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朴炫坤 ( Park Hyoungon ) 중국어문연구회 2023 中國語文論叢 Vol.- No.114
This paper aimed to discuss the process in which the cliché of ≪三俠五義≫ was used in the Chinese drama ≪包青天≫ and its cultural significance. The cliché refers to an important narrative method that makes readers wonder what will happen next in ≪三俠五義≫. It makes readers curious about the following part in the important part of each episode of the drama to keep them focused on that part. However, the cliché unfolded in almost every part in ≪包青天≫. This was because the audiences were viewers, unlike the readers of texts. The cliché was set in a proper form, considering that the visualized story in the drama was delivered to viewers only within the limited broadcasting time. As it is available to get higher TV ratings when a storyline captures viewers’ attention within the limited amount of time, it needed to unfold in a way that attracted their interest within the limited amount of time, so the cliché had to be set to achieve that end. Therefore, the cliché was set in every part of the drama to induce viewers to continuously focus on its storyline. As such, the cliché in the drama has a big difference from the one in the text in that it was set in almost every part in consideration of the broadcasting time and the aesthetic response of the audiences. Therefore, this paper will conduct a comparative analysis of the cliché in the two works and link the cultural significance derived therefrom to the broadcasting time to examine the process in which the cliché of ≪三俠五義≫ was used in the Chinese drama ≪包青天≫.
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서술 시점의 리듬 조절에 의해 설정된 你道와 그 의미 ― 說唱本石派書 ≪龍圖公案≫과 ≪三侠五义≫와의 비교를 중심으로
朴炫坤 ( Park Hyoungon ) 중국어문연구회 2022 中國語文論叢 Vol.- No.111
你道 is a cliched narrative that can be easily identified in vernacular novels, provoking the reader’s curiosity about the next passage. The narrative is sometimes set as 且聽下回分解at the end of each episode of the work, but it just suggests the next episode, so it is inferior to the 你道 in terms of the influence it has on the narrative of the story in the work. Therefore, the discussion on the narrative style of vernacular novels should begin with the 你道. However, 說 唱本, the original copy of vernacular novels, have largely been lost, making it difficult to perform the fundamental study on the 你道. Meanwhile, 石派書≪龍 圖公案≫ has been found, which is a representative work of chivalrous novels written in the mid-Qing Dynasty as one of the series of ≪三侠五义≫ 說唱本. Therefore, if a fundamental study on the 你道 that has influenced the narrative of the work is carried out through comparison between the two texts, it will be possible to grasp not only the influence of the 你道 on vernacular novels, but also its action in the creation of texts. In the case of a study on the 你道, so far, it has focused a lot on the discussion of its function only by analyzing the texts of the novels in general, suggesting that the research achievements are lacking in various perspectives. It is clear that the comparison between the above two texts will be one of the research achievements for the diversity of the 你道 that can supplement the above-mentioned problem. For the study of such diversity, this study is intended to discuss that the 你道is set as in the case of sentences before the same viewpoint of narratives for linking the preceding and following paragraphs, unlike its existing function that arouses readers’ curiosity. This type of the 你道 makes readers accept sentences from the same point of view without letting them perceive it as an existing single form. This is because when they go through such a process, they can move to the main contents of ‘Ep. 1’ that develops from the following of the 你道 in the previous paragraph, and furthermore, they will be able to focus on those main contents. Thus, this study will conduct a comparison between two texts for the purpose of considering the various characteristics of the 你道, and it is believed that the research results derived therefrom will provide a new direction for the study of the 你道’s diversity.
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