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《三寶太監西洋記通俗演義》의 詩文 引用 및 變容 樣相
On the Types of Quotation and Modification in the Poetry and Proses of Sanbao-taijian Xiyangji Tongsu-yanyi[三寶太監西洋記通俗演義]
《삼보태감서양기통속연의》의 시문 인용 및 변용 양상

첫 페이지 보기
  • 발행기관
    한국중국어문학회 바로가기
  • 간행물
    중국문학 KCI 등재 바로가기
  • 통권
    제79집 (2014.05)바로가기
  • 페이지
    pp.53-79
  • 저자
    홍상훈
  • 언어
    한국어(KOR)
  • URL
    https://www.earticle.net/Article/A219711

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원문정보

초록

영어
It is clear that the experience of Zheng He[鄭和] who made seven times voyage to the Western World exerted some far-reaching influences on the literature of late Ming[明] Dynasty. The various informations of the new world broadened writer’s mental horizon and thinking space in most all of the literature genres. The 100 chapter[回]’s Sanbao-taijian Xiyangji Tongsuyanyi[三寶太監西洋記通俗演義] by Luo Maodeng[羅 懋登](or represented by him) is a typical instance of that experiences. Although this first story of the sea adventure in Chinese Literature is not a realistic novel──almost can be a fantasy, it contains substantial meanings in the society and history of late Ming Dynasty. The rich imaginations about overseas countries in this novel, for instance, gave an impetus to the Chinese of late Ming Dynasty who were still not prepared to accept the objective knowledge of the whole world and were self-sufficient for the idealism of the suzerain vassal. In addition, the writer(s) of this novel would like to represent his (or their) displeasure and indignation about the present state of late Ming Dynasty by satire and deriding style. Nevertheless, the sentence quality and story structure of this novel could not fulfill most of high-class leaders’ aesthetic requirements at that time, so much as Lu xun[魯迅] in modern China. In point of fact, Xiyangji can be placed a transitional stage in writing style from generational episodes cumulation to individual story writing. So, it was natural that the writer(s) of this novel betray many clumsy workmanships when he (they) tried to make use of some old episodes and other short stories, or when he (they) tried to imitate some sentences of history books and prose texts, or when he (they) tried to joke, even when he (they) tried to show his (their) talent of story writing. As things turned out, Xiyangji has many distinguished marks of experimental writing. In this paper, I studied some types of quoting poetry and prose from outside of this novel. And I found some notable features. Only 86 pieces of poems and phrases are directly quoted without any modification in total 178 cases. With a few exceptions that resulted from the mistakes in copy, most of all the quoted poetry and prose are intentionally modified by writer(s) of Xiyangji, for the purpose of application to his (their) novel’s context. But it is true that not a few confusions induced by these modifications. Without a few very high-class readers, almost all popular readers could not distinguish the modified poem from its original one, especially in the case that the extent of modification is rather high. The prose sentences quoted in this novel were usually from the prose collections by the fairly famous literary men before the writer(s) or contemporary with him (them), history books, and the Confucian scriptures. But almost of all sentences were diversely modified also. In this case, the purpose of modification is far from the case of poetry. Apart from a few modification in consideration of the context, many modifications seems to cross the line. Intentionally or unconsciously the writer(s) reversed the arrangement of words or omitted some words. It make readers cannot grasp the meaning of the whole sentence. In conclusion, the modification in quoting poetry and proses is a very remarkable feature in the Xiyangji text. But we cannot regard the poor workmanship of modification as an immature defect. Because not a few cases suggest that the poorness is made on purpose. In other words, we can think that the writer(s) of this novel intended to hold the so-called ‘high-class readers’ up to ridicule or to satirize them by presenting sets of absurd prose sentences. And in any sense, we can regard this kind of writing as somewhat similar to the ‘pastiche’ of the post-Modernism.

목차

1. 머리말
 2. 詩詞의 引用 樣相
 3. 詩의 變容 方式
  1) 小幅 變容의 예
  2) 大幅 變容의 예
 4. 散文의 引用과 變容 方式
 5. 맺음말
 <부록>
 參考文獻
 Abstract

키워드

Modification pastiche satire Zheng He[鄭和] Luo Maodeng[羅懋登] Sanbao-taijian Xiyangji Tongsuyanyi[三寶太監西洋記通俗演義]

저자

  • 홍상훈 [ Hong, Sanghoon | 인제대학교 중국학부 부교수. ]

참고문헌

자료제공 : 네이버학술정보

간행물 정보

발행기관

  • 발행기관명
    한국중국어문학회 [The Society for Chinese Language and Literature]
  • 설립연도
    1969
  • 분야
    인문학>중국어와문학
  • 소개
    韓國中國語文學會는 중국어문학을 연구, 소개하고, 연구자들의 학술교류를 활성화시키며, 회원 상호간의 친선을 도모하는 것을 목적으로 하여 지난 1969년에 창립되어 지금에 이르기까지 30여년 동안, 중국어문학 분야에서 가장 활발한 활동을 펼쳐온 권위있는 학술단체입니다. 현재 250여명의 개인회원과 40개 기관의 단체회원이 등록되어 있으며, 기타 국내외 20여 개 기관과 학술적 성과를 교류하고 있습니다. 그리고 매년 1회 이상의 국제학술대회, 그리고 4회 이상의 국내 학술발표회를 개최하고 있으며, 그 밖에도 수시로 외국인 저명학자 초청 강연회와 학술세미나 등을 열고 있습니다. 韓國中國語文學會에서는 중국어문학에 관한 연구의 활성화에 기여할 목적으로, 1973년4월부터 매년 회원들의 연구논문을 싣는 학회지 <中國文學>을 현재 제 35집까지 발간하였으며, 회원들의 연구가 활발해지고 그 성과가 늘어남에 따라 1996년부터는 매년 2회로 발간 회수를 늘렸습니다. 매 권당 약 400면의 분량으로 발간되는 <中國文學>은 한국 중국어문학계에서 가장 내실있는 연구성과만을 모은 학술지로서 그 권위를 인정받고 있으며, 비단 중국어문학 뿐만 아니라 국문학, 동양사학, 철학, 미학 등의 분야에도 적지 않은 도움을 주는 학술지로 평가되고 있습니다.

간행물

  • 간행물명
    중국문학 [THE CHUNG KUK MUN HAK ; Journal of Chinese Literature]
  • 간기
    계간
  • pISSN
    1226-2943
  • 수록기간
    1973~2017
  • 등재여부
    KCI 등재
  • 십진분류
    KDC 820 DDC 895

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