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논문검색은 역시 페이퍼서치

일어일문학연구검색

Journal of Japanese Language and Literature


  • - 주제 : 어문학분야 > 일어일문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1226-2552
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 83권 2호 (2012)

三敎指歸 の蛭牙公子像

구운파 ( Yun Bo Qiu )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 107-134 ( 총 28 pages)
6,800
초록보기
This article`s object of study is Situga(蛭牙) who is one of the characters in "Sango Shiiki"(三敎指歸)of Kuukai(空海) and is put in the panorama of the works of Kuukai(空海) in order to understand the character`s image, effect and nature. Besides in "Sango Shiiki"(三敎指歸), you can also see this character in the other works of Kuukai(空海). Therefore, this article will do research on his other works -- "Shoryoshu"(性靈集),"Jujushinron"(十住心論) with the purpose of better understanding the characteristics of his image and effect. The results of my research are as follows: Firstly, the reason why I set this character is the debate among Confucianism, Buddhism and Taoism in Japan at that period. In order to deal with his own insights into the three religions, Kuukai(空海)used his nephew as a model, commonly educated by the three religions. Therefore, that figure was the starting point of Kuukai(空海)`s literature. Secondly, in the addition to "Sango Shiiki"(三敎指歸), you can also find it in "Shoryoshu"(性靈集).The comparison to animals used in the two works is not to look down upon such people as Situga(蛭牙), but to influence and educate them, which is originated from Kuukai(空海)`s Buddhist merciful desire. So this figure also reflects his starting point of his thoughts of Esoteric Buddhism. Thirdly, with the help of this character, Kuukai(空海)can show his attitude to the debate of three religions and began spreading Buddhism from then on. As a monk sent to Tang, he learned authentic Esoteric Buddhism in Changan of the Tang Dynasty, which was brought back to Japan, and started to save all beings. After the "Shoryoshu"(性靈集) and other works, Kuukai(空海)`s thought ,dating from the setting of Situga(蛭牙), gradually became mature in the practice of all beings and finally formed the "Jujushinron"(十住心論). Situga (蛭牙) `s heart is the first heart of "Jujushinron"(十住心論)of the butting goat`s heart, which is the theoretical base on "Jujushinron"(十住心論). Consequently, Situga(蛭牙)`s real image and characteristic is made clear.

“벚꽃”을 통해서 본 일본의 자국문화의식 고찰

김정희 ( Jung Hee Kim )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 135-158 ( 총 24 pages)
6,400
초록보기
This manuscript is to clarify the reason that cherry blossoms settle their place as the representative of flowers and describe themselves mainly as waning shape in Kokinsue(古今集) times through the history of Waka(和歌) and Chinese poems (漢詩). Jowagi(承和期) is widely known as the transition period, and in each poem of this age, especially in Shimadano Tadaomi(嶋田忠臣)`s poetry Denssikasyu(田氏 家集) many examples of cherry blossoms appear compared with the previous age. And Chinese poems reciting these cherry blossoms recognize this flower as a easily waning flower. Thus, it is thought that cherry blossoms received attention as the materials of Chinese poems by the inflow of Chinese poems by Chinese Tang poets including Baekgeoyi(白居易). And we analyzed Manyosyu(万葉集) and Chinese poems, Chokusensandaisyu (勅撰三代集), pointed out that expressing the vanity of life through withering flowers is the common ground of the expression of both countries, and clarified that the discovery of this common ground became the opportunity to associate cherry blossoms and fallen blossoms. This means that the expression of Waka(和歌) and Chinese poems has been absorbed in Japanese Chinese poems, then it leads to the creation of new Waka expression in Kokinsue times.

쇼토쿠 태자 신앙과 호쿠리쿠 지방의 약연기

松本眞輔 ( Matsmoto Shninsuke )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 159-175 ( 총 17 pages)
5,700
초록보기
In this article abbreviated stories about history of temples in Hokuriku province is discussed about. Jodo Sinsyu sect, which is known for its strong faith in Prince Shotoku, is prevalent in this region, and they have published abbreviated stories about a statue of Shotoku which has been enshrined in their temples. These stories have two patterns. One is about "a statue of Shoroku who recites a name of Namu Butu" and another is about "a statue of Shotroku who serves his father devotedly". Especially former statues are popular in Jodo Sinsyu sect because they have a doctrine that recommends enthusiastic practice of reciting the phrase Namu Amida Butsu. And the contents of abbreviated stories are extracted from "Shotoku Taishi Denryaku" but differ in details. Authors of such articles made a story about statue without strict restrictions. For example they mentioned freely who had made a statue.

万葉の川

齋藤麻子 ( Sioto Asako )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 177-194 ( 총 18 pages)
5,800
초록보기
This paper analyzes how the three rivers, Htuse River, Asuka River, Saho River, through the Nara Basin are expressed in Manyosyu. It can be found that whether the song was sang in Nara or not by comparing some volumes of Manyosyu which includes the three rivers with rest of the volumes which do not include three rivers. This can be explained that considering natural features of the seasons are more of experimental interest rather than ideological interest. Hantuse River and Saho River facilitated as the road for transporting trees during the removal of the capital. Asuka River was regarded as symbol of Hujiwarakyo, the Emperor`s palace, in the past. In some funeral songs, water plants waving in Asuka River was described as physical movement of male and female, Saho river was mentioned while describing a scene crossing Saho river as holding a monk`s funeral. Moreover, it also describes one`s grief for death of his wife as if he is shooting arrows to cormorant at Saho River. In some love songs, the intensive flow of Hutuse River was described as circulation of white, beautiful Nusa(Shinto offering of cloth). As in the funeral songs, the lovers are figured as water plants. The crying sound of Courser is representing Saho River. Finally, the image of Hatuse River and Asuka River surrounding mountain is decribed as god`s obi and it is an image of myth.

삼교지귀(三敎指歸)를 통해본 홍법대사 공해(空海)의 출가(出家)

유주희 ( Ju Hee Yoo )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 195-210 ( 총 16 pages)
5,600
초록보기
Kobo Daishi Kukai (774-835) who settled Shingon Esoteric Buddhism in Japan is widely known Buddhist monk. He wrote many books with his remarkable talent in writing. Most of all, "Sangoshiki" that contains the comparison of Confucianism, Taoism and Buddhism and the determination of being Buddhist monk is worthy of notice. In this paper, opportunity to lead Kukai into becoming Buddhist monk is studied through "Sangoshiki". As a result of study, the following two results could be obtained. Firstly, he met one Buddhist monk and inherited "Gumonzihou" from him. These factors impact greatly on Kukai to become Buddhist monk. "Gumonzihou" was one of the Buddhist asceticism in vogue at that time. Kukai believed Buddhism as genuine truth through this asceticism and decided to be Buddhist monk. Secondly, another big factor impacting on Kukai to become Buddhist monk is his brother`s death. Kukai was absorbed in Buddhist impermanence and seek being Buddhist monk by his brother`s death. This was discovered through linguistic analysis of "Sangoshiki" preface and last volume of impermanence. Therefore, it can be known that "Sangoshiki" describe the process of being Buddhist monk in his own language. The contention of this paper is to reevaluate "Sango shiki" as the declaration of being Buddhist monk.

多面?としての薰

윤승민 ( Seong Min Yoon )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 211-230 ( 총 20 pages)
6,000
초록보기
This paper attempts to clarify the intention of the narrative, as revealed in the construction of the character Kaoru. Kaoru is presented as an austere and humble idealized prince, but also as a character with a negative side, floundering in his obsession. Because of this, appraisals of Kaoru have taken many different forms. In fact, however, this complex image of Kaoru is deeply related to the nature of the Uji chapters. The Uji chapters go beyond the scheme of a simple love story, deepening the narrative by depicting the sadness and fragility behind Kaoru`s affair, which ends without the lovers coming together despite their feelings for one another. When a narrative is complex and three-dimensional in this way, it is necessary for the characters that bring it to life to be appropriately constructed. It seems that the multi-faceted character of Kaoru is responding to just such a narrative demand. Because his character is constructed in this way, the narrative encounters a series of turning points at each stage leading up to the conclusion of their affair, and is deepened from a multitude of perspectives. How multi-faceted a being is mankind? Murasaki Shikibu was able to demonstrate the answer to this in the Tale of Genji through character construction, one method of weaving a fictional tale. Through this analysis, it is clear that in the third section of the tale, after Genji`s death, Kaoru is not relativized in the slightest, but instead depicted even more richly.

玉?における二人の父

이부용 ( Bu Yong Lee )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 231-251 ( 총 21 pages)
6,100
초록보기
This paper examines how father-daughter relationships drive the story of Tamakazura. Previous studies about Tamakazura commonly focused on the ten chapters about the protagonist, Tamakazura (Tamakazura JuJo). However, examining the relationships between the protagonist and her two fathers can reveal an even more complex story about a daughter who is belonged to two families. Tamakazura`s story takes an unconventional route, because Tamakazura establishes and maintains good relationships with the members of Genji`s household, whereas most stories about adoptees describe a cruel stepfamily. This accordance might stem from Genji`s support for her. In particular, under his tutelage, Tamakazura begins to work in the court. Interestingly, through the occasion of a coming-of-age ceremony that Genji orchestrates, she has the opportunity to meet her natural father. Especially in the chapter titled “Spring Shoot I” (Wakana jo) chapter, Tamakazura carries on the role of daughter to Genji. For example, she prepares a fortieth birthday for her stepfather. Her natural family also takes part in the party and performs aristocratic musical instrument. Tamakazura seems to have an ambassadorial quality, because she connects Genji`s family with the Left Minister`s. Her role as Genji`s daughter can be confirmed by examining the “Bamboo Tree” (Takekawa) chapter. The chapter alludes to Genji`s decision to succeed a part of his property to Tamakazura. Futhermore, the close relationship with Yugiri and Kaoru shows that she acted appropriately as the stepdaughter of Genji`s family. To understand Tamakazura contextually, one should compare it to a similar story in the folk literature genre. This folk story tells of a daughter who was torn away from her father by an eagle. Eventually, she rejoins her natural father, but she keeps the relationship with the nursing father. In those stories, we can refer to the existence of daughter who can build a good relationship between her nursing and natural father. Therefore, it is thought that Tamakazura story sheds light on the issue of daughter of two families.

여성의 역할과 헤이케 모노가타리(平家物語) 구성

장영철 ( Young Chul Jang )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 253-274 ( 총 22 pages)
6,200
초록보기
The heroines of The tale of Heike show their lives through love and farewell, live and die, entering the Buddhist and going to Nirvana. The tales of heroines are not simply included as a tale of tragic love. They materialize the logic of “All things flow and nothing is permanent” like other men of heroes. They endure a lot of pains through war and struggle with their partners. After their husband and son died, heroines kept in the temple and prayed for the dead. The heroines` function of The tale of Heike effects the presentation of the theme and expension of sympathy.

관동대지진과 조선인학살을 향한 시선

강소영 ( So Young Kang )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 275-291 ( 총 17 pages)
5,700
초록보기
Writers of proletarian literature has an awareness of the issues about the massacre of Koreans during the Great Kanto Earthquake, Yamato Japanese to Korean to "event on board" work typical of which is symbolized as white clothes violence soul is drawn to be presented. It has been used as the Japanese spirit is transformed by age, a scene that captures the exact age can be said of the situation in Japan and then the ominous prelude to escalate fascism, and to nationalism. Aversion to blind obedience and external parties about the power of the state that Japan is the overture became the sinister era of the masses in the nation. Experience of the Great Kanto Earthquake, but vary from person to person, a sense of transience, distrust, fear, through the experience of Japanese Literature earthquake while a strong awareness of anxiety came to an 1924. And the literary avant-garde experiments of the previous city school as a new sense of urban literature occurs heterogeneous, with a focus on Dadaism is now come back to life, new developments also show proletarian literature.

엔도 슈사쿠의 바다와 독약(海と毒藥) 론

고경순 ( Kyung Soon Ko )
한국일어일문학회|일어일문학연구  83권 2호, 2012 pp. 293-307 ( 총 15 pages)
5,500
초록보기
This study Shusaku Endo`s "sea and poison" in the relationship between guilt and God has been investigated mainly. First, the presence of Japanese guilt in order to identify and Tsuyoshi Toda, Jiro Suguro looked around. As a result, the resistance actively in their own destiny Suguro not pushed around by circumstances, but as a painful vivisection after the intense guilt and that guilt appears as fatigue and weakness that could see. However, the god of Christianity in the West Suguro guilt does not exist, according to the flow of time has confirmed the fact that sometimes purged. Toda and actively participate in the vivisection of past theft, adultery, and human beings can do for committing all the sins you can not even feel a pang of conscience say to myself feel fear. Thus hath to himself that there is a lack of guilt are well aware about the sins he has committed and the fact that awareness was found. Endo "The Sea and Poison", the sea, aunt, helpless American prisoners of the death of Christianity through the existence of God is present. This Suguro guilt and God hath such association is not the God of Christianity through the Japanese people realize that when the human misery and, paradoxically, God`s intention to try to recognize the need was identified.
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