陌生化理論視角下的納蘭性德詞

변성규 ( Sunggyu Byun ) 한국중국학회 2016 中國學報 Vol.76 No.-

Qing Dynasty Ci poet Nalanxingde, although died young, leave his name to posterity with extraordinary artistic talent. Nalan Ci is very popular since the Qing Dynasty, and still have a lasting artistic vitality. Hiscollection "Ci of drinking water" shows a unique personality and distinctive artistic style. In this paper, I discuss three main areas, that is, the defamiliarization of language, deformation of creativity, delay of the structure of Nalan Ci from the perspective of Shklovsky’s Defamiliarization. First, it discusses language defamiliarization of Nalan Ci from the two aspects, that is, imaged efamiliarization and transformation of poetic word used by the previous verse.Second, it discusses deformation of creativity of Nalan Ci from the two aspects, that is, extraordinary combination of language and differential sense under the time space conversion. Third, it discusses delay of the structure of Nalan Ci. Repeat approach causes delays and repeated delays and delay tactics postpone climax. In the meantime, the reader appreciate the wonderful repeatedly and prolonged psychological process of artistic experience increases the strength and depth of feeling. Nalan Ci combines not logically related groups together. This combination creates extraordinary aesthetic psychological distance, forming an unfamiliar language. The reader thereby obtain a new sense of language, and the text also leave unlimitedly extended aesthetic charm

符號學視角下秦觀《滿庭芳》的意象符號解讀

변성규 ( Byun Sunggyu ) 한국중국학회 2018 중국학보 Vol.83 No.-

北宋詞人秦觀被尊爲婉約派一代詞宗。 前人對秦觀及其詞的硏究雖然不在少數,但主要集中在對秦觀的生平性格和秦觀詞的藝術特色、手法、意境等方面。 筆者認爲通過深入文學作品本身理解和分析作品來發現作品的文學性能勾拓展作品的解讀視野,但要深入作品,科學合理地探討出作品本身的豊富意蘊,只有通過以文本爲唯一對象,重構作品的語言符號系統才能實現對文本的客觀解讀,這就需要運用符號學的理論來實現。 符號學爲文本的客觀闡釋提供了理論依据。 秦觀曾被蘇東坡稱爲“山抹微云君”,《滿庭芳》是秦觀詞中的代表。 本文選取秦觀詞中的四首《滿庭芳》,以符號學視角爲切入点對其進行了嘗試性的分析,以期爲解讀秦觀詞提供一個新的視角。 本文運用符號學的相關理論,首先對四首《滿庭芳》中的意象符號的內涵層面進行了分析,發現這四首《滿庭芳》中詞人選用的意象符號大多筆墨細?淡雅、少有重筆,帶有柔性質感,?們串連在一起使文本具有了柔麗凄婉的美學特質的同時使詞人的內在情感外化幷得到宣泄。 然后,本文對四首《滿庭芳》意象符號的組合特征進行了分析,主要從?們在組合軸上的空間構建、組合方式及全詞整體結構三個方面展開。 四首《滿庭芳》意象符號在組合軸上的空間構建爲全詞帶來一種生動的圖畵感的同時使全詞形成一種?射型的整體結構,卽以內在情感爲核心,通過外部一系列意象符號幷列組合的方式將這種內在情感外化。 詞中先通過前面大量外部意象符號的鋪陳,爲下面內在情感的抒發提供了具體的語境,幷在最后部分以外部意象符號描?出的外在情境作結,旣呼應了前面的情感抒發,又將整首詞的詞境擴展開來 本文運用符號學的相關理論,進入《滿庭芳》文本內部,對其中的意象符號的內涵層面及其組合特征進行了具體分析,發現在聚合和組合的共同作用下,這些意象符號被再造和重組,形成巨大的情感張力,激發了讀者的情感體驗,給讀者留下回味无窮的余味。 Northern Song Dynasty lyricist Qin Guan is revered as a master of Wan Yue Ci School(婉約派). Previous studies on Qin Guan and his Ci-poetry are not few, but they are mainly focused on Qin Guan's life character and Qin Guan's artistic characteristics, techniques and artistic conception. I think that through the thorough understanding and analysis of text itself to find the literary nature of text can expand the scope of the interpretation of the work. We need to go deep into Ci-poetry to explore the rich meaning of the work scientifically and rationally. And by reconstructing the language symbol system of Ci-poetry We can realize the objective interpretation of Ci-poetry. This requires the application of the theory of semiotics. “Mantingfang” is representative of Qin Guan's Ci-poetry. This paper selects Qin Guan's “Mantingfang”, with a semiotic perspective as a starting point to make a tentative analysis on it, in order to provide a new perspective for the interpretation of Qin Guan's Ci-poetry. Using the theory of semiotics, this paper first analyzes the connotation level of image symbols in “Mantingfang” ci, They are linked together to make the text have aesthetic characteristics of delicate, elegant, amorous, graceful and restrained beauty, with sensitivity and plaintiveness in feelings. At the same time, the inner feelings of the poet are externalized and released. Then space construction, mode of combination and overall structure of the image symbol of “Mantingfang” ci were analyzed. And We found it brings to “Mantingfang” ci a vivid picture. At the same time, the whole work is made to form a radiation type to overall structure. That is, the inner emotion as the core, it is externalized by the combination of a series of external image symbol. External image symbol described at great length in front of the work provides the specific context to express inner feelings for the following. And in the last part, external poetic imagery depicted by the external image symbol is used as a knot. It echoes the emotional expression of the front and extends the ci poetic imagery(詞境) of whole Ci-poetry. This paper uses the theory of semiotics, enter “Mantingfang” ci text inside, on which the image symbol's connotation and combination features were analyzed. And found that under the combined action of selection and combination, these image symbols were reconstructed and reorganized, forming great emotional tension and stimulating readers' emotional experience. Thus it leave the reader with an endless aftertaste.

從女性主義視角來看中國古代詩詞中的織女形象

변성규 ( Sunggyu Byun ) 한국중국학회 2015 중국학보 Vol.73 No.-

In general impression, Zhinu has become a model for Chinese women with its loyal virtuous image. However in the Chinese ancient poetry, Zhinu image as a typical Chinese “female image” is not entirely consistent but showing a different face. The “feminine image” usually can make people think of feminist literary criticism, because “woman image” research can be said to be one of the earliest forms of feminist literary criticism. This paper analyse Zhinu image of Chinese ancient poems in view of the feminist literary criticism theory mainly with the concept of litterature and l,ecriture feminine. Zhinu image in the litterature is established in the androcentric visual mainly of three aspects as loyal and virtuous women image, Taoist fairy image suggestive of male desire and a woman of easy virtue image ignoring the feudal ethics. The first image : Zhinu in ancient Chinese poetry has sustained attention from the Han Dynasty to the Qing Dynasty poet. This is because Zhinu``s virtuous and loyal image meet the Chinese men in the thousands of years of feudal society. The second is Taoist fairy image of Zhinu which suggest and become the male sexual desire carrier. It shows the needs and dreams from man, so such Zhinu image becomes the tool to satisfy the male desire which is suppressed by traditional Confucianism in real life. It actually is a reflection of the desire to live higher than reality of life or is a form of compensation for the repressed worldly desires and unfruitless effort to achieve the unrealistic immortals. The third is the image of loose moral woman who violate the feudal etiquette. Literati strongly advocated women``s behavior should abide by the “three from the four virtues”. But Zhinu disobey her parents and betrayed the feudal etiquette to marry Qianniu and pursue an aggressive love which is contrary to the feudal ethics and Zhinu becomes moral adulterous woman. Zhinu in the l,ecriture feminine has two aspects of images. One is shown with real emotion, true feelings and independent self. Another is with the rebellion against the feudal ethical code. First image is the expression of true feelings of women. Here Zhinu image dare to express demands of woman herself, such as human affection and desire, love and hate. This kind of Zhinu image shaping is not because powerful groups regard vulnerable groups pitifully. It stands in the position of women herself on women``s true feelings with respect and recognition. So it involves a complete change in attitude. Second image is followed by the rebellion against the feudal ethical code, here Zhinu image dare to resist the patriarchal for true love and freedom of marriage, reflecting female consciousness. Anyway, in the male dominated feudal society Zhinu image is moulded from the male point of view. But in the course of the study we found that although the feudal era has its limitations, but in this time we can still find the existence of litterature. Some poets stand in the position of women speaking for Zhinu. Zhinu image dare to rebel against feudal ethics to express their true feelings, showing the beginning of female consciousness, which at that time is valuable and has certain progressive significance of.

槪念隱喩視角下的溫庭筠詞

변성규 ( Byun Sunggyu ) 한국중국학회 2017 중국학보 Vol.80 No.-

溫庭筠是晩唐大力作詞的第一人,他開創了五代、宋詞的盛況,后人都尊他爲花間鼻祖。 我們在讀溫庭筠的詞的時候,可以發現他的詞中大多是一些意象的羅列,他的詞在給讀者一種强烈的感官印象的同時,又能讓讀者産生豊富的聯想,體會到詞內部豊富的情感世界。之所以能有這樣的效果,槪念隱喩起了?大的作用。這些槪念隱喩讓讀者産生了豊富的聯想,而且讓詞的情感世界變得豊富,是構建溫庭筠詞的情感內容的重要手段。 槪念隱喩理論是Lakoff和Johnson提出的,該理論認爲隱喩不僅是一種普遍的語言現象,更是一種人們認知社會和世界的方式和手段,卽用一個認知域的經驗來理解?一個認知域的經驗。本文運用槪念隱喩理論,以后蜀趙崇祚編的≪花間集≫收錄的溫庭筠詞66首爲硏究對象,選取對溫庭筠詞情感內容構建有重要作用的槪念隱喩幷結合作品進行了分析。 通過分析,我們可以發現溫詞中在詞人是女子這一槪念隱喩主線下,還主要包括人的情感是自然景物,人是植物,分離和阻斷是簾,絶望是夢等基本槪念隱喩,?們共同作用,構建了溫庭筠詞的情感內容。以此爲基礎,詞人通過拓展對應關系、整合多個隱喩、增加細節描述 、質疑常規隱喩這四種方法對基本槪念隱喩進行了拓展創新,構建出詩性隱喩,從而使其詞具有了文學性。 詞人用槪念隱喩使內心的感受和抽象的槪念圖像化和具體化,從而幇助讀者更容易理解詞人在作品中要表現的深層意蘊,同時源域和目標域之間的張力使讀者産生了豊富的聯想,增强了作品的藝術感染力,使作品更具有趣味性和可讀性。 Wen Ting-Yun is a lyricist of the late Tang Dynasty, He led the development of Song and Wudai lyrics, was later revered as the originator of Huajian. Reading Wen Ting-Yun`s lyrics, we can find that most of Wen`s words are lists of images. These images give a strong impression of the senses while giving rich associations and make readers feel the rich emotional world in the work. Why it is possible to have such an effect is because Wen Ting-Yun use a lot of conceptual metaphors. And these conceptual metaphors which allow readers a wealth of association enrich emotional world of lyrics and these are an important means to build the emotional content of the lyrical poems. The conceptual metaphor theory is proposed by Lakoff and Johnson, which argues that metaphor is not only a general language phenomenon, but also a way of recognizing society and the world, that is, using an experience of one cognitive domain to understand an experience of another cognitive domain. Some characteristics of the source domain are projected to the target domain, which is partially understood by the former. This paper uses the conceptual metaphor theory to analyze 66 poems of Wen Ting-Yun collected by HouZuozhang`s “HuajianJi”. And the conceptual metaphors which has an important effect on the construction of emotional content of Wen Ting-Yun`s poems, are selected and analyzed. Through the analysis, we can find the main axis of conceptual metaphor of Wen Ting-Yun `s poems, that is to say women are poet himself. Under this big conceptual metaphor, there are some small conceptual metaphors which together build the emotional content of Wen Ting-Yun`s poems. So we can find four basic conceptual metaphors that the natural scenery is the human emotion, plants are people, the curtain is separated and blocked, the dream is despair. Based on this, the poet has expanded and innovated the basic conceptual metaphor through these four methods of expanding the corresponding relationship, elaborating description, composing multiple metaphors and questioning the conventional metaphor, and constructed the poetic metaphor, so that the work gains literary value. The conceptual metaphor of the poet makes the inner feelings and abstract concepts visualized and embodied, which helps the reader to understand the deeper implication of the poet in his works, and the tension between the source domain and the target domain enables the reader to produce rich association, and enhance the artistic appeal of the work, so that make the work more interesting and readable.