跨越时空的启迪:“内向超越”的人生 -透过王维诗歌看其心路历程

??明(Huang,Yue-Ming),金昌?(Kim, Chang-Gyeong) 동북아시아문화학회 2020 동북아시아문화학회 국제학술대회 발표자료집 Vol.2020 No.07

As a kind of ideology, poetry creation is restrained and influenced by the political thought, 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 prayed for Buddha but he was not a monk. He believed Taoism but he was not a Taoist. As a Confucianist, he went through numerous ups and downs in his life. Although he assumed a senior position in his later years, he was still hesitating and had no desire for honor or disgrace in his official career. He created many excellent poems full of interest and inspiration of Buddha. It can be seen that his poems were a mixture of Confucianism, Taoism and Buddhism, expressing his feeling and emotions. His life experience in different ages resulted in different life perceptions and emotional expression in his poems. Poems are not only the expression of personal thoughts, but also the expression of personal life ideal and life interest. Poems are also the things that can calm you down when you are sad and desperate. Once half of your life has elapsed, you may be able to think of Wang Wei’s poems, and perhaps you can get some insights from his poems. Just like his “four seasons of life”, his poems not only involves the process from vision to fruition, but also contains magnificent plots. By reading his poems and appreciating his life, we can face our own life calmly.

模因论视域下网络流行语的语用效应探究

??明(Huang, Yue ming),金炫?(Kim,Hyun tae) 동북아시아문화학회 2021 동북아 문화연구 Vol.1 No.68

In the linguistic circle, meme is believe to be the basic information unit of culture, language meme is the manifestation of culture, and language is the tool for the expression of cultural meme. All languages that can be replicated by imitation are language memes. Using memetics to interpret language phenomena and explore the way and process of language evolution and communication from different perspectives is a new entry point for learning and studying a language. Language memes have obvious characteristics of repetition and analogy in the process of replication and dissemination, which gives the language a strong capability of “regeneration” and “re-creation”. The emergence and dissemination of Internet catchwords have the characteristics of meme, making it more easily to replicate, create and disseminate in the Internet. Using memetics to interpret and analyze language phenomena may help us improve or deepen our understanding and knowledge of language origin, language acquisition and pragmatic communication, and broaden the research methods and approaches. This paper analyzes the generation and application of Internet catchwords memes from two dimensions, i.e. horizontal and vertical. Under the theoretical framework of linguistic theory, starting with the imitation and replication existing in a large number of linguistic behaviors, this paper interprets and explains the generation, popularity and social value of catchwords so as to deepen the cognition and understanding of language. Analyzing and interpreting the Internet catchwords under the theoretical framework of memetics is not only a new exploration of the research methods of catchwords, but also an expansion of the research field of language memes.

李白海意象诗歌中的用典研究

??明(Huang, Yue ming),金昌?(Kim, Chang gyeong) 동북아시아문화학회 2023 동북아 문화연구 Vol.1 No.77

LiBai was educated by the traditional Confucians in the manner of “exam-oriented education” at that time. His early poetry creation was based on various principles and rules of poetry creation. Due to the sufficient foundation and nutrients from his childhood learning, he was skillful to master various creative materials. These rich materials and nutrients are called “allusions”. Significant differences existed among different poets in the selection and use of allusions, even for the same poet, the allusions used in different periods, genres, and content were also different. Li Bais frontier poems and palace poems often contain allusions from the Han Dynasty; After the An Shi Rebellion, Li Bai often used allusions from the Warring States period and the conflict between Chu and Hand; When writing about the relationship between mountains and rivers and poetry and wine, Li Bai often used the classics of famous scholars from the Wei, Jin, Northern and Southern Dynasties periods; When writing about exile and setbacks, Li Bai often used allusions from Qu Yuan and Jia Yi. Li Bais sea-imagery poems account for 24% of his total poems, covering most of his life experiences, and also involving many themes and content. This article targets and conducts a classification study on the allusions in Li Bais sea-imagery poems. According to the sources of allusions, there are 27 poems that quote “Ji Bu” the most in “Jing, Shi, Zi, Ji”. On top of all, they are associated with “sea”, the most commonly used character allusions are related to myths, immortals, and legendary figures, followed by reclusive political figures. Based on the statistics, a total of 109 poems of Li Bais 254 Sea-Imagery poems use allusions. This article conducts a typological analysis of the allusions used, so as to explore their aesthetic role in poetry, as well as the cultural density and spiritual expression they represent.

Self-awareness in Li Bai’s Poetry Sea Imagery

HUANG Yueming(??明),KIM Changgyeong(金昌慶) 동북아시아문화학회 2024 동북아시아문화학회 국제학술대회 발표자료집 Vol.2024 No.6

Li Bai’s use of sea imagery is a profound vehicle for expressing his self-awareness and philosophical musings. The sea, with its vastness, depth, and changing nature, serves as a powerful metaphor for the poets inner world, his emotions, and his reflections on life. Through this imagery, Li Bai not only conveys his personal experiences and ambitions but also invites readers to contemplate the broader human condition. In Li Bai’s poetry, sea imagery serves as a powerful tool for expressing self-awareness. The sea’s vastness and depth mirror the poet’s introspection, highlighting his existential musings, emotional states, and spiritual aspirations. Through his evocative use of the sea, Li Bai not only paints vivid pictures of the natural world but also delves deep into the human psyche, exploring the complexities of life, freedom, loneliness, and immortality.

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”.

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.