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한국중국어문학회> 중국문학> 소설 <접는 도시(北京折疊)>와 새로운 도시 공간의 상상

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소설 <접는 도시(北京折疊)>와 새로운 도시 공간의 상상

“Folding Beijing”: Imagining a New Urban Space

김태연 ( Kim Taeyoun )
  • : 한국중국어문학회
  • : 중국문학 103권0호
  • : 연속간행물
  • : 2020년 05월
  • : 207-221(15pages)

DOI


목차

1. 들어가며
2. 접는 도시
3. ‘제3공간’과 수직적 위계질서의 도시
4. SF소설의 리얼리즘적 비판성
5. 나가는 글

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초록 보기


						
This paper seeks to examine how the imagination of the future of urban space as a result of technological development develops through SF fiction, and Hao Jingfang’s novel “Folding Beijing” as the target text. In the SF genre, urban space is one of the most important factors. The city is portrayed as the best embodied space for the cutting edge of science and technology covered by the SF genre and the new living conditions that humans face to face to face. Therefore, SF fiction presents a variety of imaginations in various ways about how the digital transformation of urban space we face today will unfold. This paper, among others, looks at what type of urban space Beijing’s dystopian future presents, described by Hao Jingfang’s novel “The Folding Beijing” which won the Hugo Prize in 2016.
Beijing, the “Folding Beijing” drawn by Hao Jingfang, is divided into first, second and third spaces, each inhabited by upper, middle and lower classes, and these spaces do not coexist at the same time. When one space is spread out on the surface at a specified time, the rest of the space folds and disappears on the other side of the surface.
This paper attempts to analyze the properties of Beijing as described in the “Folding Beijing” using the theories of urban scholars. And identify the folding city depicted in the work as a reflection of the various urban problems that Beijing now faces. Take a look at the dystopian prospects that will emerge when the various urban problems facing the current metropolises are combined with digital transitions that lean on the development of science and technology.

UCI(KEPA)

간행물정보

  • : 어문학분야  > 중어중문학
  • : KCI등재
  • :
  • : 계간
  • : 1226-2943
  • :
  • : 학술지
  • : 연속간행물
  • : 1973-2020
  • : 1414


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1《한비자(韓非子)》 출전 '증자살체(曾子殺彘)' 고사(故事)에 대한 의문

저자 : 서용준 ( Suh Yong Jun )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 1-18 (18 pages)

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The story idiom of Zengzi slaughters the pig has a lesson: “Parents should be exemplary to their children and should always be trusted by their children.” But this idiom and the story behind it have some problems in its details, regardless of this great lesson. These problems can be largely divided into the problem of the development of events and the problem of assertive thought.
“An honest father corrects his careless wife's lies and keeps his(their) promise with his innocent son.” is the original plot of the story, This plot has a rich literary quality because it has many careful transitions and the characters's behaviors are symolic. But the problem with the story, which is more difficult than the lack of probability, is that its content does not conform to the rational reason of modern society. The father's behavior is overly patriarchal, the mother's behavior is excessively careless, and the child's shape is too animal. Therefore, we wonder if this idiom is suitable for the liberal arts education of college students.
The main character of this story, Zengzi, is famous as a disciple of Confucius and was an important scholar of ancient Chinese Confusianism thought. In this story, such Zengzi absurdly asserts and teaches the Legalism thought. Zengzi acted on the principle of Awards and punishments rigorously carried out and taught how to be truste by others, which meant the art of living. He was indifferent to the relationship between keeping one's word and cultivating one's personality and ideally enhancing one's life and learning attitude. This has overshadowed the existing common sense that Zengzi was represented in Chinese history by his moral self dicipline via integrity and trust.
With regard to these issues, this paper notes the fact that the origin of this story idiom was Hanfeizi. Although there is no specific literal evidence, It is highly likely that Hanfezi modified the existing story or created a new story to use it as a basis for his Legalistic argument. As a result, this paper assumes that the story idiom of Zengzi slaughters the pig in which Zengzi's words and actions were falsified or distorted had appeared.

2《요재지이(聊齋志異)》 중의 사(詞)와 곡(曲)

저자 : 배병균 ( Bae Byung Gyoon )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 19-42 (24 pages)

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There are quite a few verses in LiaoZhai ZhiYi(聊齋志異), as is the common case in ancient novels. Among them, this study focused on the Ci(詞) and Qu(曲). The role of Ci and Qu in LiaoZhai ZhiYi can be divided into three categories. Firstly, they create a lyrical or fantastic environment in the story. Secondly, they depict the shape or emotion of the poetic self. Thirdly, they play a certain role in the development of story plot, in other words, they become the turning point of the plot or foreshadow of the story. Although these roles of Ci and Qu in the story are somewhat limited compared to those of poem, considering the fact that mainly poems were inserted in ancient novels, it is noteworthy that relatively not a few Ci and Qu are included in the LiaoZhai ZhiYi. Furthermore, the most of Ci and Qu in LiaoZhai ZhiYi are not only good in themselves, but also naturally dissolved in each story and organically combined with the whole plot. All of this would have been possible because Pu Songling(蒲松齡) had an outstanding talent for Ci and Qu as well as the short stories. This can be confirmed through his other works. In particular, The Ci works in LiaoZhai ZhiYi are closely related to his LiaoZhai Ci(聊齋詞), and most of the inserted came from here. The Qu works have no direct relation to his LiaoZhai Liqu (聊齋俚曲), but these are also regarded as his creation, because he was good at the folk songs(俗曲) as well.

3奎章閣藏本 《西廂雙文傳》的翻譯與注釋中的幾個問題

저자 : 王飛燕 ( Wang Feiyan )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 43-70 (28 pages)

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In translation studies, the question of how the original work has been understood is more important than what the original work is. Study of the translation of Xixiangji(西廂記) in the Chaoxian period reveals the cultural differences between Korea and China, as well as the differences in the readers' knowledge systems and their problem awareness.
This paper studied some incomprehensible words and sentences in Xixiang Shuangwen Zhuan, and the translation and interpretation of verse and some sex scenes. I have compared those questions with other three different versions - Yuanmin Memorial Hall(淵民紀念館) collection and The Tanguo University(檀國大學)collection and Houtan Xiansheng's annotation version(後歎先生集註本), and discussed their different characteristics.
Korean translators have some errors in understanding and translating some dialects and idioms, but sometimes they have their own unique opinions in analyzing work. On explanations of sex scenes, some people only give the hint and did not say it in details, and some people say it clearly. Make it clear, probably for fear that the readers would not understand it well.
Jin shengtan(金聖歎)'s opinion reflected the unique understanding of Xixiangji, Most Korean translators and readers could not shaken off Jin shengtan's criticism, but some of them insisted on their own views and have different opinions. Houtan Xiansheng is the most representative of them all. Through the investigation of this paper, we can roughly know the Korean readers' views on Xixiangji.

4'놂[游]'으로서의 순례 ―'대장정(大長程) 인문학' 구축을 위한 현장법사의 서역(西域) 순례 다시 읽기

저자 : 김월회 ( Kim Weol Hoi )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 71-104 (34 pages)

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This study was designed as part of the work to build 'humanities of great journey'. 'Great journey' refers to a journey in which one journey engendered text, and that caused another text and different humanities. Therefore, the humanities of great journey is composed of the journey that can be regarded as great journey, the resulting text, and other texts and humanities created by them. Specifically, in this article, I first presumed journey as a kind of '游[ludus]'. Next, I clarified the nature of 游[ludus]. Then, through the Xuanzang(玄奘)'s pilgrimage to the Western Regions[西域], the assertion that the journey would be reborn as a great journey when such nature was fully realized. To this end, I established the concept of the great journey, and at the same time, exemplified the practice of great journey on the basis of the corresponding cases in the history of China. This article has four chapters. Chapter 1 is an introduction. In Chapter 1, I explained the reason why I named the journey that created the 'texts of civilization' as great journey, and presented the topic of humanities of great journey' as a subject of the human achievement achieved by great journey, As a first step for the construction of humanities of great journey, a brief explanation was given of the pilgrimage to the Western Regions and the reason to deal with the Datang Xiyouji大唐西域記. However, in order to achieve the purpose of this study, it is necessary to define the concept of key terms necessary for the construction of humanities of great journey. I think '游[ludus]' is one of the key terms. In chapter 2, I dealt with the case of great journey in the history of humanity in China, and based on this, we built the concept of '游 [ludus]'. Through this, I identified the reason why '游[ludus]' was chosen as a key concept in the construction of humanities of great journey. In chapter 3, the pilgrimage to the Western Regions which created the texts of civilization, Datang Xiyouji大唐西域記, was re-examined from the angle of '游[ludus]'. In this process, I considered the reason why the pilgrimage to the West Regions was '游[ludus]' and what made the pilgrimage to the truth into '游[ludus]'. Chapter 4, as a conclusion, I summarizes the previous discussions and highlights the current implications of constructing humanities of great journey'.

5장병린(章炳麟)의 중화민국(中華民國) 구상을 통해 본 종족관(種族觀)

저자 : 안용수 ( An Yoongsoo )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 105-122 (18 pages)

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This paper examines Zhang Taiyan's concept of Zhongzu(種族) in relation to his state theory. Zhang conceptualized Zhongzu in opposition to the notion of Minzu(民族), based on which a majority of nationalist intellectuals of the time set forth their own theories of state. Different from them, Zhang in his “An explanation of the Republic of China (1906)” envisions the people and territory of an ideal state on the basis of his distinctive interpretation of Zhongzu. By situating Zhang's concept of Zhongzu in his own thinking system rather than in the Minzu discourse of the 1910's, this paper attempts to do justice to him who has long been branded as a hidebound nationalist.

6재중 독립운동가 이달의 아나키즘 사상과 의식세계 ― 《조선의용대통신》 및 《구망일보(救亡日報)》 기고문을 중심으로 ―

저자 : 이웅 ( Lee Woong ) , 뉴린제 ( Niu Lin-jie )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 123-151 (29 pages)

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The anarchist and anti - Japanese soldier, Lee Dal(1910-1942) protested against Japan as a member of the South China Korean Youth League and the Korean Volunteer Corps. He worked as the team leader and editor for an anti-Japanese propaganda Chinese publisher, while serving in the Korean volunteer corps. He published many articles for Chinese and Korean publishers and his most articles were related to the Korean independence movement. Most of them were published in News of Korean Volunteer Corps; his writings primarily focused on national solidarity, resistance of the oppressed people, anti - Japanese propaganda, memories of Korean independence movement and fallen soldiers. Based on the articles of Lee Dal which were published in News of Korean Volunteer Corps and Jiuwangribao(救亡日報) etc., this research paper intends to explore Lee Dal's anarchism and his thoughts regarding national independence, Korean - Chinese solidarity, and anti-war claim, and his notion of world peace. Many publications written by Korean anarchists in the mainland China served as an act of resistance against Japanese imperialism.

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This paper tried to read again the literary practice of Quqiubai for his last 3 years. The last 3 years of Quqiubai's literature are the period from the first half of 1933 to 1935, May. This period is in which Quqiubai was forced out of the Nationalist Party and hid himself in Shanghai only to run away to Ruijin that is the Jiangxi Soviet. Later, he was aisled in Ruijin and due to the 5th Communist subjugation of the Nationalist, he started on its big run, and in this time Quqiubai was ordered to remain in Ruijin from the party and to start a guerrilla war. Finally, escaping himself from Ruijin, Quqiubai went toward the place to be arrested and be executed on June, 1935 by the Nationalist Party.
The texts mainly treated by this paper wereLuxun-Quqiubai's < Coauthorized Miscellanies >written when he lived a secluded life by the help of Luxun in Sanghai and 《The Superfluous Words(多餘的話)》written before being executed by the Nationalist Party. This paper traced the mental trajectory at the final moment of Quqiubai's life who was the representative intellectual and revolutionary from these two texts.
First, in Luxun-Quqiubai's text, he still sticked to his revolutionary position and challenges his criticism of intellectual used by the king with the techniques of satire. Although he was running away from the Nationalist Party, he said as Luxun's story embodied China's “Revolutionary Tradition”, he was proceeding the strict criticism with the writing for the Anti-revolutionary forces. Although his run-away environment was psychologically very pressed, Quqiubai was putting the strict criticism to such antirevolutionary intellectual as the position of Luxun.
On the other hand, 《The Superfluous Words[多餘的話]》(1935)written before being executed by the Nationalist Party, he reflected on his role in the revolutionary history of China and confessed frankly his helplessness or limitations. Although he cannot be free from the root of the Gentleman's class, he lead the Communist Party due to 'the historical misconception', but he did only confess that he did his role attributed by the history. Specially, he criticized that he could not be free from the past limit of gentleman's limit about his identity as a 'literary person(文人)', while rather he had such a talent of literary man and from the inner side, he brought the identity conflict between the revolutionary and literary man. This paper traced his mind and inner contradiction of “literary man” who lived as a “revolutionary” like this through the case of Quqiubai. This paper found his merciless “self dissection” to recognize his limit of gentleman class in the case of Quqiubai, and his literature embodies well the “literary sublime” made by this self dissection. The final life sentence of Quqiubai was “This chinse Matou is so delicious. It is the best in the world.”, and from it could not we feel such a noble beauty? It is worth enjoying.

8解析 《我在霞村的时候》中革命与女性的关系

저자 : 曲向楠 ( Qu Xiang Nan )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 179-192 (14 pages)

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In this paper, the author argues that the behavior of criticizing oppressed women's feudal thoughts from the women's perspectives itself is revolution in Ding Ling's eyes. Female identity is Ding Ling's way to observe the world, but revolution is the ultimate goal of her creation. Therefore, inspired by the author's personal experiences, < When I was in Sunset Town > criticized the feudal ideas in the revolutionary regime from the perspectives of women. It did not transcend the boundaries of nation and ethnicity, yet it remained within the scope of the revolution. The reason for the misinterpretation of < When I was in Sunset Town > in previous studies lies in the complicated relationship between revolution and women. The contradiction of revolution itself is the fundamental reason leading to the contradictory yet identical relationship between revolution and women in the fiction.

9丰子恺与蒋彝散文中的怀旧情结 ―以 《缘缘堂随笔》与 《儿时琐忆》为中心

저자 : 张颖 ( Zhang Ying )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 193-206 (14 pages)

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This paper focused on the nostalgia in the works of Feng Zikai and Chiang Yee, and traced the context and meaning of the works that portrayed childhood through Feng Zikai's Yuanyuantang Essay and Chiang Yee's A Chinese Childhoods.
The two works are both about writer's childhood. YuanYuanTang Essay focuses on describing children's lives, and A Chinese Childhoods focuses on describing Chinese traditional culture. "Nostalgia" is the common ground of this two works. Children are natural, naive and undecorated. They are the past of adult, the past of ripe, and the past of fake. Traditional China is ancient, peaceful, and self-sufficient. It is the past of the Western Empire, the past of colonialism, and the past of modern times. Child worship is a characteristic of Feng Zikai's nostalgia, but also has the limitation containing “combination of joy and worry”. Chiang Yee's nostalgia reflects the post-colonial characteristics of opposing Western colonialism and hegemonism, but he has also fallen into the trap of Self-Orientalism. In the turbulent and frustrated reality, Feng Zikai and Chiang Yee both hope to find spiritual comfort and encouragement again in the past emotional experience to make up for the sense of loss in reality.

10소설 <접는 도시(北京折疊)>와 새로운 도시 공간의 상상

저자 : 김태연 ( Kim Taeyoun )

발행기관 : 한국중국어문학회 간행물 : 중국문학 103권 0호 발행 연도 : 2020 페이지 : pp. 207-221 (15 pages)

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This paper seeks to examine how the imagination of the future of urban space as a result of technological development develops through SF fiction, and Hao Jingfang's novel “Folding Beijing” as the target text. In the SF genre, urban space is one of the most important factors. The city is portrayed as the best embodied space for the cutting edge of science and technology covered by the SF genre and the new living conditions that humans face to face to face. Therefore, SF fiction presents a variety of imaginations in various ways about how the digital transformation of urban space we face today will unfold. This paper, among others, looks at what type of urban space Beijing's dystopian future presents, described by Hao Jingfang's novel “The Folding Beijing” which won the Hugo Prize in 2016.
Beijing, the “Folding Beijing” drawn by Hao Jingfang, is divided into first, second and third spaces, each inhabited by upper, middle and lower classes, and these spaces do not coexist at the same time. When one space is spread out on the surface at a specified time, the rest of the space folds and disappears on the other side of the surface.
This paper attempts to analyze the properties of Beijing as described in the “Folding Beijing” using the theories of urban scholars. And identify the folding city depicted in the work as a reflection of the various urban problems that Beijing now faces. Take a look at the dystopian prospects that will emerge when the various urban problems facing the current metropolises are combined with digital transitions that lean on the development of science and technology.

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