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김의정 중국어문학연구회 2018 중국어문학논집 Vol.0 No.108
There is a wide variety of assessments of Li Yu(李漁), some say he is a blatant commercial writer who writes only the best selling works, and is rarely treated as a writer. But, theatricalism, a part of 『Xian qing ou ji(閑情偶寄)』is highly rated for establishing systematic critical theory suitable for real condition of play. Moreover, in addition to field of play, 『Xian qing ou ji』 covered architecture, gardening, object, flower and tree, everyday life in multilateral perspective, and, in this book, his point of view shines, which pursuits both practical use and aesthetics. Surely Li Yu is a good writer, through him we can look into late ming dynasty to early qing dynasty in detail. I found that both home and abroad, he only has been studied as a dramatist and a popular novel writer mainly, therefore, I would like to expand scope of this research to his poetic world. The essay lists the 68 pieces of writing of Li Yu‘s poem. It's a fraction of the total number of works, but it contains a number of long poem. Many of the poem depict his extremely realistic predicament that usually has been understood as popular custom or bizarre, and it is not only helpful to recognize his inner self. Through this, conversely, we can trace the meaning of a revolution of era in the late ming dynasty and early qing dynasty to an individual. In this paper, I looked through Li Yu‘s poem in four parts, the changes in the world, social intercourse, reflection on life, and document of the details of daily life.
李白 樂府詩의 화자문제와 영상적 해석- <烏棲曲>, <雉朝飛>를 중심으로
김의정 한국중국학회 2020 중국학보 Vol.94 No.-
본 논문은 이백의 시 <까마귀 깃들고烏棲曲>, <아침에 장끼 날아오르다雉朝飛>의 장면 해석에 관심을 가지며 난점을 해결하기 위해 악부시 31수에 대해 화자를 검토하여 유사한 패턴이 있는지 검토하였다. 화자가 바뀌는 작품들이 있었는데 그 가운데는 중간에 다시 본래의 화자로 돌아오는 복귀형의 경우도 있었고, 또 한번 바뀐 화자에서 원래 상태로 돌아오지 않는 비 복귀형의 경우도 있었다. 이와 같이 화자 문제로 접근해보았을 때 다양성이 있음을 알 수 있었다. 본 논문은 여기서 한걸음 더 나아가 초점화자 이론을 토대로 두 작품에 대해 영상적 해석을 실시하였다. 이를 통해 문제가 되는 장면에서 누가 말하고 누가 지켜보는지 등에 구체적으로 살펴볼 수 있었다.
Metaplastic Carcinoma with Extensive Chondroid Differentiation in the Breast (Chondroid Carcinoma)
김의정,심효섭,이희대,정우희 연세대학교의과대학 2006 Yonsei medical journal Vol.47 No.2
Metaplastic breast carcinoma is very rare, and metaplastic carcinoma with chondroid differentiation is even rarer. Here, we report a case of metaplastic carcinoma with extensive chondroid differentiation mimicking chondrosarcoma that was challenging to diagnose. The tumor was characterized by an abundant chondromyxoid matrix. The definitive area of classic invasive ductal carcinoma was minimal. The peripheral portion of the tumor showed increased cellularity with pleomorphism and definitive invasive growth. Tumor cells in the chondrosarcomatous areas were diffusely immunoreactive for S-100 protein, patchy positive for cytokeratin, but negative for epithelial membrane antigen (EMA). Tumor cells in carcinomatous areas were diffusely positive for cytokeratin, S-100 protein, and patchy positive for EMA. In both areas, tumor cells were negative for smooth muscle actin (SMA) and CD34, while oncoprotein p53 was overexpressed. When pathologists encounter breast tumors with chondroid differentiation, careful sampling and immunohistochemistry for cytokeratin and SMA are most helpful to differentiate metaplastic carcinoma from malignant phyllodes tumor and malignant adenomyoepithelioma.
시는 어떻게 광고가 되는가? -중국 고전시의 문학 콘텐츠 활용방안-
김의정 중국어문학회 2013 中國語文學誌 Vol.42 No.-
本?究對象是李商隱以美人?花鳥爲素材的詩, ?究目的是將作品進行歸類分析, 爭取使之成爲在今後文化內容産業中廣泛使用的故事題材。如今, 韓國的文化內容産業經曆了突飛猛進地成長。進入新千年, 以電視劇?流行歌曲爲中心的韓流正在不斷向前發展, 在這種情況下, 隨著對古典故事的關心不斷增加, 人們開始探索文化原型的故事和形象。?且, 目前已經完成了大部分的探索目標。然而, 回顧這些成果, “講故事”和內容的評論大多都是以韓國古典文化(包括文學??食?服飾?舞蹈等)爲主, 幾乎沒有以海外作品爲對象進行評論的例子。筆者認爲, 在以古典作品爲素材的“講故事評論”中沒有必要介入“民族主義”的目光。爲了今後不斷的文化交流, 反而有必要?棄?調本國文化純粹性的文化利己主義態度, 應持著壹種有助于文化交流可持續發展的態度。因此, 筆者認爲在“講故事”評論中, 應該關注中韓日三國的關系, 至少有必要靈活接受和美化東亞三國國內的古典內容。以此爲由, 筆者開始關注中國古典故事, 在此, 選擇了李商隱的詩。
논문 : 명대(明代) 여성시인(女性詩人) 서원(徐媛)의 시 세계 -여성 교류시를 중심으로
김의정 중국어문학회 2011 中國語文學誌 Vol.37 No.-
本文要探討明代女性徐媛的詩歌。据筆者的初步硏究,徐媛詩歌當中描寫女性的詩歌是204首,接近全體的一半。歷史上女性是被描寫的對象,決不是其創作的主體。到了明代,女性作家逐漸開拓交流的范圍,形成타們獨立的分享文化的空間。徐媛的女性交流詩歌可以分成四大類。第一類是給親戚、朋友、或者官夫人的詩歌。這類詩歌當中我們可以體會到徐媛細니的感情表現。第二類是給歌妓女的。這類詩歌是主要表現女性的容貌 姿態的。此外第三類是對古代才女表現贊揚和哀悼的。第四類是對所有女性們的詠嘆。徐媛女性交流詩中最明濕的特征是對象的多樣性。此外還有一点要注意的是徐媛非常注重女性的身體美。這一点可以說是明末社會世俗化的影響。向后筆者要對明末淸初女性美意識的轉變問題硏究。