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該論文介紹了“通過分析中國語言資料對中華主義語言觀的形成和解體進行的通時硏究-從文化多元主義的看法”的大主題下企劃寫成的四篇論文(論文後附）。談到中華主義, 離不開領土、文化、民族。中華主義指是在所有方面將中國置于中心的思想。雖然僅以漢字記載的中國語言資料來考察中華主義恐怕比較困難，但如果站在文化多元主義的立場上從通時角度去探索的話，我們就不難發現隱藏在中華主義之深層的諸多限界。本人認爲，這種硏討活動可以帮助我們探索中國的語言和文字在東亞文化圈內的作用。

漢語一直被認爲是孤立語之一, 徹底排除任何外部接觸或影響的可能性。 但是, 從大部分元代雜劇作品看來, 蒙語借詞在十三四世紀的文獻記錄中時時可見, 其中雖有一些詞及其用法已經被淘汰, 但也有不少詞在和漢語接觸交流的過程當中早就擁有了自己的位子, 其生命力直到今天也一直很堅强。 雜劇裏面的蒙語借詞在其數量和影響上幷不算多, 但從中可以知道, 借詞對漢語的影響雖然少之又少, 但其涉及面很廣, 語言接觸必然性地和其他語言通過任何形式互相交流影響; 而且, 在中國, 尤其在一個像元代那樣擁有多元文化的開放性的國度裏, 這種情況更加顯著。 從蒙古引進來的種種借詞, 再加上“直譯體”文體及“漢兒言語”等, 這些與漢語固有的語法體系明顯不同的語言現象, 正是漢語一直和外部因素卽外族語言互相交流影響的明證。

This article provides that the successive study on 'Xiesheng series' can have an inner paradox. The Xiesheng principle by which most of chinese characters can be made with one determinant and one phonetic was suggested from the Han dynasty, more precisely, by Xu Shen (58?-147?). This Xiesheng theory linguistically supported the sino-centrism by enforcing the research about the chinese literary form. The Xiesheng series has been considered to have been created before the Old Chinese period. But sometimes it's not true cause some Xiesheng series were invented after the Old Chinese period, especially during the Qin and Han dynasties. Part of the rhyming of the Odes [Shijing] reflected dialectal features, but it has been also sometimes neglected. Be magnificent the work of Karlgren (1889-1978) on the Xiesheng series, he overlooked these problems. Dialectal informations which are supposed to contain Old Chinese phonetic features like Tibeto-burman will be helpful to solve the inner problems in the Xiesheng series.

This paper tries to explore Chinese' language contact and loan-words from the point of multi-dimensions of modern Chinese lexicon. Chinese Language may be isolating languages, but it is not a isolated language. Chinese or Sinitic languages now and always has been surrounded by non-Sinitic languages. Despite the fact that the Chinese have always had non-Chinese-speaking neighbors, there has been a general tendency to view the Chinese as a monolithic ethnic and linguistic entity, highly resistant to any sort of outside cultural or linguistic influence. The View that Chinese has seemed like an impermeable nucleus from which linguistic influences have flowed outward, but which generally has not affected by the inflow of foreign elements is a kind of linguistic version of ‘Chinese world order’. But we believe that such an approach is not correct. Prior to the establishment of Qin-Han empire, China's cultural and linguistic superiority was not as overwhelming as it was to become later and Chinese absorbed many loan-words in this period. Even after Qin-Han empire, many loan-words originated from Austro-Asiatic family, Indo-Iranian family, Indo-European family and Altaic language family flowed into Chinese lexicon. In the nineteen centuries, Chinese borrowed Japanese words originated from Chinese source on a relatively large scale. In the following years, Chinese again absorbed numerous loan-words from European language, mainly from English. These loan-words are the essential elements of contemporary Chinese lexicon. It also has changed Chinese lexical structure and made a great contribution to the multi- dimensions of modern Chinese lexicon.

关注“中華主义”陷为“中心注意”的危险性, 从多个角度考察中国文字是本論文進行的目的. 为此, 本論文将检討一下能通過中国文字来说明的中華主义观点, 試圖揭示脱離它的痕迹. 　中華主义具體體現的漢代, 進行文字整理的人是許慎. 許慎的文字論可以概括为以下三个方面: 第一, 樹立了通過文字的意义關係論; 第二, 欲将樹立以古文为中心的原义論; 第三, 分析文字　結構确立了部首为中心的从属論. 由此許慎对歷史上形成两个文字观起了决定性作用: 即排除歷史性的古文中心观和字形字义中将字音的作用貶低为从属地位的字形中心观.　　本稿用許慎的文字論簡單整理了中華主义文字观, 然後揭示了許慎的文字論未能解释的部分. 首先观察了建立在關係論基础上的小篆文字观與甲古文等古文字字形之間有什么乖離現象, 然後考察了古文中心观排除的字形, 用批判的角度来重述不符合許慎‘古文中心論’和‘从属論’的字形解释, 最後列示了一些無法用字形統摄的訓詁現象考察了字意脱離字形的現象.

古人云詩有題所以標明本意使讀者知其爲此事而作也故讀詩之際當先觀其題古人常論立題之要在於隨意結構而其意新奧其言淸簡所謂切題者詩中各句各聯皆切合題旨而必盡題中之意者也詩題或有可見創作契機吟詠對象詩歌體制詩作方式等之語細觀其題可以明知其命題之意亦可以易了其詩之蘊古人命題有極簡者亦有極繁者其長短甚不均然以其題與其詩論之可謂各有意味長題或代詩序或代副題或代自注故頗有意味所謂無題詩者以無題爲標題之詩然而取詩中首面之一二字爲題者亦稱之謂無題詩其故何邪篇題無關其詩故也然則詩題上有偶作偶吟偶成偶題口占口號絶句四韻雜詩戱詩戱題戱作等之語亦無關其詩今可以爲無題詩也

Li Qi(李頎) was a famous poet who lived in High Tang period. He was often known as one of the frontier poets like Gao Shi(高適) and Cen Shen(岑參), but his extant works contained 120 or more poems shows us that he is a more talented poets than generally known. In his works, especially 35 heptasyllabic old style poems deserve to study in all its aspects for these poems are relatively remarkable in quality as well as in quantity. We can find out three main subjects of those as following. 1. Depicting the characteristics of a eccentric person, 2. Embodying images in listening performance of musical instruments. 3. Raising a questions about the life of frontier post. Not only these main subjects but other materials and feelings that Li Qi wish to express through composition are thought be successfully manifested in his heptasyllabic old style poems. It is likely that Li Qi's various experience as a man of chivalrous, a candidate for an examination, an officer in the lowest position, and a Taoist made it possible. Moreover his powerful ability to handle the style of heptasyllabic songs help them to be more brilliant and special. It is natural that we consider him one of the significant poets in High Tang period.

≪三國演義≫的敍事時間結構是由相互關聯的兩個層面―由歷史典籍記載所形成而再演的‘歷史敍事時間’和由敍事主體想像力所加工來的‘虛構敍事時間’―熔鑄而成的. 通過歷史敍事的敷衍和想像的變奏大半由蜀漢集團及其君臣的命運來形成, 而居其想像變奏時間之首是‘諸葛亮’敍事. 最爲虛構化的諸葛亮敍事正是≪三國演義≫的作者和讀者想像的自我被解放出來的時空. 將諸葛亮做爲虛構化的主人公之方法, 按照情況不同大致可以分爲兩類: 第一類, 通過在史書上有所記錄大膽改造, 或者明顯不是史實却採用野史記載或吸收民間故事, 而甚至僅憑作者想像力娓媚道來的. 第二類, 在歷史上確有其事, 但決沒關係到諸葛亮, 使用移花接木之法, 把那些事裏面別人的功勞統統移到了諸葛亮的身上. 由此導致了將劉備變成一個無能的小兒之結果. 通過以上兩類的虛構, 將‘軍師’諸葛亮塑造成爲一位書生出身而具有將略的豪傑, 名符其實的‘王者師’和事實上指揮․控制着一切的蜀漢支配者, 而且成爲創造出‘三國’這歷史時間的眞正主角. 對于諸葛亮的形象的描寫, 以失荊州爲界, 截然地分爲前後兩個階段. 前一個階段的諸葛亮, 通過以第一類虛構化方法爲主的敍事而突出‘神化’傾向, 但後一個階段的‘丞相’諸葛亮就漸漸轉變成“謀事在人, 成事在天”的悲劇形象. 做爲虛構化的諸葛亮形象可視爲知識階層的‘想像的自我’. 文本虛構敍事時間裏面的諸葛亮身上, 寄托了宋代以後士大夫階層的‘共治意識’. 士大夫-知識分子具有相對獨立的天下統治權, 自覺表達了‘以治者自任’的政治理想. 文本上的諸葛亮正是圓此夢的, 旣是意蘊着那咯索斯情結的被美化的自畵像, 反映出毫不掩飾地以目前天下主人自許的英雄自我.

Yangge(秧歌) is a multiform folk art including ballad singing, folk dance, folk opera etc. There are two opinions on oigin of it. One is the yangge(秧歌) that means the song of transplanting rice seedlings. The other is the yangge(姎歌) that means singing and dancing of young boys and girls. Errenzhuan(二人轉) has versatile characteristics too. Partly it falls under genre of folk opera and partly it falls under genre of quyi(曲藝). It is a general opinion in academic circle that yangge(秧歌) and lianhualuo(蓮花落) are two main origins of Errenzhuan. A form of inbetween genres is the common character between yangge(秧歌) and errenzhuan(二人轉). Both of them have many valuable informations in the history of chinese theater. I think it is desirable to put a high value on them.

中國現代劇作家曹禺曾在1934年發表了經典之作󰡔雷雨󰡕, 而這部作品問世之後, 常被理解爲直接反映現實社會問題的社會問題劇。然而, 曹禺當初提筆的匠心, 遠遠超越了社會問題劇的實際效果, 他別出心裁地描繪了人間與宇宙之更本質的深層內容。本文着眼於這一点, 從󰡔雷雨󰡕‘序幕’與‘尾聲’的刪去窺視曹禺原作與現實批評之間的距離和裂痕。 ‘序幕’與‘尾聲’的刪去大爲減少了原作豊富的內容, 這又使它變爲以極端的人間、家族關係爲中心的劇本。劇本剛發表曹禺還試圖反駁對󰡔雷雨󰡕的誤解與誤讀, 但他逐漸隨從了當時話劇批評界與觀衆對󰡔雷雨󰡕的理解, 最後竟自願修改與刪去原本󰡔雷雨󰡕的面貌。本文又稍微提及到這一点, 試圖有助於勾勒出一個作家的精神歷程及歷史性意義。

≪老乞大≫是高麗和朝鮮時期使用最廣泛的漢語敎科書。前人時賢對≪老乞大≫漢語語法的硏究大多側重于描寫語法情況, 這些硏究向我們淸楚地展示了≪老乞大≫語法變化狀況, 但對變化原因的硏究却不够全面。 因此, 本文在對該書所反映的語法變化進行硏究時, 在前人時賢硏究的基礎上, 進行語法變化狀況分析, 而重點做≪老乞大≫所反映的語法變化原因方面的考察。按照語法變化的發展方式來分類, ≪老乞大≫版本中出現的語法變化有如下的四種類型： 語序變化；語言單位的功能變化或語法範疇的變化；語言單位的刪除、增添、代替；語法表達方式的變化。本文在此分類的基礎上揭示語法變化的發展情況, 從而解釋≪老乞大≫版本中出現的語法變化的原因。本文提出的語法變化的因素如下： 語法化；重新分析；類推；元代漢語向規範漢語的回歸。 其中, 語法變化主要是由重新分析因素引發的, 而語法化與類推主要跟變化的擴散過程有關。此外, 阿爾泰語和漢語的相接觸因素也是≪老乞大≫版本中出現的語法變化的主要原因。 到目前爲止, 對語法變化原因的硏究還不够全面, 希望今後能有更多學者關注這方面的硏究。

At the intermediate of Chinese Learning, synonyms is very important especially to Koran students. In this thesisI present devices teaching synonyms: (1)the features of synonyms content word and function word, (2) analyzing difference of synonyms in every set, (3) comparing their usages of target language and mother language, (4) analyzing good writings and typical errors Korean students make. Then, we can let students distinguish the synonyms and reduce the error in using them. Ultimately, we believe, it will enable Korea students to maximize efficiency studying Chinese synonyms.