中朝关系的现实基础与前景展望

조립신(Zhao Li Xin)(赵立新) , 김창경(Kim Chang Gyeong)(金昌庆) 대한중국학회 2016 중국학 Vol.57 No.-

After DPRK s fourth nuclear test and the launch of the satellite, China and the United States stand on the opposite for the concrete measures of imposing sanctions on DPRK. Through repeated consultations, these two countries reached a limited “agreement” and the UN Security Council finally passed the resolution 2270 which expended sanctions against DPRK. The relations between China and DPRK raised concerns once again. As is known to all, China and DPRK established alliance relations in the form of treaty in the early 60s of last century. After the end of the cold war, the relationship between them began to fluctuate with ups and downs. And due to the continuous upgrading of the DPRK’s nuclear issue and the improvement of China-ROK relations, the China-DPRK alliance relations become “ambiguous”. In the future, under the circumstances of the game between superpowers is becoming increasingly fierce , the prospect of the unification of the Korean Peninsula is still not clear and DPRK’s nuclear program has not been stopped, China and DPRK should maintain the alliance relationship or turn to the normal state relations? The decisive factor depends on the nature of state interests and the essential requirement of geopolitical competition. China-DPRK ambiguous alliance is still likely to continue. 朝鲜第四次核试验并发射卫星后, 围绕进一步制裁朝鲜的具体措施问题, 中美立场凸显对立。经过反复磋商, 中美达成有限的“一致”, 安理会最终通过扩大制裁朝鲜的2270号决议, 中朝关系再度引发关注。众所周知, 中朝两国在上个世纪60年代初以条约形式确定了同盟关系。冷战结束后, 中朝关系出现波动和起伏。随着朝核问题的升级和中韩关系的提升, 中朝关系的现实基础受到冲击并呈现出“背离”倾向。面向未来, 在大国博弈日趋激烈、朝鲜半岛统一前景仍不明朗以及朝鲜核计划未见止步的情况下, 中朝之间是维持“同盟”关系?还是转向正常国家关系?决定性的因素取决于国家利益和地缘政治竞争的本质要求, 中朝“暧昧同盟”仍有可能延续下去。

이규보 에 나타난 역사 인식과 형식미

金昌慶 대한중국학회 2001 중국학 Vol.16 No.-

이규보 <개원천보영사시>에 나타난 역사 인식과 형식미

金昌慶 대한중국학회 2001 중국학 Vol.16 No.-

李奎報對魏晉文人的認識

金昌慶 동북아시아문화학회 2008 동북아 문화연구 Vol.1 No.16

This paper, as a focus on comparative literature, discussed the understanding of Lee Kyubo(李奎报) to the Wei-Jin literati. Lee Kyubo was proficient in Chinese literature, so he devoted himself to lift up traditional ideology in Ko-Ryo(高麗) society, and to rehabilitate the new literature by the liberal thoughts. Therefore he strived to find the clue from Wei-Jin Literati who had a thirst for spiritual liberty. Lee Kyubo's understanding to Ruan-Ji(阮籍) and Ji-Kang(嵇康) basically focused on ZhiQi(志氣) and LiJiao(禮敎). They fought back to fallacious LiJiao, and sought to go back Nature(自然) by alcohol. Therefore Lee Kyubo admired their lives and thoughts that realized a sense of unity with Nature. His understanding to Xie-Lingyun(謝靈運) focused on his creation of Mountain and Stream Poetry(山水詩). He esteemed Xie-Lingyun who was the representative poet of Wei-Jin literary area, and positively supported their literature position. Lee Kyubo esteemed the style of Tao-Yuanming(陶淵明)'s poetry as a 'simple and honest by nature' and 'rural' one. So he wanted to follow Tao's style, simultaneously, he strived for his form of thinking. This Tao's internal thoughts was a spiritual indicator in which he wanted to embody. Even though he admired the thoughts of Wei-Jin literati, his cognition of Nature seemed to take more or less artificial and dual attitude.

祝辞

金昌慶 동북아시아문화학회 2023 동북아시아문화학회 국제학술대회 발표자료집 Vol.2023 No.7

李奎報文学研究 : 以咏史詩为中心

金昌慶 동북아시아문화학회 2006 동북아시아문화학회 국제학술대회 발표자료집 Vol.- No.-

跨越时空的启迪:“内向超越”的人生

황월명(Huang, Yue-Ming)(黄,玥,明),김창경(Kim, Chang-Kyong)(金昌庆,) 대한중국학회 2021 중국학 Vol.75 No.-

作为意识形态的诗歌创作,毫无例外要受到所处社会的政治、思想、哲学,文化等方面的制约和影响。这些影响是复杂且多方面的,既涉及诗人的世界观和人生态度,也影响他的文化心理及情感旨趣。王维自幼接受正统的儒家教育,少年时期学佛礼佛,体味大半人生后诗歌又逐步体现出道家的思想内核。综观其诗作,从不同的题材与创作的时代加以分析解读,可以看到当他作为“社会人”所关注的理想与现实发生冲撞的时候,其是用佛教与道教的“自然”与“本心”来进行消解的。从某种角度上看,从王维的身上我们可以充分地理解中国主流的文化精神,其关注对象逐渐由外至内,次第完成其从“社会人”到“自然人”再到关注自我“本心”这样一种“内向超越”的过程,这个过程,也是儒释道三者融合,形成“内向超越”型文化的过程。 As a kind of ideology, poetry creation is restrained and influenced by the political thought, philosophy, philosophy, culture and other aspects of the society where the poet lived without exception. These influences are complex and involve multiple aspects. They not only affect the poet s world outlook and life attitude, but also affect his cultural psychology and emotional purport. More importantly, they affect the poet s creation, and the social mindset and aesthetic trend in a specific era. Wang Wei is a man with rich knowledge, twists and turns, and ups and downs in his life. He received orthodox Confucian culture and education since his childhood, and learned Buddhism and paid respect for Buddha when he was young, winning him the title of Poem Buddha. In the second half of his life, his poems gradually began to embody the ideological core of Taoism. Wang Wei was a Confucian, paid respect for Buddha but he was not a monk. He followed the Taoism but he was not a Taoist. By looking at his poems and analyzing them from different themes and creation times, it can be see that when the ideal that he focused on as a “social person” collided with the reality, he dispelled such collision with the “nature” and “original aspiration” of Buddhism and Taoism. From a certain point of view, Wang Wei represented the mainstream cultural spirit of China. He focused on the objects gradually from the outside to the inside, and then completes the process of “introversion transformation” from “social person” to “natural person” and then to self “original aspiration”. This process was also the process of the integration of Confucianism, Buddhism and Taoism and the formation of “introversion transformation” culture.

中?人名的文化?涵及命名??

호재영(Hu Zai Ying,胡再影),김창경(Kim Chang Gyeong,金昌庆) 대한중국학회 2015 중국학 Vol.51 No.-

In China, a person's name usually implies many different meaning. It develops in tandem with the advancement of human civilization. This paper is devoted to analyze the cultural implication of Chinese names. It concentrates on finding the cultural factors that influence people' s naming process in different social and political settings. The paper provides some insight related to the naming conventions developed in recent years.

论李白《古风五十九首》中的海意象

황월명(Huang, Yue-Ming)(黄,玥,明),김창경(Kim, Chang-Gyeong)(金昌庆,) 대한중국학회 2020 중국학 Vol.73 No.-

李白笔下诗歌1054首,出现“海”字词汇有292次。其《古风五十九首》中有20首使用海意象。其诗歌中的海意象大多借海的外在物象与其内在情感意象想构建,展现“言在意外”之美。李白笔下的“海”有一部分是临海而作,有感而发,但大部分多“虚拟的海”,借助典故加以大胆的想象与夸张幻化出来的自己心中的海。或宣泄个人胸中之块垒,或是对人生际遇发出感慨,亦或是借典借神仙大海来表达自我情感。其笔下的大海的形象,正如其自己,诗人在描述海,表达海的同时,更像是在表达自我,抒发自我。在风格与创作的原则上,李白继承了《离骚》中的“自我”与《诗经》的“风雅”、“美刺”、及“现实”精神。此篇以《古风五十九首》为研究对象,分析其海意象的生成、组合和表达,透过诗人对海意象的构建分析其审美特色以及承载的诗人内在情感、内心世界。 The image of “Ocean” in Li Bai’s poems is mostly constructed from the external images of the ocean and his inner emotional images to show the beauty of “words beyond the meaning”. Some of Li Bai’s poems about “ocean” were written near the ocean based on his feeling, but most of them were about “virtual ocean”, which was the illusory ocean in his mind through bold imagination and exaggeration based on the allusions. Some of them expressed his depression or his perception about life, or expressed his feelings through allusions and the ocean of immortals. The image of the ocean in his works was just like himself. From this point of view, the image of the ocean is more like “materialized poet himself”. While describing and expressing the ocean, the poet was more like expressing himself. Li Bai sighed in his The 35th Ancient Style Poem that “Thinking of Emperor Wen of Zhou Dynasty in reading Taiga, and the influence of Song have collapsed for a long time. On the principle of style and creation, Li Bai inherited the “self” in Li Sao and the “elegance”, “beauty” and “reality” spirits of the Book of Songs. Therefore, this paper takes the text of Fifty-nine Ancient Style Poems as the subject, and starting from the “image of the ocean” involved in it, analyzes the poet’s inner feelings and inner mind through the “image of the ocean”.

先秦時期의 海洋文化認識

김창경(金昌慶) 동북아시아문화학회 2014 동북아 문화연구 Vol.1 No.38

This study researched the recognition of Sea Culture in Pre-Qin. In order to determine the recognition of sea culture in the Pre-Qin period, I re-interpreted the meaning of sea culture in historical materials and discussed a artistic meaning in 「The Classic of Sea(海經)」. Through this study, I derived the following results. First, pre-Qin’s Chinese not only recognize an infinite and vague sea, but also understood the sea as meaning a vast Chinese country[四海]. Second, in the spatial domain, it has abounded as spirit culture’s rich myth legend. Third, in ancient times, the Chinese began maritime activity inshore. In order to have smooth activity there, they sacrificed to the Four Gods(四神) and The god of the sea(海神). Therefore, Chinese people worked around the coastal fisheries. They had a vague fear of the ocean, and recognized it as a destination of religious worship.