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논문검색은 역시 페이퍼서치

한국시가문화연구(구 한국고시가문화연구)검색

The Studies in Korean Classic Poetry and Culture


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 반년간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 2466-1759
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 15권 0호 (2005)

송고(松皐) 권녕옥(權寧玉) 연구

권순렬 ( Soon Yoel Kwon )
6,100
초록보기
Songgo Kwon Yong-Ok soothed his anger through poems under the rule of Japanese Empire and devoted his life educating his pupils to prepare for a new age. Also He didn`t think about studying in Japan even though it would lead to successful life. He also refused to move to Manchuria to escape from the oppression of the Japanese Empire. He settled down in this area and lived with the nation like pine trees. Songgo`s life shows well how conservative intellectuals prepared for and responded to the future of the nation in the age of the fetters. Songgo`s life made a difference of the history of Korean spiritual civilization under the rule of Japanese Empire. Therefore, studying about him will be able to provide aid in the study of confucian life under Japanese rule and how to pursue it into the new century.

금강산 기행가사의 언어미

김기영 ( Ki Young Kim )
6,300
초록보기
There are about thirty Travel Gasas about Mt. Geumgang. In the early period of the Joseon dynasty, we had only Gwandongbyeolgok and Gwandongsokbyeolgok for Travel Gasas about Mt. Geumgang, and they were short and lyrical. In the late period of the Joseon dynasty, there were a lot of long and descriptive works. While only bureaucratic literary men wrote them in the early period of Joseon, bureaucratic literary men, scholars out of office, Buddhist monks and others did so in the late period of Joseon. Then in modern literature, the group of writers expanded to include women. Long and short stories existed at the same time. In the Travel Gasas about Mt. Geumgang, Taoist, Buddhist and Confucian language was used to express the beauty of the language and they enhanced the emotion of the works and the beauty of literature. The beauty of the language in the Travel Gasas about Mt. Geumgang was realized through unique expressions such as presentation of speed and space of time, humoristic expressions, conversational statements, and insertions of Chinese poems. It was occasionally shown through realistic and lyric expressions.

청련(靑蓮) 이후백(李後白) 시의 풍격

김동하 ( Dong Ha Kim )
6,400
초록보기
Until now, Lee Hu-baek was known as a clean-handed officer. But he should be newly recognized as a writer, especially as a poet of prominent ability in the field of poetry. When we consider that the root of the 3-Tang lies in Honam poetical circles, the influence of Lee Hu-baek was very great like Park Soon. This fact was firmly established by Nongam Kim Chany-hyop, the remarkable critic of the latter half of Chosun Dynasty. In fact, Lee Hu-baek was not embossed in Korean literary history. The main reason, I think, is that his works left until now, are only 101 pieces of poetry. But the literary excellency is never proportional to the quantity of the works. Among his works, there are excellent works in the literary sense. We are used to dealing with style as a way to appreciate poetry and criticize it properly. Style means the artistic distinction and creative subjectivity expressed in the writer`s works. So, though it is only impressive criticism based on the intuitive cognition, it has been regarded as the short way to grasp the literary beauty revealed in the writer`s works. Lee Hu-baek`s style can be summarized into the following three points 1) a fresh and unique style(淸奇), 2) a manly and broad-minded style(豪放), and 3) an uncommon and profound style(超詣). First of all, Lee Hu-baek`s poetry has a fresh and unique style in the poetic word and its deep meaning. The remarkable style is a manly and broad-minded style in quantity. A manly and broad-minded style mainly appears in free verse. Lee reveals the strong will and hope to save the world and people as an official holding office in the government for about 20 years. The above fact was witnessed by the comment that Lee`s prose and poetry were broad-minded and robust in the book called A true Record of the Chosun Dynasty(朝鮮王朝實錄). An uncommon and profound style was found in Lee`s poetry. The fact was demonstrated by Huh Kyun`s comment on `Losing Title` in his the Selection of Poems of the Chosun Dynasty(國朝詩刪)

<강호사시가(江湖四時歌)>의 창작 시기와 세계상

김명준 ( Myung Joon Kim )
6,400
초록보기
Until now in the history of researches, was conclusively considered as a work of Maeng Sa Sung in his later years; therefore the awareness this work intends to implicate was viewed as the product of a harmonized and leisurely world view, whether it is the result of actual experiences or notion from Nacherleben. However, there is no definite evidence to prove that is a work of Maeng Sa Sung`s later years, and as a matter of fact, there is a stronger possibility of being written in Maeng Sa Sung`s youthful days when he was suffering from frustration. Moreover, different point of views can give lead to divergent interpretations of the world reflected in this work; therefore, this became the initiative of my argument. The fact that was published with works of Lee Saek and Jung Mong Joo in [Chunggooyoungeon] which included early, implies that [Chunggooyoungeon] projects three human types in a time of turning point through literary works. In addition, the period of actual experience of Gangho for Maeng Sa Sung during his life, that is, his retirement period in Asan, was the end of Koryo and beginning of Chosun Dynasty. In this period, the exile of his master Kwon Keun and banishment of himself also occurred. Just as Kwon Keun expressed his pain of frustration and volition of returning by writing the chapters of and , Maeng Sa Sung has created another and , following his master. Therefore, the period was written can be estimated to be between the foundation of Chosun(1392) and his return to the government service(1394). As above, when we consider the period when was written in his banishment days, the world view of the work leaves a distance from optimism. To Maeng Sa Sung who seceded from the royal road of government service, the four seasons in Gangho would have been so painful. However, for he had heard the news of his master`s return to the government in Gangho, Gangho can be regarded as the stage for his comeback. Maeng Sa Sung described Gangho, which enabled the hope of return despite the failures and ordeals, with aesthetics of duplex linguistics by `nothing to do,`and `grace of the great lord.` Conclusively, the world of would be a world where the actuality, which shows the reality of pain, and ideology which desires Nacherleben, meet in harmony.

연담(蓮潭) 유일의 교학적 불교시

김석태 ( Seok Tae Kim )
6,200
초록보기
During that time, the recognition that Buddhist literature is a so¨n poetry was dominant over all the others. Of course, it is true that a Buddhist chinese poetry which express the realm of Buddhism in chinese character cultural area through chinese poetry, a particular literary form, has something in common with so¨n, imitating Buddhist-character by suggestive and symbolic poetical style. Cause of this point, so¨n priest poetry can mean so¨n poetry. In other words, the inclusive idea of Buddhist poetry may be a so¨n poetry was truly in existence and when we inquire into a study result of Buddhist literature, almost result is laid disproportionate on so¨n poetry. With a critical mind to this circumstances, I want to examine a aspect of Buddhist literature which use diffrent style of poetry from former so¨n poetry in this thesis. Through Yeon-dam-you-il`s poetry literature I examined some aspects about the Buddhism scholar. Yeon-dam-you-il(1720∼1799) is representative Buddhist scholar in 18th centry. Though Buddhism succeed the tradition of both so¨n and Buddhism that time, the main current was a Buddhist scholar. Yeon-dam is who followed his senior Seol-pa-sang-un so who devoted his whole life to editing the meaning of a teaching and lecturing the Buddhist scholar laying stress on the study of Avatamsaka. By unfolding a contention mind with Muk-am, he took the lead in Buddhism thought. In the second chepter, setting scholastic Buddhist poetry as a premise dispute about Yeon-dam`s insperation towards language and useing a poetic word. The words of so¨n which is based on the theory of no dependence on words and letters, insist giving up Buddha`s lesson purued intensional deliverance language situation. But Yeon dam chase intensional understanding apprehension language situation that can comprehend truth`s real nature on account of understanding the sutras` purport. In other words, so¨n try to transcend words while Buddhist scholar thinks much of fine reason and exact understanding of delivered meaning. Those difference between these two recognition is found individually in real poetry literature. In chepter three, this thesis examine a aspect as a Buddhist poetry of real Yeon-dam`s poetry. This has two phasese largely, one is expression on book toward Avatamsaka`s logic, the other is expression about scholar of so¨n. The core of Yeon-dam`s Buddhist scholar is Avatamsaka scholar. With Avatamsaka`s the theory of co-rising the totality of things the Dharma realm which thinks all beings co-rising one soul, he represent the reason about learning of Avatamsaka scholar carrying the idea that each being may seem diffrent directly in his poetry literature. Though it might have less literary inspiration than traditional so¨n poetry, it coincide all the better for with the nature aim of Buddhist poetry, understanding and transmission of Buddhist scholar.

연정가사의 형성 배경에 대하여

김팔남 ( Pal Nam Kim )
6,300
초록보기
This paper tries to newly call love songs between male and female in Jo-seon Dynasty , in contrast to the conventional definition, namely . In addition, it aims to investigate the background of formation of these songs. Until now, there has been a strong assumption that these kind of songs had been written in late Dynasty, in that there has been not nearly made love songs because the Jo-seon Dynasty adopted Confucianism as a common moral and a political philosophy. However, I found that there have been 71 love songs through investigating the related books and materials which have been still available. On the basis of above discussions, I categorized the formation backgrond of in both early and late Jo-seon into two types. While I dealt with the general trend, that is open description of sex, in literature and art in the perspective of outside influences, I did the method of creation and narration in early love songs, and progressive emotion of female writers in the view of inside impact. Particularly, regarding the inside impact, I confirmed that was much influenced by the skill of praise in the , the recognization of feminism in the and the method of narration in the and the .

김병연(金炳淵) 시집 번역 검토

류연석 ( Yeon Seok Ryu ) , 양동식 ( Dong Sik Yang )
6,100
초록보기
Kim Rip Shi Jib is the original text of Kim, Byeong-Yeon`s(1807∼1863) collected poetry. The research about the original text of Kim Rip Sin Jib is based on Lee, Eungsoo`s first, second, and final editions of which the title was changed into Satirist Kim, Satkat. The secondary texts that are used for the comparison with the main text are Kim Rip Sin Jib by Baek, Gilsoon, Park, Oyang and Chinese poetry written by Kim, Byeong-yeon and translated by Heo, Munsub, Keon, Yonghan, Kim, Yonghan, Lee, Myoungwoo which has the same contents as 『Kim Rip Shi Jib』 but only changed its title. Leaving the wrong words as unsolved led to serious mistranslation. Therefore, the wrong words handed down since Lee, Eungsoo should be thoroughly corrected. Questions can be raised about the authenticity of the poems in the collection given the problems mentioned above. Appropriate measures should be taken to solve the problem.

허균 시에 투영된 사유와 정서의 특질

박영주 ( Young Ju Park )
6,800
초록보기
Heo-Gyun(1569-1618) was a prominent literary man from the high class(Yangban) of Choseon Dynasty. The purpose of this study is aimed to find his human characteristics, poetic feature and literary meaning. This paper, therefore, has been to examine Heo-Gyun`s characteristics in view of explaining best his life and specific features on his work in order to understand his thought and emotional freedom flowing under his complicate and unrestrained tendency of his literature. Heo-Gyun had a truly firm self-consciousness and a strong identity more than other poets at the same period and he tried to express his consciousness about emotion. Therefore he created a unique world of poetry that was difficult to compare with any other. The thought and emotion on his poems, first of all, so implied by experimental truth from his real life that they revealed more realistically. By pursuing his desire and emotion freely, he showed the feature that was filled with the sensibilities. The new perception of his private poetry expended to the degree of essential and efficiency of the literature in normal life. Consequently, Heo-Gyun`s new trend as particular free thought and emotion broke the conservative system of Confucianism which made the routin life fixed strongly in the middle of Choseon Dynasty and founded a history of our modern literature.

최송설당(崔松雪堂) 가사의 문체와 현실인식

백순철 ( Sun Chul Paik )
7,200
초록보기
This study was prompted by the necessity that Kyubanggasa`s in the 20`s century should be researched in a literaty style and the consciousness of the real. The research implications of Choi-songsuldang gasa`s in the Twentieth century run as follows : First, It might be understood that a consciousness and a role of the feudal women had an certainly influence in her literary style through A career of Choi-songsuldang and a writing process of `Eunmunsajo` Second, The literary style of Choi-songsuldang gasa`s expressed special features. those are the beginning style of things calling and the closing style of incompletion, it should be noted that Kyubanggasa`s in the Twentieth century accept modern literary style. Third, of Choi-songsuldang`s gasa expressed three the consciousness of the real. Choi-songsuldang had the attachment to family, nation and age of hers. but it should be noted that her consciousness is ditinguished women`s feudal attitude. It might be understood that Kyubanggasa`s in the 20`s century is also the product of a reciprocal action of modernization and tradition through Choi-songsuldang`s gasa. Why I placed special emphasis on a historical approach to Choi-songsuldang`s gasa in the 20`s century in this paper is that modernity should be considered separately in style aspect and conscious aspect.

존재 위백규의 학풍과 교유관계

위홍환 ( Hong Hwan Wi )
6,500
초록보기
This paper has been considered about Jonjae(存在) Baek-gyu Wi(1727∼1798)`s academic traditions and his social intercourse, noting the changes taking place in the bottom of the 18th century world of letters. That, as part of this working, was because Jonjae was not only the most prominent figure in the practical and realistic literary world of the day but also a significant man having established such a historical beachhead as brings about the proper understanding on the approach to literature. His thought and literature has been handed down through Jonjaejip(存在輯) & Jonjaejeonseo(存在全書) written by his descendants without being taken any notice of by the history of literature and research. And he was no more than a country man getting along without making his debut in the literary circles. His thought and literature, however, has started to get generally known to the academic world since 1960s. Voluminous more than 400 poems in over 200 volumes are printed in the Jonjaejip(存在輯) and Jonjaejeonseo(存在全書), reflecting the characteristic of contemporary literary works [poetry and prose], and showing the social changes, the social status of writer, the awareness of self-experience and the changes of sensitivity, the reconstruction of literature, and the original and empirical literary circles coinciding with a poet`s reason for being. And his works in the 18th century world of letters should be evaluated as one of subjects to be examined. Especially the skepticism of the existing literary circles and the new formation caused by it in the poems he wrote live together, as is the case shown by the process of self-renovation and new grope found in the 17th century Chinese poetry.
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