韓國에서의 中國小說 硏究 ― 해방 이후에서 현재까지 (1945-1997)

조관희 한국중국소설학회 1998 中國小說論叢 Vol.7 No.-

표상 공간으로서의 베이징(北京)

조관희 중국어문학연구회 2006 중국어문학논집 Vol.0 No.40

〉Beijing as a capital of China is being in the middle of the changes as it never happened before. If we give attention to those changes, especially in space, we can read some connotations which have been involved in them. Here, the differentiation of 'space' and 'place' can help us to search for the significations of rearrangement of Beijing after the construction of New China. 'Space' means movement, opening, freedom and threatening. 'Place' means standstill, the shelter of every individuals' values and the serene axis of safety and affection. For example, the development of Hutong has an ambiguity. On one hand, it means the improvement of urban residence. On the other hand, it also means the deprivation of the space of living. In this thesis, we can look forward to find the meaning of changes which took place in the present Beijing.

(수호전)인론

조관희 한국중어중문학회 1987 中語中文學 Vol.9 No.-

한국에서의 중국소설 연구(1)

조관희 한국중국소설학회 2002 中國小說論叢 Vol.15 No.-

This thesis is written as one of the master plans which overview the accomplishments of Chinese narrative in Korea. Seo Kyung-ho is a outstanding scholar who studied Shan-hai Jing and the theory of Chinese narrative. He's been interested in the origin and evolution of Chinese narrative. According to him, Zhi-guai and Chuan-qi can not be seen as a novel in its own meaning, but as a kind of 'novelistic possibility'. His arguments is based on the belief we should see the Chinese narratives from the modern or contemporary perspectives. But I think that he ignored the historical relativities of the study of Chinese narrative. He was stuck into the contemporary values, so could not see the narratives in the pre-modern stage as itself. Cheong Jae-seo is one of his opponents, has been against Seo's assumption. Cheon's main theory is based on the denial of cultural imperialism which divided all the paradigms of Chinese studies into 'Impact-Response' model. He thought Seo's assumption was closely connected with that. At this point, I really feel so sorry for their argumentation not being developed into a proper one.

중국어 한글표기법 논의를 바라보는 한 시각

趙寬熙 중국어문학연구회 2009 중국어문학논집 Vol.0 No.58

Transliterating Chinese character into the Korean alphabet can be addressed at two levels : First, should Chinese characters surely be represented as original pronunciation? Second, if it is written in phonetic symbols, how should it be notated? This article mainly deals with the former question. C-K System initially argued that considering the actual pronunciation of Chinese character, it should be transliterated into the Korean alphabet. I think that what is urgently required in Chinese linguistic study is to compare and objectify Chinese cultural heritage. It means that we should establish our own subjecthood in studying Chinese linguistics without losing a sense of sovereignty. Therefore, to develop subjecthood should start from rectification of names. In conclusion, as the names of the Chinese read in the original pronunciation, my own subjecthood can be established at the same time.

중국의 현대소설 : 1940년대, 자오수리(趙樹理)의 「이가장의 변천(李家莊的變遷)」

조관희 포스코경영연구원 2012 CHINDIA Plus Vol.70 No.-

문화 : 중국의 현대소설 ; 아큐정전(阿Q正傳), 1920년대 중국인 전형을 묘사

조관희 포스코경영연구원 2012 CHINDIA Plus Vol.68 No.-

아이러니와 소설

조관희 한국중국소설학회 1999 中國小說論叢 Vol.10 No.-

Irony was originated from Greek comedy. This shows ambivalence of human life. And the epistemological value of this consist s in reflecting the realities which can not discriminate between right and wrong. An alazon is the one who bothers the weaker character, eiron. But this relation is rever sed, an offender alazon becomes the sufferer eiron and vice ver sa. So an eiron was essentially an alazon, an alazon was essentially an eiron. Ko-su is a novel wriiten by a famous writer, Hwang Seok-young, and an apt example of irony. Character s in this short novel represent the relation between alazon and eiron. Mr. Gil who had seemed to be eiron turned out to be an alazon, and the hunchback who had seemed to be alazom turned out to be an eiron. Irony embraces this ambivalence. Consequently, life is this sort of ambivalence. Irony is a way to the real meaning of our life.

루쉰魯迅의 중국 고대소설 연구 4— 일본 학자 시오노야 온鹽谷溫과의 학문적 교류

조관희 한국중국소설학회 2021 中國小說論叢 Vol.64 No.-

There are those who were aware of the value and importance of the novel in the times that the novel was not treated as well as it should be. Shionoya On was one of them and his representative book, The Discourse of Introduction of Chinese Literature was the significant work of unprecedented meaning at the time. He was born in the family that made Chinese Studies a family business and had been strictly taught a traditional Confucianism from his childhood. After college, he went Europe to be received the Western learning. In that process he could be given a new insight and look at the academic world from a fresh viewpoint. The result is The Discourse of Introduction of Chinese Literature. Shionoya On professionally wrote the drama and the novel that had not been unnoticed until then in the chapter 5 and 6 of this book. Especially, the chapter 6 systematically classified the Chinese novels as much as it could be called the first history of Chinese Novels and it brought up a great sensation in China. Thus it was translated into Chinese earlier on. The most influential ones were Guo Xifen’s partial translation of the chapter 6 of it and Sun Lianggong’s complete translation. Lu Xun, the writer of The Brief History of Chinese Novels which has been the representative history of Chinese novels that has an absolute influence until now, also recognized Shionoya On’s The Discourse of Introduction of Chinese Literature. They respected each other as a fellow scholar to walk the same road and continued a scholastic relationship, that is, exchanging newly found novels through Karashima Takeshi, the student of Shionoya On. But after 1930’s, they went a different ways due to the situation of that time they faced, accordingly they grew apart each other. 소설이 제대로 된 대접을 받고 있지 못하던 시절 최초로 소설의 가치와 의의를 인식하고 본격적인 연구를 시작했던 이들이 있었다. 일본 학자 시오노야 온鹽谷溫은 그 가운데 한 사람으로 그의 대표적인 저서인 《중국문학개론강화》는 당시로서는 파천황破天荒 격인 의미를 가진 중요 저작이다. 그는 한학을 가업으로 삼은 집안에서 태어나 어려서부터 엄격한 전통 유학 교육을 받았다. 그리고 대학을 졸업한 뒤에는 유럽으로 유학을 떠나 서구 학문의 세례를 받기도 했다. 그런 과정을 통해 그는 안목이 넓어져 새로운 시각으로 학문의 세계를 바라 볼 수 있었던 것이다. 그 결과물이 바로 《중국문학개론강화》이었다. 시오노야 온은 이 책의 제5장과 제6장에서 그때까지 주목받고 있지 못했던 희곡와 소설을 전문적으로 서술했는데, 특히 제6장은 최초의 중국소설사로 불릴 만큼 중국 소설을 체계적으로 분류하고 있어 중국 내에서도 큰 반향을 일으킨 바 있다. 이에 《중국문학개론강화》는 일찍부터 중국에서 번역본이 나왔는데, 그 가운데 영향력이 큰 것으로는 궈시펀郭希汾이 제6장 소설 부분만 번역한 절역본과 쑨량궁孫俍工의 완역본을 들 수 있다. 현재까지도 절대적인 영향력을 갖고 있는 대표적인 중국소설사인 《중국소설사략》을 저술한 루쉰 역시 시오노야 온의 《중국문학개론강화》를 일찍부터 알고 있었다. 두 사람은 같은 길을 걸어가는 동료 학자로서 서로를 존중했으며, 시오노야 온의 제자인 가라시마 다케시를 통해 자료를 주고받는 등 직접적인 교류를 이어왔다. 그러나 1930년대 이후에는 각자가 처한 시대적 상황에 따라 서로 다른 길을 가게 되었고, 이에 따라 두 사람의 사이도 멀어지게 되었다.

텍스트와 컨텍스트, 있음에서 됨으로

趙寬熙 한국중국소설학회 2008 中國小說論叢 Vol.28 No.-

It is hard to say 'what novel is', or 'what novel should be'. Because novel is not defined, but comes out by itself. In China, various types of effort went into to write a history of Chinese novel after Luxun wrote his book, The Brief History of Chinese Novel(中国小说史略). But actually, it is not so easy to present a birth of one genre and the process of developing clearly. The point is that many histories of Chinese novel have sticked to Luxun's. So we should break through the contemporary thoughts and cliches to develop a certain type of concept and extend its denotation. To do so, we need to understand the concept of novel not as 'being' but as 'becoming'. There only have ever been many types of 'paroles' in the history of Chinese novel, but there was no single langue which is implied in the name of narrative. Furthermore, these 'paroles' are made up of 'holarchy , which is emerged from self-guided synergy effect not of hierarchy which is generated from stata-classification. So far there has never been written a history of Chinese novel in Korean. This thesis can be an another attempt to write a new history of Chinese novel.