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수록정보
수록범위 : 1권0호(1994)~73권0호(2020) |수록논문 수 : 1,111
중국어문학지
73권0호(2020년 12월) 수록논문
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KCI등재

1『논어(論語)』의 혼종적 글쓰기의 의미와 작용

저자 : 朴英姬 ( Park Younghee )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 7-28 (22 pages)

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The Analects is multi hybrid text comprising anecdote, proverbs and prose, etc. Anecdote in The Analects makes readers to read it conveniently, entices reader's empathy and offers readers to be thoughtful because the description of daily life is the basis of significant philosophic thoughts. However, only anecdote is not able to form philosophic contexts and thoughts. They should be completed only when integrated thoughts are activated by relating proverbs including normal words and prose depicting Confucius' daily life.
The Analects is fundamentally the discourse forum of disciples because they recorded and edited it. Accordingly, the voices of various characters, including the Confucius and disciples' voices, the polyphony, acts as another major factor in the hybrid writings. There used to be focus on Confucius when reading The Analects but presently there should be focus on multi opinions. That is because various voices make up a series of narratives, helping to reflect on the truth of human morality and life more specifically in everyday life than any other philosophical discourse.

KCI등재

2이안눌(李安訥) 시(詩)의 소식(蘇軾) 시문(詩文) 수용 양상

저자 : 柳素眞 ( Liu So Jin )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 29-62 (34 pages)

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According to previous studies, Yi Annul(李安訥, 1571-1637) is known to have been heavily influenced by poems of the Tang dynasty(唐詩), including Du Fu(杜甫)'s poems. However, I found some traces of Su Shi (蘇軾) in Yi Annul's poetry. So on the assumption that he might have had some influence of Su Shi, I took an in-depth look at Yi Annul's poetry to find out Su Shi's influence.
Yi Annul accepted Su Shi's literary work in three ways. Firstly, he wrote several responding poems to Su Shi's(和蘇詩). Secondly, he often quoted Su Shi's poetic words by metamorphosing into his own poems, he also mentioned Su Shi's episodes in his own poems. Thirdly, he wrote a lot of poems using the letters in 「Chibifu(赤壁賦)」. This means Yi Annul knew Su Shi's literary work well and he admired Su Shi.
Yi Annul's fascination at Su Shi's literary work and his personality seems to have something to do with his life. Yi Annul spent most of his life serving as local officials, and living in exile in his later years, this is very similar to Su Shi's life. I think for this reason Yi Annul longed for Su Shi so often in exile, and tried to emulate Su Shi, who maintained a disinterested attitude in poor conditions.
Therefore, despite the literary trend which revered poems of the Tang dynasty, Yi Annul did not insist on this, he also adored Su Shi's literary work and worshiped him.
The primary reason why he adored Su Shi's literary work and worshiped him may be his recognition of the excellence of Su Shi's literary work, but I think his psychology which want to get the effect of empathy therapy through identifying himself with Su Shi, also played a major role.

KCI등재

3도시사화(都市社火) 가두행렬(街頭行列)의 형성과 그 선행 모델

저자 : 安祥馥 ( An Sang Bok )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 63-86 (24 pages)

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At this paper, I wanted to explore what were some of the extracurricular factors that influenced the formation of the street parade of “City Shehuo(社火)” through the visual data including the paintings and “stones with pictures(畫像石)”.
As a result, I could find out that the time when the street parade of Shehuo(社火) was formed in China's city and began to develop was the Song(宋) period, and before that there were two representative models of the street parade of Shehuo(社火). In terms of the content, Baixi(百戲) performances on a large square of the East Han(東漢) era became a model. In terms of street marches, Buddha's march of the North and South dynasties(南北朝) period became a model.
A closer look showed that the Baixi(百戲) performances on a large square could actually be a spectacular performance, with various techniques introduced from the Xiyu(西域) added to the tradition of Jiangwu(講武). And Buddha's march was also a form handed down from Buddhism in India.
From a macroscopic perspective, I believe that the street parade of the “City Shehuo(社火)” during the Ming(明)and Qing(淸) era is the result of the long process of convergence with China's homegrown tradition and the Xiyu(西域)'s culture.

KCI등재

4『증서상(拯西廂)』의 『서상기(西廂記)』 개작 양상과 창작 의도

저자 : 尹智楊 ( Yoon Jiyang )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 87-110 (24 pages)

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This study examined the aspect of the rewriting of Xixiangji 西廂記 and the authorial intent in Zheng Xixiang 拯西廂.
Zhou Xun 周塤, the author of Zheng Xixiang tried to remove the stigma of obsceneness from Xixiangji and make it reborn as a work that does not contradict the ethics of Confucianism. Thus, he deleted or rewrote the part in the original work that could be subject to controversy on obsceneness, and portrayed the heroine and hero as desirable figures that fit the Confucian ethics. He also tried to increase the probability and reality by excluding the contingency and unreality in the original work. He was dissatisfied with accidental events in the original work, and he corrected or deleted the problematic part in order to rescue it from these loopholes. Lastly, Zhou Xun added instructive contents teaching that if you do good and live right, you will be blessed later.
Examining the contents of Zheng Xixiang, we can assume that Zhou Xun rewrote it as a way to show his interpretation of it. He wrote Zheng Xixiang to clearly clarify the shortcomings of Xixiangji and make it a more complete work by correcting and supplementing the defects of it.

KCI등재

5후스의 식민지 조선 인식과 교류 양상 연구

저자 : 金哲 ( Jin Zhe ) , 莊慶濤 ( Zhuang Qingtao )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 111-140 (30 pages)

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Hu Shi, one of the initiators and great master of the Chinese New Literature Movement, has great interests in reality in colonial Korea, the development of Korean modern literature, the independence of Korea. He takes Korean language, literature, and academic research as the subjects of researches. He tried to hold various exchanges to understand and recognize colonial Korea and Korean culture in many aspects. The exchanges of Hu Shi and the intellectuals of modern Korea are also processes of mutual subjectivity confirmations and in-depth cultural exchanges of intellectuals on the basis of mutual equality, respect and trust. Hu Shi's perceptions of colonial Korea broke out from the traditional perception that China-Korea relationship is subordinate relation, and went beyond the influence-acceptance relationship between advanced country and colony or the relationship between center and periphery. The perceptions of the relationship between periphery to periphery in the process of modernization on the basis of mutual subjectivity can be said to be an example of great significance in the history of between China and Korea.

KCI등재

6《東方雜志》對小說《牧羊哀話》的影響研究

저자 : 李艳军 ( Li Yanjun )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 141-161 (21 pages)

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Eve of the May Fourth Movement, as one of the most influential domestic publications at that time, the Eastern Miscellany was the important positions for the publication of literary works. Guo Moruo submitted his first novel Kulou to the Eastern Miscellany, but was rejected by the Eastern Miscellany. Guo Moruo began to create the second novel Muyang Aihua in accordance with the aesthetic standards of the Eastern Miscellany. In terms of themes, Muyang Aihua emphasized the sociality of inspiring and motivating the people. Muyang Aihua used North Korea, a neighboring country that is both familiar and unfamiliar to the Chinese, as the background of the story. The novel made extensive use of Buddhist and Christian cultural images, which was very preferred by Oriental Magazine when selecting manuscripts. The novel skillfully used the creative skills of Chinese traditional poetry and Chapter novel. The novel used creative means such as rhyme and drama dialogue. After Guo Moruo's careful design, the standards of Muyang Aihua and the Eastern Miscellany were becoming more and more consistent. But when the novel was finished, the Eastern Miscellany was criticized by critics as “conservative” “restored” and “no social responsibility” publications, and its reputation plummeted. Because of the deterioration of the reputation of the Eastern Miscellany, Guo Moruo gave up his plan to vote Muyang Aihua to the Eastern Miscellany. Guo Moruo submitted his novel to the Magazine of New China, which was lower in reputation and status than the Eastern Miscellany, and was finally published. Muyang Aihua became Guo Moruo's first publicly published novel, and it has a very important position in the Chinese literary world.

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In this paper, the investigator discussed Yi Beom Seok's “mistake” with the mark of the author in the publication of Korean translations of modern Chinese literary works whose archetype was Yi, the excavation and significance of novel Man in the Wilderness, and the essence of his autobiography Woodungbul, making a new starting point in the study of “literary relations between Wu Ming Shi and Yi Beom Seok.”
Yi Beom Seok was a very unique type of anti-Japanese independence fighter-turned politician that planned and produced texts in which he was the main character against the modern world. He had no serious contemplation over his creative world as an author before his death. His literary activities involved developing his own narratives through Chinese-Korean ghostwriters and establishing his image as an anti-Japanese independence activist in the Korean-Chinese format. He was, however, an author with no doubt in that he continued to produce his oral and written texts based on his career, was directly involved in the publication and circulation of his texts, and was aware of his readers. Most of all, he was a speaker in stories of Korean people in the history of mainstream Chinese literature.
A new approach to the study of “modern Chinese literary works related to Korea and Korean people” in the viewpoint of Korean people will present new materials and perspectives. Taking advantage of these changes to the viewpoint, researchers of Korea, China, and Japan will be able to approach the real aspects of this type of works.

KCI등재

8본성인과 외성인에 관한 '의견'에 맞서기 ― 천잉전(陳映眞)의 「충효공원」을 중심으로

저자 : 李寶暻 ( Lee Bo Gyeong )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 185-209 (25 pages)

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This essay explores Chen Yingzhen's (1937-2016) “Loyalty and Filiality Park,” one of the three medium-length stories contained in his final fiction collection Loyalty and Filiality Park (2001). This story is understood generally as an example of “identity theory,” but this essay examines the emotional aspects around the “Japan imagination” conceived respectively by Mainlanders and Native Taiwanese. Chen introduces two current residents of Taiwan: a Mainlander from Manchukuo and a Native Taiwanese who took part in the war in the Philippines. In doing so, Chen challenges the following view: the Taiwan residents are in disputes because of their differing emotions towards Japan. Manchukuo, which was constructed as a means of realizing the East Asian League, was a different space of heterotopia. The Mainlander Ma Zhengtao acted as a conqueror in the name of colonial governance. Ma was misled by the pseudo images of the heterotopia. The Native Taiwanese Lin Biao makes every effort to receive the War Compensation because its recipient would be recognized as a legitimate son of the Imperial Majesty.
This story showcases the Taiwanese sharing of loyalty and filial piety towards the Japan empire. “Loyalty and Filiality Park” displays the Fascism taken out of loyalty and filial piety towards the empire as well as the emotional struggles made among the slaves. As a result, this narrative should be read as an effort for deconstruction, not as a criticism of dislocated moral values. The deconstruction of loyalty and filial piety turns out to be a criticism of the ghosts of old and new colonialism.

KCI등재

9적대와 연대 ― 홍콩 영화 <십년>(十年, 2015)과 지역 정체성의 (재)구성

저자 : 金正求 ( Kim Jungkoo )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 211-240 (30 pages)

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Ten Years was an event in 2015. Set in 2025, this film depicts Hong Kong's dark future. Despite the pressure from the Chinese government, the film has received widespread support from many Hong Kong citizens. Since Hong Kong's return to China in 1997, Hong Kong has had a conflict with the Chinese government. From protests against the Hong Kong National Security Law in 2003, to the Umbrella Movement in 2014, and to the democratization protests in 2019, Hong Kong has struggled to protect its values. Hong Kong's political struggle has nothing to do with Hong Kong's identity. What is Hong Kong fighting for? What does Hong Kong want to defend? Since the 2000s, independent filmmakers in Hong Kong have paid attention to its own colonial history, local landscape, and daily life of the ordinary people in Hong Kong, which has been neglected by Hong Kong film history. Hong Kong films began to explore Hong Kong to find its identity. In this context, Ten Years appeared in 2015. Ten Years reveals the construction of Hong Kong's identity through anti-Chinese sentiment and a sense of hostility such as discrimination against internal residents in Hong Kong. However, this antagonistic identity does not help Hong Kong's struggle for democracy in the long run. Hong Kong's identity can be made more dynamic through solidarity with the alienated and migrant workers inside Hong Kong. Although the episodes of Ten Years seem to contain fears of the disappearance of locality, they in fact all converge into a threat to democracy and hybridity as universal values t h at Hong Kong has preserved. Can Hong Kong films become a local film without being fused into Chinese films? Hong Kong movies seem now face new questions. What is Hong Kong? And what should Hong Kong movies explore?

KCI등재

10論中國“吃播”的概念擴充

저자 : 鄢葵 ( Yan Kui )

발행기관 : 중국어문학회 간행물 : 중국어문학지 73권 0호 발행 연도 : 2020 페이지 : pp. 241-257 (17 pages)

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As we all know, “eating broadcast” originated from “food reality show” on Korean webcast and was introduced to China in 2015. At that time, with the rapid development and mass popularization of the Internet, different forces rose up on network broadcast platforms, and “eating broadcast” also gained popularity, even set off a wave of craze with the participation from the public. On August 11st, 2020, President Xi Jinping made important instructions on curbing food waste. CCTV news later singled out some of the biggest eaters for their wasteful behavior. Although these measures have a great impact on “eating broadcast”, from another aspect, they also provide an opportunity to re-examine it.
The academic circle has also carried out corresponding researches on “eating broadcast”, but most of the researches focus on the level of phenomenological analysis and lack of investigation on this concept. In order to solve the essential problem of “what is eating broadcast”, this paper adopts the Laswell's “5W” communication model and “six-way analysis method” in order to clarify the concept. Firstly, the existing concept of “eating broadcast” is sorted out through the research review. Secondly, it analyzes the denotation of “eating broadcast”. Finally, the content evolution of “eating broadcast” and its causes and characteristics are explored.

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