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논문검색은 역시 페이퍼서치

인문논총검색

Seoul National University the Journal of Humanites


  • - 주제 : 인문과학분야 > 기타(인문과학)
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-3021
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 2권 0호 (1978)
5,900
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There are no documents in Korea to show how the Chinese characters we use today were pronounced until 15th century. 1. Ancient Japanese documents, however, provide ample material which shows how names of people, places, and government posts were pronounced in the three Kingdoms period. According to Nihonshogi, it was Koreans who taught Chinese to Japanese and were responsible for recording and making these Japanese documents. 2. According to the ancient Japanese documents, the vowels of the four letters of kana -``烏````都`` ``奴``and ``布`` were pronounced in most cases like [u] and in very few cases like [o]. Some argue that (u) and [o] were interchangeable, but I have a different opinion, because it is certain that the (u) of the four Japanese ``Chinese characters, was the (u) of Korean, equivalents, before it had changed into (o). 3. The close study of the above-mentioned documents has revealed that the phonetic Sounds of Chinese characters used between the fifth and seventh centuries were not very different from those of Chinese characters we use today except for the prescriptive sounds like Tong-gukchongun, palatalization, and (z) sound.

문학(文學)을 통(通)해 본 한대문화(漢代文化)의 비한족적(非漢族的) 성격(性格)

김학주 ( Hak Chu Kim )
5,800
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"The Han Culture" means the culture of Two-Han period (B.C. 2 century -All 2 century), and "Han racial character" means the character of the Han race which created pre-Ch`in China on the north China plain. Han race``s pre-Ch`in China had a great difference in their territory and racial constitution with that of Han dynasty, but when we say "Han Racial Culture", it generally includes ``Han culture" within there. Nonetheless, I distinguish their character in this paper to emphasize the drastic change in Han dynasty and to emphasize that it is unfair sometimes to name them with synonyms, Since Two-Han culture became a cultural foundation of the forthcoming age, I, think the study of the cultural change in Han period could lead us to understand the character of the traditional Chinese culture more clearly. This work should be done from many perspectives, but I went on my study here from literary aspect in the first stage.(2)1. Ch``u-tz``u(楚辭) and Ch``u-ko (楚歌) Ch``u-tz``u and Ch``u-ko were developed from the songs of Ch``u, located at China``s southern district. Hence they carry with southernly passion and rythmical variety, which are quite different from the former Han race``s songs in their emotion and style. Ch``u-tz``u was, at first, written by Ch``u-yuan(屈原 B. C. 343- 290?), but actually they were read and prevailed from Han period. And Ch``u-yuan``s works began to be interpreted as patriotic poems from this time. Though Ch``u-ko are almost same in style with Ch``u-tz``u, but in length they are far shorter. Ch``u-ko were prevailed from the early Han dyansty, even the emperor Liu-pang (劉邦), B. C. 247-195), Hsaing-yu(?羽)B. C. 232-202), Liu-Ch``e(劉澈, B.C. 156-87) left some famous Ch`` u-ko writings. Ch``u was thought as a district of southern barbarian in pre-Ch`in era. Songs of barbarians began to be read and written from Han period, and that means a drastic change in the Chinese culture from Han dynasty. 2. Fu(賦) In the early stage of Han dynasty, Ch``u-tz``u was developed into another new forms, Fu of Han. Fu made the prime object on its writing with the grandiloquence, ornamentation and display of expression, and became more formalized and prosifled than Ch``u-tz``u. It seems to me that Han race were so unaccustomed to the rythm of the songs of Ch``u that their inexperiences in the writings of Ch``u-tz``u cannot help transforming it to Fu. I think, mimetism in Fu writing which prevailed throughout Two-Han also could be a circumstantial evidence to the above hypothesis. And most of the Fu writers of Han period were engaged in flattery to the Emperor, we cannot find a rightous man among them. Comparing to the Han race, who were traditionally respecting rightousness, we find a wide difference in the Fu writer``s character. These characters of Fu and Fu writers in Han period, which represent literature of Han, show us an aspect of drastic change of the Han culture from the original Han race``s character. 3. Five-word Poetry(五言詩) : In the former-Han era, typical form of Chinese poetry, Five-word poetry came into being. Though "Nineteen Old Poems(古言十九首)" and "Poems of Lee ling(李陵詩)" were not written in the early period of Han dyansty, we cannot deny that Five-word poetrybroke out during the reign of Wu-(武帝,劉澈). "Five-word" means "Five syllabic", and comparing with previous Four-word poetry, they are buoyant in rythm. This drastic change n the rythm cannot occur without contact with the heterogeneous culture, that is without the change in their songs and language. 4. Prose writings: Prose writings of Han period also tend to the ihetorical flourish and regdlarization of the passage from the beginning. Especially, prose of the Pu writers of the early periods of Han, such as Chia-yi(??) B. C 201-169), Ssu-ma Hsiang-ju(司?相如, B. C. 179?-lI7) have more regular word form and more antithetical expression. We could say that their prose writings were a start of Pien-wen(?文) which flourished at Nan-pei-ch``ao(南北朝). The formalizing tendency of prose became more intense in Late-Han period. It seems that because Han writers were lost the rythm and intonation of the Han race``s conventional language, they couldn``t but write the prose like that.(3) If we take a careful look on entire Chinese history, we can find a various change in Han dynasty. Politically autocratic system was solidly fixed, socially men-women re``ation and concept of Confucian teachings such as Chung(忠, loyalty or faithfulness), Hsiao (% Filial Piety), etc. were changed, philosophically Yin-yang(?陰) principles and Wuhsing(五行) theory were applied to many fields. And when we study the problem through literature, we find a drastic change of Han race``s cultural character at the time of Han. I think when we talk about the tradition of Chinese culture, we have to give consideration on the drastic change of this era. Furthermore, we guess dynasties of non-Chinese race such as Nan-pei-ch``ao(南北朝), Yuan(元) and Ch``ing(?) also had this kind of change.Hereby, I think, when we give consideration to these changes, we can understand the correct meaning of long history of the Chinese culture.

모시서저자고(毛詩序著者考)

김시준 ( Si Joon Kim )
서울대학교 인문학연구원|인문논총  2권 0호, 1978 pp. 71-107 ( 총 37 pages)
7,700
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This article aims at introducing three things: various points and problems of F1 involved in its publication, its two unique copies (the Vincent-Jaggard Copy and the Turbutt-Bodleian Copy), and its bibliographical and textual issues and some results of the investigation in this connexion. (1) Elizabethan dramatic copyright, F1``s editors, printers and publishers, its date and number printed are dealt with somewhat in detail. (2) Of some 240 extant copies of F1 quite a few are noteworthy, containing a cancelled leaf or proof-sheet, or recording an extremely romantic story. But the Vincent-Jaggard and Turbutt-Bodleian Folios are the most important and interesting-important for bibliographical and textual reasons and interesting for the strange fate they had undergone. (3) Rough sketch is made of textual transmission problems of F1, and some results of the investigation are outlined by way of discussing casting-off copy, stop-press correction, and compositor identication.

셰익스피어 First Folio -서지학적 서론-

이경식 ( Kyung Shik Lee )
서울대학교 인문학연구원|인문논총  2권 0호, 1978 pp. 111-132 ( 총 22 pages)
6,200
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August Strindberg의 Miss Julie와 A Dream Play의 비교(比較) 연구(硏究)

박희진
서울대학교 인문학연구원|인문논총  2권 0호, 1978 pp. 135-149 ( 총 15 pages)
5,500
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Thomas Mann에 있어서의 <이중시각(二重視覺)>의 이론(理論)과 실제(實際)

최순봉 ( Sun Bong Choe )
서울대학교 인문학연구원|인문논총  2권 0호, 1978 pp. 153-173 ( 총 21 pages)
6,100
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Der Begriff der ``dopplten Optik`` stammt von Nietzsches Kritik uber die Kunst Richard Wagners. Nietzsche spricht von einer ``wechselnden Optik``, die zugleich auf die grobsten und feinsten Wirkungen berechnet ist und die Zilge von Popularitat und letzer Ausgesuchtheit tragt. Th. Mann lost den Beriff der doppelten Optik aus seiner historischen Bezogenheit und maclit ibm sich selbst zu eigen und wendet ihn auf seine eigenen Werke an. Wagnersche doppelte Publikumswirksamkeit zu gewinnen, 1st auch Th. Mann bestrebt. Der Begriff der dopplten Optik wurzelt welter in dem Perspektivsmus Nietzsches. Doppelte Optik bedeutet, daB kein Ph?nomen mehr einseitig betrachtet werden darf, sondern auch die jeweilige Gegenposition in Betracht gezogen werden mul3, wenn eine echte Erkenntnis geistiger oder geschichtlicher Phanomene geleistet werden soil, Tb Mann hat den erkenntnistheoretischen Perspektivismus Nietzsches in perspektivisches Sehen und Beschreiben umgesetzt. Damit das Genze zu seinem Recht kommt, nuB das einzelne von wechselnden Blickpunkten standig relativiert werden. Diese Funktion erfullen die Th. Mannsche Beschreibweise wie ``einerseits-andererseits``, ``nicht so und nicht so`` und die Montage n2ehrerer Erscheinungen. Hierhin gehort audi die wiederholte Verwendung gekoppelter Adjektive, und der Charakter des Zweideutigen 1st auch bei der Beschreibung von Naturphanomenen zu erkennen. Der Perspektivismus des Erzdhlens fuhrt einerseits zu einer totalen Auflosung der Eizelheiten, er4elt aber andererseits einen unendlichen Komlex von Beziehungen. Ti. Mann war em hochantelligenter, nachschaffender Schriftsteller, der in der Parodie seine schopferische Moglichkeit erkannt hatte. Er hat sich aller Stoffe und Materialien bedient, die sich urn darboten. Er nahrn derartige Anleihe nicht aus Mangel an Phantasie vor, sondern aus einem Interesse daran, das Darzustellnde so wirklich wie moglich zu beschreiben. Aus diesem Erzahlprinzip entsteht die Zitat- und Montage-Tecinik. Aber diese montierte Wirklichkeit 1st einerseits audi nur Fiktion, die auch eine andere Bedeutung haben soil. Das Realistische hat bei Ti. Mann inner einen doppeiten Boden. Tb. Mann vertauscht die analogen Stoffe oder Materialien, wodurch die montierte Wirklichkeit ``doppelte Optik`` ermoglicht. So zum Beispiel, eine Musiktheorie kann die gesellschaftliche Situation unserer Zeit darstellen. Th. Manns Begriff der ``doppelten Optik`` bedeutet Zweideutigkeit, eine Kunst des`` Ausgleichs zwischen den Gegensdtzen, eine Kunst, die selbst das Wirkliche nur als From des Moglichen betrachtet. Th. Mann hat also, konnte man sagen, in semen Werken mittels der Kunst der ``doppelten Optik`` die von Nietzsche erwdnschte ``adaquate Ausdruksweise`` praktiziert.

Klinger의 고(考)

천기태 ( Ki Tai Chun )
서울대학교 인문학연구원|인문논총  2권 0호, 1978 pp. 177-198 ( 총 22 pages)
6,200
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Im ailgemeinen ist bekannt, daβ Klingers "Sturm und Drang", das im Jahre 1776 in Weimar verofffentlicht wurde, der gleichnamigen literarischen Bewegung den Namen gege-hen hat. In der Literaturgeschichte einer Nation ist aber sehr selten, daβ der Titel eines zeitgenossischen Werkes als Bezeichnung der entsprechenden Literaturepoche verwendet wird. Dazu mulβte es einen dementspiechenden Grund geben. Obwohl Kiinger neben Goethe und Lenz vor alien zu den Hauptguren der Bewegung zahit, sind sein "Mensch" und das Werk "Sturm und Drang" gewdhniich nicht bckannt. So wird oft im Studentenkreis die Frage gestelit, warum gerade em so unbedeutendes Werk von einem solehen unwichtigen Dichter wie Klinger der enorm bedeutsamen Literaturepoche, die ailgemein Geniezeit genannt wird und zum ersten Mal die deutsche Nationalliteratur im echten Sinne in die Wege geleitet hat, den Namen gegeben hat. Die vorliegende Arbeit versucht, auf die Frage eine Antwort zu geben. In diesem Sinne ist sie eine aufklarende. Der Autor hat sich dabei bemuht, besonders folgende Punkte hervorzuheben. Erstens: Wie die Benennung, "Sturm und Drang", zustande kam, wird nach Briefen von Klinger untersucht. Und die ailgemein anerkannte Ansicht, daB der Urtitel des Werkes, Wirrwarr, von dem Schweizer Kauffmann umbenannt worden sei, wird dadurch erganzt, zu zeigen, daB Kauffmann den neuen Titel, Sturm und Drang, jeweils aus der ersten Szene des ersten Aktes und aus der letzten Szene des letzten Aktes entnommen hat. Zweitens: Klinger wird als das Symbol des aufwartsstrebenden deutschen Btirgertums, das his dahin noch nicht zur burgerlichen Revolution gereift war, dargesteilt. Der Autor betrachtet die literarisehe Bewegung der Geniezeit als eine Abart der westlichen burgerlichen Revolution. Drittens; Der Autor hat das Werk, das heute kaum noch gelesen wird, gruudlich gelesen und eine Inhaltsangabe des Stuckes gegeben das dazu verhelfen soil, daB man nicht mehr zu Unrecht das Stuck mit "Romeo and Juliet" von Shakespeare vergieicht, wie es in der Darstellung der deutschen Literaturgeschichte ublich ist.
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