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      《浮生六記》追憶空間的建構與沈復的下層文人心態 = The Construction of Memory Space in Fu Sheng Liu Ji and Shen Fu’s Mentality of Lower-class Literati

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      https://www.riss.kr/link?id=A106352184

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      다국어 초록 (Multilingual Abstract)

      The academia has always maintained a strong interest in Fu Sheng Liu Ji since it was known to the world. However, current studies mostly focused on English versions translation, classification of works genres, the Image of the heroine Chen Yun, and depicting, which based on content of the works, the life of the lower literati in the mid-Qing Dynasty, yet no systematic discussion on the characteristic construction of memorial space has been carried out. Although real life was used as writing material, a careful reading will reveal that Shen Fu, the author, had the memories significantly split and reassembled, which was achieved through the repetition of fragmentary memory spaces. The intentionally constructed characters of these memory spaces, along with their combinations, and the mentality of the lower literati in the mid-Qing Dynasty are all worthy of further study, these aspects and their relations were discussed in this paper.
      The second chapter summarized, classified and described the types of memory spaces in the works. Two typical memory spaces were appeared, semi-closed dotted space and open linear space. The former was mainly in Gui Fang Ji Le and Xian Qing Ji Qu while the latter was in Kan Ke Ji Chou and Lang You Ji Kuai. The following discussion was on Shen Fu’s deliberately disconnecting the time chain, and the narrative ways of categorizing and linking these memory spaces. The third chapter revealed the mentality of the lower-class literati in the mid-Qing Dynasty, which hidden behind the special construction mode of Shen Fu’s memory spaces, was believed as a active marginalization, and specifically manifested in defending the private space, as well as resisting the social space. Therefore, the paper holds that Fu Sheng Liu Ji is not a record of Shen Fu’s life, but a deliberate cutting and reorganizing of the memory spaces, and his active marginalization mentality contributes to the construction of such groups of memory spaces.
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      The academia has always maintained a strong interest in Fu Sheng Liu Ji since it was known to the world. However, current studies mostly focused on English versions translation, classification of works genres, the Image of the heroine Chen Yun, and de...

      The academia has always maintained a strong interest in Fu Sheng Liu Ji since it was known to the world. However, current studies mostly focused on English versions translation, classification of works genres, the Image of the heroine Chen Yun, and depicting, which based on content of the works, the life of the lower literati in the mid-Qing Dynasty, yet no systematic discussion on the characteristic construction of memorial space has been carried out. Although real life was used as writing material, a careful reading will reveal that Shen Fu, the author, had the memories significantly split and reassembled, which was achieved through the repetition of fragmentary memory spaces. The intentionally constructed characters of these memory spaces, along with their combinations, and the mentality of the lower literati in the mid-Qing Dynasty are all worthy of further study, these aspects and their relations were discussed in this paper.
      The second chapter summarized, classified and described the types of memory spaces in the works. Two typical memory spaces were appeared, semi-closed dotted space and open linear space. The former was mainly in Gui Fang Ji Le and Xian Qing Ji Qu while the latter was in Kan Ke Ji Chou and Lang You Ji Kuai. The following discussion was on Shen Fu’s deliberately disconnecting the time chain, and the narrative ways of categorizing and linking these memory spaces. The third chapter revealed the mentality of the lower-class literati in the mid-Qing Dynasty, which hidden behind the special construction mode of Shen Fu’s memory spaces, was believed as a active marginalization, and specifically manifested in defending the private space, as well as resisting the social space. Therefore, the paper holds that Fu Sheng Liu Ji is not a record of Shen Fu’s life, but a deliberate cutting and reorganizing of the memory spaces, and his active marginalization mentality contributes to the construction of such groups of memory spaces.

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      참고문헌 (Reference)

      1 장일구, "서사공간과 소설의 역학" 전남대학교출판부 2009

      2 김현화, "고전소설 공간성의 문예미" 보고사 2013

      3 宇文所安, "追憶: 中國古典文學中的往事再現" 生活⋅讀書⋅新知三聯書店 2014

      4 閔泳大, "趙緯韓과 崔陟傳" 亞細亞文化社 1993

      5 沈復撰, "浮生六記 影印本" 世界書局 1975

      6 沈復, "新譯浮生六記" 三民書局 2017

      7 顧鳴塘, "從 《浮生六記》看清中期江南地區文士階層的夫妻唱和風習" 江蘇省社會科學院文學研究所、明清小說研究中心 (1) : 2009

      8 黃霖, "中國古代小說敘事三維論" 上海書店出版社 2009

      9 문영란, "『부생육기(浮生六記)』로 본 동양의 화예미학" 한국화예디자인학회 33 (33): 59-73, 2015

      10 陳穎超, "《浮生六記》與清中期下層文人生活" 上海師範大學 2007

      1 장일구, "서사공간과 소설의 역학" 전남대학교출판부 2009

      2 김현화, "고전소설 공간성의 문예미" 보고사 2013

      3 宇文所安, "追憶: 中國古典文學中的往事再現" 生活⋅讀書⋅新知三聯書店 2014

      4 閔泳大, "趙緯韓과 崔陟傳" 亞細亞文化社 1993

      5 沈復撰, "浮生六記 影印本" 世界書局 1975

      6 沈復, "新譯浮生六記" 三民書局 2017

      7 顧鳴塘, "從 《浮生六記》看清中期江南地區文士階層的夫妻唱和風習" 江蘇省社會科學院文學研究所、明清小說研究中心 (1) : 2009

      8 黃霖, "中國古代小說敘事三維論" 上海書店出版社 2009

      9 문영란, "『부생육기(浮生六記)』로 본 동양의 화예미학" 한국화예디자인학회 33 (33): 59-73, 2015

      10 陳穎超, "《浮生六記》與清中期下層文人生活" 上海師範大學 2007

      11 吳永新, "《浮生六記》之無隱禪院的空間意象解析" 現代裝飾雜誌社 (9) : 2014

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      연월일 이력구분 이력상세 등재구분
      2026 평가예정 재인증평가 신청대상 (재인증)
      2020-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2017-01-01 평가 등재학술지 유지 (계속평가) KCI등재
      2013-01-01 평가 등재 1차 FAIL (등재유지) KCI등재
      2010-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2008-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2006-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2004-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2001-07-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      1999-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.26 0.26 0.29
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.28 0.32 0.635 0.21
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