근대 거사불교와 근대적 글쓰기 전략 - 백화 양건식과 蘇曼殊를 중심으로 -

박노종,권혁건 동북아시아문화학회 2009 동북아 문화연구 Vol.1 No.19

This paper shows how the mechanism of literature appears on Modern literature, exploring into the origin of Modern-Buddhist literature in Korea and China. It is no doubt that Yang Geon-Sik and Su Man-Shu's literature embody Buddhistic sprit, and connect with tradition and modern. Thus, we can verify that Yang Geon-Sik and Su Man-Shu's Buddhistic literature had been advanced to a pattern of aesthetics, and there is the mechanism of mind being supposed to be a reliable authority on the relationship between Modernism and buddhism in their literature. First is the discovery of modern tragic sprit. Through their pieces, they could understand the meaning of a solitary person who is described with loneliness and confession. Second is the discovery of a sprit of modern liberty. In modern time of East Asia being clash with complicated society and idea, a comfort which they gained through their works is that embodiment of sympathy or mercy. Thirty, rediscovery of a sprit of modern liberty is that a problem how literary result reflect in actuality, that is associated with literary identity of nation and race. This paper shows how the mechanism of literature appears on Modern literature, exploring into the origin of Modern-Buddhist literature in Korea and China. It is no doubt that Yang Geon-Sik and Su Man-Shu's literature embody Buddhistic sprit, and connect with tradition and modern. Thus, we can verify that Yang Geon-Sik and Su Man-Shu's Buddhistic literature had been advanced to a pattern of aesthetics, and there is the mechanism of mind being supposed to be a reliable authority on the relationship between Modernism and buddhism in their literature. First is the discovery of modern tragic sprit. Through their pieces, they could understand the meaning of a solitary person who is described with loneliness and confession. Second is the discovery of a sprit of modern liberty. In modern time of East Asia being clash with complicated society and idea, a comfort which they gained through their works is that embodiment of sympathy or mercy. Thirty, rediscovery of a sprit of modern liberty is that a problem how literary result reflect in actuality, that is associated with literary identity of nation and race.

중국 영화 속의 중화주의 양상 고찰

박노종 대한중국학회 2013 중국학 Vol.44 No.-

Movie sometimes has been actively used as political propaganda because it is one of genre in communion with public. In socialist countries, such as China, in which intervention and interference of state power being explicited widely, political messages in movies have been reflected in any forms. Mass production of the recent films on the subject of Sinocentrism is a good example. Historically, in China where confucianism has been settled as state religion since DongZhongshu, so-called Sinocentrism has been applied in the center of manas dominating international order to establish the relationship of neighbor countries. In particular, it is recently a discerned atmosphere that China's vertical rise of global status in many aspects has made Chinese domination and interference take for granted. Reflecting this trend, recent films with themes of culture supremacy, grand unification, and heroism have been poured into the world these days. Since the late 90s, so-called ‘National Studies fever(國學熱)’ that booms to reexhibit China’s traditional ideas proceeded in the maximized form has given birth to the movie <Confucius>. The Confucius who was once perceived negatively by the Communist Party of China as a vestige of feudal society is shed new light on and now he comes back to the heroic shape and mobilizes national consciousness dispelling the current crisis of moral civilization. Apparently, Confucius meets the sign of 'China' the most, but what we should not overlook is that he has been already sublimated to the absolute value of East Asian civilization and spirit through historical process so he is no longer tied to ethnic myth.

20세기 초 중국유학생 잡지를 통한 ‘문사(文士)’ 의식의 변화 고찰 * 1) ― 루쉰(魯迅)의 일본 유학시기를 중심으로

박노종 대한중국학회 2017 중국학 Vol.60 No.-

19세기 중반 이후 서구의 의한 강제적인 문호 개방에 시달리며 문명의 큰 충격을 경험한 중국의 전통적인 문사들은 새로운 지적 생성을 도모해야 했다. 이 과정에서 선도적인 역할을한 엘리트집단은 자국을 무력화시킨 서구 문명국의 유학생들이라 할 수 있다. 이들 초기 유학생 대부분은 전통학문을 훈습하였고 전통적인 ‘문사(文士)’들의 전철을 밟은 인물들로 전통 문인의 기질과 품격을 아우르고 있었으며 자국의 문화와 학문에 대한 자존감은 여전하였다. 본고에서는 이처럼 전통 학문과 서구 학문을 모두 총섭하고 유학까지 경험한 루쉰(魯迅)의 일본 유학시기에 초점을 맞추어 그가 유학생 잡지 절강조(浙江潮)와 하남(河南)에 발표한 글을 통해 루쉰의 전통적 사유와 서구의 사상관념이 어떻게 교응(交應)하는지를 살피는데 주목하였다.

20세기 초 중국유학생 잡지를 통한 ‘문사(文士)’ 의식의 변화 고찰― 루쉰(魯迅)의 일본 유학시기를 중심으로

박노종 대한중국학회 2017 중국학 Vol.60 No.-

19세기 중반 이후 서구의 의한 강제적인 문호 개방에 시달리며 문명의 큰 충격을 경험한 중국의 전통적인 문사들은 새로운 지적 생성을 도모해야 했다. 이 과정에서 선도적인 역할을 한 엘리트집단은 자국을 무력화시킨 서구 문명국의 유학생들이라 할 수 있다. 이들 초기 유 학생 대부분은 전통학문을 훈습하였고 전통적인 ‘문사(文士)’들의 전철을 밟은 인물들로 전통 문인의 기질과 품격을 아우르고 있었으며 자국의 문화와 학문에 대한 자존감은 여전하였다. 본고에서는 이처럼 전통 학문과 서구 학문을 모두 총섭하고 유학까지 경험한 루쉰(魯迅)의 일본 유학시기에 초점을 맞추어 그가 유학생 잡지 절강조(浙江潮)와 하남(河南)에 발표 한 글을 통해 루쉰의 전통적 사유와 서구의 사상관념이 어떻게 교응(交應)하는지를 살피는데 주목하였다. The creation and transmission of intellectual discourse in early modern East Asia was often led by elite international students. By 19th century, the traditional intellectual system of China was exhaustive and did not function properly anymore. Opposing to the academics of the past, those who aggressively pursued modernity were those who went to Japan or other Western countries to study abroad and to experience Western civilization. They, as intellectual elites, overturned their concept of traditional East Asia academics and literati and were at the forefront of recreating a new form of academics and ‘文士’ as well as the role of literati. Although Lu Xun(魯迅) does not necessarily represent the traditional literati’s consciousness of Chinese international students at that time, however, his writings during his study overseas showed a constant pattern of combining and embracing traditional thoughts and modern Western ideas. Early in his age, Lu Xun not only imitated traditional study methods of Chinese literati, but also developed his own taste and creative attitude toward academics. How he understands and accepts this idea did not change even after he began receiving Western style education. His maiden works written for magazines “Zhejiang Chao(浙江潮)” and “Henan(河南)” also portray his critical attitude of the harmonization across all ages and countries. It is as if Yan Fu(嚴復) and Zhang Taiyan(章太炎), protagonists from Lu Xun’s writing coexist with Stirner, Nietzche, and Byron. With the education from traditional Chinese gentry and his unique personality made him an idealist who practices social reform and a passionate revolutionary practitioner who arbitrarily interprets and tailors Western literature and art. It is evident that Lu Xun’s ideas were not fully developed in his writings during this time but, it is worth peeking through his fundamental ideas amongst his vastly accumulated literature.

高行健 희곡의 담화 전략에 대하여

박노종 부산대학교 중국연구소 2006 Journal of China Studies Vol.1 No.-

동아시아적 근대 학문의 관념과 체계에 대하여* - 張之洞 ≪勸學篇≫과 후쿠자와 유키지 ≪學問のすすめ≫의 비교를 통해 -

박노종,권혁건 중국인문학회 2009 中國人文科學 Vol.0 No.43

This article is to study the changing of an idea of learning in the modern East Asia, through the comparison between 『the encouragement of learning』, Zhang zhitong's writing, and Hukuzawa yukiji's book, or『the encouragement of learning』. After the 19th century, one common characteristic of the strategy in two nation, China and Japan, was that they thought of introducing Western technology with their traditional spirit as the central figure. In short, Korea stood "東道西器", China "中體西用", Japan "和魂洋才". Then concrete ways each nation dealt with introducing Western technology was different, but the fundamental sprit was same. As ever, Zhang's and Hukuzawa's seem different, but the sprit of two writhings is to keep their traditional sprit. In this point, these books are considered as having influence on even today. It may be briefly summarized as follows; One, Hukuza criticized severely about the attitude toward tradition, Zhang maintained keeping tradition, if necessary. Both seem different, in fact, they inherited their nation's tradition. Two, both of them insisted the changing of conservative intellectual. But Zhang emphasized on the sprit of a wise man changing into fitting modern time, meanwhile, Hukuza stressed intellectual who could contribute the development of nation. Three, about the modern school established with the introduction of western civilization, Zhang considered that it took place of the state examination, but Hukuza pursued military way's regime to realize Japanese imperialism through the modern school. In this point, their thought of modern learning was used with the important standard reforming the modern education, it is within bounds to say that an idea of their writing has influence on even today's.

중국 현대극의 서구 연극 사조 수용양상 -조우의 작품을 중심으로-

박노종 영남중국어문학회 2004 중국어문학 Vol.0 No.43

중국 도교학원과 도교 교직자 양성체계 고찰

박노종 대한중국학회 2022 중국학 Vol.78 No.-

현재 중국 정부의 비준을 받아 공식적으로 운영되고 있는 도교학원은 10곳 정도이다. 1990년 설립된 중국도교학원 설립을 시작으로 그 규모에 따라 현재 3년제 도교학원과 4년제 도교학원이 나누어진다. 그리고 학제의 편성은 대체로 대전(3년), 본과(4년), 연구생반(3년) 체계로 구성되어 있다. 학생모집에 있어 전진파와 정일파 및 건도(乾道)와 곤도(坤道)를 구분하여 모집하기도 하며, 그리고 각 지역도교협회와 도교학원은 필요에 따라 단기과정의 연수반 등을 설치하여 운영하기도 한다. 중국도교학원은 ‘종교원교설립판법(宗教院校设立办法)’을 근거하여 중국 정부가 정한 국가교육체계의 범주 안에서 운영된다. 이는 중국 정부가 교직자 양성과정을 종교학교로 일원화하려는 의도로 갈수록 종교학교의 중요성이 대두되고 있다. 실제로 도교학원을 통해 배출된 졸업생들이 도교협회 산하 궁관에서 거의 대부분의 주요한 임직을 맡고 있다. 이처럼 도교학교는 도사 양성을 책임지며 중국 도교 문화와 민족신앙의 전파를 위한 도교 인재양성의 핵심기지로 주목받고 있다.

그림과 문학의 상관관계를 통한 중국문학의 근대성 생성 연구 ― 소만수의 소설 『斷鴻零雁記』와 題畫를 중심으로

박노종 대한중국학회 2016 중국학 Vol.55 No.-

19세기 말에서 20세기 초에 중국의 문학, 예술 개념의 관념을 형성하는데 위력을 발휘하고 있던 전통적 ‘文’의 역할을 재탐색하고, 이에 따른 전통적 문화의식의 영향이 문학예술의 방 면에서에서 근대 중국의 근대성을 어떻게 재구성하고 담론을 구축해나갔는지를 밝히고자 하 였다. 이러한 문제의식을 근거하여 당시 남사(南社) 계열의 문인으로 화가로서 천부적인 재능 을 지녔으며, 서구 문학을 번역하여 소개한 개척자의 한 사람이며, 현대적 소설의 선구적 작 가의 한 사람인 소만수(蘇曼殊)를 통해 근대시기 변혁기를 살아가는 중국지식인의 사유적 기 반을 천착하고자 하였다. 그리고 이러한 탐색을 통해 확인할 수 있었던 사실은 이들 문사들은 자신들이 훈련받은 전통적 학문을 토대를 매우 적극적으로 근대적 학문과 사상과 습합하 려는 노력을 견지하였다는 점이다. 일례로 소만수의 화제를 살펴보면 소만수의 그림과 연관 된 문사들의 의식적 특성을 발견할 수 있다. 그들에게는 우국충정의 전통적 사대부의 이상이 어김없이 표현되고 있다. 그들은 중국화가 담고 있는 관습적 장치를 통해서도 자신들의 지향 점을 구체적으로 표현하려 하였다. 소만수 그림의 화제에 인용된 화제시(畫題詩)의 대개가 이 민족의 침입으로 멸망해 가는 왕조의 비극을 담은 내용들이 주를 이룬다는 점에서 그러하다. 그의 소설 『단홍영안기斷鴻零雁記』 또한 이러한 징후를 찾아 볼 수 있다. Cultural modernity cannot be introduced to a country solely based on western knowledge and culture. Although a lot of these aspects can be described as records of battles against protecting a country’s uniqueness from foreignness, there are no significant research on this topic yet. Thus, this study analyzes how the probability between the comprehensive knowledge of poems, paintings, and calligraphic works of Chinese traditional writers led to the creation of modern literature. SuManshu(蘇曼殊) was a Chinese writer who had exceptional skills in Chinese traditional studies. He was actively involved in opening up to the western style of learning. He became a Buddhist monk early in his age. He showed great talents in literary paintings which are depicted well in the pictorial aspects of his novels. Creative activities such as the translations of western literary works and Sanskrit Buddhist literature or the creation of new novels also show the development of the cultural modernity of the writers during the period. Consequently, the holistic perception of the Chinese literature and the extension of epics can be better understood through his novel Duanhonglingyanji and painting poetry.

영화 속 조선족(朝鮮族)의 디아스포라와 정체성 고찰 - 장률(張律)과 그의 영화를 중심으로 -

박노종,고현철 동북아시아문화학회 2012 동북아 문화연구 Vol.1 No.30

A Study on the Diaspora and Identity of Korean Chinese People (Chaoxianzu) in Movies - Focusing on Zhanglǜ and his Movies - Park, Lo-Jong․Ko, Hyun-Chul Korean Chinese people in China as we currently call compatriots in China as a whole have been highlighted as a new group in East Asia. They have now become a representative example of immigration and border crossing over their prior abodes in the present from the phenomenal recognition on Chinese in the past, who immigrated into China and have lived there and minor ethnics in China. Gradually, they have been pointed to be one of social phenomena while forming their independent communities. This essay selects Zhanglǜ who has been known as a first Korean Chinese cinema director to study their diaspora and identity through this changing topography of Korean Chinese people, while aiming at studying the consciousness of these problems through his movies. A cinema director Zhanglǜ is a figure on many contacts and his images represent his positioning very well in such a way. It can be considered that his movies have been already accepted universally in the categories of Korean movies and he has accumulated aesthetic layers of Zhanglv movies in his creative styles in the history of Korean movies. For Zhanglǜ, it can be said that various images in world citizens are crossed over the identity of refugees and their boundaries from faces of immigrants who are living in alien lands. Amidst various calls such as Korean Chinese people, Chinese people and minor ethnics, we can see that he has transfused his diaspora in a very dynamic way to create a new form of cultural consciousness in East Asia. In addition, he has drawn the aspects of identity to the inside of consciousness in our life over the political prejudice in a very sharp way and has purified it in a realistic manner through his movies, while he is not limiting to his identity. It is true because we may acknowledge that he has been embodying the spirit of the East Asian life called humanism over the acquired distinction on boundaries called the language, people and national territory.