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- 저자 : 侯美靈 ( Hou Meiling ) (검색결과 4 건)
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魯迅雜文的用典原因及方式探析 ― 以『墳』、『華蓋集』和『且介亭雜文』為中心
侯美靈 ( Hou Meiling ) 중국어문학회 2022 中國語文學誌 Vol.- No.79
The author selected “Graveyard”, “Huagai Ji” and “Qiejieting Essays” as representatives of Lu Xun’s early, middle and late essays, and examined the use of allusions through the methods of close reading of the text and statistical analysis. It was found that the early allusions were used the most, with an average of more than 9 per essay, and more than 4 per essay in the middle and later stages. These allusions have spanned more than two thousand years from the pre-Qin Dynasty to the late Qing Dynasty, and the scope is extremely wide. Chuang Tzu, the Analects of Confucius, the Records of the Grand Historian, and Mencius are Lu Xun’s four favorite sources of allusions. Lu Xun’s extensive use of allusions in his essays has a profound reason, which is related to the environment in which he grew up and the background of the times he lived in; it is his cross-body attempt to apply the rhetorical techniques of poetics to the creation of essays, and it is also the demand for essay creation. Lu Xun’s argumentation art of essays using allusions is embodied in three aspects. First, use poems and ancient famous sayings to end the full text; second, list many allusions to criticize the unreasonable phenomena of ancient culture and national character; third, in allusions Dissecting others and himself.
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侯美靈 ( Hou Meiling ) 중국어문학회 2020 中國語文學誌 Vol.0 No.72
This paper takes Lu Xun’s two collections of novels Scream and Wandering as the research object. Through careful reading of the text and statistical methods, the Repetitive phenomenon in the 25 novels included in it is investigated. Lu Xun inherited the traditions of “Three mentions” and “Three repetitive plots” that have been passed down to the present in classical literature, and used them in his novels. There are two main examples of repetition: repetition within a single novel, intertextual repetition across stories, and most of the former. The use of repetitive rhetoric has received at least four effects: The description of a large number of similar social phenomena reflects the social reality from the late Qing Dynasty to the May Fourth Movement, and the theme of the work is often revealed in the hidden imagery mentioned many times. The mantra of the characters has created a lot of classic characters for us, highlighting the usual tragic color in the repeated scene comparison. Therefore, it can be said that the extensive use of repetitive rhetoric is a major feature of Lu Xun’s novels.
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東亞視野下的海東青意象研究 ― 以中韓古代海東青詩歌比較研究爲中心
侯美靈 ( Hou Meiling ) 중국어문학회 2022 中國語文學誌 Vol.- No.81
This paper focuses on the comparative study of ancient gyrfalcon poetry in China and Korea, and examines gyrfalcon imagery from the perspective of East Asia. The author compares the general situation of the creation of the gyrfalcon poetry in the two countries, and focuses on the analysis of the differences in the image of the gyrfalcon. In terms of creation scale, China collected 299 poems with 262 titles from 188 poets from the Sui and Tang Dynasties to the Qing Dynasty; South Korea collected 103 poets with 144 titles and 189 poems from Silla to Joseon Dynasty. In terms of the creative team, the emperor, clan, and literati are the major poet, but in China, Emperor Qianlong of the Qing Dynasty and Zhu Youdun, the clan of the Ming Dynasty, were the main poets. In South Korea, Gao Jingming, a civil servant in the middle period of Joseon Dynasty, Xu Juzheng, in the early period of Joseon Dynasty, and King Sujong in the late Joseon Dynasty, were the main poets. In terms of creative genres, poems with paintings in both countries account for a relatively large proportion, but China mainly focuses on hunting pictures of Liao and Jin people, while South Korea mainly focuses on Li Yan’s black and white gyrfalcons. In terms of the image of gyrfalcon, China mainly uses it as a symbol of peace, the name of hero and vassal state; while South Korea appears as an image of misery, nobleman’s entertainment tool or national heroes. In terms of the use of the image of gyrfalcon, it has become a metaphor for Chinese talents and a term for explaining the truth of Buddhism, while South Korea is a synonym for talents.
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중국(中國) ‘고악(姑惡)’ 시(詩) 연구(研究) ― 문화적 배경과 확장의 양상
侯美靈 ( Hou Meiling ),金俊淵 ( Kim Joonyoun ) 중국어문연구회 2020 中國語文論叢 Vol.0 No.102
In this article, We tried to discuss the cultural background and the expansion of the content of ‘blaming on mother-in-law’ poems from Song Dynasty to Qing Dynasty. In Chinese feudal society, there had always been a three obedience rules and the ideology of “mother-in-law is noble, daughter-in-law is humble”, leading to constant contradictions between them. It is also due to legends such as Jingwei(精衛)filling the sea and women turning out birds after death. Ever since Su Shi(蘇軾) of the Song Dynasty composed the ‘blaming on mother-in-law’ poem based on the folk legend that daughter-in-law was abused by her mother-in-law and turned into a bird after her death, later inheritors imitated it, and created many similar poems. In these processes, ‘blaming on mother-in-law’ poems have expanded in three aspects: on the internal level, the narrative elements had been increased; on the external level, poets paid various attention to the events and made literary acculturation; and in the way of creation, many poets used varied metaphors and allegories. We hoped that through this paper, the process of ‘blaming on mother-in-law’ poems that has emanated social issues beyond the character of simply eccentric material will be reviewed.
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