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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 : 96권 2호 (2016)

『사이구뇨고슈』에 수록된 [요노호카노]노래의 주석에 관한 고찰

권혁인 ( Hyuk-in Kwon )
5,800
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본 연구는 『사이구뇨고슈』의 196번 노래의 해석에 관한 기존의 다양한 설 들에 의문을 제기하고, 가장 합리적이고 다양한 증거를 가지고 비교 고찰한 것 이다. [요노호카노]의 노래에 관해서는 다음과 같은 해석이 난무하였다. 누구의 노래인가?-사이구뇨고와 그의 딸 기시황녀 그리고 게이시와 그의 딸모리코황녀 이렇게 네 사람으로 보는 각각의 설이 있었다. ②결코 있을 수 없는 일이라는 고토바가키의 설명에 대해- 천황의 애정이 식을 만한 스캔들, 근친자들의 죽음에 대한 경험으로 일축되었었다. ③노래를 전달한 뇨보가 어디쪽 사람인가?-키시황녀 쪽 모리코황녀 쪽 어느 쪽도 분명하지 않은 애매학 해석이었다. 즉, 누가 누구를 위로하는 노래인지 여러 가지 가능성에 대한 세밀한 고찰이 없는 실정이었다. 이에 본 연구는 기존의 학설들을 하나하나 비교하면서, 해석의 오류와 편협 함 그리고 추측에 대해 수정을 가했다. 이로써 [히로하타노미야]라는 모리코 황 녀가 신하에게 시집가는 일반적이지 않은 경험을 하면서 서로 서신의 왕래가 뜸했던 것에 대해, 사이구뇨고가 위문하는 노래임을 밝혀냈다. 무라카미천황 시대의 인물들에 관한 철저한 고증과 가집 내부의 가군의 성 격, 그리고 고토바가키의 서술 방식을 비교하는 등의 세밀한 고찰을 행했다. 그리하여 게이시에 관한 노래로 오해를 받고 있던 점의 오류를 바로잡고, 애정 스캔들이나 출가 외의 또 하나의 가능성을 제시했고, 모리코황녀의 노래가 아닌 사이구뇨고의 노래임을 명확히 하였다.
5,800
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In this paper, I tried to discuss the feature of the methods of Usoji, which in onoga bakamura usojizukushi written by shikitei sanba in 1806. And as a result, I can find that there are five features, suggestibility, associativity, scalability, rotatability, and directionality. Needless to say, this pattern can be find from Chinese character play, but usoji`s suggestibility and associativity have a close relationship with argot orateji. And its number of characters more than three or four (scalability). We can also find the fact that there are directionality of flip horizontal which is used in character play. And I can say that these features are different to Chinese things. We can find Japanese usoji`s these feature from Edo period`s riddle or hanjie(drawing of riddle). Sakasa-moji (up and down rotation) and kagami-moji(left and right rotation) can be find from these days Japan, and we know that the reason by Japanese usoji.

가게키요모노(景淸物)에 대한 연구 -에도 시대 극문학(劇文學)을 중심으로-

김미옥 ( Mi-ok Kim )
6,200
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Kage-Kiyo of Legend could be found on the books of the Middle Ages and early Early Modern times. Among them are books of Early Modern times, especially essays, history, light literature and its massive volume. However, research on the Kage-Kiyo described in Early Modern times has focused on Chikamatsu Monzaemon (近松門左衛門) "Kage-Kiyo Victorious(Shusse Kage-Kiyo, 出世景淸)". Ten thousand and one, if not to mention essays, most of "Kage-Kiyo of Legend" listed consistent with the requirements of the relevant Kage-Kiyo mere legend or not, in the form of research and technology and several books of essays. The authors will reveal whether by investigation for possible early modern book Kage-Kiyo mentioned in the legend about the Kage-Kiyoin Early Modern times showing some aspects. However, the authors wrote an essay about the diary, essay, light literature, geography book enlightening essay. Therefore, this time conducted research focusing on dramatic literature, which has established itself as the basis of my research. The theater`s literary and around Joruri (淨瑠璃) , and Kabuki (歌舞伎) . It plans to study the books of various genres of Early Moderntimes, the next to start this article. This research will provide clues on the background of Kage-Kiyo has emerged as a loyalist Heike. In addition, the study will be an opportunity for a new way of thinking about the Kage-Kiyo study.
6,600
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『니세무라사키이나카겐지(안紫田舍源氏)』(이하,『이나카겐지』)는 에도 후기의 대중 소설인 고칸(合卷) 작가인 류테이 다네히코(柳亭種彦)의 대표작으 로『겐지모노가타리(源氏物語)』를 번안한 작품이다. 『이나카겐지』의 미쓰우지(光氏)의 나이는 전체적으로 모토오리 노리나가 (本居宣長)의신토시다테(新年立)의 겐지(源氏)의 나이에 맞춰 번안하려는 의도 가 엿보인다. 그러나 미쓰우지가 하카마기(袴着) 의식을 치르는 나이를 에도시 대의 풍습에 맞춰 바꾸거나 『겐지모노가타리』에 없는 새로운 이야기를 삽입 하여 시간의 경과가 늦춰지는 등 신토시다테와 다른 시간 설정도 존재함을 확인 할 수 있었다. 『겐지모노가타리』는 전체적으로 권(卷)의 순서에 따라 시간이 경과하고 있 지만, 경우에 따라서는 이야기의 순서가 바뀌어 있기도 하다. 『겐지모노가타 리』의 요모기우(蓬生卷)와 세키야(關屋卷)가 이보다 앞에 위치한 아카시(明石 卷), 미오쓰쿠시(령標卷)와 같은 시간대를 그리고 있거나(요코노나라비<橫の幷 び>), 스에쓰무바나(末摘花卷)는 이보다 앞에 위치한 와카무라사키(若紫卷)와 같은 시간대 혹은 그 후의 시간대를 그리고 있는 것(요코타테노나라비<橫竪の 幷び>)이 이에 해당한다. 이렇듯 다네히코는 『겐지모노가타리』의 권의 순서와 이야기의 시간 순서가 일치하지 않는 경우에 이야기의 시간 순서대로 권을 재배 열하여 『이나카겐지』를 창작했다. 그러나 『겐지모노가타리』의 모든 권(卷)을 이야기 순서대로 번안한 것은 아니다. 아오이(葵卷)의 구루마아라소이(車爭い)의 장면이 출판 상의 이유로 4~5년 앞당겨 그려지고, 사카키(賢木卷)의 기리 쓰보잉(桐壺院)의 서거 이야기가 역사적 사실을 반영시키기 위해 6년이나 늦추 어 그려진 것이 그 예라고 할 수 있다. 이와 같은 고찰을 통하여 다네히코가 『이나카겐지』를 집필하는데 있어 전 체적으로는『겐지모노가타리』의 시간 흐름에 따르고 있지만, 독자적인 시간 설정이 만들어진 부분도 존재하고 있음을 알 수 있었다.

헤이안 시대 문학에 나타난 실크로드 문화와 전승

김종덕 ( Jong-duck Kim )
한국일어일문학회|일어일문학연구  96권 2호, 2016 pp. 87-105 ( 총 19 pages)
5,900
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The aim of this research is to examine the Silk Road culture that appeared to Heian Period literature. There are various vestiges of the Silk Road culture and civilization in the Shosoin Repository in Nara. Those relics come from Persia, China, Shilla and Balhae indicate that the Silk Road culture and civilization were transferred to Japan. In Heian Period literatures such as Utsuho Monogatari and Ochikubo Monogatari reveal that a variety of materials and some typical types of stories were transferred to Japan via Silk Road. Utsuho Monogatari is a story about Toshikage, a member of Gyundangsa. After drifting into Persia, he returned Japan with Lyre and a way to play it. The Silk Road culture which has been handed down by tradition can be examined by this story. The stories of ill-treatment by step mother like Cinderella story have some differences among Korea, China, and Japan. In particular, those stories of Japan do not include the episode of losing shoe which leads to main character`s happy marriage and happy ending.

「조연상인입당시위모수선원문(조然上人入唐時爲母修善願文)」에 대한 소고(小考)

데시마다카히로 ( Takahiro Teshima )
한국일어일문학회|일어일문학연구  96권 2호, 2016 pp. 107-128 ( 총 22 pages)
6,200
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Based on the common view, the character of the Japanese monks who made voyages to China at the ancient period and the early medieval period is explained in the following way: Their purpose has changed from seeking and studying Buddhist Dharma officially to pilgrimage privately to sacred places. But there is still room to examine this popular theory. This paper, therefore, reexamines one of the historical documents which serves as evidence of the common theory. The document was a prayer written by YOSHISHIGE no Yasutane in 982 to explain monk Chonen`s self-awareness as the first Japanese who would enter to Northern Song China, a new dynasty. At a turning point in Japan-China relationship, Yasutane and monk Chonen who set out on a trip to China were conscious of the epoch­making envoy to Tang China in Taiho period (701-704). That is, the document was written based on the episode of a conversation between the emissary AWATA no Mahito and one untitled Chinese civilian. Until then all the travelers were regarded by the Imperial court of Japan as an official ambassador like Mahito, even if they traveled for purpose of pilgrimage to sacred places in China. Chonen and Yasutane mentioned that hereafter Japanese monk can travel to China not only as an official envoy but also as a trainer for his own salvation. After that, monks who travelled abroad were influenced by the document and took new way of travelling to China.
5,800
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In spite of the fact that the Gods of the Heaven shows more superficially in "Kojiki" and "Nihonsyoki" we may state a relation with a Sea always exists in the background. One of the God which represents a sea there is Watatsumi. The process of birth of Watatsumi could be seen twice in "Kojiki". The first is the legend of Sea Gods Izanami and Izanagi and their Kamiumi proces where Ohwatatsumi appears. The second After, three types of Watatsumi were came out from the Izanagi`s purification ceremony. Due to Misogi ceremony not only three types of Watatsumi but also three types of Tsutsunow and Sankishi (Amaterasu, Susanowo and Tsukoyomi) were created in the same time. The close phase to the Sea can be confirmed in "Kojiki" due to Gods which have a close relation with a Sea and due to the Sankishi. However, in "Nihonsyoki" we can not see any special moment related to the birth of Watatsumi. But in both chronics Watatsumi plays an active part in story about Yamasachi·Umisachi, spesially in part when Yamasachi visit the Country of Watatsumi. As Ohbayashi Taro says it could be the initiation to become a King and in order to show the Holy legitimacy holding the power and relationship not only with Gods of Heaven, but also with the Sea was necessary.
6,300
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The study examined names, periods, locations, sources of rumors, differences of contents and reasons of continuation of festivals to defeat Kato Kiyomasa on historic novels affiliated with 『Wakanshui (和漢拾遺)』. Firstly, names of the festivals could be divided into ‘the surrender of Kiyomasa’ and ‘the defeat of the governor-general of Higo``. Both names were used to represent the subordination of Kiyomasa. Secondly, periods of the festivals were written in detail on 『Wakansuzukibochomikki (和漢로포丁蜜記)』. According to the novel, the festivals were held at 21 of September from 1647 to 1652. However, it was stopped for about 10 years and restarted in 1661. It had two months difference with novels affiliated with 『Wakanshui (和漢拾遺)』. Also, it was consistent with 『Chosenseitoshimatsuki (朝鮮征討始末記)』that indicates the festivals were held in Autumn and 『Seikaniryaku (征韓偉略)』that indicates the festivals were restarted in 1661. Thirdly, locations of the festivals were written in the novels. The location on『Horekikoshinchosenraiheinoki (寶曆甲申朝鮮來聘之記)』was the most comprehensive one. The location on 『Wakanshui (倭韓拾遺)』『Wakanshui (和漢拾遺)』『Wakanshuichosenjinraihei(和韓拾遺朝鮮人來聘)』『Chosenraiheih orekimonogatari (朝鮮來聘寶曆物語)』had narrower range than『Horekikoshinchosenraiheinoki (寶曆甲申朝鮮來聘之記)』and they indicated opposite location.『Wakansuzukibochomikki (和漢로포丁蜜記)』indicated Busan Port as the location of the festivals and it was closely related to ‘a suburb of the South Chosen’ on 『Wakanshui (倭韓拾遺)』and‘a military camp of Gyeongsang Province’ on『Seikaniryaku (征韓偉略)』. Fourthly, sources of rumors about the festivals came from Tsushima Island. According to 『Horekikoshinchosenraiheinoki (寶曆甲申朝鮮來聘之記)』 『Wakanshui (倭韓拾遺)』『Wakanshui (和漢拾遺)』『Wakanshuichosenjinraihei (和韓拾遺朝鮮人來聘)』『Chosenraiheihorekimonogatari (朝鮮來聘寶曆物語)』, stories about the festivals were delivered by a person from Tsushima Island who traveled between Tsushima Island and The Japan House of Chosen across the ocean. It was consistent with a record on『Seikaniryaku (征韓偉略)』. Fifthly, the novels had differences in their contents. 『Wakanshui (和漢拾遺)』 『Wakanshuichosenjinraihei(和韓拾遺朝鮮人來聘)』『Chosenraiheihorekimonogatari (朝鮮來聘寶曆物語)』『Wakansuzukibochomikki(和漢로포丁蜜記)』showed more realistic style of writing and literary elements than『Horekikoshinchosenraiheinoki (寶曆甲申朝鮮來聘之記)』『Wakans hui (倭韓拾遺)』. Es pe c i al l y, 『Wakansuzukibochomikki (和漢로포丁蜜記)』dealt with stories that a straw doll of Konishi Yukinaga was hit by an arrow and jumped into the sea like a living person and a mass of flames came out from a straw doll of Kato Kiyomasa. Those stories could not be seen on other novels affiliated with 『Wakanshui (和漢拾遺)』. Sixthly, reasons of continuation of the festivals were were written in the novels. 『Wakanshui(和漢拾遺)』『Wakanshuichosenjinraihei(和韓拾遺朝鮮人來聘)』 『Chosenraiheihorekimonogatari (朝鮮來聘寶曆物語)』indicated that an epidemic disease occurred when Kiyomasa punished Chosen and stopped the festival but an epidemic disease did not occur when people of Chosen held the festival again. On the other hand, 『Horekikoshinchosenraiheinoki (寶曆甲申朝鮮來聘之記)』and 『Wakanshui (倭韓拾遺)』indicated that soldiers of Chosen were having military training on pretext of the festivals in order to maintain the power of army at the peaceful time. It was consistent with a content of『Chosenseitoshimatsuki (朝鮮征討 始末記)』.『Wakansuzukibochomikki (和漢로포丁蜜記)』indicated that a reason of holding the festivals was because people of Chosen were chagrined at Kato Kiyomasa``s action of taking the prince of Chosen as a prisoner during the Imjin War.

한일 작가가 바라본 신정론(神正論)의 문제들 -엔도 슈사쿠와 이문열의 경우를 중심으로-

김정봉 ( Jeong-bong Kim )
한국일어일문학회|일어일문학연구  96권 2호, 2016 pp. 171-189 ( 총 19 pages)
5,900
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The present paper examines issues in theodicy reflected in Korean and Japanese literary works. For this purpose, Endo Shusaku`s A Little Green Grape and Yi Munyol`s The Son of Man are analyzed. In perceptive senses of theodicy, Endo`s description of theodicy in A Little Green Grape is something to be developed with "methods" as it is "unknown." Yi Munyol, on the other hand, describes theodicy in a broader sense, using more details based on Biblical Theology and Liberation Theology. Endo`s work involves in his work loving humans as a mediator for overcoming unreasonable adversities in theodicy, whereas Yi`s work involves Messiah with mighty power as the mediator, who is Jesus. As to the ultimate orientation of theodicy, Endo is focused on the issues of "evil" as in the massacre in Auschwitz, while Yi pursues the salvation of people with political and social connotations. The findings of this paper are significant in that the differences in theodicy between the two literary works are interlinked with the perspectives of Korea and Japan towards the Catholic issues of Messiah, evil and salvation.

내촌감삼(內村鑑三)의 죽음에 대한 인식(2) -1인칭의 죽음을 중심으로-

박상도 ( Sang-do Park )
한국일어일문학회|일어일문학연구  96권 2호, 2016 pp. 191-208 ( 총 18 pages)
5,800
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This paper delves deeply into Uchimura Kanzo`s mature reflection on his own death. In order to illustrate his thought on death, this work specifically focuses on his last year as his fragile body had confined in a sickbed. Following the chronological order, this paper explores Uchimura`s diaries and letters. The thread of Uchimura`s thought which especially developed in the final decade of his life is based on his strong belief in a life after death, and, that precipitates his thought on the Second Coming of Christ. Because of his unswerving belief of salvation, he was able to overcome the tragic death of his loved ones. In the lieu of his consideration on death of others, this paper elucidates how he manages to his own death. In the imminent moment of his own death, Uchimura had no doubt on the afterlife, and he firmly believed that he will ascend to the heavenly place where his loyalty to God is finally actualized. Uchimura tried to maintain his strong stance on salvation, however, his diaries and letters also showed his fragile, conflicted mind which had been aggravated and tormented by the illness along with the absolute horror of his own death. However, as he embraced his own death, his attitude towards death had no difference that of his experience of death of his loved ones. As a Christian, he strongly believes the glory of the afterlife. With the last breath, the extraordinary thinker also let out a “Banzi” and this episode indicates his unshakable faith on his motherland and humanity. Uchimura’s resolute and firm attitude toward his own death represents his unwavering faith in God; and it also clearly demonstrates that he, as a visionary thinker, lives by his own word even at the moment as his own death has approached.
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