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        중국 소수민족문화의 상호텍스트성 탐색 - 포의족의 장례풍속을 중심으로 하여 -

        양회석,이미경 한국중국어문학회 2009 中國文學 Vol.58 No.-

        這是一篇將布依族的喪葬風俗爲案例, 來進行摸索少數民族文化硏究之新方向的文章。主要內容如下:一, 將現存的布依族的喪葬風俗加以槪括幷提取其特征, 然后將?與自己的過去及周邊少數民族傳統文化進行比較, 以便解讀其文化涵義出來。 二, 將這些特征和文化涵義來, 與中國古代文獻記錄?韓半島的喪葬文化進行比較和檢討, 以便探索其中所具有的“互文性(Intertextuality)”。 布依族的喪葬風俗, 作爲集體性的宗敎活動, 保有獨特面貌(例如, “母系血統人士的大作用”·“鬧喪”·“龍戈”·“?牛”等)在內。 其中蘊含了人類喪葬風俗的變遷史, 母系社會的傳統及以竹子爲圖騰的圖騰崇拜等悠久的文化內涵。 但是, 所有的這些事項幷沒有爲布依族所固有, 從不少中國古代文獻記載或是朝半島喪葬風俗之內, 不難發見極其相似的例子。 特別是“鬧喪”的情況, 不光是過去東亞的共同風俗, 也是現在韓國珍島的喪葬風俗中之顯著特色。 還有, 本稿在檢討布依族·古代中國·韓半島三邊的資料之基礎上, 對一些有關問題提出了新的解說和意見。 但是主要意義可能說是在于, 脫掉“中心與周邊”這種老?架, 來積極探索少數民族文化硏究的新方法。

      • KCI등재

        復古의 유형과 그 문화사적 기능 : 明代 李夢陽과 李卓吾를 중심으로

        梁會錫 韓國中國語文學會 2003 中國文學 Vol.39 No.-

        中國文學史上的儒家和道家兩股潮流以一種原型軸動的方式作用于中國文化發展, 成爲各時代 文化演變的源泉. 換句話說, 每逢需要變革之時, 總會一如旣往地回顧儒家和道家的?迹, 這更是所 謂"復古"的思維方式. 其實, 儒家和道家本身就是復古的産物, 這種思維?架推動了復古思潮的盛行. 筆者認爲, 復古可分爲兩種類型, 一種是提倡文明和規範的"儒家式復古", 號一種是憧憬原始和 自然的"道家式復古". 而"文明.原始" 或"規範.自由" 又是人類永遠探討的課題, 從這点上來說, 타們 具有同樣普遍的意의, 說타們是"奔?于中國文藝根底的兩大主潮"也是理所當然. 從對明代文學思潮的分析結果來看, 前后七子的代表人物李夢陽應屬于"儒家式復古"; 而一向被 劃歸爲革新派的李卓吾事實上也是一種復古, 只不過是屬于"道家式復古" 而已. 二人所屬的類型雖然不同, 但在反抗現實, 尋?出路這一点上却是一致的. 因此, 將文學流派劃分成復古和革新, 復古阻碍文學發展等說法, 應該得到重新考慮. 總之, 中國文學史上的復古幷非那種逆時代而行的單純的回歸過去, 而是成爲一種能구提供解決 現實矛盾原動力的思想理論. 至于타在走向極端時而産生的反作用, 則應號當別論.

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        關漢卿 散曲과 雜劇 연구- 작품세계의 불일치 논쟁을 중심으로 -

        양회석 한국중국언어문화연구회 2013 한중언어문화연구 Vol.- No.33

        Guan Hanqing is the prominent writer in the area of Sanqu and Zaju and both are usally evaluated totally different from each other. This belief comes from as follows. Zaju tends to criticize social reality actively(aggressively). Sanqu, meanwhile, escape from reality and settle for the personal taste so it has been devaluated relative importance. This tendency presupposes that Yuan Dynasty is dark ages. But in the frontline of Guan Hanqing’s literary works, under the control of Kublai Khan and Marco Polo’s jorney to the East, the period was not dark ages but full of vitality and taste for the arts. Guan Hanqing made the point clear in ‘Bu fu lao’ that his goal in life was making romance with women, especially courtesans. Romance between men and women took a central place in his literary works cause all of his writings reflected his aim regardless of Sanqu or Zaju. So appraisals of his works that Sanqu and Zaju are totally different from each other is not persuasive. The literati always win over love in Guan Hanqing’s work. They are so far as to defeat so many rivals such as wealthy merchants or the powerful. This tells the literati’s unconscious wishes. Then again, women play a leading role and the literati paly the fool in the process of romance. It means writer wants to meet the needs of audience, but at the same time to tell the literati’s shabby self-portraits. From a cultural history perspective, there are self awareness and pride of full-time writer of popular literature in the world of Guan Hanqing’s works. A figure of the literati who win competition and finally capture women’s heart is the very true self of popular writer who hunger for appeal to the mass. The world of Guan Hanqing’s works are self-portrait or declaration as the new style literati. In this context, reappraisal of Guan Hanqing’s value and real worth is necessary. Guan Hanqing is the prominent writer in the area of Sanqu and Zaju and both are usally evaluated totally different from each other. This belief comes from as follows. Zaju tends to criticize social reality actively(aggressively). Sanqu, meanwhile, escape from reality and settle for the personal taste so it has been devaluated relative importance. This tendency presupposes that Yuan Dynasty is dark ages. But in the frontline of Guan Hanqing’s literary works, under the control of Kublai Khan and Marco Polo’s jorney to the East, the period was not dark ages but full of vitality and taste for the arts. Guan Hanqing made the point clear in ‘Bu fu lao’ that his goal in life was making romance with women, especially courtesans. Romance between men and women took a central place in his literary works cause all of his writings reflected his aim regardless of Sanqu or Zaju. So appraisals of his works that Sanqu and Zaju are totally different from each other is not persuasive. The literati always win over love in Guan Hanqing’s work. They are so far as to defeat so many rivals such as wealthy merchants or the powerful. This tells the literati’s unconscious wishes. Then again, women play a leading role and the literati paly the fool in the process of romance. It means writer wants to meet the needs of audience, but at the same time to tell the literati’s shabby self-portraits. From a cultural history perspective, there are self awareness and pride of full-time writer of popular literature in the world of Guan Hanqing’s works. A figure of the literati who win competition and finally capture women’s heart is the very true self of popular writer who hunger for appeal to the mass. The world of Guan Hanqing’s works are self-portrait or declaration as the new style literati. In this context, reappraisal of Guan Hanqing’s value and real worth is necessary.

      • KCI등재
      • KCI등재

        한족과 소수민족의 쥐설화 비교 연구

        양회석,임지영,박세옥 한국중국어문학회 2011 中國文學 Vol.66 No.-

        本論文集中探討漢族和少數民族的老鼠故事. 按內容把老鼠故事大體可以分爲七類型. 拏本論文所分的類型來核實丁乃通和祁連休所提的類型, 就不難發現到其?有不足之處. 尤其是AT類型分類法顯得更不恰當. 在<關於谷種的類型>, <關於屬相的類型>, <嫁女兒的類型>中, 能發現到漢族和少數民族的老鼠故事之間有着若干共同点. 這可以說是中國諸民族長期交流的結果. 盡管如此, 兩者之間却有着更顯著的差異. 人們對老鼠會持有肯定的(友好性)態度或否定的(敵對性)態度. 漢族的場合, 友好性態度之的作和敵對性態度之作的比率達6 : 38, 相反, 少數民族則10 : 5,形成明顯的反差. 這充分說明着漢族對老鼠的否定性態度占主流, 少數民族則不僅對老鼠一直持有肯定的態度, 而且肯定的程度遠比漢族强. 因此, 可以說,漢族老鼠故事現實性成分濃厚, 少數民族則基本屬于童話性故事. 還有, 在少數民族的老鼠故事里不僅A型(地道的動物故事)的故事比B型(人間和老鼠的故事)的故事所占比例大, 而且保留着多種多樣的情節. 漢族則不同. 雖然A型故事之量仍較多, 總達51篇, 但是, 其中<關於猫的類型>, <關於屬相的類型>, <嫁女兒的類型>三種之作占46篇, 只有五篇屬于其他故事. 考慮到這一点, 實質上A型故事所占的比重不僅較少, 而且在情節的多樣性方面也遠不如少數民族. 換言之, 漢族老鼠故事里地道的動物故事頗少, 人間和老鼠的故事偏多. 這意味着“現實”性思路爲漢族的老鼠故起着更多的作用. 少數民族則恰恰相反, 這又意味着少數民族的老鼠故事說堅持着“民間”故事之原貌和風味. 以老鼠故事來看漢族和少數民族的民間故事, 其差異点比共同点表現得更突出. 然則最好不要以“中國”故事這個名稱來把漢族和少數民族故事作爲一個範疇進行討論.

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        陶淵明<形影神> 小考

        양회석 한국중국어문학회 2010 中國文學 Vol.63 No.-

        陶淵明的<形·影·神>是?値得硏究的作品。 對此, 歷來存在着?多說法。 最代表性的主張是由?欽立提出的。 他認爲, 此作品對于當時佛敎迷信思想(例如: 慧遠<形盡神不滅論><佛影?>), 加以徹底批判, 而成爲<形盡神滅論>的先導者, 這在中國詩歌史上是一件了不起的大事。 据本文分析, 這主張似乎不合道理。 因爲, 在所謂`形影之苦`中不僅幾乎沒有佛敎色彩, 而且神所辨之`自然`里根本不言及過神滅的問題。 筆者認爲, 陶淵明只想通過這作品表達出自己的生死觀念來。 其生死觀念主要基于道家(尤其是庄子)的生死哲學。 還有更需要注意的問題在于, <形·影·神>所講的生死觀?可能對陶淵明詩歌的藝術風格和文化內涵起着關鍵作用。 對此我們下次再論?。

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        백족의 신화전설 <망부운> 연구 - 소수민족정책과의 연관성과 심층함의를 중심으로 -

        양회석,최진희 한국중국어문학회 2007 中國文學 Vol.53 No.-

        <望夫云>是以口頭傳述形式, 廣泛流傳于白族民間的具有代表性的神話傳說。 直到明、淸時期才開始有文獻記述, 不過數量極爲有限。 好?我們還是通過分析這些材料得出, 在用原始的想象力解釋自然現象的原型神話基礎上, 添加上愛情與婚姻問題, 又融入了本土信仰與外來宗敎的矛盾?葛等因素, 就形成現在的<望夫云>。因此<望夫云>可以說是根植于白族民間的反映白族固有歷史生活軌迹原貌的神話傳說。 解放后, <望夫云>引起了社會的廣泛關注, 被大規模地采集和整理, 幷對此進行了一系列的硏究。這樣的現象隱隱地反映着中國的少數民族政策。 卽, 解放后大規模地發掘和整理以<望夫云>爲代表的少數民族民間文學, 是把少數民族問題提升到國防問題的高度。 充分反映了當時中國堅持穩健的“民族融合政策”的?圍。 因此, 强制執行排外性“民族同化政策”的大躍進時期和文革時期, <望夫云>必然受到社會的忽視。 1980年以后有關活動又活躍于中國的文化舞台, 這得力于中國的少數民族政策重新轉換爲穩健的“民族融合政策”。 但是經過80年代, 尤其步入90年代后, 突出了<望夫云>是在“內地文化”的影響下而形成的觀点, 但這樣的觀点不禁讓人懷疑中國對少數民族地區的政策取向。 也就是說, ?的最終目標不是弘揚和發展少數民族固有文化, 而是要讓少數民族文化被吸收到漢民族文化的範圍, 終于達到了“民族團結”。 <望夫云>具備神話、 傳說和故事三要素, 這種現象源于?漫長的形成過程和多重內涵。 從表面上看, <望夫云>可以認爲是從愛情、 婚姻與宗敎?葛的觀点出發, 解釋大理地區奇特自然現象的神話傳說。 但是, ?里面所包含的原始思維和原始的婚姻觀念以及理想, 還有民間信仰等內容, 這均是白族固有的本土文化。 因而, <望夫云>的深層構造可以說是土著文化與外來文化的沖突, 蘊含着“周邊”和“少數”面對“中心”和“多數”想要堅持的關于民族文化整體性的无意識性渴望。

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