2009, Vol., No.14

Jang, Jeong Hae | 2009, (14) | pp.7~26 | number of Cited : 3

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中國古代人對於巨人的認識, 隨着時代觀念的變化而有所不同. 古代文獻裏的巨人, 一般稱之為「大人」、或「長人」, 而「巨人」此一稱號, 乃是從漢代以後方才普遍化的. 大人、長人除了指「身高」的人以外, 還包含著「道德高尚」的君子, 及「社會身分地位」崇高, 和「年長者」等不同意義. 在伏羲、后稷的誕生神話裏, 巨人神曾經以‘大跡’形態出現, 成爲始祖神聖的父系血統. 戰國時期以來流行的神仙故事中所出現的神仙, 也是在中國東海上自由飛翔的不死巨人. 古代中國人想像周邊各國多有巨人存在, 此種想法充分反映在古代中國人的地理觀與世界觀. 而在周圍異邦人士當中, 談到東方巨人的記錄特別的多, 這可能是基於在古代中國之東方, 曾經有身體高大的種族居住過的歷史事實. 《春秋》、《國語》、《山海經》等古代歷史記錄或神話當中, 被稱謂「大人」,「長狄」的巨人族, 曾經住在中國的東北方, 在漫長的歲月當中，他們與華夏民族時而爲隣, 時而對峙. 值得注意的是，長狄巨人族與神仙故事中的巨人, 在後代文獻裏便已經混淆不淸, 對於這一問題, 頗為值得深入檢討. 戰國以後巨人的出現, 時而被解釋爲吉兆, 時而被認爲是凶兆. 秦始皇時期巨人的出現被是之爲祥瑞, 但是到了漢代以後，隨著災異觀念的流行, 京房等人把他們看成是「長狄」, 認爲他們的出現是災異的「前兆」, 具有警告類似帝王死亡及國家旋將有滅亡之事發生. 在現實世界中, 漢代以前被視爲武士、力士而被人們所崇拜的巨人, 漸次喪失其英雄的尊嚴, 在《魏書》、《宋書》以後, 他們的長身反而被認爲是一種疾病,而非以正常人來加以看待.這些對於巨人歷史觀念的轉變，可以充分及見古代中國人對於巨人之認識.

On Yang Lian's Emotional Complex Upon The "SUN"

Gao Kai | 2009, (14) | pp.27~78 | number of Cited : 0

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The Study about Chinese Broadcast Transition - Looking for Text in the Context

Sujung Kang | 2009, (14) | pp.79~98 | number of Cited : 4

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신동순 | 2009, (14) | pp.99~116 | number of Cited : 3

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A study on the Double Negative Structure in the "lunheng", "sanguozhi" and "shishuoxinyu" during the Middle Archaic Periods

Seongjun Hyun | 2009, (14) | pp.117~132 | number of Cited : 2

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Positive and Negative Transfers of Korean Characters to Acquisition of Chinese Characters Writing

Guo Sheng lin | 2009, (14) | pp.133~142 | number of Cited : 0

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The Syntactic Research of "S+gei+NP+VP"

李茉娜 , MOON BYUNGSOON | 2009, (14) | pp.143~164 | number of Cited : 0

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Politics of Hair and Gender Described in <Xiaojie(小街)>

배연희 | 2009, (14) | pp.165~180 | number of Cited : 0

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This article examines the political rhetoric meaning of hair and gender described in Chinese movie, <Xiaojie(小街, 1981)>. In the movie, political suppression upon women was expressed through a common process of women’s hair gotten damaged. Its concrete contents and meanings are as follows. <Xiaojie> is a movie that deals with political suppression in the Cultural Revolution period. The movie develops as a man who has become blind tells a director a story about a woman he met in the Cultural Revolution period. Her mother was branded as a rightist during the period, so she had to go through various hardships like getting her hair cut forcibly because her family was the Right. She cut her hair short to protect herself from the world and disguised herself as a man. One day, she ran into a man. Later the man came to know about her wound and stole a wig to help her realize her dream. However, what he had done was revealed, and he got severely beaten. During the happening, he lost his sight, and her whereabouts became unknown. After some time, the man encountered her again in a train he had gotten in to see his mother in his hometown. The woman in the movie regained her femininity, but she continued to have bobbed hair because of her job. In the movie, woman’s black long hair symbolizes femininity; however, the female main characters have their hair harmed by political violence and reality. The damaged hair represents loss of femininity or death and symbolizes political violence given upon a woman’s body. Here, hair is not only a device that shows a woman’s femininity but also a sign which symbolizes political suppression. The woman loses or gives up her femininity under the political oppression or gets to have indistinct sex as she disguises herself as a man that sexual difference by appearance is meaningless any longer. Men are described as a savior who frees women under the leadership of the Communists, the spiritual father of the past, and then as a helpless blind wandering about the history. This research has examined in a new way the relationship between the political rhetoric meaning of damaged hair and gender in Chinese movies.

A Study of Hanshan poem And it's Implication to Poetry World of The Northern Song

이선희 | 2009, (14) | pp.181~206 | number of Cited : 2

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本文將探討寒山詩與宋詩壇, 其主要內容爲寒山詩在宋代的評價, 以及對宋詩的影響如何. 爲了硏究的方便, 本硏究應從文化史的硏究方法着手, 先將探索寒山詩的主要特徵, 再觀察在宋代文化環境裡所發生的宋詩的新傾向, 而比較寒山詩的特徵與宋詩的新傾向, 最後將尋找寒山詩對宋詩的影響範圍. 寒山詩爲唐代的白話詩, 但其人其詩在唐代幾乎沒有被認知. 經過五代而至於宋朝, 寒山詩在宋代突然廣範地流行起來, 除了禪寺以外, 在文人社會也出現所謂寒山詩熱潮, 黃庭堅等許多宋代文人喜愛筆記或愛誦, 甚至王安石等不少詩人模擬其詩. 考其主要原因, 宋代詩壇所尋的文學精神可能與寒山詩相接近所致. 宋代而言, 結束唐末以來長期的軍閥紊亂政治的時代, 標榜文治而建立以文人爲中心之政權. 並且强力擴大實施科擧而多增加文官人數. 在文化思想方面, 正進入儒彿道整合而各自發展之際, 佛敎禪宗顯得備受宋代文人的崇尙, 儒家性理學正式出帆. 宋代文人喜談禪理, 樂嘗禪趣, 常寫禪詩. 故可言禪宗對宋詩影響極大. 但他們願脫離濃厚的宗敎色彩而寫平淡純粹的通俗詩. 宋代詩壇注目唐代王梵志和寒山拾得的詩, 其中最重視寒山詩. 因爲除了他們對亦儒亦僧的寒山子表示敬意以外, 在寒山詩的素材以及詩語等, 他們頗爲敬愛, 寒山詩對宋詩通俗化的影響頗深. 另外, 如已上述, 宋代正進入儒彿道整合時代, 文人之間議論不斷, 開了高度議論文化. 加上, 由於國防的脆弱, 始終患於邊防異民族的侵掠, 同時社會進入腐化階段, 國家正處於困境. 爲了突破各種困境, 王安石等一些文人試圖政治改革, 繞著改革爭論不息, 以此發生黨爭. 在此, 宋代詩人用詩展開議論, 成爲宋詩的重要特徵. 議論詩的出現並不是宋代開始, 寒山詩本來爲民衆啓蒙而寫, 許多詩開頭就‘我見’‘我(今)有’‘我行’‘我在’‘我住’或‘余見’‘余家’‘余曾’‘余勸’‘吾心’等進行議論, 或著用‘世有’等來進行議論, 可稱爲議論詩之先驅. 黃庭堅蘇軾王安石等亦常襲用其法而展開議論, 可知寒山詩對宋詩議論化的影響甚大. 從上而知, 寒山詩爲何在宋代深受如此的歡迎. 也可知寒山詩在宋詩發展過程上所致的影響. 看寒山詩與宋詩的密切關係, 寒山詩在中國詩史中的位置重新再定立的餘地.

On the Scholar operas during the middle Qing Dynasty

조문수 | 2009, (14) | pp.207~237 | number of Cited : 2