논문(論文) : 욕망, 기괴함, 그리고 "기운생동(氣韻生動)" -진홍수(陳洪綬)와 ≪수호엽자(水滸葉子)≫를 중심으로

문정진 중국어문연구회 2014 中國語文論叢 Vol.0 No.63

The Neo-Confucian School of Mind, which was widely spread along with political corruption at the time, significantly influenced the painting style of Chen Hongshou, who was an adherent of Ming Dynasty. However, for Chen Hongshou, painting was rather a means for living, not an expression of ideal life. Moreover, when he painted Shuihuyezi extravagant spending trend from Jiangnan formed the cultural consumption market of the time. Shuihuyezi, in which Chen Hongshou`s ideal and reality remain intact, was painted during the rearrangement of desire: from madness-like intense emotion to general enjoyment. Nevertheless, Chen Hongshou`s fairly retro style paintings are connected to aesthetic, philosophical recognition, which is unaccountable simply with expression of anger or pleasure. Especially, the narrative aspects of Chen`s paintings stimulate man`s five senses while letting four seasons coexist on one canvas, and these aspects become an important clue that enables communication with today`s contemporary people. Lively spirit from the characters in Shuihuyezi is still vivid together with those who were playing Jiupai then and who appreciate the painting now.

논문(論文) : ≪수호엽자(水滸葉子)≫의 인물 서사(敍事) 시탐(試探)

문정진 ( Jeong-jin Moon ),오경희 ( Kyung-hee Oh ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.72

Depending on the different volumes of Water Margin (i.e. 100, 70, or 120-volume publications), the characters in the work are described differently as heroes or villains by the storyteller, except for Song Jiang. Unlike other characters, Song Kang’’s personality is clearly set with the word, righteousness, in the Personalities of the Story of Water Margin. This is because of the ‘Personalities’ of the game in the Personalities of the Story of Water Margin. Through Ju Tong, Hua Rong, and Li Kui, the description of the game in the work reflects the value and ethics of the times. Also, Shi Jin, Li jun, and Guan Sheng reveal the originality of Chen Hongshou in the text of Water Margin, and Gao Dasao, Wan Xiaoqi, and Lei heng have readers understand making a relationship and communication. And via the performance of the game, the characters around Song Jiang in the work imprint different individualities from the storyteller’s viewpoint in readers’ minds. Interestingly, the figures of the ten characters in the Personalities of the Story of Water Margin look at different places. Not only the lines of sight, but also the ways they are facing at are not fixed or clear. The captions of the character drawings also have various perspectives, meaning that it is not a coincidence that the relationships, for example between one character and the society, the character and another character, the character and the drawer, and the character and readers, are linked to each other. The numerous viewpoints of the Personalities of the Story of Water Margin, which are not fixed on just one person, can be regarded as an effort to make the readers figure out a situation from various angles and positions. Through the captions of the character drawings in the work, Chen Hongshou is linked with the characters and the game performers, and shows his way of understanding towards Water Margin’s characters.

논문(論文) : 설부(說部)와 소설(小說) -설(說)과 文, 그 사이에서 청말소설(淸末小說) 상상하기-

문정진 고려대학교 중국학연구소 2013 中國學論叢 Vol.42 No.-

The space and time of the late Qing Dynasty, in which a large amount of novels, from old folk tales to fast-spreading stories today, and theories had appeared, did not show a mere linear aspect at all. This study focuses on the space and time of the late Qing Dynasty, the spoken and written materials that formed Xiaoshuo (novel), and the media, such as libraries, books, and newspapers, which allowed people to read, learn, and listen to Xiaoshuo. In the late Qing Dynasty, stories met a modern communication medium, the newspaper, under the name of Xiaoshuo. A storyteller`s experience was based on totality. Before this age called, the modern age, stories made the audience feel united and touched with sympathy, and the audience was not usually fragmented from the storyteller. In the late Qing Dynasty, however, stories that continued the same story could not simply exist anymore. This was because, unlike the stories so far, which shared all the five senses with the storyteller, the newspaper needed only one sense - vision. Stories in the newspaper therefore had to be just concise, original, and easy to understand for reading, being laid somewhere between storytelling and novel. Xiaoshuo in the late Qing Dynasty recorded the lifestyles of the citizens of the day in various ways, and Xiaoshuo that was written, not spoken, changed the audience who used to feel sympathy with others into passionate readers. On top of that, printing technology also played a role in Xiaoshuo`s holding its place as a medium of information, distributing a lot of novels in cheap prices. However, it is interesting that storytelling, such as Pinghua, Tanci, and Guci, were freely told and sung in a fixed form, Shuobu, and widespread along with Xiaoshuo in the late Qing Dynasty. When the stereotype that Xiaoshuo is just written product of culture is removed, Xiaoshuo in the late Qing Dynasty will show its various aspects.

중국 근대 상하이의 매체와 커뮤니케이션 ― 19세기 말 『申報』, 『點石齋畵報』, 『時務報』를 중심으로

문정진 한국중국현대문학학회 2011 中國現代文學 Vol.0 No.56

This study focused on the mediation of Shanghai Concession and modern medias including 『申報』, 『點石齋畵報』, 『時務報』. In the late 19th century, the typography have produced many prints, that is characterized by speed and sophistication. The enhanced sales system and advertising revenue growth helped the thriving of media, that is an important opportunity that intellectuals gathered in the Shanghai international settlement. Provided at a reasonable price for the periodical publications, the diffusion of news through media secured the new readers layer, and then writers and publishers transform into a modern professional. Reading style in groups determined the form of a symbol of the settlement and affected forming the idea of Others. Shared symbolic forms and boundaries are the foundation that is the structure of political authority, particularly how to imagine a community. Sensory experiences of the visual impact give prominence to medium for Shanghai, the concession itself became message. The communication method chosen by the media during the process of placing gave direction to the spatial order of settlements. Between each type of media that was including 『申報』ㆍ『點石齋畵報』ㆍ『時務報』, Modern China through mediating a complex communication system were in the process of adjustment of means. Simultaneously, the study of these three medias affect to connect with discourse created sometimes altered or sometimes reinforced the various effects of that era.

특집 : 하반기 양계업을 전망한다 - 토종닭 산업현황과 전망

문정진,Mun, Jeong-Jin 대한양계협회 2012 월간 양계 Vol.44 No.7

黃小配의 時事小說 考察

문정진 한국중국소설학회 2004 中國小說論叢 Vol.20 No.-

黃小配是近代一位重要的資産階級革命家和革命派文學家. 不過在韓國對黃小配文學的介紹和硏究흔少. 此文介紹黃小配的生平和小說理論, 又考察他所作的小說作品的內容和思想. 特別是側重從黃小配有關時事的小說看他的時代見識和作品關係. 黃小配曾做過新聞記者, 報刊主編和編輯, 寫了大量的評論文章. 黃小配又發表了在創作實踐基礎的的小說理論. 因此他的小說理論接近於創作實際. 他的小說理論一個顯著特點是他非常重視小說和社會之關係. 不過黃小配在强調小說的社會作用和思想性的同時, 幷重視小說的藝術技巧. 如論人物塑造, 他按照現實生活中人的性格寫出人物的性格特徵. 還有他論述了古事情節, 結構布局, 以及小說的虛構性等問題. 黃小配對古典小說和西洋小說的對待也是客觀的, 對飜譯小說和創作小說關係的認識也是分析的. 黃小配的小說理論, 大多發表在他和長兄黃伯耀所主辦的『中外小說林』上. 黃小配又是一位小說家, 寫了中長篇小說十餘部, 就是『洪秀全演義』ㆍ『陳開演義』ㆍ『黨人碑』ㆍ『宦海寃魂』ㆍ『岑春훤』ㆍ『廣東世家傳』ㆍ『朝鮮血』ㆍ『十日建國志』ㆍ『新漢建國志』ㆍ『卄裁繁華夢』ㆍ『鏡中影』ㆍ『黃梁夢』ㆍ『宦海潮』ㆍ『大馬扁』ㆍ『宦海昇沈錄』等. 這些小說, 或寫現實, 或寫歷史, 都充滿了强烈的民族思想和革命感情, 反映了晩淸社會尖銳的民族矛盾和階級矛盾, 表現了以革命改造中國的決心和願望. 但是我們조不到從黃小配小說近代國民的人物形象, 或者改革體制的革命構想. 這是革命派作家黃小配的思想認識和小說創作的差距.

≪수호엽자(水滸葉子)≫의 인물 서사 - 지살성(地煞星) 9인을 중심으로

문정진 ( Moon Jeong-jin ) 중국어문연구회 2016 中國語文論叢 Vol.0 No.76

According to the ranking of the 108 heroes in Water Margin, 36 Heavenly spirits are in higher ranks compared to 72 Earthly Friends. Some of the Earthly Friends are not outstanding so they are not matched well with the title, ‘hero.’ However, the 40 heroes in Shuihuyezi includes nine Earthly Friends, who are selected by the writer, Chen, Hong-shou, not by the hero ranking of Liangshanpo or the weight of role in Water Margin. The descriptions of the nine Earthly Friends in Shuihuyezi are analyzed in this paper, and this research has found four main features from the descriptions. First, loyalty is regarded as an important virtue, which is the same in Water Margin. The descriptions of Zhu Wu, who are patient, and considers communication is important, Gu Dasao, who builds a network and solve an issue easily, and Fan Rui, who has alchemy and comes down to humans, are all based on loyalty. Second, Shuihuyezi defines the characters in Water Margin from practicality, which is the trend of the time. Shi, En and Wu, Song are inseparable. However, just like the maximum tension in the bowstring without an arrow, it can be a meaningless desire. Also, the introspection into reality enables the revaluation of the petty thief, Shi, Qian. Third, it is a new gender awareness that clearly depicts characters created between individuals`desires and values that the society pursues. The insight toward reality in which people only care for their own profits, and the society which stresses womanly virtues, generates a new point of view toward Sun Erniang and Hu Sanniang. Fourth, the civil administrative society and bureaucracy, which need practical specialties, include An Daoquan and Xiao Rang in Shuihuyezi. Chen, Hong-shou dreamed a new world in Shuihuyezi. In this world, a gentle leader makes his people new citizens. The major driving forces of the world are Confucian values, such as loyal relationships; friendship; and filial duty. And Chen, Hong-shou focuses on people in the world. That is the reason why Chen, Hong-shou paid attention to the Earthly Friends, along with the Heavenly Spirits.

≪水滸葉子≫의 인물 敍事 ― 水滸 서사 속 盧俊義⋅燕靑 형상과의 연계성을 중심으로

문정진 고려대학교 중국학연구소 2017 中國學論叢 Vol.58 No.-

When illustrations and stories about the characters in Shuihuyezi interact one another, they create new meanings. For example, Lu Junyi and Yan Qing, the main subjects in this study, have opposite characteristics not only in their apparent positions (i.e. Lu Junyi is a master, and Yan Qing is an old servant.), but also in social origin, attitude to life, and value. And eternity and circulation, the symbols of the Big Dipper, which always guide ways at night, disappeared as soon as Lu Junyi was deceived by a quirk of fate. Moreover, the reality at the time did not want good looks, luxurious image, honors of wealthy family, outstanding martial arts, or a wide knowledge about the scriptures any more. On the other hand, with his broad insight, Yan Qing had excellent communication skills that worked in various situations. Also, his timely wits teach us what wisdom is and his right judgements in critical moments made Yan Qing an brilliant mediator. Such positions of Lu Junyi and Yan Qing in Shuihuyezi reflect the awareness and viewpoint of the public about current heroes and leaders in the new society. And readers will have a chance to re-consider their conventional values ‘between’ the illustrations and writings on playing cards.

淸末民初 韓國 관련 小說 硏究(2)― 近代 中國의 國民國家形成과 民族 문제를 중심으로

문정진 한국중국소설학회 2004 中國小說論叢 Vol.19 No.-

화보(畵報)를 통해 본 근대 조계(租界)와 여성(2) ― 도시와 소비문화를 중심으로

문정진 한국중국현대문학학회 2007 中國現代文學 Vol.0 No.40

Illustrated magazines produce and distribute a large amount of images. They play an excellent role as a path, through which people recognize new world and objects, expand their experiences and acquire knowledge and culture. The recognition method has been changed in figuring out the world. This study is divided largely into three parts. First, in ‘the West and Women,’ the study first of all investigated the process of the open commercialization of women's sex that has become the Other through the picture introducing the beauty contest. In addition, it took a close look at the layer of recognition inherent in the process of forming the discourse on women from two misunderstanding about female body. Second, in 'the Concession and Body,’ the study looked closely into the two places of modern urban space, the so-called concession and the modern urban culture that the space created through the main street and horse racetrack that functioned as public exhibition places. Third, in 'the Mode and Desire,' the study investigated various sides of women who started to emerge as the subject of desire and to enjoy the trends regardless of social status and age and the social concern for this phenomenon. Through this study, it has been found that Chinese modern woman was recognized as an identity in the process of being achieved and concretized in certain social restrictions and the stream of time.