浅谈“一带一路”战略的文化意义

李鍾武 대한중국학회 2016 중국학 Vol.55 No.-

Recently, China's economy has entered a state of rapid growth from high growth to the growth of the so-called “The New Normal". In such a situation, "The Belt and Road" Initiativeas become the key of project The Chinese Dream. The cultural construction in "The Belt and Road" Initiative is really the key areas. According to this judgment that we say: "The Belt and Road"Initiative contains several important cultural significance. Its main contents are as follows: On the one hand, "The Belt and Road"Initiativeis not only the main spirit inheritance policies of socialist culture in contemporary Chinese, and The Chinese Dream future cultural policy to realize the plan. Second, "The Belt and Road" Initiativeis an important measure to spread China excellent traditional culture, create a good national image. Third, "The Belt and Road"Initiativein the construction of "people connected" is to expand cultural exchanges and strengthen people-to-people exchangesas the key target practice. Fourth, "The Belt and Road" Initiativeof advocacy and practice means to seek spiritual world through trade exchange settlement. This is to achieve the unity of the world "the Chinese Confucian philosophy, advocated "multicultural coexistence", "harmonious but different" pattern of world civilization. In a word, "The Belt and Road" Initiativeis not only an economic strategy, but more important is to promote along the cultural exchanges between the people all over the country. Chinese government is convinced that only relying on the profound Chinese culture, in order to overcome the difficulties "The Belt and Road "Initiative, finally realize the harmonious and win-win old world.

지식범주의 변신, 現量 다시 읽기 ― 唯識佛敎의 認識論에서 古典詩學으로

李鍾武(Lee, Jong-Mu) 대한중국학회 2019 중국학 Vol.67 No.-

古代 印度 因明學에서 기원한 中國 唯識佛敎의 認識論은 인간의 인식상태를 설명하는 現量, 比量, 非量 ‘三量’과 ‘三境’, ‘三自性’으로 구성되어진다. 明淸시대 王夫之는 이러한 유식불교의 인식론 중 ‘現量’이 ‘現在’, ‘現成’, ‘顯現眞實’의 함의가 있다고 해석하며 ‘인식의 時空性’, ‘인식의 直觀性’, ‘인식의 眞實性’을 논증함으로써, 논리적이고 체계적이며 분석적인 유식불교 의 교리체계를 총체적으로 해석하였다. 이러한 해석의 기초 위에 왕부지는 유식불교의 인식론 체계를 중국고전시학 영역에 응용하여, 현량 범주가 창작영감의 찰나적 심미포착, 형상사유 결과의 진실한 투영등을 포괄적으로 설명할 수 있도록 하였다. 특히 그는 ‘卽景會心’, ‘情景交融’의 함의를 담고있는 ‘마음과 눈(心目)’의 개념을 통해 현량적 시학이상을 힘주어 주장 하였다. 본 논문은 유식불교의 인식론 범주로서의 ‘현량’과 시학명제들을 실증적으로 해석하는 시학범주로서의 ‘현량’에 대한 개념과 양자간의 내재적 관계를 체계적으로 고찰하였다. The study purpose of this paper is twofold. First, it examines the conceptual structure of the knowledge category Pratyaksa(Xianliang 現量) of Chinese Buddhism originated in the ‘Hetu-vidyā research(因明學)’ of India. Second, systematically examines the process of establishing the current theory as a theory of poetry that expands and applies the present level of Chinese classical poetry to empirical interpretation of the propositions. The epistemology of Chinese Buddhism is composed of the Pratyaksa(Xianliang現量), the anumāna(Biliang 比量), the Non quantity(Feiliang 非量) Three doses, Three realm(Sanjing 三境), and Three self nature(Sanzixing 三自性) which explain human cognition state. The Wangfuzhi(王夫之) of the Ming & Qing(明淸) Dynasty interpreted that the Pratyaksa(Xianliang 現量) among the epistemology of Knowledge Buddhism has the implication of Present , Ready-made , and Display reality . Then, it proved the space - time of the cognition, the immediacy of the cognition, and the authenticity of the cognition. This is a comprehensive interpretation of the logical, systematic and analytical doctrinal system of Knowledge Buddhism(唯識佛敎). On the basis of this interpretation, Wangfuzhi(王夫之) applied the epistemological system of Knowledge Buddhism to the Chinese classical poetics area, so that the current category can comprehensively explain the charac - teristic aesthetic capture of creative inspiration and the true projection of the result of the image of reason. In particular, he insisted on the current ideology of poetics through the notion of ‘Mind and Eye(心目)’ which implies the implication of ‘Instant understanding(Ji jing hui xin 卽景會心)’ and ‘Feeling and Setting happily blended(Qing jing jiao rong 情景交融)’.

『詩經』에 대한 雜感性 문장, 『詩廣傳』 考察

이종무(Lee, Jong-Mu)(李鍾武) 대한중국학회 2020 중국학 Vol.71 No.-

『詩經』 관련 전통적 저작이나 해석서로부터 멀리 벗어나 그 자신만의 차별화된 특징을 보이는 王夫之의 『詩廣傳』은 明淸시대 經世致用 사조의 영향 아래, 개인의 철학, 역사, 정치, 윤리와 문학적 관점에서 출발하여 『詩經』 각 시편의 본뜻을 확대하여 설명하고, 자신의 주장을 자유롭고 폭넓게 적은 雜感性 문장이다. 王夫之는 『詩廣傳』에서 시가의 본질은 ‘情’에 있으며, 그 ‘情’은 본능적 七情이 아닌 天理를 稟受한 ‘性’의 ‘情’임을 주장하였다. 그의 이 같은 문학사상은 비록 程朱理學의 견해를 계승한 것이지만, 그는 여기에서 더 나아가 儒家詩學의 溫柔敦厚한 詩敎를 실현하기 위해, ‘情’에 대한 절제와 함께 ‘情’에 대한 여유와 관대함을 파격적으로 주장함으로써, 경직된 儒家詩學의 고루한 논리적 울타리를 크게 확장하였다. 본 논문은 儒家六經의 하나인 『詩經』을 ‘廣傳’이라는 독창적인 ‘논술적 설명방식’을 통해 ‘넓게’ 바라본 『詩廣傳』의 특별한 서술특징과 그 철학 및 문학주장의 핵심을 관통하는 내재적 精髓를 고찰하여, 王夫之 文學思想의 근간에 한걸음 더 접근하고자한 연구논문이다. The purpose of this paper is twofold. First, look at the special composition features of the Shi Guang Zhuan(詩廣傳) which extensively explored the Shi Jing(詩經), one of Six Confucian classics(儒家六經), as ‘Guang Zhuan(廣傳)’ an original ‘an essay style.’ Second, consider the inherent core content that penetrates the core of the philosophy and literary assertions of the Shi Guang Zhuan(詩廣傳). Wang Fuzhi(王夫之)’s Shi Guang Zhuan(詩廣傳) is very unique away from traditional books and interpretations of the Shi Jing(詩經). Under the influence of early Qing Dynasty(淸朝)’s Thought of Practical application(經世致用), This book consists of the sentence Mixed Feeling(雜感), which expounds the original meaning of each of the Shi Jing(詩經) and writes down one’s arguments freely and widely. Wang Fuzhi(王夫之) made his point, looking at these works from an individual s philosophy, history, politics, ethics and literature perspective. Wang Fuzhi(王夫之) argued in the Shi Guang Zhuan(詩廣傳) that: The essence of poetry lies in the Qing(情), which is the Qing(情) of Xing(性) downloaded from heavenly principles(天理), not instinctively the Seven feelings(七情). Wang Fuzhi(王夫之)’s this opinion is a succession of Cheng Zhu studies(程朱理學)’ views. However, in order to realize the Shi Jing(詩經) s Educational Purpose(詩敎), the Placid and gentry(溫柔敦厚) of the confucian Poetics(儒家詩學), it has made an unusual opinion to moderation and generosity in Qing(情). This particular argument has had the effect of greatly expanding the even logical fence of the placid and gentry of rigid confucian Poetics.

샤오홍슈 브이로그(Vlog)에서 자막형식 차이와 배경 소음 유무가 시청자 시청태도에 미치는 영향

리징,김종무 차세대컨버전스정보서비스학회 2024 디지털예술공학멀티미디어논문지 Vol.11 No.1

본 연구는 샤오홍슈 브이로그를 시청하는 400명을 대상으로 자막 형식(문장형, 요약형)과 배경 소음 유무가 시청자의 몰입도, 외로움 해소, 공감성에 미치는 영향을 분석하였다. 분석 결과, 문장형 자막과 배경 소음이 있는 경우 몰입도가 가장 높게 나타났으며, 이원분산분석을 통해 문장형 자막과 배경 소음 유무 간에 유의미한 상호작용 효과가 있음을 확인하였다. 특히, 배경 소음이 있을 때 문장형 자막이 요약형 자막보다 몰입도와 공감성을 더 높였으나, 외로움 해소에는 자막 형식과 배경 소음 유무가 영향을 미치지 않았다. 이러한 결과는 자막이 시청자에게 제공하는 즐거움이 긍정적으로 작용한다는 선행 연구와 일치하며, 배경 소음이 복잡한 문장 읽기에 간섭 효과를 주는 것을 시사한다. 또한, 배경 소음이 있는 경우가 없는 경우보다 시청자의 몰입도와 공감성을 높이는 것으로 나타났다. 본 연구 결과는 샤오홍슈의 브이로그에서 자막 형식과 배경 소음 유무가 시청자 태도에 미치는 영향을 이해하는 데 도움이 될 것이다. This study analyzed the effects of subtitle format (sentence or summary) and the presence of background noise on the immersion, loneliness alleviation, and empathy of 400 viewers watching Xiaohongshu's vlogs. The results showed that sentence-style subtitles with background noise resulted in the highest level of immersion. A two-way ANOVA confirmed a significant interaction effect between subtitle format and background noise presence. Particularly, sentence-style subtitles were found to enhance immersion and empathy more than summary subtitles when background noise was present, though neither subtitle format nor background noise significantly affected loneliness alleviation. These findings are consistent with prior studies indicating that subtitles positively enhance viewer enjoyment and suggest that background noise can interfere with complex sentence comprehension. Additionally, the presence of background noise was found to increase viewer immersion and empathy more than its absence. This research aims to aid in understanding the impact of subtitle format and background noise on viewer attitudes in Xiaohongshu's vlogs.

식탁 위 소박한 우아함 : 중국 문헌 속 미나리의 문화 함의 고찰

김원희(Kim, Won-Hee)(金源熙),이종무(Lee, Jong-Mu)(李鍾武) 대한중국학회 2021 중국학 Vol.75 No.-

일상 식재료이자 음식인 평범한 ‘미나리[芹]’는 많은 사회문화적 배경으로 인하여, 兼濟天下의 마음을 가진 士大夫 지식인의 다짐이고 忠情이었으며, 완전한 자기완성을 위한 비움의 실현, 즉 ‘淸貧’의 상징으로 여겨졌다. 본 논문은 중국문헌과 詩詞 속에 그려지고 있는 미나리의 상징성을 탐구해보고, 그를 통해 단순한 음식으로서의 미나리와 문화표징으로서의 미나리가 가지는 문화적 함의를 고찰하였다. The purpose of this paper is to explore the symbolism of Water cellery, which is depicted in ancient Chinese literature and poetry, and to consider the cultural implications of Watercellery as food and Watercellery as a cultural symbol. Food is both a thing for satisfying the tongue and a thing for satisfying the instinct that makes you feel full, but also a social thing. Humans meet nature in food on the table at the earliest. Eating the food is not just about eating nature s products, but about feeling and accepting nature s character and uniting us and nature into one. However, Food is not an independent thing separated from society, but an essential requirement in everyday life, and food is not an intermission, but an important purpose and a social process, which must incorporate social and historical elements. Water cellery is an everyday object with many people who have lived simple lives since ancient times, but the culture chest that was worn on them is very meaningful. Ordinary Water cellery, a daily food and food item, was a pledge of Scholar-bureaucrats to fulfill their duties with the mind of Help the world at the same time due to the many sociocultural backgrounds condensed in it, and was considered a symbol of emptiness for complete self-completeness.

宋代 문헌 속 육고기의 문화상징 연구

김원희(Kim, Won-Hee)(金源熙),이종무(Lee, Jong-Mu)(李鍾武) 대한중국학회 2020 중국학 Vol.73 No.-

文化는 사회의 발전을 이끄는 ‘소프트 파워’라고 일컬어지지만 물질적 토대와 정치적 변화로부터 온전히 홀로 설 수 없다. 中國 宋代 목축업과 조리기술의 발달은 양고기를 중심으로 한 독특한 육식문화를 만들어내었고, 이는 신분과 계급의 상승이라는 무거운 상징성을 가지게 되었다. 이에 반해, 돼지고기는 저급한 식재료에서 식문화의 중요한 위치로 점차 받아들여져 신분·지역을 아우르는 문화우월감의 상징이 되었다. 본 논문은 宋代 육식문화의 발달과정을 문헌에서부터 살펴보고, 이를 통해 당시 육고기에 대한 인식 변화와 문화 상징성을 고찰한 것이다. The purpose of this paper is twofold. First, the development of the China Song Dynasty(宋代) s meat culture, represented by Lamb and Pork, is based on the stories in various literature, and secondly, the search for related documents to examine the change of perception that each class had and cultural symbolism of meat at that time, which was represented by Lamb and Pork. Culture is referred to as the soft power that drives the development of society, but cannot help but be influenced by the political and economic situation of the era, as it cannot stand alone entirely from material foundation and political change. The development of the livestock farming and cooking techniques in the Song Dynasty, China, has created a unique carnivorous culture centering on lamb, a limited food ingredient that only the ruling class could enjoy, and this has become a heavy symbol of the rise of status and class, coupled with the ostentatious cultivation of the intellectuals and their incorporation into the power structure. Surrounded by the silk of the imperial family and aristocrats, the mutton, which had no choice but to lay down this heavy symbolism in the abyss of the war. At first, Pork was dismissed as a low-grade food ingredient, but as the stage of history and politics gradually moved from the Song Dynamic to the Southern Song Dynamic, it created a new branch of food culture in the station. It is a symbol of cultural superiority that embraces pork as an important place of food culture from the ruling imperial family and the knowledge class, and makes it a branch of the entire food culture beyond status and region.