연변지역 정풍운동 연구

이홍화 연변대학 인문사회과학학원 2011 국내석사

摘 要 1957年發生的整風運動是中國共產黨在探索社會主義道路中的一次重大事件,整風運功的初衷是積極的,但是它的擴大化深深的影響了建國之後中共的政治走向,而且也嚴重的影響了一代黨員和知識份子的命運。 本論文通過研究延邊地區整個整風運動發展過程,分析作為少數民族地區在整個運動過程中社會各界的反應與態度,揭示出延邊地區進行反地方民族主義整風的根源以及給延邊地區政治、經濟、文化等各方面造成的影響。 本論文由緒論、本論和結論部分組成。 第一章緒論部分主要介紹本論文的研究目的、意義、相關領域研究的現狀以及研究方法。 第二章介紹主要的是延邊地區整風運動的背景。主要介紹建國以後到1957年整風運動開始,延邊地區發展狀況以及延邊州的黨組織與幹部隊伍狀況,通過分析少數民族幹部比例以及社會結構和政治、經濟、文化教育等各方面發展的狀態,揭示延邊地區進行整風運動的歷史背景以及可能影響整風運動發展的各種因素。 第三章作為本論部分主要闡述的是延邊地區整風運動的開展情況。延邊地區根據上級指示於5月份真正開始整風運動。在運動發展為反右派鬥爭以後,1958年4月,根據黨中央的指示,由於少數民族地區出現的地方民族主義的現象,將整風運動的主要內容由反官僚主義、宗派主義和主觀主義轉為反地方民族主義。當全國整風基本結束之後,1959年,延邊地區又進行了新一輪的反地方民族主義整風運動。文教系統作為延邊整風最重要的領域,此次運動一定程度上阻礙了朝鮮族文化的發展。 第四章總結延邊地區整風運動的歷史教訓。運動的擴大化致使不少幹部和知識份子被打成了右派或是民族主義分子,特別是誤傷了部分民族幹部,使他們長期蒙受冤屈。總之,整風運動在一定程度上阻礙了延邊地區社會主義民主政治的發展,使得延邊地區民族文化的健康發展受到挫折。 第五章為結論部分,主要是對延邊地區整風運動進行總結,反思作為一個少數民族自治州,怎樣在維護國家統一的同時,促進朝鮮族社會各項事業的迅速發展。 Abstract The rectification movement in 1957 is an importent event on explore the socialist road by the Communist Party of China. Though it’s original intention was positive, the supersize of the rectification movement was influence the Communist Party of China after nation-building deeply. This paper studies on Yanbian area through the rectification movement, the process of development as ethnic minority areas in the motion and the community's response, the analysis of Yanbian area in a place at the root of the nationalist movement, and the area of Yanbian political, economic and cultural aspects of the impact, and reflective as one of China's ethnic autonomous areas, how to correctly understand the state of the minority nationalities policy and a correct view of the motherland. This paper is consist of introduction, main tenet,and epilogue. The first chapter of this paper mainly introduces the study purpose, and related fields of research and work methods. The second chapter is about the background of Yanbian area in the rectification movement. It’s mainly introduces: after the founding of the rectification movement began in 1957, Yanbian regional development and Yanbian party organizations and cadres, by analyzing Yanbian the state of nationality, the ratio of cadres and social structures and political, economic and educational development in all aspects of the state of Yanbian area, the historical background of the rectification movement, and may affect the rectification movement of the development of various factors. This part also deals with the reason of central committee and Chairman Mao to the party. Chapter three of the theory part of Yanbian area are mainly expounds the rectification movement. local-nationality chauvinism yanbian area, in accordance with the higher levels really began to the rectification movement and sport for the development of the struggle, from April 1958 and the central committee's instructions, the minority nationality areas in the place of nationalism, the rectification movement is the main contents of the bureaucracy, sectarianism and subjectivism to the place of nationalism. when the rectification movement was over in 1959, Yanbian area and a new round of the place of nationalism is the rectification movement. in the entire sports, cultural and educational system is yanbian the rectification movement the most important sector, greatly affect the Chaoxian nationality and cultural development. Chapter four is a summary of Yanbian area where the rectification movement of the nationalist movement extend. many of our cadres and intellectuals have been made in the right or ethnic nationalism, especially harming the part of the ethnic minority cadres, they suffer under the long term. in short, the place of nationalism is the rectification movement has the Chaoxian nationality social development process and impeded the Chaoxian nationality the healthy development of national culture, and seriously harmed the Chaoxian nationality’s national feelings. Chapter five is for the conclusion of Yanbian, in particular the rectification movement against local-nationality chauvinism review and reflection and analysis to the other is the rectification movement of the ethnic minority areas. finally, as a minority nationality autonomous prefectures and how to safeguard national unity and promote Chaoxian nationality various social undertakings developed rapidly.

朝鮮族歲時風俗硏究 : 以延邊朝鮮族?對象

유병수 延邊大學 2003 해외박사

현재 중국에는 200만이 넘는 조선족이 살고 있으며 연변조선족자치주에만 84만의 조선족이 살고 있다. 연변자치주는 민족구역자치법에 따라 조선족의 자치정부가 수립되어 있고 조선족의 자치가 보장되는 곳으로 조선족의 언어와 문화의 요충지라고 할 수 있다. 조선족은 이주초기부터 이미 자신들의 언어와 문화를 가지고 중국으로 들어와 집거지를 형성하며 생활했고 민족교육을 실시해 왔다. 때문에 조선족은 제 민족의 언어와 생활습관을 유지하며 문화정체성을 지속할 수 있었다. 하지만 한세기가 넘는 시간 속에서 조선족은 주체문화의 영향을 받게 되었고 조선족의 문화정체성에도 변화가 일어나게 되었다. 특히 산재지구에 있는 조선족은 주체민족인 한족의 문화와 접촉하는 과정에서 조선족의 문화정체성에 상당한 변화를 보이고 있다. 연변조선족자치주는 다른 지역에 비해 조선족의 문화정체성을 유지하며 주체문화의 영향을 적게 받고 있지만 인구의 감소, 교육환경의 변화 등 여러 가지 요인으로 인해 조선족문화정체성의 변화가 가속화될 전망이다. 연변조선족이 문화정체성을 지켜나갈 수 있도록 하기 위해서는 연변조선족문화의 특성을 분석하고 민족문화를 보존 발전시켜나갈 대책을 마련하는 것이 필요하다. 필자는 이러한 필요성에 따라 연변조선족의 세시풍속이 어떠한 양상으로 존재하고 있으며 또 어떻게 변화발전하고 있는지를 연구하고자 했다. 그동안 조선족의 문화정체성에 관한 연구는 막연하게 이중성을 가진다고만 논의가 전개되었을 뿐 구체적인 문화현상을 가지고 이를 증명한 연구는 진행되지 못했다. 따라서 필자는 세시풍속을 통해 과연 조선족의 문화정체성을 이중성이라고 할 수 있는지에 대한 연구를 진행하고자 했다. 결과적으로 필자는 조선족의 세시풍속을 이중적이라고 할 수 없으며, 조선민족의 전통 세시풍속을 중심으로 하여 다양한 문화를 수용하고 있는 다원화된 특성을 가지고 있음을 살펴보았다. At present there are more than two million Chinese-Korean in China, in which eight hundred and fifty thousand are living in Yanbian Chao-xian race Autonomous Region. In accordance with the autonomous law of national region, Yanbian Chao-xian race Autonomous Region established organ of self-government and ensured the self-government right of Chao-xian race, in pace with which it became the cultural centre of Chao-xian race. In the early days of immigration, Koran nationality came to China with the intrinsic language and culture, then in the following days they kept the national education so that Chao-xian race can continue to have the national language and custom, maintain the feature of their national culture up to now. But during the following one century, Chao-xian race inevitably was under the influence of the principal culture and the cultural pattern experienced some changes. Especially, Chao-xian race scattering in the inhabitant region of Han nationality varied a lot in the custom and culture during the course of cultural collide. Compared with other origion Yanbian Chao-xian race Autonomous Region received less influence from the principal culture, so the original pattern can be maintained much. But some other elements, such as the reduction of population and the changes of educational circumstances, inevitably cause the acceleration of changes. In order to maintain the original culture, we must analyse the cultural features of Chao-xian race in Yanbian first, and take necessary measures to maintain and develop the national culture. On the basis of the consciousness, the writer took the investigation and research into the custom and its development situation. The former researchers just expressed their opinions on the dual character of the culture of Chao-xian race, but not utilize the concrete phenomena to testify and expound. On the basis of the investigation of the custom of Chao-xian race the writer analysed its cultural character and probed into the dual character of the national culture. The conclusion is that the culture of Chao-xian race is not dual character. In fact it accepted and merged several kinds of cultual ingredients, and became many-faceted.

이효석 단편소설에서의 결손인물 연구 : '들병이'를 중심으로

최향미 서울여자대학교 연변대학 2011 국내석사

有关李孝石作品的研究成果大致可分为两种类型:早期的成果主要集中在作品的倾向性问题,到后期则主要研究了作品的抒情性,而对李孝石作品中缺损人物的研究寥寥无几。文学作品当中人物的缺损可分为身体上的和精神上的两种,在同一时期的作家中描写身体缺损的代表作品有桂鎔默的《白痴阿达达》和羅稻香的《悲纞-三龍》;李孝石的作品里所描述的特殊人物则属于精神缺损类型,其中“癞瓶子”是这类人物的一个具体的表现。与身体缺损相比,精神缺损的人物类型更富有研究意义。“ 癞瓶子”在李孝石的作品中外表与正常人没有区别,但在精神上她们已经卖掉自己,让自己沦落为奴隶,让别人驱使自己,是所谓的肉体和精神买卖的牺牲者。肉体买卖是一种非正常的人体买卖,但是因为“癞瓶子”在极为困苦的情况下不能用正常的方法逃脱贫穷,所以他们只能用这种歪曲的行为来摆脱贫困的现实。在这个过程他们逐步沦落为非人格的个体,他们的“性”则变成商品。 李孝石的《薔薇病》,《季节》,《粉女》等作品,直接或间接地描写了“癞瓶子”。 “癞瓶子”在李孝石短篇小说里体现的是一类特殊的精神缺损人物,这种精神上存在障碍的现象可以说不但是该地区而且是整个朝鲜社会的一个窘乏、残缺、破坏以及歪曲的社会文化的一个标尺。他们这种精神缺损的行为已经违背了伦理道德观念,然而他们没有丝毫的罪恶感,反而把这种行为认为唯一能使他们生存的行为。为了进一步了解“癞瓶子”,本文还把羅稻香的《悲纞-三龍》,雨果的《巴黎圣母院》,鲁迅的《阿Q正传》等作品中的人物和李孝石作品当中的“癞瓶子”相比较。 针对这样的精神文明史的研究,我们可以从文学的角度分析特殊的人物,特殊的阶级和特殊的类型,并且导出其文学史上的特征,或许这种研究方式可以开启崭新的研究方向和文学人物研究方法。

塵世舊顔風拂盡 雲自無心水自閑 : 白居易와 李奎報의 禪詩 比較

문혜 서울여자대학교 연변대학 2011 국내석사

白居易与李奎报分别是唐代与高丽时期的著名的诗人。他们虽然生活在不同的国家和不同的时代,但是都与佛教结下了不解之缘,在他们创作的大量的诗歌作品中,反映了浓郁的“禅理”和“禅趣”,为后世留下了深远的影响。尤其是白居易及其禅诗作品对李奎报的人生观和诗歌创作产生重要的影响,使其效仿白居易,所以白居易和李奎报的禅诗作品中都无不充满着“虚静”、“圆融”、“ 淡然”之美,使读者产生美的感受。白居易的禅诗作品主要呈现了诗人对于禅佛的虔诚,对于自然山水的热爱以及对于人生的体悟。而李奎报的禅诗作品则通过颂佛诗的形式表达奉佛之心,并在大自然中体会无限的禅趣,以观察大千世界变幻来表达内心的感悟。其特点概括起来有以下几方面:一是白居易与李奎报都写过不少颂偈诗。白居易的偈诗拥有佛家禅偈质朴的风格,语言简洁朴实,体现着“禅家本色”。而李奎报大多以偈颂的形式向百姓宣传和颂扬佛教思想,语言平俗,很为民众接受。二是白居易与李奎报都崇尚“自然”。“自然”本身就是佛性的体现,描写景物本身就意味着表现佛理。白居易与李奎报追求的“自然”,除了简约收敛的静态美的自然外,还有主观审美意识的自由无拘束的动态的自然,在自然景物的观照中融于现实的自然,以静寂的心境在自然中寻找禅机。三是白居易与李奎报对禅有着特别的体悟。白居易通过大千世界之无常返静观心,顿悟瞬间永恒的真谛,李奎报则在万物变幻中静观其象,在虚融清净之中悟其禅理。李奎报与白居易在自然中寻求一种“平常心”,以一种平常心领悟禅的境界,追求“思与境”的和谐。另外,两人的诗歌作品体现了禅宗“因缘和合,随缘自适”的思想。他们认为,世界万物都有因与缘,不要刻意强求,要以“随缘自适”的超然态度对待人生。他们的禅诗作品体现了“在家出家”的思想。白居易认为保持清明自性而不迷惑于万物万相,内心已经出离,那就不分在家出家,李奎报和白居易一样,清心寡欲,追求的是内心的出家。还有,白居易与李奎报的禅诗体现了禅宗的审美境界,奉行超尘脱俗的禅宗思想,拥有追求虚融清净和圆融淡然的审美情趣。也就是说,在白居易和李奎报的禅诗作品中,可以窥视到诸多共同点。文章通过对大量的文献史料的分析研究,比较全面地介绍了白居易与李奎报的生平与佛缘,考证了两位诗人与佛教之间的千丝万缕的联系。与此同时,在比较分析两位诗人的禅诗作品所体现的佛学思想的基础上,探讨了两位诗人在禅诗作品中所表达的共同的禅宗哲学思想和审美境界,阐明研究白居易与李奎报禅诗作品的重要意义 Bai Juyi and Li Kuibao are the famous poets of Gaoli dynasty and Tang dynasty respectively. Although they lived in different country and age, but they had the indissoluble bond with the Buddhism. The two poets have produced a great deal of poetries, which reflected Zen reason and Zen interest strongly, and made profound and lasting impression on later generations. Bai Juyi and his Zen poems have important impacts to Li Kuibao’s philosophy and poetries, and Li Kuibao would like to emulate Bai juyi, so their Zen poems have the similar style, with the beauties of quiet, flexible and plain, that have made the readers have beautiful feelings. The Zen poems of Bai Juyi especially show the godliness for Buddhist, the love for natural landscape and the experience for life. But the Zen poems of Li Kuibao reflect the deductible heart for Buddhist though the expression of praising the Buddha poems, feel the great Zen interest from nature, and observe the changes of the boundless universe to express the thoughts of insights. There are so many similarities about their Zen poems. It includes the following features. Firstly, Bai Juyi and Li Kuibao both were writing lots of Song Verse Poetries. The Verse poems of Bai Juyi have a simple style about Buddhism Zen Verse, and show the Zen qualities with simple and plain language. But the Verse poems of Li Kuibao really would like to use the form of Song Verse to promote and praise of Buddhism, with vulgar language for common people to accept easily. Secondly, Bai Juyi and Li Kuibao were advocating the "nature". The nature is in itself a manifestation of the Buddha, and description of the scene itself means the performance of Buddhism. The two poets were pursuit of nature. There was not only the simple static beauty of nature, also the free dynamic nature with using subjective aesthetic consciousness. They would like to contemplate of natural scenery and into the real nature, and silence the mind find Zen in nature. The third point, the two poets have the particular understanding of Zen. Bai Juyi were realized the essence of the eternal moment suddenly, through view of the heart quietly about the worlds. But Li Kuibao would like to wait and see everything changes, and learn and feel the Zen through virtual pure environment. The two poets were seeking the usual mentality in the nature, and using that mentality to feel the realm of Zen, and pursuit of harmony about the thinking and environment. Furthermore, the poetries of the two poets were reflecting the Zen thinking of believing in fate, and they think everything and everyone should take things as they come, with the detached attitude towards life. Their poetries also reflected the concept of "monk at home". Bai Juyi would like to think about remaining clear and bright self-nature and not confusing at all mega, if the heart has been out of mind, regardless of monk at home or not. Li Kuibao have the same view with Bai Juyi, he also would like to pursuit monk from heart, and pure heart and few desires. Their Zen poems have reflected the aesthetic state of Zen, pursued refined Zen thought, and also seek pure and indifferently aesthetic sentiment. So there are many similarities about the Zen poems of Bai Juyi and Li Kuibao. This article comprehensive introduces all about the life of Bai Juyi and Li Kuibao and their fate of the Buddha, through lots of analysis of a large number of historical documents, also researches the countless ties between the two poets and Buddhism. While, on the basis of comparative analysis the Buddhist thought of the Zen poems of the two poets, this article discusses the common Zen philosophy and aesthetic stain their Zen poems, clarifies the importance of researching the Zen poems of Bai Juyi and Li Kuibao.

중한현대목판화비교연구

황금월 서울여자대학교 연변대학 2011 국내석사

近几年来,中国的木版画开始形成了多元化的发展趋势,木版画作品也越来越引起众多国内外艺术界的关注,相关的艺术交流活动也在频繁地进行,尤其是与韩国间的艺术交流日益频繁。由于中韩两国在人文地域、文化传统、经济发展水平的不同,在现代木版画的教育思想、表现形式等方面存在着一定的差异,有必要对此进行系统的比较分析。 本论文采取理论研究和实践创作相结合的方式,主要对中韩现代木版画的表现形式以及教育思想进行了较系统的比较研究,其目的是从中吸取“营养”,并在本人的木版画创作作品中找到自身的创作语言,形成个性化的创作风格。这一研究能够补充木版画研究领域存在的不足之处,也对本人今后的木版画创作打下坚实的理论基础和积累实践经验。 本论文首先阐述了中韩木版画在20世纪50年代到80年代期间的发展过程,在此基础上着重研究中韩两国因地域环境、教育思想的差异带来的现代木版画表现形式上的异同。虽然中韩两国是临近国,但因地域环境、文化传统和教育思想上的差异,在木版画创作的题材、内容、形式和特征上有一定的差距。通过中韩两国现代木版画创作领域中的典型画家及其作品的比较,可以了解到不同画家的创作风格的差异及其渊源。本论文的最后部分结合自己的木版画创作作品进一步论证了现代木版画所具有的独特的表现形式,这一实践部分主要是从中韩两国木版画创作当中吸收了有价值的表现形式,努力形成自身的个性化创作表现。 如今,木版画的创作及其研究已经形成了多元化、国际化的发展趋势,我们应该进一步了解中韩两国木版画发展历史与现状的基础上,巩固中韩两国木版画作品上体现出来的不同的民族色彩语言,创作出既有民族特色又符合时代气息木版画作品。 Global engraving market became obviously active recent years. Chinese print is also moving towards international market and its creation attracts more and more attention from foreigners. It is growing and expanding continuously. Many young print engravers who have studies overseas and the well-known famous ones, they all started print creation with a lot of energy based on the experience they’ve learned from abroad. The trend of the Chinese print is diversity. Conspicuous improvement can be noticed both in the quality of the work and the idea of the creation. Print exchange activities are going on at home and abroad. Especially in China and South Korea, under the mutual promotion of development in economy, culture, etc. print exchange exhibition is also going on actively. Historical background for China and South Korea are quite different. For instance:Cultural geography, educational thought, culture, economy and so on. Wood engraving is originated in China and has great influence on Korean art. Under such background, the text is going to research and analyze by comparing the discrepancy of engraving in China and in South Korea and find out the convincingness. To begin with, in the first chapter we will mainly discuss on purpose and significance of this paper. Purpose includes research scope and method. In the scope part, the historical development situation between 50’s and 80’s of both countries lies in high priority. Then we will analyze the work from myself. Secondly, development process of engraving in both countries will be stated in the second chapter. History of the engraving development from 50’s to the end of 80’s will be carefully elaborated. At the end of this chapter is comparative analysis, illustrating Chinese and Korean representative printers and works, comparing the background of the work, educational thought, the form of the creation and so on. Chapter 3 is mainly about what I’ve learned about the Chinese and Korean engraving through my own work. Combining with the understanding from chapter 2, here I want to find out the material evidence and then make connections to my own work in order to understand wood engraving deeply. Last but not least, the result of the research will come out. By comparison, we will find out the similarities and the differences. The opinion to engraving in person will also be added to the conclusion of the work.

장애령과 최정희의 소설에서의 여성비극의식 비교연구

김금란 서울여자대학교 연변대학 2011 국내석사

This article is attempt to compare the female tragic consciousness contained in the works of the Chinese writer, Zhang Ai Ling’s, and those of the Korea writer, Cui Zhen Xi’s, by which, the real cause of the female tragic consciousness in both works is discussed. Tragic consciousness, consists of two extremities opposite and supplementary to each other, exposes the dilemma of human culture, a challenge in itself, and meanwhile, closes the dilemma in both form and emotion, which implies an acceptance of the challenge. There are many similarities in tragic consciousness exhibited in both Zhang Ai Ling’s and Cui Zhen Xi’s works as a result of their similar growing experiences. As a common topic of the contemporary female writers, Zhang and Cui, the perspective of feminine survival value and tragic consciousness, though distinguished by various qualities, mirrors the physical abuse and mental oppression of women in the feudal culture and traditional ethics and morals. The spirit of challenge and response to challenge of tragic consciousness has been extended by Zhang and Cui to human beings and society, or even the real family life of men and women so as to expose both the extrinsic and intrinsic causes of female tragic consciousness accordingly. The description of the female tragic consciousness in both of their works can be evaluated as “eternal writings kept for women’s liberation”. Centered on the middle-length novel The Golden Chain of Chinese writer Zhang Ai Ling and the trilogy of Three Connections, master works of Korean Cui Zhen Xi’s novella, the article discusses the differences and similarities and their causes of tragic consciousness between the two original writers in their writings in the methods of parallel study, feminist literary criticism, biographic criticism and social cultural criticism. Both the writers assign the causes of female tragedy to the absurd marriage system, the weak husband and the shackles of feudal ethicsand rites upon women’s thoughts in their writing, though no specific proof of the mutual influence of the two writers can be sensed. Different attitudes toward the acceptance of challenge are proposed by the two writers though the characters in their writings might face similar survival challenges. Zhang Ai Ling has trenchantly pointed out that the crucial reason for female tragedy is the morbid society and therefore, she entrusted the hope of women to escape from the abyss of misery to the revolutionized future, whereas Cui Zhen Xi has chosen to return to maternal instinct, to restrain the desire with power of maternity and to strive to seek the way to escape tragedy and return to normal life. With an analysis of the deep causes of tragedy in both works, the historic and realistic basis is found, highlighting the value and the significance of the article and subliming the meaning of the works. Moreover, a comparison of the tragic consciousness in both works is beneficial to the understanding of the common psychological desire of women in different social systems, and thereby deepens understanding of and attention to females. Meanwhile, I hope Chinese readers can draw references from the description of the differences between the two works in reading Korean feminine literature. 本文試圖通過分析中國張愛玲與韓國崔貞熙作家的作品, 對其中蘊含的女性悲劇意識進行比較研究, 以此來探討兩位女性作家筆下描述的女性悲劇意識產生原因。 悲劇意識由相反相成的兩極所組成,悲劇意識是把人類文化的困境暴露出來,這種文化困境的暴露,本身就意味著一種挑戰。 同時,悲劇意識又把人類文化的困境從形式和情感上彌合起來,這種彌合也意味著對挑戰的應戰。張愛玲與崔貞熙是具有濃厚的悲劇意識的作家,她們相似的成長經歷使她們的悲劇意識表現出了很多相似點。 透視女性的生存價值和悲劇意識是張愛玲和崔貞熙作為同一個時代的女性作家共同的話題, 雖各有千秋但都反映了肉體上殘害婦女, 精神上抑壓婦女的封建文化和傳統倫理道德, 張愛玲與崔貞熙把這種悲劇意識的挑戰與應戰精神延伸到了人與社會,甚至延續到了女人與男人之間的家庭現實生活中, 從而揭露了造成女性悲劇意識的外在原因與內在原因,對女性悲劇意識的闡述可評價為“為婦女解放留下的不朽之筆”。 本文擬採用平行研究方法,女性主義文學批評方法、傳記批評方法、社會文化批評方法,以中國張愛玲的中篇小說 《金鎖記》 和韓國崔貞熙的代表作中短篇小說 《三脈》 三部曲為中心, 探討在這些作品中體現的兩位作家的悲劇意識的異同點,及導致這些異同點的原因。雖然找不到明確的證據證明兩位作者之間存在相互影響,但兩位作者在作品中都將造成女性悲劇的原因指向了不合理的婚姻制度,無能的丈夫和封建禮教思想對女性思想的禁錮。 雖然作品中人物面臨的生存挑戰相似,但兩位作者提出了各不相同的應戰態度。張愛玲犀利的指出造成女性悲劇的癥結在於病態的社會,因此將女性脫離苦海的希望寄託在了變革後的未來,而崔貞熙選擇了回歸母性,用母性的力量克制自己的欲望,努力尋找逃脫悲劇而回歸正常生活軌道的方法。 本文通過分析兩部作品中悲劇產生的深層原因,為作品找到歷史和現實的依據,使文本的價值和意義突顯出來,通過深刻分析使作品意義得到深化。 再則,對兩部作品的悲劇意識的比較有利於瞭解不同社會制度下女性的共同心裏欲求, 從而進一步加深對女性的理解和關注。同時,希望通過對兩部作品中不同點的闡釋,為中國讀者解讀韓國女性文學作品提供借鑒。

한국어 정도부사 "더"의 중국어에서의 대응

서단 서울여자대학교 연변대학 2011 국내석사

无论是在韩国语还是汉语的语言体系中,程度副词都是其重要组成部分。韩国语和汉语都属于程度副词发达的语言体系,大量存在的程度副词在两国的语言生活中都起着不可或缺的作用。本论文选取了韩国语中表示比较意义的,使用频率极高的程度副词“더”进行分析,以期达到准确找出韩国语程度副词“더”的语法特征以及在汉语中的对应关系的目的。 论文构成如下: 第一章是绪论,阐述了本文的研究目的和意义、研究方法,分析韩国语和汉语的研究现状以及方向,迄今为止两种语言之间的对比研究程度、研究方法与研究资料的选择等内容,确定本论文的研究范围。 第二章是对韩国语程度副词“더”的本体论研究,分为归属问题、意义特征和句法特征三部分。其中,句法特征研究又分为与形态素的结合关系、被修饰成分分析和惯用表现。通过对韩国语程度副词“더”各方面详细的分析,找出其在意义、句法上的特征,为后文的对应关系分析形成铺垫。 第三章主要论述了韩国语“더”在汉语中的对应。其中包括“더1”和“더2”分别与汉语“更”,“再”,“还”以及其他情况的对应。其中以与“更”的对应为重点,详细阐述其对应形式及不同用法。 第四章主要论述了汉语“更”,“再”,“还”在韩国语中的对应关系。本章运用逆向对比方法,以第三章为基础,运用大量的语料,分别找出了“更”,“再”,“还”在韩国语中的对应关系。 第五章是结论部分,通过前四章的论述,对本论文所述内容进行概括和总结,并指出了文中的不足之处及今后的努力方向无论是在韩国语还是汉语的语言体系中,程度副词都是其重要组成部分。韩国语和汉语都属于程度副词发达的语言体系,大量存在的程度副词在两国的语言生活中都起着不可或缺的作用。本论文选取了韩国语中表示比较意义的,使用频率极高的程度副词“더”进行分析,以期达到准确找出韩国语程度副词“더”的语法特征以及在汉语中的对应关系的目的。 论文构成如下: 第一章是绪论,阐述了本文的研究目的和意义、研究方法,分析韩国语和汉语的研究现状以及方向,迄今为止两种语言之间的对比研究程度、研究方法与研究资料的选择等内容,确定本论文的研究范围。 第二章是对韩国语程度副词“더”的本体论研究,分为归属问题、意义特征和句法特征三部分。其中,句法特征研究又分为与形态素的结合关系、被修饰成分分析和惯用表现。通过对韩国语程度副词“더”各方面详细的分析,找出其在意义、句法上的特征,为后文的对应关系分析形成铺垫。 第三章主要论述了韩国语“더”在汉语中的对应。其中包括“더1”和“더2”分别与汉语“更”,“再”,“还”以及其他情况的对应。其中以与“更”的对应为重点,详细阐述其对应形式及不同用法。 第四章主要论述了汉语“更”,“再”,“还”在韩国语中的对应关系。本章运用逆向对比方法,以第三章为基础,运用大量的语料,分别找出了“更”,“再”,“还”在韩国语中的对应关系。 第五章是结论部分,通过前四章的论述,对本论文所述内容进行概括和总结,并指出了文中的不足之处及今后的努力方向。 Adverbs of degree in terms of Korean or Chinese language system, is the important part. Both Korean and Chinese languages are developed adverbs of degree, there are a lot of adverbs of degree in the language of the two countries plays an indispensable role in life. Selected for this study expressed a sense in Korean, the use of a high degree of frequency adverbs de”analysis, in order to achieve accurately identify the extent of Korean adverbs“de”grammatical features and the corresponding Chinese relations purposes. Paper form as follows: The first chapter is an introduction, including the purpose and significance of this research, research methodology, the Korean and Chinese research status and direction of the cntrast between the two languages so far of the extent of the choice of methods and research date and other content, determine the thesis scope. The second chapter is the extent of Korean adverbs “de”ontological research into the question of attribution, meaning feaures and syntactic features of three parts. Which is divided into syntactic and morphological characteristics of the combination between elements was modified component analysis and idiomatic expression. Adverbs of degree by Korean “de”detailed analysis of all aspects of, the corresponding relationship for the later analysis of the formation of bedding. The third chapter discusses the Korean “de”in Chinese counterparts. These include “de1”and “de2”, respectively, and Chinese “geng”, “zai”,“hai”and other corresponding situations. The fourth chapter discusses the Chinese“geng”,“zai”,“hai”in Korean, respectively, the correspondence between. Contrast the use of reverse chapter, based on the use of a large corpus to find “geng”,“zai”,“hai”in Korean, respectively, the corresponding relationship. Chapter five is the conclusion, through the first four chapters of the paper, as described in this paper summarizes the content and summary, and points out the inadequacies of the text and future endeavors.

함경방언 연구 : 김창걸의 해방전 단편소설을 중심으로

이봉화 서울여자대학교 연변대학 2016 국내석사

So-called dialect is language specific collective use and of the difference of language system and other collective language is a language variant or variants. Also has a phonetic system, grammar structure system, lexical structure system complete system. The creation of literary works in order to certain stylistic effect theory and the use of particular dialect. Such as novels to depict characters and features, prompt background means to use dialect in many cases. However dialect of literary text analysis contribute the understanding of the world in literature. So far in the literary works of dialect as the object of study has not been active. Hamgyong dialect circle in the writer's works as the research object of study is more such. Therefore this paper to Chang Jie Jin before the liberation of the short story as an example examines the works of Hamgyong dialect features. Finishing the research of the paper is organized as follows: This thesis is composed of five chapters. The first chapter is the introduction, which describes the purpose and significance of the study, research objects and methods, and then it has a review of the first study of the dialect of salty mirror and the first study of literature and dialect. The second chapter examines the Hamgyong dialect phonological characteristics taken from Jin Changjie’s novel . And it mainly analyzes the rhythm and syllable alternating, add, fall off, shrinkage of phonetic change phenomenon . The third chapter examines the grammatical features of Hamgyong dialect in Jin Changjie’s novel . With the example and induction method of characteristics of nominal particle and predicates ,I specificly analyzes the use of part of speech word . Nominal particle further case auxiliary words, grant words, plural particle, predicate POS auxiliary further points to end the auxiliary, auxiliary connection, provides auxiliary, auxiliary modification, auxiliary, said particles, honorific word. The fourChapter examines the vocabulary features of Hamgyong dialect in Jin Changjie’s novel. And it mainly analyzes the borrowed words, mixed words . The fifth chapter is the conclusion, and it sum up the content of this chapter and draws the conclusion. Summed up by analyzing the Hamgyong dialect features in JinChangjie’s novel . From the synchronic angle and Hamgyong dialect characteristics comparison can see use more of the variant form of, from comparison of the angle and the Medieval Languages can be seen using the more archaic form.

2000년 이후 한국 소설에 나타난 조선족 형상 연구

강미홍 서울여자대학교 연변대학 2016 국내석사

Since the establishment of diplomatic relations between China and Korea in 1992, the communication between two countries are becoming frequent, and more and more Chinese Korean entered the South Korean society. Especially in 1994, the so-called "Korean dream" to boom in Korean society, Chinese Korean rushed into South Korean society thought illegal or legal way, such as the labor export or transnational marriage. Since the new century, there are more than 500000 Korean population active in all walks of life in South Korea. Appearance of Chinese Korean population in South Korean society gave rise to the Chinese Korean images which are in South Korean in contemporary novels. Up to now, the related works are as many as thirty. How is the literature and social background of Chinese Korean image appearing in South Korea's novel? South Korean writers how to realize and depict the image of Chinese Korean? What’s the meaning of South Korea’ image in Korea contemporary novels ? According to above problem consciousness, this paper takes Chinese Korean image in South Korea's novel as the research object from 2000 years later to now, and analyses the types of Chinese Korean, the meaning of Chinese Korean image in literary history, etc. First of all, we analyzed and divided Chinese Korean image in South Korea's novel after 2000 years. The first kind is "the other" Chinese Korean. They lived in the bottom of South Korean society, who were engaged in the 3D industry, suffered from discrimination and inequality, and is regarded as "the other", rather than the same nationality. The second kind is as a realm of Chines Korean. They blurred between China and South Korea society, didn't know which society on earth their really belong to, for doubting its own identity, chaos, and eventually lead to disillusionment. Didn't talk about that they experienced the identity confusion of Korean image, and some Chinese Korean image in the works undertakes bridge and graft function in the process of communication. The third kind is regarded as "the same" Korean. They are in the same position with South Korea, or have the same sense of seeking roots. This kind of Chinese Korean can communicate with the south Korean, and have the same minds, beyond the border between countries. In the third chapter, we analyzed the meaning of the Chinese Korean image in the works. In 1920s, the Chinese Korean emigrated from Korea to China. But now, the Korean nationality reversely move from China to South Korea. This "regress process" of the Korean nationality plays a vital role for South Korean writers to depict Chinese Korean image. In a nutshell, Chinese Korean return to South Korea makes the South Korean people have an opportunity of re-think the category and the essence of the "nation", also makes the South Korean to self-reflection the exclusivity In the fourth chapter, the image of Chinese Korean meaning in Korea literature history was discussed. First of all, the Korean image makes up for the vacancy of Korean literature in South Korean literature. Chinese Korean image provides fresh material and topics for the South Korean literature, and opens up a new literary theme for South Korean literature. Secondly, Chinese Korean image reflects that South Korea ran into the multicultural society had caused all kinds of problems. From exclusion to resonance and communication between Chinese Korean and South Korean which suggests that the possibility of mutual harmony. Because of Chinese Korean image, Korean literature can correctly reflect the changing process of South Korea's multicultural society. This article studied Chinese Korean image after 2000 years in South Korea novel to elaborate Korean image perceived value in Korean literature. Although there has a certain limit in the quantity of works and image classification. Its meaning of this article is based on the analysis of the Chinese Korean image to understand the overall flow of Korean literature in the history of Korean literature.

매호 진화와 중국문학 관련 연구

천광옥 서울여자대학교 연변대학 2011 국내석사

陳澕是高丽神宗时期著名的贵族文人,但通过他的文学作品可以看出他与周围的许多贵族文人的思想完全不同。陳澕真心为国家社稷着想,批判和排斥那些阿谀奉承的腐败官僚们。因此在陳澕的文学观中可看出对社会腐败持有批判的态度。据《翰林别曲》记载,陳澕在诗歌创作数量上远比不上李奎报,但在诗歌创作上可与李奎报的诗相媲美。陳澕生平所留下的诗极少,他的子孙把剩下的作品搜集,编辑成了《梅湖遗稿》,有48题59首,此外一部分诗都已消失。 本文运用了比较文学中的影响研究与平行研究方法,重点分析陳澕的作品,考察他在腐败社会的环境下,是如何面对并克服了不道德的现实社会,并考察陳澕对中国文学的接受情况。 陳澕的文学中体现了批判腐败社会的文学思想,还体现了以《清》为主的审美精神。陳澕身为官吏对社会的批判是有限的,因此他不得不把视线转移到大自然当中,赞美自然的水光山色来坚定自己的信念。 陳澕在诗歌风格上体现了唐代与宋代诗风对他的影响,而在分析唐代诗风对他的影响中,考究在创作方法上是如何接受与运用孟浩然和王维的写诗特征;举出了欧阳修与梅尧臣在宋代诗风上对他的影响,并阐释了它们的内在联系。创作形式上引用了中国的典故、中国文人的诗语或诗句,并接受了中国文人诗作的意境等。 陳澕在接受中国文学时,并非是额仑吞枣按部就班,而是有目的性地引用,并表达了自己的独特观点。即表达了对社会的不满和崇尚自然的自然美,坚定了出淤泥而不染的高尚品质。通过以上研究可以看出陳澕对中国文学的接受程度,从而探讨了高丽文人对汉文学的水平和对中国文学的认知。 Hua Jin was a noble scholar from upper class in during Goryeo Shen Zong period. He was characterized for his unique thoughts and ideas which were completely different from those other noble scholars in his time. As for Jin, the interests of motherland was his top concern, he vigorously condemned and contempt obsequious bureaucrats in power and social corruptions, which was barely spotted in his literature works. As recorded on Hanlim pyeolkok, although Jin’s poetry cannot match Kyubo Lee in quantity, the quality was as much the same as that of Kyubo Lee. Few poets were left by Jin, however, his descendants managed to compile some of his works into Meihe posthumous manuscript, covering 48 tiles and 59 poems, while others remain lost. The thesis focuses on analyzing Jin’s works in the corrupted background of his times in the course of influence study and parallel study, describing his struggle against the society and inspecting the acceptance of Chinese literature at that time. Apart from his criticism on social reality, Jin’s works reflects aesthetic spirit in the theme of Qing. His social status as an official limited the extent of his criticizing, as a result, he took advantage of the appreciation on the beautiful scenery in order to strengthen his faith. Chen's poets were also marked by the impact from Tang and Song poetry in composing style. In this sense, more studies are carried out on how he accepted and implied composing features of Meng Haoran and Wang Wei great poets of the period. Moreover, the influence of Ou Yangxiu and Mei Xiaochen are highlighted in the process of describing the inner relationship between Jin and the two. As for the poetry form, many quotations of Chinese allusions as well as lines and words of Chinese poets were employed in his poem. Besides, he also adopted the image-creation in his poet. In quoting Chinese literature, Jin refused to swallow it all without personal insights. On the one hand, he poured out his discontent on the society' on the other hand, his admiration for nature was obvious, which in turn consolidates his advanced quality of being no mercy for the social darkness. Studies in the essay leave light on Jin’s acceptance of Chinese literature and further discuss Goryeo scholars referring to scope and depth of the acceptance of Chinese literature.