試探漢語流行語“土豪”的語義演變及成因分析

김정훈(Kim, Jeong-Hoon),김현태(Kim, Hyun-Tae) 대한중국학회 2018 중국학 Vol.63 No.-

普通词语发展为流行语,除了有其自身语义演变的原因外,更为重要的往往是来自于社会事 件的外部动因。在网络媒体时代,流行语己经成为国内近些年来影响较大的话语事实和文化现象。 汉语流行语“土豪”本是一个带有浓厚历史色彩的词语,词义历经了几个发展时期,在新中国成立 前夕经历了最后一个使用高潮期后,逐渐退出历史舞台。近来,“土豪”一词在网络上十分流行, 由其派生出的“土豪金”、“土豪男友”等词也深受广大网民的喜爱。在微博上甚至有人发起了 “和‘土豪’做朋友”,足见其风靡之程度。 本文通过新浪微博语料库的分析,“土豪”的流行语义的生成、流行和定型的过程进行了梳 理,发现大社会事件对“土豪”流行语义的演变产生了关键性的影响。我们试图通过这一个案,探 求社会事件对流行语语义演变的直接影响,揭示事件动因在语言演变过程中的重要作用。 The development of common words into catchwords, besides their own semantic evolution, is more important than the external motivation of social events. In the era of Internet media, catchwords have become the most influential discourse facts and cultural phenomena in China in recent years. The Chinese popular language “tyrant” is a word with a strong historical color. The meaning of the word has gone through several periods of development. After the last period of the last use of the new China, it gradually withdrew from the historical stage. Recently, the word “Tu Hao” is very popular on the Internet. The words “Tu Hao Jin” and “rich boyfriend” derived from it are also popular among netizens. On Wei-bo, some people even launched a “friend” with “tyrant”, which shows its popularity. Through the analysis of the Sina Wei-bo corpus, this paper combs the process of the generation, popularity and stereotype of the popular semantics of the “tyrant”, and finds that the big social events have a key influence on the evolution of the popular semantics of the “tyrant”. We try to explore the direct influence of social events on the semantic evolution of catchwords through this case, and reveal the important role of event motivations in the process of language evolution.

列國題材 소설작품과 한국 구활자본의 개역현상

이은영 한국중국소설학회 2006 中國小說論叢 Vol.24 No.-

由于历史上很长时间的交往,朝鲜在各个方面受到中国的影响,文学领域也不例外。中国文学作品大量进入朝鲜之后,有些写中国人物故事的汉文小说,或朝鲜人自己译成为韩文的国文小说,不仅在主题、题材、体裁、人物、写作方法等各方面受到中国文学的影响,甚至有些中国作品中的人物进入了朝鲜文学作品中,成为了韩国文学的一部分。 春秋战国题材小说中的重要人物或故事情节,往往被写成一部独立的小说。如《伍子胥实传》、《苏秦张仪传》、《秦始皇实记》、《孙庞演义》、《童子问答》。它们都是取中国原作中的某些段落,加以修改、铺陈、增补而独立成编的,经过朝鲜人之剪裁、加工、润色之后,其中直接或间接地含有改编者的思想感情、美学观念。 以上韩国旧活字本小说,有的借来故事,有的借来人物,都同以列国为题材的中国小说有直接的关系。伍子胥、苏秦、张仪等人物和事迹一同进入朝鲜,形成了广泛的读者层,受到了人们的喜爱。既然当时已经有了《新列国志》、《封神演义》等完整的小说,而在韩国又编写这些以个别人物事件为主的小说,这种现象是怎么造成的?赵东一先生说,这不只是因为翻译整本书很麻烦,而且事件众多的编年体叙述方式,不大适合韩国读者的阅读习惯。因此,从原作中摘取一个人物的整个故事或者一个完整的段落,进行适当的加工,这样便很容易被朝鲜读者接受。其翻译忠实于原本的程度虽然有差异,甚至有的作品只借了一点故事框架,但是它们的翻译、故事安排等与原书不一致的地方,正表现着当时朝鲜人的思想感情、审美观念,从而使它们变成韩国小说的一部分。

여성형상 분석을 통한 『三國演義』 서사전략 고찰

이민경(Yi, Min-Kyoung) 대한중국학회 2020 중국학 Vol.72 No.-

본고는 『삼국연의』의 여성인물이 소설 속에서 어떻게 형상화 되었는지 살펴본 후, 여성 형상의 특징을 정리하였는데, 여성 등장인물은 자신만의 목소리나 감정을 발산하지 않고 개인적 욕망이 없는 것처럼 그려졌다. 『삼국연의』 가 삭제해도 무방한 여성인물들을 ‘自我가 없는 존재’로 형상화한 것은 작가의 서사전략이다. 작가는 이들 여성인물들을 이용하여 중심인물들을 부각하고, 영웅을 판별하는 잣대로 이용했으며, ‘忠’이라는 이데올로기를 강화하기 위한 서사전략으로 활용하였다. In Romance of the Three kingdoms’s story, female characters make up a small proportion of the entire narrative. Female characters is part of a family member, only serves as a supporting role. If a female characters does not appear, it does not affect the narrative. Romance of the Three kingdoms’s author intentionally included female characters in the scene. How is the female figure used in Romance of the Three kingdoms? First, female characters of Romance of the Three kingdoms emphasizes the character of the main character. For example, The characters of the empress and concubines characters is used to expose rebellious subjects such as Cao Cao, Dong Zhuo. This novel’s author glorified Liu Bei though Liu An’s wife and Cao Song’s concubine. Second, female characters is utilizedas a yardstick for judging heroes. In Romance of the Three kingdoms, female character suggested the standard that a true hero is a person who can control a family by training his or her mind, not being close to a woman, succumbing to sexual desire, and being able to control his family. Finally, The female figure was used to clarify that the idea of loyalty is the most important ideology in the idea of Confucianism.

『삼국연의』와 영역(英譯) : 브레위트-타일러를 중심으로

김소정(Kim, So-Jung) 대한중국학회 2021 중국학 Vol.76 No.-

본 연구는 『삼국연의』 영어 번역사에서 중요한 위상을 지니는 번역가 브레위트-타일러의 번역 성취에 대한 고찰이다. 영국인 브레위트-타일러는 1880년 중국으로 건너가서 40년 동안 중국의 주요 도시에 머무르며 인재 양성과 해관 및 우정 업무에 종사했다. 그는 푸저우선정학당에서 후학을 양성하면서 틈틈이 『삼국연의』를 번역하여 홍콩의 영문월간지 『차이나 리뷰』에 발표했다. 1888년부터 손책의 사망 고사, 좌자 고사, 초선 고사 등 『삼국연의』 일부를 번역했으며, 『삼국연의』에 관한 평론도 썼다. 그는 영국문화와의 유사성 속에서 『삼국연의』를 이해하고 받아들였으며, 서양인의 독서 수월성을 위해 의역과 축약의 번역방법을 동원하여 가독성 높은 완역본을 만들어내었고, 1925년 양장본 형식으로 캘리앤웰시출판사에서 출판하였다. The aim of this study is to examine the translation achievements of the translator Brewit-Tyler, who has an important status in the English translation history of The Romance of Three Kingdoms. An Englishman, C. H. Brewitt-Taylor(1857-1938), moved to China in 1880 and stayed in China s major cities for 40 years, teaching students and engaging in customs and postal service. He were invited to teach specialized knowledge in mathematics, navigation and nautical astronomy in 1880’s. During these days, he In his spare time translated The Romance of Three Kingdoms and published it in Hong Kong s English monthly magazine China Review. Since 1888, he had translated parts of The Romance of Three Kingdoms, such as Sun-Ce s death story, the story about Zuo-Ci, and Diao-Chan’s story. He also wrote a article on The Romance of Three Kingdoms. As a translator, he understood and accepted The Romance of the Three Kingdoms in the similarity to British culture. He created a highly readable complete version by mobilizing paraphrase and abbreviation translation methods for European reading convenience. The complete version was published in hardcover by Shanghai Kelly&Walsh Publishing House in 1925. With publication of the complete translation, European readers recognized The Romance of Three Kingdoms as having the value of a classic that explored the essence of human beings, and they were able to approach a true understanding of Chinese Classic Novel.

『삼국연의』 콘텐츠의 수용과 재해석 : 온라인 커뮤니티의 담론을 중심으로

이민경(Yi Min-Kyoung)(李旼憬) 대한중국학회 2021 중국학 Vol.77 No.-

본고는 네이버(NAVER) 카페 ‘삼국지 도원결의’라는 온라인 커뮤니티의 담론을 분석 대상으로 삼아, 국내 대중들의 ‘『삼국연의』 콘텐츠’의 수용과 재해석 양태를 살펴보고 그 특징을 도출하였다. 현재 『삼국연의』 콘텐츠의 수용은 게임류로부터 시작되기는 하나, 수용범위는 소설이나 사서 등 다양한 장르의 콘텐츠로 전이·확대되는 양상을 보였다. 탈권위·탈위계를 추구하는 포스트모더니즘 시대를 살아가고 있는 이용자들은 삼국 인물들의 영웅성에 주목하기보다는 유희의 대상으로 활용하기를 즐겼고, 서열과 스펙을 중시하는 문화로 인하여 등수나 수치로써 인물 평가를 대신하는 경향을 보였다. 또 콘텐츠 수용자이자 생산자로서 『삼국연의』 의 시각적 재현에 높은 관심을 보였다. 즉 담론을 통하여 살펴본 수용의 특징은 유희화, 계량화, 시각화로 정리할 수 있다. This paper examines the discourses found in an online community called Samgukji Dowongyeolyi on Naver, and analyzes how the community users accept and reinterpret the contents of the novel titled ‘Romance of the Three Kingdoms’. In the community the users initially accept the contents as a form of online games and bring relevant discourses but they also expand and diversify the discourses into different genres, such as novels and historical accounts. In the post-modern era, where de-authoritarianism and non-hierarchy are considered worth pursuing, the heroic traits of the conventional characters from the Romance of the Three Kingdoms are not valorized anymore. Rather, the traits are being burlesqued and satirized by the users. It is also visible that they measure the characters qualities or skills in numbers when the culture of grading and valuing one s specification are contemporarily pervasive. As a content acceptor and a producer each user is highly interested in visualizing the characters and their narratives from the novel. In sum, parody, quantification, and visualization are the characteristics of the user s manner in accepting and reinterpreting the Romance of the Three Kingdoms.

语序类型学视角下的汉韩介词联系项对比

오선자(Wu, Shan-Zi)(吴,善子) 대한중국학회 2020 중국학 Vol.71 No.-

本文根据语序类型学理论,确立汉韩介词联系项系统,考察汉韩介词联系项的句法功能和语义功能,并在此基础上进行对比分析,证实类型学参项内容。汉语的介词、韩语的一些助词和惯用型都为动词介引间接论元,表明动词与之论元之间的关系,具有介词联系项功能。汉韩两种语言的介词(韩语的助词和惯用型)在介宾短语内的介词语序类型以及数量上有较大的差异:汉语有前置介词、后置介词和框式介词,数量也不断增多,属于半开放性词项,而韩语只有后置介词,数量少而较稳定,是半封闭性词项。汉语前置介词和韩语后置介词是类型学上的和谐组配,汉语和韩语的介词参项特点符合类型学共性原则,反映了SVO类型语言和SOV类型语言的介词联系项差异。汉韩介词中表境事和关事的介词比较多,而表比事、因事、主事和客事的介词都比较少。 Based on the theories of word order typology, this study intends to establish the system of adpositionsfrom Chinese and Koreanin terms of typological parametersbyexamining and comparing their syntactic and semantic functions. Many Chinese prepositions and Koreangrammaticalauxiliaries areadposition universals in preposition-based argument structure for leveragingsubject and predicate relationship. Chinese has an increasing number of prepositions, postpositions and circumpositionsina semi-open state, but Korean has a relatively small and stable number of postpositions in a semi-closed form.Despite the discrepancy ofnumbers and types between the two languages, Chinese preposition and Korean postposition are congenial pairs from a typological perspective,indicating the contrast of adpositions between SVO and SOV languages,given that both languages havemore adpositionsof situational and relational functionsthan of comparative, causal,subjective and predicative functions.