魯迅≪彷徨≫中隱含作者的意識形態 -以知識分子形象爲中心-

이시찬 한국중문학회 2009 中國文學硏究 Vol.39 No.-

작가 노신이 ≪방황≫을 쓴 시기는 1924년에서 1925년이다. 당시 중국은 5·4운동 이후 지식인들의 역할이 아주 중요했던 시기라고 할 수 있다. 노신 또한 예외는 아니어서 그 또한 이러한 역사적 배경 아래에서 소설을 썼다. ≪방황≫에 수록된 거의 모든 작품들에는 여러 가지 지식인의 형상이 보이는데, 이것은 바로 노신이 당시 지식인에 대해서 오랫동안 또 깊이 고민했다는 것을 드러내고 있는 것이라 할 수 있겠다. ≪방황≫에 묘사된 지식인의 형상은 각양각색의 신분으로 등장하는데, 가령 `교원`, `작가`, `미친 사람`, `유학생`, `봉건적 전통 지식인` 등이다. 필자의 견해로, 각 작품 속에 등장하는 지식인의 형상 가운데 어떤 인물은 바로 노신 자신의 모습이나 사상 가운데 일부분을 투영한 것이며, 어떤 작품 속에 등장하는 지식인의 형상은 노신이 통탄해 마지않는 부정적 지식인의 전형일 것이다. 또한 좌절과 실의에 빠진 인물형상은 당시 지식인들이 당면했던 보편적인 정서를 잘 드러내는 것으로 볼 수 있다. 작가 노신은 바로 이처럼 당시 다양한 지식인의 군상에 `숨은 작가`와 `화자`를 통해 자신의 의식형태를 간접적으로 드러내고 있다. 또한 이것은 노신이 당시 이상적인 지식인들의 역할과 참모습에 대해 지속적으로 고민하고 있었다는 반증이기도 하다. 이처럼 지식인의 참모습에 대한 노신의 지속적인 고민과 그것을 소설을 통해 표출하는 방식은 오늘을 살아가는 우리에게도 시사하는 바가 크다고 하겠다.

굴곡진 선체측면 신속하강 자석신발 시제품 설계 및 제작에 관한 연구

이시찬,박성현,원종규,남성훈 해양환경안전학회 2022 해양환경안전학회 학술발표대회 논문집 Vol.2022 No.11

방제정 유압호스릴 설계 및 제작에 관한 연구

이시찬,서정목,박성현,오연기,최금주,오우현 해양환경안전학회 2022 해양환경안전학회 학술발표대회 논문집 Vol.2022 No.06

논문(論文) : 《녹창신화(綠窓新話)》 일서(一書)의 성격과 소설사적 가치

이시찬 한국중문학회 2014 中國文學硏究 Vol.0 No.54

本論文主要以《綠窓新話》爲硏究對象進行硏究其成書的社會環境和性質以及小說史的地位. 本文通過初步的硏究得出以下的硏究成果:第一, 在宋代都市發展的過程中, 隨着舊的坊市制的崩潰, 商店可以在城內外沿街設置, 高大的酒樓聳立起來, 商品經濟空前活躍, 同時開始出現了都市文化娛樂市場--瓦舍. 該書是在這樣社會背景下産生的. 第二, 《綠窓新話》雖爲披着文言小說的外衣, 但從타所收的內容和形式來看, 的確是``愛情類書``. 每篇皆爲節錄且內容甚簡, 因而一般讀者閱讀起來, 不太合適, 却接近宋代說話人參考書所用. 第三, 《綠窓新話》與以前文言小說集不同, 內容十分通俗, 尤其是採用``七言句``題目形式, 在除目形式上, 起了承上啓下的橋梁作用. 加之, 此書在韓國學界未受到重視, 但타在多方面對後世産生了不可或缺的影響. 最後, 此書雖多半是節錄舊文, 但對於後世的小說, 戱曲影響흔大, 許多小說, 戱曲的故事都從本書中取材, 所以《綠窓新話》中所載的本事對古典小說硏究者極有價値.

중국 宋代 소설의 전개와 방향

이시찬 청주대학교 인문과학연구소 2015 人文科學論集 Vol.50 No.-

中国的古代社会的政治经济结构自唐代中叶以后发生了变化,到了北宋时 期渐渐趋于定型,这意味着中国封建社会进入了后期发展阶段。宋代精神文化 素質, 較前代特爲高.。由于宋代科擧考試、高等敎育向一般士人乃至工商雜類 轉移, 地方學校的設立較爲普遍, 私學與書院的發展, 于是讀書人口增加, 著書的人也增多, 全社會的文化素質, 自然較前代爲高。这对中国古代小说的发展 做了促进作用。 宋代的都市与以前比较已具有了若干的特点,其主要特点是市场制代替了 坊市制。唐代市场制度有不少规定阻碍了市民的活动。但是,宋代工商业规模 迅速扩大,市民阶层的力量随之得到加强,他们突破了坊市的种种限制活动在 城市各个角落。市民阶层对文化娱乐的要求也日益提升,尤其是以宋代'瓦舍' 为中心的各种都市文化娱乐市场,繁盛得非常明显。随着旧的坊市制的崩溃的 同时开始出现了都市文化娱乐市场,使得古代小说进一步发展。宋代官方主导的『太平广记』的编刊,牵引宋代以后的小说发展和方向,成为一个划分中国古代小说发展阶段的原因。中国古代小说发展至宋元,出现 了重要转折现象,即以文言小说为主转变为以白话小说为主。小说史上的这一转折,在明清时期达到全盛,起了决定性的作用。

傳奇에서 話本으로의 소설문체 변천과정 연구

李時燦 한국중국소설학회 2008 中國小說論叢 Vol.27 No.-

中国古代纪传体的正史虽因以人物为中心而与小说有某种相近之处,但其性质属于政治史范畴,因而所取对象主要是各种政治人物,即或偶尔少量地写到一般百姓的情事,也必定出于政治目的。唐人传奇进一步扩大了野史杂记。他们始"有意为小说",创造了"传奇"文体,宋人在继承唐人小说文体、题材的同时,又对它进行了改造,形成了"话本体传奇"。 唐传奇对于叙事方法的变革与创新,有一个方面是在史法规范以内展开的。从表面来看,许多典型的唐传奇作品都继承了史著人物传记的文体。例如它们大抵有两种开头,都是史传式的,一种是先出现人物,如"任氏,女妖也";一种是从时间讲起,如"开元七年,道士有吕翁者,得神仙术,行邯郸道中"。另外,唐传奇小说的结尾有许多也明显是史传式的,或以论赞的形式出之,或交代作文缘由以示文必有据、事皆可信,也有的是两者兼而有之。 市民文艺在宋代崛起的标志是说话艺术的兴盛。值得注意的是,部分宋代传奇作家扮演了说话人编写蓝本的角色。南宋罗烨是其最代表的人物,他所著的《醉翁谈录》的不少作品,即重写唐人传奇小说,而其过程中又创新了新的文体。部分传奇作家为说话人编写蓝本的事实告诉我们,在宋代,传奇与俗文学合流。这两种类型的传奇,乃话本与传奇的结合体,可名之为话本体传奇。与唐人传奇相比,话本体传奇有几个特点:其一,有些宋人话本体传奇缩写了唐传奇的文本内容。其二,人物对话的增加和杂用口语。其三,生动地描写配角人物形象。 话本小说文体的蓝觞,宋元小说家话本出现于"说话"技艺发展成熟、定型之后决不是一种历史的偶然。一般说来,作为口头文学向书面文学读物转化的产物,宋元话本小说更可能是口头文学演出内容的整理,应为"录本"而非"底本"。换言之,话本只能看做一定程度上保留口头文学演说程式和叙事方式的简略化的复述。整理加工话本的目的是为了读者的案头阅读,口头文学向书面读物的转化过程自然会存在种种案头化处理。所以,其文体特点充分反映了说话人口头表演的种种方式,但明后期冯梦龙等文人参与话本小说的创作,其文体也越来越定型化,而逐渐脱离市民文学本身的生动感。

《삼국연의》 주요 인물의 정형성 연구

이시찬 한국중문학회 2023 中國文學硏究 Vol.- No.93

본 논문은 正史 《三國志》에서 소설 《三國演義》에 이르기까지 긴 시간 속에서 등장인물들의 정형성이 어떤 과정을 통해 이루어졌는가를 주로 고대의 문헌을 통해 살펴보고 분석 및 정리를 한 것으로 핵심 내용은 두 가지로 요약할 수 있다. 첫째, 《三國演義》의 주인공이자 긍정적 인물이라고 할 수 있는 劉備, 關羽, 張飛의 외적 이미지의 정형성과 관련하여 劉備는 이미 正史 《三國志》에서 기본적인 요소가 갖추어졌고, 關羽는 ‘멋진 수염’이라는 핵심적인 요소가 존재하지만 張飛에 대한 묘사는 찾을 수가 없다. 張飛는 唐代부터 언급되기 시작하면서 元代에 가장 개성이 강한 인물로 정형성이 확립되었다. 둘째, 曹操와 鄧艾는 실재했던 역사적 인물로 역사서나 문학사에서는 긍정적인 이미지로 서술됨에도 불구하고 민간 예술이나 소설에서는 악의 이미지로 정형성이 고착될 수밖에 없는 이유를 살펴보았다. 특히 鄧艾는 역사에서 마지막으로 蜀나라를 무너뜨리고 張飛 집안의 대를 끊은 장본인이었기 때문에 《三國演義》에 드러난 그의 이미지도 부정적인 정형성을 지닐 수밖에 없다는 점을 강조했다. This paper mainly examines, analyzes, and organizes through ancient literature the formalities of characters in a long period of time, from the official history 《三國志》 to the novel 《三國演義》. In this paper, the formalities of two types of characters were intensively analyzed in relation to major characters. The first was to examine the formalities of the three characters, 劉備, 關羽, and 張飛, who can be said to be the main characters of 《三國演義》. As a result, the formality of 劉備 has already been established in the 《三國志》 stage, and 關羽 has also been confirmed to have the greatest external formality of ‘beautiful beard’. However, there is little description of 張飛’s image, and he confirmed that the image appeared in the private sector from the 唐 Dynasty and established the formality at the stage of the 《三國志平話》 published in the 元 Dynasty. In addition, it can be seen that 《三國演義》 inherits most of the characters of the characters stereotyped in 《三國志平話》. Second, using 曹操 and 鄧艾 as examples, we looked at the problem of how the formality of negative characters is embodied in the novel. 曹操 is regarded as a positive person in Chinese literature history as well as in its official history, but in the novel, as a person who stands in opposition to 劉備, it has been stereotyped as an embodiment of evil such as “漢賊” and “奸雄.” In addition, the character “鄧艾,” a general in the 魏 Dynasty, had a very weak presence in the 《三國志平話》 stage, but in the 《三國演義》 stage, he was depicted as a very important person as the one who broke down the 蜀. Despite his great achievements, I noted that basic images have always been caricatured, and a preliminary analysis has led to the conclusion that he has no choice but to be structurally stereotyped as a negative person at the opposite point of the 張飛. Finally, the 《三國志平話》 stage of the original period can be of great significance to the emergence of text with a complete narrative structure hundreds of years after the history 《三國志》. In the meantime, it can be seen that it has evolved mainly into the art of ‘說話’ during the 唐宋 Dynasty and the art of performing in the form of a theater during the 金元 Dynasty. In particular, actors who mainly acted in costumes and costumes on stage in the 元 Dynasty secured one fixed image, that is, one fixed formality for each character, and this was inherited as the formality of the characters in the novel 《三國演義》.

중화사상의 기원에 관한 고찰

이시찬 淸州大學校 韓國文化硏究所 2022 人文科學論集 Vol.65 No.-

The fact that Korea-China relations have been deteriorating in recent years can be said to stem from concerns about China's rapidly growing national power in the 21st century and the hegemonic perspective that has been derived from it. In particular, ‘Xi Jinping’ has secured the path to long-term power and emphasized the realization of the 'Chinese dream' for the Chinese, and is further strengthening the national 'Chinese ideology' in the educational field. Therefore, in this paper, the so-called 'Chinese ideology' began to occur and what factors acted in the consciousness of the Chinese as a key factor was intended to be considered. To this end, I tried to approach the origins of the Chinese ideology by setting three main categories of 'geograph y', 'ethnicity' and 'culture'. First, as a result of examining the geographical origins in Chapter 2, '豳', '岐', '豐', '鎬', which are located in the vicinity of 陝西 Province centered on 'Xi’an' today, was the home of the Zhou dynasty, and this is the meaning of the geographical center. was found to have Therefore, it can be said that successive dynasties, from the Qin Dynasty, which overcame the period of division of the whole country in the spring and autumn and established the first unified dynasty, to the Tang Dynasty, continued to carry on the idea of 'Chinese' or 'Chinese' geographically by using this region as their capital. Then, in the Song dynasty, the power of the nomadic peoples in the north grew stronger and the center shifted to 'Beijing'. Therefore, it can be seen that the geographical origin was born in the surrounding area centered on the waterway of 'Yellow River', and it was confirmed that the center was expanded to the north through competition and exchange with the northern peoples.As a result of examining the origins of the keyword 'nation' in Chapter 3, the vocabulary of 'the Han race' acts as a centripetal force for Chinese people, and the word '中華民國' acts as a centrifugal force, thus continuously expanding its scope. I have come to the conclusion that there is an outgoing role. Starting with ‘the Han race’, it was found that the historical roots pointed to by words such as ‘Chinese characters’ and ‘Chinese language’ were found in the ‘Han Dynasty’. Since then, the ‘The Difficulty of Jingkang’ that took place in the Song dynasty amid the rise and fall of various dynasties is the biggest humiliating event that the Han Chinese have experienced in history, raising awareness of the identity of the nation. Also, from the establishment and domination of the '元' dynasty by the Mongols to the rule of the last dynasty, the 'Qing', the Han Chinese gained hundreds of years of experience as a ruled nation. came to the conclusion that it also started with the 'Opium War'. In Chapter 4, as a result of examining the cultural origins, it is confirmed that the symbolic figure '孔子' has been a central point since the Han Dynasty and played a role in driving the revival of new learning as well as the fact that he became a key figure in ‘道通論’ in the Tang and Song period. did. In this way, China's indigenous learning and learning acted as ideological roots, acting as a core element of Chinese ideology as well as during the period when foreign peoples ruled. Characters and hairstyles also act as powerful cultural elements that reveal the identity of the Han Chinese. In particular, I found out that 'Hanji' became a cultural code that lost identity as many foreign peoples who did not have their own characters eventually entered the path of 'Hanization'.

中國文學史에서 傳奇 명칭에 관한 재고찰

이시찬 한국한문교육학회 2006 한문교육논집 Vol.26 No.-

宋代 문화와 서사문학 발전의 상관관계 연구

이시찬 중국문화연구학회 2014 중국문화연구 Vol.0 No.24

本論文主要考察宋代文化與敍事文學發展之相關關係。宋代文化, 無論在人生思想、精神境界、審美意識、城市結構、價値觀念或社會心態乃至生活情趣等等方面, 自與前代有所不同。這樣不同, 就構成瞭宋代文化的特點.。這些特点, 大緻可以槪括如下:一、宋代精神文化素質, 較前代特爲高.。由于宋代科擧考試、高等敎育向一般士人乃至工商雜類轉移, 地方學校的設立較爲普遍, 私學與書院的發展, 于是讀書人口增加, 著書的人也增多, 全社會的文化素質, 自然較前代爲高.。二、知識分子受到尊重。自太祖趙匡胤廣範地實施文治政策以來, 由于門閥士族衰落, 士庶界限泯沒, 門第血統關係在社會政治生活中的支配力量就大大削弱; 又由于科擧制度的推行,爲地主階級的下層乃至自耕農民、工商雜類提供進身之路, 讀書受敎育、學知識, 就受到社會的普遍的重視; 知識和個人的才能在社會政治中的作用大大增强。三、宋代物質文化質量, 在經濟結構和城市結構上, 較前代特爲突出.。在宋代城市發展過程中, 隨着舊的坊市制的崩潰, 商店可以在城內外沿街設置, 高大的酒樓聳立起來, 商品經濟空前活躍, 同時開始出現了都市文化娛樂市場‘瓦舍’。206 中國文化硏究 第24輯如上所述的宋代文化的特點就促進了敍事文學的發展。尤其是書會的出現, 使以小說爲代表的敍事文學的分化也作了促進作用。還有, 在敍事文學作品里女性形象的重要性增多也不可或缺的事實。綜而言之, 中國古代小說的發展至宋代, 出現了重要轉折現象, 卽以文言小說爲主的敍事文學主要變爲以通俗小說爲主。小說史上的這一巨大轉折, 在元明時期達到全盛, 起了決定性的作俑。 從根本上講, 促成這一轉折的主要原因是自宋代開始的成市經濟的繁榮如市民階層的壯大。