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중국어문연구회> 중국어문논총> ≪勸善金科≫ ― 중화와 내륙 아시아 불교문화의 조화

KCI등재

≪勸善金科≫ ― 중화와 내륙 아시아 불교문화의 조화

Quanshanjinke (勸善金科): Harmony of Zhonghua and Inland Asian Buddhist Culture

申智瑛 ( Shin Jeeyoung )
  • : 중국어문연구회
  • : 중국어문논총 109권0호
  • : 연속간행물
  • : 2022년 04월
  • : 63-89(27pages)
중국어문논총

DOI


목차

1. 들어가는 말
2. ≪勸善金科≫ 槪觀
3. ≪勸善金科≫와 ≪新編目連救母勸善戲文≫
4. ≪勸善金科≫의 내용 변화
5. 나오는 말

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초록 보기

Operas in China have not been just a simple cultural entertainment but a factor deeply involved in shaping the structure of Chinese mentality and consciousness as well as spreading the notion of Zhonghua. The Qing Dynasty engaged in a variety of cultural projects statewide to secure the stability of its multiethnic society. Publishing play scripts and sponsoring staged plays were one of its key theater activities. Palace operas of the Qing Dynasty went beyond just being an entertainment but a part of the court protocol, a state-governed culture and more than just performing arts on stage. The “Short Opera” was a performing art for formality that aimed at affirming inner solidarity while the “Grand Opera” served more to strengthen relations with neighboring states and reinforcing grip and control. This thesis studies on Quanshanjinke, one of the long palace operas that represent the highlight of the court culture, focusing on how it was received and spread socially and figure out what influence those operas had on the royal culture and subsequently draw their common cultural features and characteristics. Chinese operas - a key part of Chinese culture that had taken roots in places all over the world - have played a crucial role in forming consciousness in Chinese people regardless of their social class or status. Therefore, it is a meaningful work in terms of cultural history to find out in detail the content and roles of the court operas that were pursued as state projects. The era of the Qing Dynasty has often been referred to together as the Ming-Qing Dynasties which may have diluted its own unique features. But since the 21st century, the perspective focusing on the Great Qing Empire is gaining traction instead of the aggressive efforts for Huaxia conventionally thought as the empire’s success factor. To better understand the Quanshanjinke, we need to look into the historical backdrop in the early Qing days when the continued efforts were made to put the inland Asian Buddhism at the center of the world. The Qing Dynasty was still not stable in the Buddhist world during the early days of the Emperor Kangxi. Efforts to invite the Fifth Dalai Lama continued even into the Emperor Shunzhi reign and finally paid off by the Great Fifth’s visit to Beijing. Through the visit, the Dynasty could earn the chance to join the inter-Asian network including Mongolia and Tibet. There are relics and artifacts that illustrate the fusion of cultural harmony between Zhonghua and the inland Asia strongly connected around the Tibetan Buddhism. One major example is the Eight Outer Temples in Chengde built during the Kangxi reign to escape the summer heat. That is a case in point where a world order was being established based on both the Tibetan Buddhism and the tradition of the nomad including from Manchuria, Mongolian and Tibet. The grand palace operas must have played a certain role in firming and demonstrating such world order to the outside world. The staging of the Quanshanjinke at Chengde to welcome foreign delegations (and avoid summer heat) may be considered a proactive ruling measure to promote Buddhism. Unlike other preceding Xiwens, the court opera covers the story of the revolt of the military governor (Fanzhen) and how it was contained. Its staging seems related to the fact that the Emperor Kangxi contained the Revolt of the Three Feudatories and set up a powerful central government at that time. It can also be seen as embracing the narrative of loyalty and filial piety to clearly show that he is the legitimate Confucian successor of Zhonghua. As a result, the Quanshanjinke became the opera that both covers the Buddhist narrative from the Mulian Saves Mother and the narrative of loyalty and filial piety to confirm the legitimacy as Confucian successor of Zhonghua.

UCI(KEPA)

간행물정보

  • : 어문학분야  > 중어중문학
  • : KCI등재
  • :
  • : 계간
  • : 1226-4555
  • : 2765-4060
  • : 학술지
  • : 연속간행물
  • : 1988-2022
  • : 1706


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109권0호(2022년 04월) 수록논문
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KCI등재

1王力≪同源字典≫의 章組성모 교체 유형 수정

저자 : 李貞和 ( Lee Jeonghwa ) , 權赫埈 ( Kwon Hyokjun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 1-38 (38 pages)

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Cognates in two languages or in any single language are words which are both semantically and phonologically connected among themselves. There should be phonological alternations in regard to relations among them. Wang Li, in his work Dictionary of Cognate Words [≪同源字典≫], has categorised the alternations of initial consonants of various cognate sets, as well as of finals, into several types. This study pays special attention to his methodology of classifying the shift types of zhang series initials which alternate with themselves or with other initials as there is room for rectification about his phonology of this series. He reconstructed this series as palatal affricates/ fricatives, and consequently subdivided the concept of “alliteration [雙聲]”, the traditional shift type of initial consonants, into 5 types, i.e., (quasi-) alliteration, (quasi-) side button [(準)旁紐], adjacent button [鄰紐]. But some influential scholars working on Old Chinese phonology found that phonology of this series should be simply revised to alveolar stops or sonorants which accompanied the 3rd grade medial j, and their systems are claimed to be more persuasive than the Wang Li's. We take up Zheng-Zhang's Old Chinese phonology as our departing point of discussion. Under this postulation, quasi-alliteration and quasi-side button among cognate words should be integrated into alliteration and/or side button in terms of relation between zhang series and duan series [端組]. The alternations among yi initial [以母], chuan initial [船母] and shu initial [書母] should be revised to alliteration as all of them shared the identical segment *l in Old Chinese. We have reached conclusions that quasi-alliteration and quasi-side button types should be removed, and that the scope of adjacent button should be sharply narrowed in accordance with the revision of the zhang series in Wang Li's Old Chinese phonology.

KCI등재

2미래를 나타내는 조동사 '회(會)'와 '요(要)'의 비교 연구

저자 : 李恩洙 ( Lee Eunsoo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 39-62 (24 pages)

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The auxiliary verbs 'HUI'(會) and 'YAO'(要) play a key role in representing future in Chinese. However, when these two auxiliary verbs represent future, in some cases they are replaceable and in others they are irreplaceable.
We believe that these phenomena are due to the basic difference in meaning between the two auxiliary verbs. 'HUI'(會) represents only the prediction of future 'after reference time'. On the other hand, 'YAO'(要) may represent the state of 'volition' or the 'situation being imminent' state in 'reference time' in addition to the future meaning 'after reference time'. Therefore, '~SHI'(時) representing a specific time point can only be used with 'YAO'(要), which can represent the situation in 'reference time'. In addition, adverbs indicating that a certain state have already begun or persist in 'reference time' such as 'GANG' (剛) and 'ZHENG'(正) can only be used with 'YAO'(要), which can represent the situation in 'reference time'. In addition, 'YAO'(要) represents the state of 'volition' or the 'situation being imminent' state in 'reference time', therefore, the predicates that follows 'YAO'(要) are limited to those with dynamic meaning.
On the other hand, 'HUI'(會) represents only the situation 'after reference time', but cannot represent the situation in 'reference time'. Therefore, it cannot be used with 'SHI'(時) to indicate a specific time point, and it cannot be used with 'GANG'(剛) or 'ZHENG'(正) to indicate a situation that has already begun or persist in reference time. In addition, since 'HUI'(會) represents only the situation 'after reference time', the predicates used with 'HUI'(會) are not limited to those with dynamic meaning.

KCI등재

3≪勸善金科≫ ― 중화와 내륙 아시아 불교문화의 조화

저자 : 申智瑛 ( Shin Jeeyoung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 63-89 (27 pages)

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Operas in China have not been just a simple cultural entertainment but a factor deeply involved in shaping the structure of Chinese mentality and consciousness as well as spreading the notion of Zhonghua. The Qing Dynasty engaged in a variety of cultural projects statewide to secure the stability of its multiethnic society. Publishing play scripts and sponsoring staged plays were one of its key theater activities. Palace operas of the Qing Dynasty went beyond just being an entertainment but a part of the court protocol, a state-governed culture and more than just performing arts on stage. The “Short Opera” was a performing art for formality that aimed at affirming inner solidarity while the “Grand Opera” served more to strengthen relations with neighboring states and reinforcing grip and control. This thesis studies on Quanshanjinke, one of the long palace operas that represent the highlight of the court culture, focusing on how it was received and spread socially and figure out what influence those operas had on the royal culture and subsequently draw their common cultural features and characteristics. Chinese operas - a key part of Chinese culture that had taken roots in places all over the world - have played a crucial role in forming consciousness in Chinese people regardless of their social class or status. Therefore, it is a meaningful work in terms of cultural history to find out in detail the content and roles of the court operas that were pursued as state projects. The era of the Qing Dynasty has often been referred to together as the Ming-Qing Dynasties which may have diluted its own unique features. But since the 21st century, the perspective focusing on the Great Qing Empire is gaining traction instead of the aggressive efforts for Huaxia conventionally thought as the empire's success factor. To better understand the Quanshanjinke, we need to look into the historical backdrop in the early Qing days when the continued efforts were made to put the inland Asian Buddhism at the center of the world. The Qing Dynasty was still not stable in the Buddhist world during the early days of the Emperor Kangxi. Efforts to invite the Fifth Dalai Lama continued even into the Emperor Shunzhi reign and finally paid off by the Great Fifth's visit to Beijing. Through the visit, the Dynasty could earn the chance to join the inter-Asian network including Mongolia and Tibet. There are relics and artifacts that illustrate the fusion of cultural harmony between Zhonghua and the inland Asia strongly connected around the Tibetan Buddhism. One major example is the Eight Outer Temples in Chengde built during the Kangxi reign to escape the summer heat. That is a case in point where a world order was being established based on both the Tibetan Buddhism and the tradition of the nomad including from Manchuria, Mongolian and Tibet. The grand palace operas must have played a certain role in firming and demonstrating such world order to the outside world. The staging of the Quanshanjinke at Chengde to welcome foreign delegations (and avoid summer heat) may be considered a proactive ruling measure to promote Buddhism. Unlike other preceding Xiwens, the court opera covers the story of the revolt of the military governor (Fanzhen) and how it was contained. Its staging seems related to the fact that the Emperor Kangxi contained the Revolt of the Three Feudatories and set up a powerful central government at that time. It can also be seen as embracing the narrative of loyalty and filial piety to clearly show that he is the legitimate Confucian successor of Zhonghua. As a result, the Quanshanjinke became the opera that both covers the Buddhist narrative from the Mulian Saves Mother and the narrative of loyalty and filial piety to confirm the legitimacy as Confucian successor of Zhonghua.

KCI등재

4中韩古典长篇家门小说对比研究 ― 以≪雪月梅≫和≪玉树记≫为中心

저자 : 赵治成 ( Zhao Zhicheng )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 91-116 (26 pages)

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Chen Lang's Xueyuemei and Sim Nung-Sook's Oksugi are family novels that appeared in the late feudal society of China and South Korea. This article examines the background, creative mode and writer consciousness of the two works.
In the part of written background, Xueyuemei and Oksugi embodies the development characteristics of family novels in the later feudal societies of China and South Korea. On the basis of genius and beauty novels, Chen Lang broke through its creative mode of simply depicting love between men and women. By adding other elements such as wars and heroes, he realized the innovation of creative mode, and at the same time achieved the purpose of showing his personal talents and ideals. Under the atmosphere of improved acceptance of novels in the late Joseon dynasty, Sim Nung-Sook also used the method of combining original works, depicting the love between men and women and the story of meritorious deeds in the works, and at the same time made personal desires replaced and satisfied.
In the part of creative mode, both Xueyuemei and Oksugi completed the creation of works through the structure of “family debut, family unity and joint contribution”. The difference is that Oksugi adds the marriage between the Wang family and the Ren family, the connection between Jia Youxian and Lvye, and the conflicts between the wives and concubines caused by Mrs. Sheng in the last part of the work. In the content part, the two works are based on a large number of original novels, through combination, transformation and other methods to complete the creation of the “love + hero” model. It's just that unlike Xueyuemei which all borrowed from Chinese works, Oksugi used Chinese and Korean classical novels while shaping the image of love and heroes, and finally made the works show a more complex fusion characteristic.
In the part of writer's consciousness, both Chen Lang and Sim Nung-Sook achieved the purpose of showing their talents and the substitute and satisfaction of life's desires through the creation of novels. At the same time, Chen Lang, as a figure who has not obtained a formal official position, expressed the hope that the country should select talents based on talent rather than a single imperial examination by depicting the process of protagonists of various identities making contributions through recommendation and other methods. As a descendant of scholar-officials, Sim Nung-Sook projected his own family into the works, and realized his desire for life through the process of marriage between various scholar-officials, fighting against enemies together, and sharing prosperity and wealth.

KCI등재

5전후 타이완에서 자유의 의미 ― 천잉전의 <탕첸의 희극>을 중심으로

저자 : 李賢馥 ( Lee Hyunbok )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 117-150 (34 pages)

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After the war, Taiwan opened up a space to construct its own modernity, including discussions on freedom. Chen Yingzhen(陳映真) showed that not only the incompetent and ideological freedom of Mainlander(外省人) liberals but also the American-style freedom that failed to overcome problems under material development and fell into decadence could not solve the problems which Taiwan faced at the time. On the other hand, he suggested building the subject who awakened national consciousness and tried to realize the ideal of historical development as the solution of problems.
In postwar era, Mainlander Taiwanese liberals' claim of individual freedom showed incompetence in historical reality, but it brought back individual independence and freedom, which had been erased by grand narrative, to the modern stage. But they were still elitist and isolated themselves from their mental wounds in the mainland China. But American-style freedom also couldn't be a solution because of decadence and corruption of its subjects. Furthermore, China and the Chinese could be second-class citizens in the world built by the United States and finally be vanished. He also criticized lack of idealism in Taiwan at that time. In this situation Chen Yingzhen thought the people needed indentify themselves as Chinese, that is, awaken national consciousness of Chinese, and set an ideal for a nation to advance and strive for it. Overcoming the national crisis that still existed in the Cold War world by setting and pursuing ideals, it was the point for him to meet the Mainland China

KCI등재

6黃庭堅 交遊詩 譯解(1)

저자 : 朴玟貞 ( Park Minjung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 151-171 (21 pages)

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Huang Tingjian's poetry is difficult to read because of tits academic tradition, exercise poetic language&verse, and the characteristics of using a lot of literary quotation. Therefore, even though numerous studies have been conducted on Huang Tingjian's poem at home and abroad, the complete translation of Huang Tingjian's poems has not been published so far. There is no doubt that in order to consider the characteristics, a close analysis of Huang Tingjian, the completion of the formation in the characteristics of Song Dynasty, is necessary to convert to 'Songshi' at that time, understand Song Dynasty scholar-officials and the characteristics of Songshi itself. In addition, 'Jiangxi Poetry School', which focuses on Huang Tingjian, has been of constant interest in the literary world of the Chosun Dynasty. Under the influence of the 'Jiangxi Poetry School', numerous outstanding poets were produced.
Considering these values and needs, complete translation of Huang Tingjian is underway, among them, I tried to present detailed translation and annotation of five poems―Two form of pre-Tang Poems to Sushi (古詩二首上蘇子瞻), Recall Tao Yuanming during stay in Old Pengze (宿舊彭澤懷陶令), Harmony to Li Chang Uncle in use the rhyme sequence of a poem(次韻公擇舅), In autumn, think comes to mind, give it to Suzhe (秋思寄子由), Respond to my father-in-law, Sun Xinlao (和答外舅孫莘老) sent to major figures who influenced his life, political position, poetics, and the formation of poetry. It is hoped that continuous reverse work on Huang Tingjian's poems can be the cornerstone of research in related fields.

KCI등재

7조선 고종 <북묘묘정비(北廟廟庭碑)> 주석과 번역(3)

저자 : 洪潤基 ( Hong Younki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 173-193 (21 pages)

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The Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) is the one that recorded the purpose and process of building the Northern Shrine (北廟). It was written and built in 1887 by King Gojong (高宗), the 26th king of the Joseon (朝鮮) Dynasty.
The significance of this paper is as follows. First, for the first time, annotation was added to the Northern Shrine Memorial Stone for GuanYu and this paper is the first complete translation. Second, through the translation of this paper, it was found that King Gojong believed that the spirit of GuanYu helped him and his wife, Minbi (閔妃) to revive when the Imo Military Revolution (壬午軍亂) (in 1882) and the Gapsin Coup (甲申政變) (in 1884) broke out. Third, through the translation of this paper, it can be seen that King Gojong's cultural perception of GuanYu is not based on History of the Three Kingdoms (三國志) but mainly based on the fictional story created by Mao Zong-gang (毛宗崗)'s novel Romance of the Three Kingdoms (三國演義).
The contents of the part translated in this paper are as follows. First, when GuanYu (關羽) was alive, he made achievements in drowning seven legions of CaoCao (曹操) and defeating them. Second, it is the will of heaven that a Northern Shrine in honor of GuanYu was built under a rock wall engraved with the word “The spirit of Zengzi (曾子) and Zhuzi (朱子) stands tall like a wall (曾朱壁立)”. Third, King Gojong built the Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) to commemorate the spirit of GuanYu appearing during the Imo Military Revolution (壬午軍亂) and the Gapsin Coup (甲申政變) and helping him and his wife, Minbi (閔妃). Fourth, this inscription was written in 1887 by Min Young-hwan (閔泳煥) under King Gojong's order.
This paper is a follow-up to the Annotation and translation of Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) written by Joseon (朝鮮) Dynasty's King Gojong (高宗) No2, published in the Volume 106 of the Journal of Chinese Language and Literature in August 2021.

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KCI등재

1王力≪同源字典≫의 章組성모 교체 유형 수정

저자 : 李貞和 ( Lee Jeonghwa ) , 權赫埈 ( Kwon Hyokjun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 1-38 (38 pages)

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Cognates in two languages or in any single language are words which are both semantically and phonologically connected among themselves. There should be phonological alternations in regard to relations among them. Wang Li, in his work Dictionary of Cognate Words [≪同源字典≫], has categorised the alternations of initial consonants of various cognate sets, as well as of finals, into several types. This study pays special attention to his methodology of classifying the shift types of zhang series initials which alternate with themselves or with other initials as there is room for rectification about his phonology of this series. He reconstructed this series as palatal affricates/ fricatives, and consequently subdivided the concept of “alliteration [雙聲]”, the traditional shift type of initial consonants, into 5 types, i.e., (quasi-) alliteration, (quasi-) side button [(準)旁紐], adjacent button [鄰紐]. But some influential scholars working on Old Chinese phonology found that phonology of this series should be simply revised to alveolar stops or sonorants which accompanied the 3rd grade medial j, and their systems are claimed to be more persuasive than the Wang Li's. We take up Zheng-Zhang's Old Chinese phonology as our departing point of discussion. Under this postulation, quasi-alliteration and quasi-side button among cognate words should be integrated into alliteration and/or side button in terms of relation between zhang series and duan series [端組]. The alternations among yi initial [以母], chuan initial [船母] and shu initial [書母] should be revised to alliteration as all of them shared the identical segment *l in Old Chinese. We have reached conclusions that quasi-alliteration and quasi-side button types should be removed, and that the scope of adjacent button should be sharply narrowed in accordance with the revision of the zhang series in Wang Li's Old Chinese phonology.

KCI등재

2미래를 나타내는 조동사 '회(會)'와 '요(要)'의 비교 연구

저자 : 李恩洙 ( Lee Eunsoo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 39-62 (24 pages)

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The auxiliary verbs 'HUI'(會) and 'YAO'(要) play a key role in representing future in Chinese. However, when these two auxiliary verbs represent future, in some cases they are replaceable and in others they are irreplaceable.
We believe that these phenomena are due to the basic difference in meaning between the two auxiliary verbs. 'HUI'(會) represents only the prediction of future 'after reference time'. On the other hand, 'YAO'(要) may represent the state of 'volition' or the 'situation being imminent' state in 'reference time' in addition to the future meaning 'after reference time'. Therefore, '~SHI'(時) representing a specific time point can only be used with 'YAO'(要), which can represent the situation in 'reference time'. In addition, adverbs indicating that a certain state have already begun or persist in 'reference time' such as 'GANG' (剛) and 'ZHENG'(正) can only be used with 'YAO'(要), which can represent the situation in 'reference time'. In addition, 'YAO'(要) represents the state of 'volition' or the 'situation being imminent' state in 'reference time', therefore, the predicates that follows 'YAO'(要) are limited to those with dynamic meaning.
On the other hand, 'HUI'(會) represents only the situation 'after reference time', but cannot represent the situation in 'reference time'. Therefore, it cannot be used with 'SHI'(時) to indicate a specific time point, and it cannot be used with 'GANG'(剛) or 'ZHENG'(正) to indicate a situation that has already begun or persist in reference time. In addition, since 'HUI'(會) represents only the situation 'after reference time', the predicates used with 'HUI'(會) are not limited to those with dynamic meaning.

KCI등재

3≪勸善金科≫ ― 중화와 내륙 아시아 불교문화의 조화

저자 : 申智瑛 ( Shin Jeeyoung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 63-89 (27 pages)

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Operas in China have not been just a simple cultural entertainment but a factor deeply involved in shaping the structure of Chinese mentality and consciousness as well as spreading the notion of Zhonghua. The Qing Dynasty engaged in a variety of cultural projects statewide to secure the stability of its multiethnic society. Publishing play scripts and sponsoring staged plays were one of its key theater activities. Palace operas of the Qing Dynasty went beyond just being an entertainment but a part of the court protocol, a state-governed culture and more than just performing arts on stage. The “Short Opera” was a performing art for formality that aimed at affirming inner solidarity while the “Grand Opera” served more to strengthen relations with neighboring states and reinforcing grip and control. This thesis studies on Quanshanjinke, one of the long palace operas that represent the highlight of the court culture, focusing on how it was received and spread socially and figure out what influence those operas had on the royal culture and subsequently draw their common cultural features and characteristics. Chinese operas - a key part of Chinese culture that had taken roots in places all over the world - have played a crucial role in forming consciousness in Chinese people regardless of their social class or status. Therefore, it is a meaningful work in terms of cultural history to find out in detail the content and roles of the court operas that were pursued as state projects. The era of the Qing Dynasty has often been referred to together as the Ming-Qing Dynasties which may have diluted its own unique features. But since the 21st century, the perspective focusing on the Great Qing Empire is gaining traction instead of the aggressive efforts for Huaxia conventionally thought as the empire's success factor. To better understand the Quanshanjinke, we need to look into the historical backdrop in the early Qing days when the continued efforts were made to put the inland Asian Buddhism at the center of the world. The Qing Dynasty was still not stable in the Buddhist world during the early days of the Emperor Kangxi. Efforts to invite the Fifth Dalai Lama continued even into the Emperor Shunzhi reign and finally paid off by the Great Fifth's visit to Beijing. Through the visit, the Dynasty could earn the chance to join the inter-Asian network including Mongolia and Tibet. There are relics and artifacts that illustrate the fusion of cultural harmony between Zhonghua and the inland Asia strongly connected around the Tibetan Buddhism. One major example is the Eight Outer Temples in Chengde built during the Kangxi reign to escape the summer heat. That is a case in point where a world order was being established based on both the Tibetan Buddhism and the tradition of the nomad including from Manchuria, Mongolian and Tibet. The grand palace operas must have played a certain role in firming and demonstrating such world order to the outside world. The staging of the Quanshanjinke at Chengde to welcome foreign delegations (and avoid summer heat) may be considered a proactive ruling measure to promote Buddhism. Unlike other preceding Xiwens, the court opera covers the story of the revolt of the military governor (Fanzhen) and how it was contained. Its staging seems related to the fact that the Emperor Kangxi contained the Revolt of the Three Feudatories and set up a powerful central government at that time. It can also be seen as embracing the narrative of loyalty and filial piety to clearly show that he is the legitimate Confucian successor of Zhonghua. As a result, the Quanshanjinke became the opera that both covers the Buddhist narrative from the Mulian Saves Mother and the narrative of loyalty and filial piety to confirm the legitimacy as Confucian successor of Zhonghua.

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4中韩古典长篇家门小说对比研究 ― 以≪雪月梅≫和≪玉树记≫为中心

저자 : 赵治成 ( Zhao Zhicheng )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 91-116 (26 pages)

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Chen Lang's Xueyuemei and Sim Nung-Sook's Oksugi are family novels that appeared in the late feudal society of China and South Korea. This article examines the background, creative mode and writer consciousness of the two works.
In the part of written background, Xueyuemei and Oksugi embodies the development characteristics of family novels in the later feudal societies of China and South Korea. On the basis of genius and beauty novels, Chen Lang broke through its creative mode of simply depicting love between men and women. By adding other elements such as wars and heroes, he realized the innovation of creative mode, and at the same time achieved the purpose of showing his personal talents and ideals. Under the atmosphere of improved acceptance of novels in the late Joseon dynasty, Sim Nung-Sook also used the method of combining original works, depicting the love between men and women and the story of meritorious deeds in the works, and at the same time made personal desires replaced and satisfied.
In the part of creative mode, both Xueyuemei and Oksugi completed the creation of works through the structure of “family debut, family unity and joint contribution”. The difference is that Oksugi adds the marriage between the Wang family and the Ren family, the connection between Jia Youxian and Lvye, and the conflicts between the wives and concubines caused by Mrs. Sheng in the last part of the work. In the content part, the two works are based on a large number of original novels, through combination, transformation and other methods to complete the creation of the “love + hero” model. It's just that unlike Xueyuemei which all borrowed from Chinese works, Oksugi used Chinese and Korean classical novels while shaping the image of love and heroes, and finally made the works show a more complex fusion characteristic.
In the part of writer's consciousness, both Chen Lang and Sim Nung-Sook achieved the purpose of showing their talents and the substitute and satisfaction of life's desires through the creation of novels. At the same time, Chen Lang, as a figure who has not obtained a formal official position, expressed the hope that the country should select talents based on talent rather than a single imperial examination by depicting the process of protagonists of various identities making contributions through recommendation and other methods. As a descendant of scholar-officials, Sim Nung-Sook projected his own family into the works, and realized his desire for life through the process of marriage between various scholar-officials, fighting against enemies together, and sharing prosperity and wealth.

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5전후 타이완에서 자유의 의미 ― 천잉전의 <탕첸의 희극>을 중심으로

저자 : 李賢馥 ( Lee Hyunbok )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 117-150 (34 pages)

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After the war, Taiwan opened up a space to construct its own modernity, including discussions on freedom. Chen Yingzhen(陳映真) showed that not only the incompetent and ideological freedom of Mainlander(外省人) liberals but also the American-style freedom that failed to overcome problems under material development and fell into decadence could not solve the problems which Taiwan faced at the time. On the other hand, he suggested building the subject who awakened national consciousness and tried to realize the ideal of historical development as the solution of problems.
In postwar era, Mainlander Taiwanese liberals' claim of individual freedom showed incompetence in historical reality, but it brought back individual independence and freedom, which had been erased by grand narrative, to the modern stage. But they were still elitist and isolated themselves from their mental wounds in the mainland China. But American-style freedom also couldn't be a solution because of decadence and corruption of its subjects. Furthermore, China and the Chinese could be second-class citizens in the world built by the United States and finally be vanished. He also criticized lack of idealism in Taiwan at that time. In this situation Chen Yingzhen thought the people needed indentify themselves as Chinese, that is, awaken national consciousness of Chinese, and set an ideal for a nation to advance and strive for it. Overcoming the national crisis that still existed in the Cold War world by setting and pursuing ideals, it was the point for him to meet the Mainland China

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6黃庭堅 交遊詩 譯解(1)

저자 : 朴玟貞 ( Park Minjung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 151-171 (21 pages)

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Huang Tingjian's poetry is difficult to read because of tits academic tradition, exercise poetic language&verse, and the characteristics of using a lot of literary quotation. Therefore, even though numerous studies have been conducted on Huang Tingjian's poem at home and abroad, the complete translation of Huang Tingjian's poems has not been published so far. There is no doubt that in order to consider the characteristics, a close analysis of Huang Tingjian, the completion of the formation in the characteristics of Song Dynasty, is necessary to convert to 'Songshi' at that time, understand Song Dynasty scholar-officials and the characteristics of Songshi itself. In addition, 'Jiangxi Poetry School', which focuses on Huang Tingjian, has been of constant interest in the literary world of the Chosun Dynasty. Under the influence of the 'Jiangxi Poetry School', numerous outstanding poets were produced.
Considering these values and needs, complete translation of Huang Tingjian is underway, among them, I tried to present detailed translation and annotation of five poems―Two form of pre-Tang Poems to Sushi (古詩二首上蘇子瞻), Recall Tao Yuanming during stay in Old Pengze (宿舊彭澤懷陶令), Harmony to Li Chang Uncle in use the rhyme sequence of a poem(次韻公擇舅), In autumn, think comes to mind, give it to Suzhe (秋思寄子由), Respond to my father-in-law, Sun Xinlao (和答外舅孫莘老) sent to major figures who influenced his life, political position, poetics, and the formation of poetry. It is hoped that continuous reverse work on Huang Tingjian's poems can be the cornerstone of research in related fields.

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7조선 고종 <북묘묘정비(北廟廟庭碑)> 주석과 번역(3)

저자 : 洪潤基 ( Hong Younki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 109권 0호 발행 연도 : 2022 페이지 : pp. 173-193 (21 pages)

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The Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) is the one that recorded the purpose and process of building the Northern Shrine (北廟). It was written and built in 1887 by King Gojong (高宗), the 26th king of the Joseon (朝鮮) Dynasty.
The significance of this paper is as follows. First, for the first time, annotation was added to the Northern Shrine Memorial Stone for GuanYu and this paper is the first complete translation. Second, through the translation of this paper, it was found that King Gojong believed that the spirit of GuanYu helped him and his wife, Minbi (閔妃) to revive when the Imo Military Revolution (壬午軍亂) (in 1882) and the Gapsin Coup (甲申政變) (in 1884) broke out. Third, through the translation of this paper, it can be seen that King Gojong's cultural perception of GuanYu is not based on History of the Three Kingdoms (三國志) but mainly based on the fictional story created by Mao Zong-gang (毛宗崗)'s novel Romance of the Three Kingdoms (三國演義).
The contents of the part translated in this paper are as follows. First, when GuanYu (關羽) was alive, he made achievements in drowning seven legions of CaoCao (曹操) and defeating them. Second, it is the will of heaven that a Northern Shrine in honor of GuanYu was built under a rock wall engraved with the word “The spirit of Zengzi (曾子) and Zhuzi (朱子) stands tall like a wall (曾朱壁立)”. Third, King Gojong built the Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) to commemorate the spirit of GuanYu appearing during the Imo Military Revolution (壬午軍亂) and the Gapsin Coup (甲申政變) and helping him and his wife, Minbi (閔妃). Fourth, this inscription was written in 1887 by Min Young-hwan (閔泳煥) under King Gojong's order.
This paper is a follow-up to the Annotation and translation of Northern Shrine Memorial Stone for GuanYu (<北廟廟庭碑>) written by Joseon (朝鮮) Dynasty's King Gojong (高宗) No2, published in the Volume 106 of the Journal of Chinese Language and Literature in August 2021.

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