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중국어문학회> 중국어문학지> Weiyuan魏源, the poet < Eok抑 >, 《Shiguwei詩古微》, Jinwenjingxue今文經學, Editorial arrangement on the timing of authoring世次調整

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Weiyuan魏源, the poet < Eok抑 >, 《Shiguwei詩古微》, Jinwenjingxue今文經學, Editorial arrangement on the timing of authoring世次調整

A Study on the Perception of Africa in the 19th Century Chinese: Focused on Wei Yuan(魏源)’s 《Hǎiguótúzhì(海國圖志)》

李玟淑
  • : 중국어문학회
  • : 중국어문학지 69권0호
  • : 연속간행물
  • : 2019년 12월
  • : 185-209(25pages)

DOI


목차

1. 들어가며
2. 왜 아프리카인가
3. 실재하는, 미지(未知)의 이역(異域)
4. 풍요의 땅, 몰려오는 유럽인들
5. 만들어진 아프리카, 오귀국(烏鬼國)
6. 나오며

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초록 보기


						
This paper is meaningful in examining the perception of Africa in 19th century China through the records of Africa in WeiYuan(魏源)’s 《HaiGuoTuZhi(海國圖志)》. Africa is the third largest continent in the world, with no shortage of Europe in terms of population or land area, and civilizations such as Egypt and Ethiopia existed. Nevertheless, Africa had the misfortune of entering the 19th century, when its territory was separated by Britain, France, Portugal and the Netherlands, and slaves were sold around the world. China, which had an unequal treaty in the outbreak of the Opium War, felt that the misfortune of Africa was his own. WeiYuan(魏源) needed to use the fall of Africa as a stepping stone for China by looking at how Europe made Africa its economic colony and why it was forced to become a European colony. What has Europe made Africa its economic colony? It is the control of the sea route and the development of the steamship and cannon. In the eyes of the Chinese, Africa was a trivial continent with no grand dreams, no desire to work, no king, and no fighting. Therefore, China called Africa a “Wūguǐguó(烏鬼國)” in the sense of black and insignificant continent.
As a result, “Wūguǐguó(烏鬼國)” is another misconception about Africa formed through Western geography and another prejudice against Africa created by the goal of “China’s wealth” in the 19th century.

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  • : KCI등재
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  • : 계간
  • : 1226-735x
  • :
  • : 학술지
  • : 연속간행물
  • : 1994-2020
  • : 1074


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1완적(阮籍) 《영회시(詠懷詩)》 재해석*

저자 : 金準錫*

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 7-36 (30 pages)

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Commentators before considered Ruan Ji's Yong huai Poem not only a poem of sorrow and lament but a poem which is deeply related to political situation at that time. This regard influenced many commentators later and was accepted indiscriminately. Therefore most appreciation and interpretation of Ruan Ji's deeds and Yong huai Poem stemed from a premise that he was loyal to Cao-Wei and resisted Sama group. The inappropriate premise affected not only the poem's theme but also its artistic technique. This study aims to understand and appreciate Ruan Ji's Yong huai Poem appropriately and reinterpret the peom without any bias or preconception about Ruan Ji in the name of tradition.

2도연명의 새로운 이상적 인간 '철인'과 '달인' ― 금(琴)의 의상(意象)을 중심으로

저자 : 盧又禎

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 37-65 (29 pages)

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In the question of Tao Yuanming's literature and thought, One of the most important achievements from a trend of the pedagogism on the subject of the Eastern Jin's Confucianism and Nature is the expression of the philosophical thought about the ideal human being in the form of poetry by incorporating the Taoist ideology and the life boundary of the thought of Laotzu into literature. Tao Yuanming expanded Chinese poetry into the area of Chinese aesthetics by expressing the ideal man as 'the Philosopher' and 'the Master' with the form of a poem. On the other hand, Tao Yuanming overcame the limitations of the Eastern Jin's Metaphysical Poetry by combining the philosophical principles of the philosophy with the lyricity of poetry. From the point of view of considering Wei-Jin period(220-420) in the progression of Chinese poetry development as the starting point of the rationalization and change trend, The poetry of the expression of philosophical thoughts ideology obscures 'meaning and thought' and emotions of the poem, as a result, philosophy overwhelms literature. Therefore, it is difficult to secure poetic lyric while expressing philosophical thinking in poetry in creation. The Meaning and thought on the Geum is a condensation of independent thinking as a philosophical human and aesthetic sense as an artistic human.

3이지의 이언론

저자 : 金惠經

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 67-92 (26 pages)

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The term Er'yan often appears in LiZhi's writings. It is a concept that reveals his unique philosophy. Er'yan is the old vocabulary in the Book of Poems and the Mean, but until LiZhi's time, its meaning had always been recognized as a trivial and meaningless language of common people. LiZhi linked this to his Childlike Mind theory and made the meaning into the true words of ordinary people. Eventually, called Er'yan got the meaning of truthful hearted language stood on the opposite side of hypocrisy, and in politics, it's being interpreted as the means of Sage's politic that reminiscent of today's democracy. From the perspective of LiZhi's Childlike Mind theory, Er'yan was discussed on both sides that are the moral as body and the political action as use. By the theory of Er'yan, LiZhi has also laid the foundation for the Holy Spirit theory and the Common Literature in the late Ming dynasty.

44종의 회화(繪畵)로 살핀 16-17세기 중일(中日) 도시축제의 양상

저자 : 安祥馥

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 93-114 (22 pages)

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In this paper, I tried to compare the aspects of the urban festival of China and Japan through the four 16-17th century paintings - Spring Festival on the River(淸明上河圖), Inside and Outside the Capital(洛中洛外圖), Fanhui map of Nandu(南都繁會圖), Gion Festival Screens(祗園祭禮圖). The results are approximately as follows.
After the urban landscape centered on commercial areas was being incorporated into the Genre art paintings in the two countries, the solemn procession has gradually become an icon of the city festival as it coincides with the entertainment demand of the urban working class, and the process of this change was common in both countries' paintings.
The procession and their route were the main subjects of description in the two countries' paintings. With the right combination of bustling shops, ceremonial procession and their routes, the paintings were able to capture the panoramic view of the city festival effectively.
A noticeable difference is that the composition unit of the procession is centered on a small-scale performance troupe in China, while Japan is centered on a mountain parade. It is thought to be caused by differences in both countries' social development.
Overall, the two countries' urban festivals depicted in the paintings clearly show a sympathetic tendency. Since this phenomenon will be closely linked to social changes that have developed since modern times, it is thought that extensive research will be needed in the future.

5洪大容編纂《乾凈附編》和《乾凈後編》文本硏究

저자 : 劉婧

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 115-135 (21 pages)

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This study aims to research on the Ganjingfubian(乾凈附編) and Ganjinghoubian(乾凈後編), compiled by Hong Da Rong, who made the collection of travel's records to the Yan Xing(燕行) which exists in Qing, ancient China. These two texts, compiled directly by Hong Da Rong, are currently uneducated and unutilized. The researcher himself focused on the timing and content characteristics of these two texts, and the revision situation of the text in compiling them. The Ganjingfubian(乾凈附編) and Ganjinghoubian(乾凈後編), were compiled by Hong Da Rong, were compiling letters and collected texts that sent by Qing's scholar Zhu WenZao(朱文藻) in 1778. It covers the letters and writings of Hong Yi(洪 檍) and Li Xuan(李烜), and Jin Zai Xing(金在行), and Hong Da Rong received over 10 years of letters from the Qing's people, the contents of letters to Qing's people, and the poems that he sent to Qing's people. Through these texts, we appreciate that after his return to Choseon, Hong Da Rong had made the correspondence with Qing Dynasty's scholars during his stay in Beijing over 10 years. In compiling the two texts, Hong Da Rong sought the completeness of the texts of Ganjingbitan(乾凈筆譚), Ganjingtongbitan(乾凈衕筆譚), in the form of revising the title of the original letters and the texts, deleting and supplementing the texts' content, and adding some texts' content of original letters and poems' titles. The contents of these two texts have important literary value and, through the modification of the texts, are also important evidence to establish the relationship between other records compiled by Hong Da Rong.

6魏源 《詩古微》 연구 ― <抑> 시 世次를 중심으로

저자 : 李南鍾

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 137-183 (47 pages)

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This paper examines the major scholar in Jinwenjingxue今文經學, Weiyuan魏源(1794-1857)'s Research on the Writing Time of the Poem < Eok抑 > included in 《Shiguwei詩古微》. According to 《Maoshixu毛詩序》, “WeiWugong衛武公 wrote the Poem < Eok抑 > to satirize Li厲 King, and also used it to alert himself. Since the Tang唐 dynasty scholar Kongyingda孔穎達, so many scholars including the Joseon朝鮮 dynasty scholars, recognized that WeiWugong衛武公 was not contemporaneous with Li厲 King, so they have submitted various views on this matter. In order to reveal the difference of the Weiyuan魏源's research results on this issue from other scholars, I wrote a summary of the work of 《Shixu 詩序》, 《Shipu詩譜》, 《Kongshu孔疏》, Ouyangxiu歐陽修's 《Shibenyi詩本義》, Zhuxi朱熹's 《Shixubianshuo詩序辨說》, and studies by scholars after Zhuxi 朱熹. In the main section, I have studied the Weiyuan魏源's research on the Writing Time世次 of the Poet < Eok抑 >. Based on the Hanshi story韓 詩說 and the thesis that 《Chunqiu history春秋》 was built after the disappearance of 《Shi詩》 defined in 《孟子》, Weiyuan魏源 concluded that the poems satirize a certain king, and also used to alert himself, and were generally written by 衛武公 during the Pyongwang平王 period. As a result, < Eok抑 > was moved to the end of 《Daya大雅》, and furthermore, “after moving the capital to the east, 雅 does not exist” that is one of the principles of Han漢 and Tang唐 dynasty poetics, was thoroughly destroyed.

7Weiyuan魏源, the poet < Eok抑 >, 《Shiguwei詩古微》, Jinwenjingxue今文經學, Editorial arrangement on the timing of authoring世次調整

저자 : 李玟淑

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 185-209 (25 pages)

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This paper is meaningful in examining the perception of Africa in 19th century China through the records of Africa in WeiYuan(魏源)'s 《HaiGuoTuZhi(海國圖志)》. Africa is the third largest continent in the world, with no shortage of Europe in terms of population or land area, and civilizations such as Egypt and Ethiopia existed. Nevertheless, Africa had the misfortune of entering the 19th century, when its territory was separated by Britain, France, Portugal and the Netherlands, and slaves were sold around the world. China, which had an unequal treaty in the outbreak of the Opium War, felt that the misfortune of Africa was his own. WeiYuan(魏源) needed to use the fall of Africa as a stepping stone for China by looking at how Europe made Africa its economic colony and why it was forced to become a European colony. What has Europe made Africa its economic colony? It is the control of the sea route and the development of the steamship and cannon. In the eyes of the Chinese, Africa was a trivial continent with no grand dreams, no desire to work, no king, and no fighting. Therefore, China called Africa a “Wūguǐguó(烏鬼國)” in the sense of black and insignificant continent.
As a result, “Wūguǐguó(烏鬼國)” is another misconception about Africa formed through Western geography and another prejudice against Africa created by the goal of “China's wealth” in the 19th century.

8신민가(新民歌)와 Nueva Canción

저자 : 成謹濟

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 211-232 (22 pages)

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The article aims to compare and examine the artistic and historical value of the New Folk Movement, which shocked the Chinese literary and artistic fields in the late 1950s and another form of the folk movement, “Nueva Canción”, which began in Chile in the 60s. Generally, authorized literary works deal mainly with the so-called authorized works of each era or literary articles. But during the period transition between these authorized works or literary and artistic masterpieces, countless new forms appear to capture the voice of a new era. However, these new voices and new forms are often lightly addressed in the history of literature, as they often do not have formal completeness as an art. The New Folk Movement is one of the representative examples. The New Folk Movement in the late 1950s in the Chinese literary and artistic circles did not follow the authorized literary standards and literary practices of the time. This stylistic deviation in the history of literature is closely linked to the emergence of a new artistic subject, which is exactly the case with the New Folk Movement. The New Folk Movement was a movement to bring to the surface the voices of class subjects who had been most distant from the production or consumption of art works. Although this movement has failed as an art movement that creates new forms. However, the movement was an attempt to expand the boundaries and practices of literature and art by invoking new subjects and new forms of literary practice that have never been noticed in the history of literature. In this sense, it was rather a meaningful experiment to study in today's academic world. The 'Nueva Canción' movement in Latin America has a comparable resemblance to the New Folk Movement. Interestingly, 'Nueva Canción' is remarkable for its success, unlike the New Folk Movement. Based on the review of the New Folk Movement, the article explores the possibility of thinking by comparing the case of the similar movement, the “Nueva Canción” movement, expanding the conditions and limits of Chinese contemporary literature to the third world level.

9황춘밍(黃春明)의 <사요나라 짜이젠(莎喲娜啦, 再見)> 다시 읽기 ― 주인공의 정체성을 중심으로

저자 : 金兌姸

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 233-254 (22 pages)

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This paper made an analysis of Huang Chunming's representative work “Sayonara Zaijian,” by paying attention to the identity problem of the main character. The work, published in the early 1970s, is considered one of the most important achievements of Taiwan's Nativist Literature. In particular, the work has been highly praised and shared by Taiwan's readers and critics as it bitterly criticizes Taiwan's society for still being colonized by Japan's economic aggression and diplomatic pressure even after its liberation from Japanese colonial rule.
This paper pays attention to the existence of Mr. Huang, the narrator and main character in the work. As the narrator in the work, he constantly informs the reader about his personality. However, unlike his self-explanation, his actions in the work show him as a very vague identity. This paper tries to examine the stagnation and context of these discrepancies. First, the paper focuses on the travel route of the characters through Taiwan. And it looks at the ambiguous gender identity Mr. Huang reveals as he gets involved in prostitution tourism. As a result, the internal conflict of Mr. Huang is actually linked to his identity problems. His ambiguous identity problem is largely problematic in two respects: one is the problem of the nationality that he identifies with. And the other is, from the perspective gender, he gets identied with the Japanese tourists.

10한대(漢代) 유론(類論)과 자론(字論)의 관계에 대한 소고

저자 : 廉丁三

발행기관 : 중국어문학회 간행물 : 중국어문학지 69권 0호 발행 연도 : 2019 페이지 : pp. 255-282 (28 pages)

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The chinese traditional classification resulted from the social and political solutions in a certain historical situation. Since Confucius attribute ethical(moral) importance to names, the chinese traditional expression and classification is based on the morality. Following Confucius, among names, words, rites and music, punishments, and people's stability arise close relationships.
Especially Xunzi荀子 refines the relationship between the names and the rites and music. According to Xunzi's saying, it is the rites and music that makes the people know the reasoning of classifying the names and the way of living harmoniously together. Being asked what the rites and music originate from, Xunzi says; the quarrel will be inevitable, if the people, who have desires(who desire something), are banned without knowing the limitation and classification. so they established the regulations contained within ritual and moral principles in order to apportion things. The distinction between nobility and baseness(貴賤), old and young(長幼), poverty and wealth(貧富), and insignificance and importance(輕重) represent the classification by names according to the ritual and moral principles.
In the late Warring States age, Xunzi's thoughts based on the rites and music becomes the basic theory of classification. All the writings dealing with the category(classification), from Yueji(樂記) in Liji(禮記), Dongzhongxu(董仲舒)'s Chunqiufanlu(春秋繁露) and Lishu(禮書) in Shiji (史記), to Liyuezhi(禮樂志) in Hanshu(漢書), succeed the Xunzi's classification based on the rites and music. And again it gives the basis for Jicizhuan(繫辭傳) in Book of Changes(易), and, at last, reveals the diverse and concrete classification in the form of ideographic characters in Shuowenjiezi(說文解字).

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