간행물

중국학논총 update

Journal of Chinese Studies

  • : 고려대학교 중국학연구소
  • : 인문과학분야  >  동양사
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  • : 연속간행물
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  • : 1229-3806
  • : 2765-6330
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수록정보
수록범위 : 1권0호(1984)~76권0호(2022) |수록논문 수 : 913
중국학논총
76권0호(2022년 06월) 수록논문
최근 권호 논문
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KCI등재

저자 : 徐丹 ( Xu Dan )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 1-17 (17 pages)

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During the period of the late Qing Dynasty and the Republic of China, the social ideological enlightenment actions of the modern cultural groups, in association with the power of the urban cultural market, promoted the creation and performance of a large number of Korean dramas. There are 21 related scripts (or summary of plots) that have survived to this day, most of which were created by professional modern dramatists active in and around Shanghai. Korean subjugation dramas are performed all over the country, but Shanghai is the most active center. Professional theater troupes mainly perform in specialized theaters in Shanghai, while student theater troupes are active on public stages across the country or gatherings of urban and rural people. Compared with novels and political history books with similar themes at that time, drama has a broader social enlightenment significance.

KCI등재

저자 : 최보경 ( Choi Bokyung )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 19-42 (24 pages)

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The aim of this paper is to study political thought of Mozi on power and political authority. Political thought of Mozi is the establishment and operation of a political system based on Shangtonglun(尙同論). Shangtong(尙同)'s logic should respect and follow the opinions of superiors, which have the return to feudalism centered at Tianzi(天子) and a vertical characteristics of the upper and lower. Therefore the challenge arises from two aspects. First, it did not reflect the political landscape at that time. Second, it is in conflict with his ethical ideology[兼愛].
These problems can be solved when political thought of Mozi is interpreted in terms of power and political authority. This becomes the theoretical basis for solving the two difficulties implied in Shangtonglun(尙同論). First, since the logic of homology is also applied to Tianzi(天子), the power of Tianzi(天子) can secure political authority by Tian(天). The attribution of Tian(天) is a premise that can induce voluntary obedience of the people because it is unselfish. Second, Tianyi(天意) is Jianai(兼愛). Tianzi(天子) must observe the horizontal ethical principles of Jianai(兼愛), so the power of Tianzi(天子) guarantees morality. As a result, the power of Tianzi(天子) will secure autonomous obedience and morality through the symbol of Tian(天).

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저자 : 장정임 ( Chang Jungim ) , 선민정 ( Sun Minjung )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 43-74 (32 pages)

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This study investigates the similarities and differences of '自己'-related words in Korean, Chinese, and Japanese through trans-areal linguistic investigation. As '自己'-related words, Korean has caki 自己and casin 自身; Chinese has 自己; Japanese has 自己, 自ら, 己, 自身, and 自分.
自己was frequently treated as a reflexive pronoun. However, considering the definition of reflexivization (i.e. the co-referentiality of the agent and the patient), the great majority of '自己' and related words in these three languages cannot be understood as reflexive pronouns. Rather, they can best be treated as generic pronouns.
自己in modern Chinese developed from 自plus 己in Archaic Chinese via disyllabicization in the East Han (25-220 A.D.) time. 自was originally a reflexive adverb and 己was a generic pronoun. 自己in modern Chinese performs both the function of 自and 己in Archaic Chinese. Additionally, it is used in the form [Noun+自己], which is a new function that was not descended from Archaic Chinese.
自己and 自身in Korean and Japanese show similarities in their usages. 自己 is frequently used in a compound word, such as cakimancok (self-satisfaction), 自己流(one's way), whereas 自身is used in the form [Noun+自身](e.g. 總理自身 'the minister himself').
As '自己'-related words, Japanese has 自己, 自ら, 己, 自身, and 自分. They show a complementary distribution in terms of their usages: 自己and 己are used as pronouns; 自らis used as an emphatic reflexive adverb meaning 'by oneself '; 自身is used as an emphatic reflexive adjective in the form [Noun+自 身]; '自分' is used as a pronoun and an emphatic reflexive adverb.
The occurrences of '自己' and related words in Japanese display clear linguistic strata. During the Nara-Heian and the Edo era, 自己-type words (including 自己, 自ら, 己) occupied the great majority. During the Meiji era, the number of occurrences of 自分increased drastically (33.34%), and it occupied by far the great majority since the Taisho-Showa era (65.19%). Meanwhile, the portion of 自身increased steadily.
This paper showed that Korean, Chinese, and Japanese do not have a discrete form as a reflexive pronoun via trans-East Asian linguistic studies. Rather, they use generic pronouns when they need to deliver reflexive meaning. Also, there are similarities and differences in terms of the syntactic behavior regarding 自己and related words in these three languages.

KCI등재

저자 : 최신혜 ( Choi Shinhye )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 75-101 (27 pages)

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This paper examined the transition process from the original meaning of 'Hen' to degree adverb, and introduced various functions that are more grammaticalized from degree adverbs and distinguished from degree adverbs.
'Hen' came to be used extensively as a degree adverb in the Qing Dynasty, and the syntactic context that appeared was also expanded. During this period, 'Hen' appeared before verb phrases with quantity phrases, and functional differentiation took place into a 'Multiple Viewpoint Marker' that the corresponding quantity is subjectively considered to be large. In addition, in the form of 'Bu Hen X', a 'Tone Relaxation Marker' function, which pragmatically relieves the tone of 'Bu X' has also been created. On the other hand, it also has a function as a 'Non-contrast Marker' which is a funcion of distinguishing the adjective predicate from the contrast sentence by appearing in front of the adjective in the adjective predicate.
All of these functions show a grammatical appearance in terms of meaning and phonology compared to the case of the degree adverb 'Hen'. Therefore, this paper viewed them as markers that are in charge of grammatical functions distinct from the degree adverb 'Hen', and suggested that they are functions differentiated from the degree adverb 'Hen'.

KCI등재

저자 : 程文聪 ( Cheng Wencong ) , 韩容洙 ( Han Yongsu )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 103-121 (19 pages)

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In modern Chinese, the word pet refers to the small animals that are loved by the family. It also refers to the creatures that people feed for spiritual purposes rather than economic purposes. Since ancient times, it has been a very meaningful thing to name pets. Pet naming is actually a unique linguistic phenomenon. It also includes the research on the types of word formation structure contained in modern Chinese. It can be said that naming is the research on new word formation in modern Chinese.
And according to the content of previous scholars literature were confirmed in this paper. This paper focuses on the analysis of word-formation characteristics, semantic characteristics and word-formation structure types in modern Chinese, and integrates word-formation naming information in modern Chinese, hoping to provide readers with a channel to understand the characteristics of Chinese pet naming from the perspective of modern Chinese The interpretation of Chinese pet naming culture in modern Chinese is conducive to a better understanding of modern Chinese and Chinese culture, and also helps readers to understand the development history of pet naming. This paper includes Chinese classical Tang poetry and Song poetry as the research corpus, which plays an important role in studying the development background of pet naming. The study of pet naming in this paper is helpful to understand the characteristics and psychology of modern cat naming. Hope to provide effective reference for scholars who continue to study pet naming.

KCI등재

저자 : 김숙향 ( Kim Sookhyang )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 123-151 (29 pages)

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In this paper, I examined the view of laughter in the Confucian classics and how the view of laughter in the Xiaohua works as a literary genre. A brief summary of the discussion in this paper is as follows. In the tradition of Confucian, laughter was not a key subject of discussion or attention in the philosophy of Confucian philosophy. Therefore, there was also a lack of discussion on the special definition or value of 'laugh'. However, the laughter understood in the philosophy of Confucians through the core scriptures of Confucian, emphasized the legitimacy of having to be based on a pleasant state of mind. The essence of laughter was sneer. In addition, laughter is based on the falsehood that it can be decorated, and by using laughter, dramatic effects such as tension or questions in the narrative were sought. In other words, in the philosophy of Confucian, laughter can be seen as an expression used in the process of preaching moral values.
With the popularity of the compilation of Xiaohua books during the Ming and Qing periods, the perception of laughter has changed significantly from that shown in the Confucian philosophy. The Xiaohua editors recognized laughter as an indispensable element of human life and world composition and viewed it as an excellent drug for diseases that cannot be treated with medicine. Ironically, Confucianism became the main object of laughter in Ming and Qing Xiaohua.
Based on the above research, I was able to understand Xiaohua as an independent genre of literature and further think about the meaning of laughter in Xiaohua literature once again.

KCI등재

저자 : 高點福 ( Ko Jum-bok )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 153-177 (25 pages)

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This paper examines the meaning of Lu Xun's print movement from the viewpoint of the times and morality. Lu Xun's literature tried to raise the spiritual level of the Chinese and Chinese culture by exposing the ills of the times. Lu Xun's passion for printmaking is the same. Printmaking was a popular art form at the time and attracted the attention of young and progressive artists. Lu Xun introduced a variety of Western print art for the technological and artistic growth of young artists, while also introducing Chinese printmaking abroad. Lu Xun's passion for printmaking in the twilight of his life demands the enhancement of the artistic and historical value of printmaking. First of all, Lu Xun affirms the value of printmaking in terms of the economic feasibility of production and distribution. It is that more people can freely access prints in their daily life, and Lu Xun argues that artistic and moral values for awakening consciousness should be included in it. Printmaking, which is easy to produce and distribute, makes Lu Xun a handyman, but it also serves as a link to young and new artists. Through economical printmaking in production and dissemination, Lu Xun ultimately tried to raise the awareness of Chinese people and critical awareness of Chinese society.
Lu Xun's literary center is to create literature that the public understands well based on the understanding of the public. The point is, first of all, what is the pressing problem of the public. However, as important as the public's understanding of the pressing problem is the problem of the way it is expressed. It is clear that the artist and the public urgently need to realize the artistic realization of materials that match the circumstances of the time, such as the people's reports of difficulties or the war against Japan. As one of the means of economically and artistically expressing the pressing problems of the public, Lu Xun focused on printmaking. In other words, it can be said that Lu Xun's print movement embodies the artistic, historical, moral, and political aspects of China at the time.

KCI등재

저자 : 尹珉珠 ( Yun Minju )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 179-198 (20 pages)

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The East Asian theory is a representative research trend that understands the modern world of East Asia as a process of forming an independent regional order in East Asia, not as a process of incorporating it into a Western-centered world order. And East Asian theory is a concept that has the potential to restore multiple modernities established by East Asian countries and create an intellectual space to revitalize discussions between individual cultures by dismantling the existing narrow national way of thinking and aiming for an intermediate area against the Western-centered unified world order. This East Asian theory is also very useful as a way to compare and study East Asian modern literature, as it becomes a valid methodology to discover and actively meaning the hybridity and plural modernity caused by creative misunderstandings or treasonous misreading.

KCI등재

저자 : 김봉연 ( Kim Bongyeon )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 199-223 (25 pages)

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Traditionally, humans are considered subjects of historical activity with free will under the influence of reason. Human autonomy, dignity, and ethical morality are based on human will and autonomy to establish and comply with rules of conduct on their own. This understanding of humans faces a situation of readjustment due to the development of science and technology that realizes human improvement planning such as artificial intelligence and cyborg. The 'interpretation' of humans as the subject of rational judgment, the owner of free will, and the practitioner of moral ethics is questioned for its effectiveness. Relationships between artificial, life, and machine are established in the category of understanding of humans, and a new understanding and paradigm is sought.
In SF's literary imagination and grammar, The King and the Lyrics reflects this reality and predicts the future society from the perspective of language extinction. It is noteworthy that although SF is wearing the cover of imagining the future based on science and technology, the novel deals with the problems of language, letters, and literature represented by lyric poetry. By monopolizing the social operating system, imperial enterprises became a 'state'. The 'King', the head of a company, tries to take 'eternal life' beyond the stage of owning the state. To realize this plan, he plans to extinguish emotions in the language that people use and leave only instructions.
In the work, 'King' and Lyrics form a tense tension. Lyric poetry is an obstacle to the king's plan to extinguish emotions because it expresses human senses and emotions in implied language through metaphors and symbols. If this is reversed, it means that the emotional element of lyric poetry can be a weapon that can prevent the king's ambition. The language of various emotions and senses possessed by lyric poetry is represented by referring to and creating objects. The versatility of language is the basis for the existence of lyric poetry. By expressing emotions and emotions as individual experiences, and achieving sensations and resonations, individual and special senses become universal emotions. Experiences and emotions that individuals have differently are represented in tens of thousands of languages and interpreted differently, resulting in different meanings. The reason why the 'King' tries to eliminate lyricism is that he recognized the power of this division, derivation, and changing language.

KCI등재

저자 : 蔡捷 ( Cai Jie )

발행기관 : 고려대학교 중국학연구소 간행물 : 중국학논총 76권 0호 발행 연도 : 2022 페이지 : pp. 225-255 (31 pages)

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This study is to examine the impact of changes in Japan's maritime security strategy in the post-cold war era on China. Japan maintains a close military alliance with the United States as a major power in East Asia, and broadly supports the United States' military and their actions in the Asia-Pacific region. Japan has been recently promoting an active maritime security strategy to have the right to war and strengthening naval power to exercise influence, which is also intertwined with the US-China strategic competition structure. In particular, Japan is concerned about China's becoming one of maritime power countries. For instance, a conflict between China and Japan over maritime rights and interests in the East China Sea and Japan's strategy for the South China Sea. The conflict for the East China Sea has been further accelerated by the discovery of gas fields, validation of UN Convention on the Law of the Sea and Structural changes in the Asia-Pacific region.
China should promote maritime cooperation with Japan not to negatively affect Japan's maritime security strategy on China in the future. The competition for the preoccupancy should not become an unintentional and accidental military clash, and it is urgent to plan “Maritime Confidence-Building Measure” in East Asia beyond the “security dilemma.” Currently, China is insisting on “Maritime Community with a Shared Future” to emphasize that their dream of becoming a maritime power will not be a threat nor unrest to neighboring countries. The establishment of “Maritime Community with a Shared Future” is the correct direction to secure the peace and prosperity of the ocean, East Asian countries, including Japan, should keep peace for the ocean together. Furthermore, all East Asian countries should make maritime security, promote prosperity of the ocean, build a maritime environment, and develop maritime culture altogether.

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