內地生學寫繁體字的心態及學習能力研究

吳學忠,楊兆貴 한국한자한문교육학회 2013 국제한국한자한문교육학회 학술대회 Vol.2013 No.1

明清禁毀小說政策及其影響

오학충,조은상 고려대학교 중국학연구소 2018 中國學論叢 Vol.0 No.59

Chinese fictions were influenced by political, economic, and cultural factors at the time of the Ming(明) and Qing(淸) Dynasties. Many of these fictions were prohibited by the government. Banning fictions was a means by which the Ming and Qing dynasties implemented cultural governance while the Qing government took it into extremes. We intend to base on previous research results and try to make a more comprehensive inspection on the policy of banning fictions in Ming and Qing dynasties. Generally speaking, the Qing government took an extreme approach, while the Ming government adopted a relatively lenient approach in banning fictions. The Ming and Qing fiction prohibition and destruction policy undoubtedly influenced the creation and publication of fictions, At a stage, Some fiction works even disappeared from China. However, for some types of fictions, the stricter the control, the more popular they become, the more ban the more popular. The banning of fictions by the Ming and Qing dynasties could result in two different outcomes: On one hand, the policy did actually play a role in banning fiction works. On the other hand, such policy also played a role in stimulating sales. The implementation and effectiveness of the policy of banning fictions by the Ming and Qing dynasties were closely related to the personal preferences of readers, booksellers, local governing officials and rulers.

現代香港小說中的日本人形象―以『中國學生周報』和 『香港文學』爲例

吳學忠,조은상 국제언어문학회 2021 國際言語文學 Vol.- No.48

Regardless of the era, literary works more or less reflect the social conditions and ideology at that time. The history of Hong Kong literature is not too long, but it has developed a variety of literary models, evolving with the changes of different times. This thesis explores whether the image of Japanese in Hong Kong novels has been negatively evaluated due to the changes in the relationship between the Sino-Japanese resistance. The article mainly starts with two representative literary magazines, "Chinese Student Weekly" and "Hong Kong Literature", and collects, analyzes and discusses the novels and stories of Japanese characters in Hong Kong for more than half a century. The article uses novel examples to explore the changes in Japanese images in novels in recent decades. Most of Hong Kong's literary creators did not create a negative Japanese image despite the Japanese invasion and the Diaoyu Movement in the 1970s and 1990s to promote readers’ antiJapanese sentiments; on the contrary, from the 1950s to modern times, the changes in the description of Japanese characters in literary works are not obvious in Hong Kong, and none of them give readers a negative image of Japanese. 不論在哪個年代, 文學作品都或多或少反映了當時社會的情況和意識形態。 香港文學的歷史不算太長, 卻發展出多采多姿的文學模式, 伴隨著不同時代的變 遷而演進。本論文探究香港小說中的日本人形象, 有否因中日抗爭的關係變化 而產生負面的評價。文章主要從『中國學生周報』和『香港文學』這兩份極具代 表的文學雜誌入手, 搜集香港逾半世紀曾出現日本人角色的小說故事進行分析 論述, 文章輔以小說實例探討近幾十年來日本人形象在小說中的轉變。大部份 的香港小說創作者沒有因日本侵華戰爭和七十年代、九十年代的保釣運動而製 造一個負面的日本人形象, 推動讀者反日的情緒;相反, 從五十年代到現代, 香 港小說作品對日本角色描寫的轉變並不太明顯, 都沒帶給讀者一個負面的日本 人形象。

现当代香港散文的变迁史槪论

吳學忠,조은상 중국어문논역학회 2019 中國語文論譯叢刊 Vol.0 No.45

Prose is an important genre in Hong Kong Literature. Hong Kong prose writers come from different backgrounds, and they can mainly be categorized into local writers and non-local writers. This article analyses the general situation of Hong Kong modern and contemporary prose writers from a macro-view and reread the nuances of Hong Kong proses in different decades. In the 1950s and 1960s, non-local Prose writers (such as Ye Ling-feng and Xu Su) moved to express their nostalgia for the country in more traditional ways. They delivered news reports, running magazines and editing work for Hong Kong The literary world sowed the seeds of literature. By the seventies, the founding of literary awards and the proliferation of newspaper supplements began to make its debut in the local context. At the same time, Hong Kong's literary circles ushered in a second group of non-local Prose writers such as Zeng Min-Zhi, Dong Rui, Yan Chun-Gou, Tao Ran, Mei Zi, Zhou Mi-MI, etc., published one series of excellent works and fully demonstrated the flourishing New atmosphere of literature. After the 1980s, a series of young writers emerging from multiple literary awards emerged. Coupled with the support of non-governmental organizations, academic institutions and the government for the development of literary creation, the momentum has continued to this day. 본 논문의 목적은 거시적인 관점으로 현당대의 홍콩 산문작가의 창작활동을 분석하여 각 시대마다의 홍콩산문의 특징을 밝히고자 하는데 있다. 홍콩의 5⋅60년대 산문은 葉靈鳳⋅徐速 등 중국 내륙에서 건너온 피난작가들을 중심으로 한 잡지와 편집활동을 통해 고국에 대한 그리운 정을 그려내면서 홍콩 문단에 홍콩 산문 발전에 씨를 뿌리는 역할을 하였다. 70년대에 이르러서는 각종 문학상의 제정과 신문의 문화면을 통해 두각을 나타내기 시작하였으며, 그와 동시에 曾敏之⋅東瑞⋅顏純鈎⋅陶然⋅梅子⋅周蜜蜜 등 새롭게 유입된 피난작가들의 우수한 산문작품들이 창작되었다. 80년대 이후에는 각종 문학상을 수상한 청년작가들을 중심으로 민간단체와 정부기관의 지원을 바탕으로 홍콩 산문의 발전을 지탱하였다. 이러한 거시적인 관점이 현당대의 홍콩산문을 모두 아우른다고는 할 수 없지만, 개괄적으로나마 현당대의 홍콩산문의 발전과 변천사를 이해하는데 도움이 될 것으로 보인다.

語文學部 : 馮夢龍話本小說士商情愛觀及其背後的社會影響

오학충,양조귀,조은상 한국중국학회 2016 중국학보 Vol.75 No.-

馮夢龍編作的話本小說集有不少作品以愛情爲主題, 歷來學者多著重於人物形象的探討, 硏究成果也頗豊碩, 至於其他內容的探討則較爲零星. 本論文以馮夢龍編作的話本小說集愛情題材作品中的士子和商人爲硏究對象, 藉探討身處社會階級最高層的士子和身處社會階級最低層的商人的情愛觀的異同, 分析在傳統``士農工商``的社會階級發生了微妙變化的明代末期這兩階層人物對愛情的態度, 從而探析其背後的文化意涵. 總而言之, 馮夢龍編作的愛情題材話本小說中的士子和商人均是當時社會的産物, 他們的故事卽取材自當時的社會, 又유合了馮夢龍復雜矛盾的思想觀. 其次, 馮夢龍作品中的文人士子之所以被描寫成軟弱無能, 不及女性大膽ㆍ積極, 而商人則一反傳統, 被賦予正面的形象, 實與當時的社會環境和小說尙``奇``的特點有關.

香港浸會大學內地生學寫繁體字的心態及學習能力研究

楊兆貴,吳學忠 한국한자한문교육학회 2014 漢字 漢文敎育 Vol.34 No.-

Recently more and more mainland students further study in universities of Hong Kong. They must cope with difficulty caused by cultural divergence. Reading traditional Chinese characters is one of their obstacles. The target group of this paper is a group of undergraduate (year 1) Mainland China students attending the teaching Mandarin programme and they are coming from different faculties of Hong Kong Baptist University. The teaching materials of this programme are written in traditional Chinese and the participating Mainland students are required to write traditional Chinese in the examinations. Through conducting questionnaire surveys as well as comparison of pre‐test and post‐test results, this paper analyses and discuss the learning ability and attitude of these Mainland students. The findings will enlighten curriculum design, development of teaching materials and pedagogy as instructors can adjust the teaching content according to the academic level of their students. It is found that after the completion of the programme, students are able to grasp knowledge on, for example, the principle of analogizing traditional characters from the simplified one; new and old fonts; variants; one‐to‐more mapping between simplified and traditional form; the inductive method for the three master tables on Simplified Chinese Characters that could be used to check related traditional form etc. The scores in their post‐test are comparatively much higher than their pre‐test. In addition, the instructors have adjusted the teaching content in response to students’ needs. At the same time, students are encouraged to read more books written in traditional form published in Hong Kong and Taiwan; to write traditional form based on papers written in simplified form in order to nurture their sense of language in traditional form. Moreover, computer softwares, such as ‘繁簡通 (Fan‐jian Tong)’, have been introduced to students as self‐learning tools which are useful when they encounter read and write difficulties in traditional form. The programme and related activities help the Mainland students to grasp the traditional form of Chinese that, in return, facilitate the adaptation to their campus life as well as social inclusion in Hong Kong society. 近年來, 越來越多內地學生來香港就讀大學. 內地生須面對語言和文化的差異而造成的種種學習上的困難, 如他們不太懂繁體字. 本文以香港浸會大學一年級內地學生為研究對象, 他們來自不同學院, 分別是三年制和四年制學生. 他們雖然上普通話教學班, 但課程講義以繁體字編製, 考試時必須盡量用繁體字作答. 本文嘗試從問卷調查․學生的前測和後測的成績比較等方法, 分析․探討這些內地生學․寫繁體字的心態及其學習能力, 闡述其對課程․教材․教法所帶來的啟發. 結果發現, 他們經過上課․學習後, 了解繁․簡體字的類推原則․新舊字型․異體字․一簡多繁等現象與規律, 了解 <簡化字總表第一表>․<第二表> 和 <第三表>的歸納方法, 從而利用簡化字總表查檢相對應的繁體字. 他們的後測成績比前測成績提高很多. 另外, 授課教師在教學過程 因應學生的需求, 微調課程的講授內容. 學生多看香港․台灣地區出版的繁體字書籍, 嘗試把簡化字的文章用繁體字抄寫, 慢慢培養語感, 還可以透過 「繁簡通」 等電腦軟件, 輕鬆地將簡化字轉換成繁體字, 從而解決繁體字學習和書寫上的困難. 這些教學活動幫助內地學生盡快掌握繁體字, 並適應校園生活, 融入香港社會.

《醒世姻缘傳》夢意象的思想內涵及其醒世意義

조은상,오학충 대구가톨릭대학교 인문과학연구소 2021 인문과학연구 Vol.- No.44

The Legendary of the Waking Marriage depicts a strange and bizarre picture of life in all its forms. The author's creation of the novel has attracted a lot of "dream" imagery, which not only plays an important role in the construction of the entire book, but also brings a psychedelic and bizarre artistic colour to the novel as a whole. The author attempts to warn the world through dreams by means of ghosts and spirits and to persuade people to practise goodness and virtue; he uses religious theories of good and evil to educate people and to awaken them to life, hoping that the power of illusory dreams will turn the tide and safeguard the decaying traditional patriarchal order. However, due to the constraints of the social environment, the system and the author's narrow world view, the blueprint of the Peach Blossom Garden he depicts can only be realised in his novel, and the social ideal of 'waking up' can only be a fantasy dream that cannot be realised in the end.

논문(論文) : ≪금고기관(今古奇觀)≫적편찬모식여편찬특색(的編纂模式與編纂特色)

조은상,오학충 중국어문연구회 2012 中國語文論叢 Vol.0 No.52

본문은 그동안 학계에서 그다지 관심을 갖지 않았던 명말 화본 소설 ≪今古奇觀≫을 새로운 시각으로 재조명한 논문이다. 시간과 편폭상의 제약으로 ≪今古奇觀≫의 권5에서 권8에 나오는 4개의 화본소설을 연구대상으로 삼았다. 이를 통해 ≪今古奇觀≫에 대한 편저자인 抱甕老人의 편집의도와 편집방식을 살펴보았다. 抱甕老人은 화본소설을 편저함에 있어서 새로운 방식의 편집방향을 설정하고, 작품내용의 공통점과 차이점을 통해 화본소설을 새롭게 조합·편찬하였다. 그 결과 원래의 작품에 새로운 주제를 부여하는가 하면, 중국고대소설의 전통적인 서사방식인 권선징악을 계승하였다.

港澳大學生辨認書寫簡化字調查與分析

楊兆貴,吳學忠 한국한자한문교육학회 2015 漢字 漢文敎育 Vol.37 No.-

Classical Chinese Characters are always used in different levels of school education stages, such as pre-school education, junior and senior forms education, and local books and magazines in Hong Kong and Macau. However, Simplified Chinese Characters have been used more and more popularly and existed in different industries because different modes of exchange have become frequently between mainland China and HK and Macau. Hong Kong Examinations and Assessment Authority (HKEAA) expresses clearly and definitely that examinee can write in Simplified Chinese Characters in public examinations. This will surely affect primary and secondary students’ learning attitude as well as their reading and writing of Chinese characters in Hong Kong. In order to investigate university students’ recognition and writing simplified Chinese in Hong Kong and Macau, we designed a set of questionnaire which consisted of three parts: the first part consisted of 200 frequently-used simplified Chinese characters to test how many of them that the students were able to recognize. The second part consisted of 50 frequently-used simplified Chinese characters to test the same thing. The last part consisted of 100 selected simplified Chinese characters to test whether students could write them properly. According to the result of the questionnaires, Hong Kong and Macau university students were able to recognize a large proportion of standard simplified Chinese characters in Mainland China but were unable to write them properly. This brings concern for language educators in Hong Kong and Macau to remind students of writing proper simplified Chinese characters in their teaching. 港澳地區的幼兒教育、初等和中等教育所教的漢字向來為繁體字,本土出版的報刊雜誌也多用繁體字. 隨著港澳與中國大陸之間的交流往來日益頻繁,民間使用簡化字的頻率增加了,各行各業出現了繁簡體字並用的情況. 而香港考試及評核局更明確表示在公開考試中可以使用規範的簡化字,對香港中小學生學習和書寫漢字的心態造成一定的影響. 為了調查現今港澳大學生辨認和正確書寫簡化字的情況,我們設計了調查問卷,問卷分成三部分︰先挑選二百多個常用簡化字以檢測學生的簡化字辨認率,再挑選五十個常用簡化字以詞語形式檢測學生簡化字辨認率,最後再挑選一百個簡化字用作測試學生簡化字的正確書寫率. 調查報告統計港澳大學生簡化字的辨認率和正確書寫率,可以看出︰港澳大學生能認讀大部分中國大陸規範簡化字,但往往會書寫不規範的港式簡化字,這一現象值得港澳語文教育工作者注意,在教學上須提醒學生避免書寫港式簡化字.

≪今古奇觀≫的編纂模式與編纂特色 ― 以卷五至卷八的四個小說故事爲主

조은상,오학충 중국어문연구회 2012 中國語文論叢 Vol.0 No.52

본문은 그동안 학계에서 그다지 관심을 갖지 않았던 명말 화본 소설 ≪今古奇觀≫을 새로운 시각으로 재조명한 논문이다. 시간과 편폭상의 제약으로 ≪今古奇觀≫의 권5에서 권8에 나오는 4개의 화본소설을 연구대상으로 삼았다. 이를 통해 ≪今古奇觀≫에 대한 편저자인 抱甕老人의 편집의도와 편집방식을 살펴보았다. 抱甕老人은 화본소설을 편저함에 있어서 새로운 방식의 편집방향을 설정하고, 작품내용의 공통점과 차이점을 통해 화본소설을 새롭게 조합·편찬하였다. 그 결과 원래의 작품에 새로운 주제를 부여하는가 하면, 중국고대소설의 전통적인 서사방식인 권선징악을 계승하였다.