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논문(論文) : 중국 전통 < 아집도기(雅集圖記) >의 문체적 특징 연구
권석환 ( Seok-hwan Kwon ) 중국어문연구회 2015 中國語文論叢 Vol.0 No.72
The Gathering Paint’s narrative writing is a document of The Gathering Paint which changes the image to the text and, switches ‘spatial vision’ to ‘means thinking’. The type of writing was created in the period of Northern Song Dynasty. It had appeared when the step of writing which had reinforced the culture of Scholar bureaucrat to spread. The reasons that Literati in the past dynasties created The Gathering Paint’s narrative writing are firstly, they tried to supplement the blank of history with reproducing the characters of Gathering Paint, secondly, the purpose of accession the Gathering Paint’s high culture to cultural value and lastly, they putted the expression of the social responsibility and hidden alert with the domination of Literati nobleman’s two conflicts called amusement and moral training. The Gathering Paint’s narrative writing newly designed with the writer’s point of view that makes reader to appreciate aggressively. Moreover, the point of describing the character’s mental appearance can show it has different quality from the Paint’s narrative writing.
중국(中國) 명언(名言)의 초기 형성과정과 ‘인용(引用)`의 관계
권석환 ( Kwon Seok-hwan ) 중국어문연구회 2016 中國語文論叢 Vol.0 No.77
I had an argument to demonstrate hypothesis that Well-Known Saying is an object of quotation, and it gets real meaning from the quotation. Production and quotation effect of the Spring and Autumn: warring state period`s Well-Known Saying, consider the relationship between the saying of reproduction and Contention of a Hundred Schools of Thought. The period of the Spring and Autumn was the most fundamental period for making Chinese culture, also it was in an unique situation at that time. The Chinese Well-Known Saying was first produced at that period, and it was developed rapidly in such a short time. The reason could be found in the Contention of a Hundred Schools of Thought of the Hundred Schools of Thought. The most important thing in the Contention was the truth of language, and to achieve the goal they needed the powerful speech and reproduction. The Chinese Well-Known Saying was produced when the Dian (典), Mo(謨), Gao(誥), Xun(訓) came up, and the quotation and reappearance of it was repeated continuously. Hundred Schools of Thought of the period of the Spring and Autumn used a lot of the Chinese Well-Known Saying to make the powerful speech. They spread the Well-Known Saying far and wide in progressing of improve the delivery and effectiveness of the language.
權錫煥(Kwon Seok-hwan) 중국어문학연구회 2008 중국어문학논집 Vol.0 No.53
The study designated the interplay as the patronage system in the region of Jiangnan of Ming and Qing dynasties and explained the pattern of cultural patronage in the Ming and Qing dynasties, the patronage system and its relationship with the production of art and literature, the emergence of businessmen in the late Ming and the change of patronage system brought by the market economy, and the changing aspects of the environment of production of art and literature as below: First, the cultural patronage in the Jiangnan region of Ming and Qing dynasties showed much more diverse and complicated patronage patterns than that of the nobilities and Catholic church in the Renaissance in Europe. Namely, the patronage in China assumed the pattern that the same patron at the same place supported many genres simultaneously. For example, the patronage of the owner of a garden reached in various parts such as the management of garden, the collection of books, the collection and connoisseurship of calligraphy and painting, the creation of poetry and painting, the activity of family theatrical troupes, the social and literary gathering of literati. Furthermore, the patronage aspects combining the creator, the circulator and the consumer might be a very unique example. Therefore, the study has tried to confirm the patronage system uniquely showing in China, especially, the nature of the cultural power played by the literati group. Second, we has sought to find the patronage system and its relationship with art and literature. Even though it is true that there was some formal relation between master and servant in between the patron and the recipients, in practice, reciprocity and sometimes tension and conflict might be happened. The reason why cooperation or conflict existed is because the patronage relation was that of economic relation which guaranteed the livelihood of artist and literary man and at the same time that of psychological relation which influenced the social relation and spiritual world between the patron and the recipient. The study has considered the fact that what is the influence of the patronage system on the social relation and the psychological condition of artist and literary man and how the benefit and taste of patron reflect. Thirdly, we have examined the emergence of businessmen in late Ming, the change of patronage system the market economy brought, and the resultant changing aspect of production environment of art and literature. The commercialization in the fields of art and literature was accelerated and the literary publication was active in the Jiangnan area, which phenomenon was comparabe to the Renaissance in Europe in the seventeenth-century. The new form of patron came to emerge as the result and we confirmed that they were the very consumer-patron.
권석환 ( Seok Hwan Kwon ) 한국중국학회 2010 國際中國學硏究 Vol.13 No.-
這篇文章的目的是通過對現在存於韓中兩國嶽陽樓上的題변·楹聯的探討, 以分析嶽陽樓展示的景觀的文化意味.從中國嶽陽樓的大多數楹聯中, 可以看出一個共同的特點, 就是都取意於範文和杜詩, 都是從範文和杜詩中得到啓迪而創作出來的, 足見範文及杜詩眞是千古詩文, 千古絶唱. 嶽陽樓旣有豊富深遠的底蘊, 又有鮮明的主體精神, 卽中國古代的君子·儒者所崇尙的大丈夫氣槪, 突出表現爲以天下爲己任的胸懷和自强不息的積極的入世的精神.韓國嶽陽樓的大多數楹聯以及변文均取意於範仲淹<嶽陽樓記>, 其效法的痕跡是明顯的. 在河東嶽陽樓板上題詩中, 中國傳統知識分子心憂天下, 以國家民生爲重的憂世情懷也感染了朝鮮士大夫. 而中國士大夫在嶽陽樓登臨覽勝心馳神往的志趣與情懷也引起了他們的共鳴. 在由於時代背景的差異, 在鹹安嶽陽樓題詩中, 這種憂患之思有所削弱,詩人吟詠的主題更多集中個人憂患的排解和對自然景觀的欣賞上.