상을 중심으로 ‘자유연애’를 주장한다. 이는 봉건적인 ‘구가정’을 타파하기 위한 구호였으며 그들의 진정한 의도는 ‘신가정’의 성립에 있었다. 이 과정에서 봉건 가정의 ‘구여성’들은 ‘신여성’들과 결별하고 여성 해방 담론에서 그 위치를 상실하게 된다. 그리고 ‘신가정’을 세우기 위한 남성 신청년의 파트너로 서구적 교육을 받은 ‘신여성’이 호명된다. 그리고 이렇게 호명된 ‘신여성’들은 다시 ‘가정’을 관리하는 ‘현모’로서의 위치를 부여받게 된다. ‘자유연애’ 사상은 ‘개인’의 탄생을 의미하였고 이는 많은 신여성들의 환영을 받았다. 그러나 ‘집’과 ‘연애’의 대립 구도 속에서 처음에 ‘집’으로부터의 탈출을 통해 ‘연애’가 획득되었다면, 이후 다시 여성을 ‘집’으로 불러들이는 ‘賢母’ 담론의 再生은 ‘연애’의 상실을 의미한다. 결국 여성의 사회적 ‘개인’은 상실되고 다시 ‘가정’ 속의 ‘현모’라는 위치만을 인정받는다. 그리고 여성이 ‘현모’의 역할을 가장 잘 하는 방법은 ‘생산’에 있었다. 그렇기 때문에 신문화 지식인 남성들은 ‘생산’을 거부하거나 할 수 없는 여성들을 비난하고 배척한다. 결국 계몽 담론이 남성 중심으로 진행됨으로써 여성이 계몽의 주체가 되지 못했음은 물론이고, 구여성과 신여성, 생식 가능한 여성과 생식 불가능한 여성으로 분화되어 여성 해방의 대상이 ‘생식 가능한 신여성’으로 축소되는 결과를 낳게 되었다. This paper studies on the hiding exclusion of women from the feminist movement in the modern era of China with articles by male activists of New Cultural Movement who contributed to the Woman's Magazine(FUNUZAZHI). Woman's Magazine was published by “Shangwuyinshuguan”, Shanghai in 1915. The early period of Wang-yunzhang's Woman's Magazine was criticized because of inspiring ‘Good wife and Wise mother’, after then it came to the era of an editor, Zhang-xizhen. Even though the early of Woman's MagazineThis paper studies on the hiding exclusion of women from the feminist movement in the modern era of China with articles by male activists of New Cultural Movement who contributed to the Woman's Magazine(FUNUZAZHI). Woman's Magazine was published by “Shangwuyinshuguan”, Shanghai in 1915. The early period of Wang-yunzhang's Woman's Magazine was criticized because of inspiring ‘Good wife and Wise mother’, after then it came to the era of an editor, Zhang-xizhen. Even though the early of Woman's Magazine made it's motto, ‘Good wife and Wise mother’, it never insisted on keeping ‘Good wife and Wise mother’ as it is, which was belong to men like an ornament. Besides it would enlighten nay even women of ‘feudal family’. Since then an editor Zhang-xizhen's Woman's Magazine claimed ‘free love’ with Ellen Key's thought as the center. It was the slogan for breaking a ‘feudal family’ and intended to build a ‘New family’. ‘Old-fashioned Women’ of a feudal family separated from ‘modern women’ and was disqualified from her status in this progress. ‘Modern women’ who got a western education were called to build the ‘new family’ as a new male intellectual's partner. These ‘modern women’ were also qualified for a position of ‘Wise mother’ maintaining the family. The idea of ‘free love’ meant the birth of the individual and many women gave a welcome it. In the conflicting design of ‘home’ versus ‘love affair’, women took a ‘love affair’ going through an escape from home, but once again a regeneration of discourse of ‘Wise mother’, which was calling women to home, meant the loss of ‘love affair’. After all, women's social individual was lost and granted as only a ‘Wise mother’ of the family. The new male intellectuals criticized and excluded women who was infertile or denied it because doing a devoted Wise mother's roll was a matter of the ‘reproductive ability’. As male intellectuals mainly led a discourse of enlightenment, female naturally couldn't become the subject of an enlightenment. Divided into ‘Old-fashioned women’ and ‘modern women’, ‘reproductive women’ and ‘sterile women’, it caused that women's liberation was limited to ‘reproductive women’. made it's motto, ‘Good wife and Wise mother’, it never insisted on keeping ‘Good wife and Wise mother’ as it is, which was belong to men like an ornament. Besides it would enlighten nay even women of ‘feudal family’. Since then an editor Zhang-xizhen's Woman's Magazine claimed ‘free love’ with Ellen Key's thought as the center. It was the slogan for breaking a ‘feudal family’ and intended to build a ‘New family’. ‘Old-fashioned Women’ of a feudal family separated from ‘modern women’ and was disqualified from her status in this progress. ‘Modern women’ who got a western education were called to build the ‘new family’ as a new male intellectual's partner. These ‘modern women’ were also qualified for a position of ‘Wise mother’ maintaining the family. The idea of ‘free love’ meant the birth of the individual and many women gave a welcome it. In the conflicting design of ‘home’ versus ‘love affair’, women took a ‘love affair’ going through an escape from home, but once again a regeneration of discourse of ‘Wise mother’, which was calling women to home, meant the loss of ‘love affair’. After all, women's social individual was lost and granted as only a ‘Wise mothe
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