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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 :
수록 범위 : 24권 0호 (2009)

19세기 말~20세기 초 구례 지역 한시의 전개 양상

황수정 ( Su Jeong Hwang )
This study examines the developmental aspect of Chinese poetry in Gurye from the late 19th century to the early 20th century. It is designed to identify it in a nationwide base instead of local base, which will be a process to acquire a main aspect of Korean Chinese poetry. The results are summarized as follows: First, we examined poetry with historical mission and repentance. Poets in Gurye expressed their mission and self-esteem against historical crises, through which we understood passionate spirit of literary persons who had to endure the period of depression. Because of such circumstances, they felt limited and regretful. Poets of Chinese poetry in Gurye at that time intended to maintain their national pride through literary activities. Such regret and distress were sublimed in their poetry. Second, we examined poetry where acceptance and pride of its geographical environment were exhibited. Gurye is a jumping-off place in geography, which gave it a chance to encourage literary persons to be engaged in their writing. Rather, there were some cases that hermitic life was pursued. It exhibited the taste of the people who live in superior natural beauty and enhanced the quality of poetry based on acceptance and pride in Chinese poetry. Third, we speculated poetry where literary exchanges were shared. Through the poems, we could examine taste and elegance exhibited through exchange of local literary persons with literary persons in other areas. At pavilions and temples which were frequently loved as places of meeting, we could sympathize with graceful taste of people in Gurye. They pursued diversity of writing poetry through organizing various poetry clubs. Thus, this study could identify the aspect of Chinese poetry through various views beyond a simple speculation of local culture and it is expected that it will be a good chance to understand the trends of Chinese poetry in Korea.

감성의 변천과 고시가 장르의 변천사

조태성 ( Tae Seong Jo )
In this study, the discussion about the change of emotion assumes that the notions of feeling, cross-feeling, and emotion are separate. Under this premise, I make a condition of periodization with the class of enjoyment and the background of the age and society in Hyangga, Goryeo songs, Akjang, Gyeonggichega, Sijo, and Gasa. Moreover, I tried to grasp the emotional aspect of the period derived from it. Therefore, by considering the history of the Genre of Korean classic poetry through the change of emotion, I wanted to make a hypothesis that the change of Genre could be influenced by relations among emotional things. For this, first of all, I examine the creation of Genre or general conditions of change. And I could find that `the difference` of preceding Genre is in the center of these conditions, not the commonality. The present writer thought this difference is the change of emotion. It is right to discuss emotion, feeling, and reason in literature. However, the discussion of emotion which is a notion to unify of emotion, feeling, and reason is insufficient yet because the accurate discussion about emotion is insignificant. In spite of this, the purpose of this study in this article is to search possibilities of writing of the history of Literature.

고전시가에 나타난 꽃의 심상(心象) 유형

박춘우 ( Chun Woo Park )
This thesis is studies about types of the Image of Flowers showed in Korean Classic Poems and about opposing system working in them. The Image of Flowers in relation to cognition is divided into one as material existence, and one as a projection of humans consciousness according to whether an object is perceived as the existence itself or as a thing humans` consciousness is applied for. Flowers of a fetish as material existence are mainly working as the connection of god and humans in the context of religious relations. Flowers as an appreciation for enjoyment, on the other hand, are connected with a poet or poetic ego, who enjoys flowers` image itself and represents it with his own interest. As a projection of humans consciousness, a flower with a masculine image connotes male`s figure or emblem, or his consciousness. On the other hand, that with a feminine one connotes female`s figure or emblem, or her consciousness as well. After studying four types of opposition system in the images of flowers in Korean classic poems, we conclude that flowers as a material existence are opposed to ones as projection of humans consciousness. Flowers presented as a fetish and a masculine image is opposed to those as an appreciation for enjoyment and a feminine image.

내방가사 향유자의 생애경험

이정옥 ( Jeong Ok Lee )
This study is a report based on general and quantitative data about consciousness and entertaining style of Naebanggasa which are appreciated and circulated in Kyungsangbukdo. Its subjects are Naebanggasa entertainers in Kyungsangbukdo. This study is very meaningful as the first report done by the method of questionaires and analysis, which are not popular in Korean literature. I concluded that questionaire survey for the surviving Naebanggasa entertainers is strongly useful if whole investigation of entertainers`s consciousness is needed. This study has 44 questions including 13 questions in population statistic variants. The survey subjects are 150 old females in Andong, Kyungsangbukdo. There were no response questions since the old didn`t understand the survey contents and I got 100 questionaire papers. The survey period is from October in 2002 to April in 2003, during this period I avoided the busy farming time. The data analysis was made with SPSS and MS-Excel program. Should do the verbal survey by interview and there were no responses due to too many questions. Also this survey might be supplemented because it has overlapping questions.

세종대 <용비어천가>의 창제배경과 음악화 과정 연구

김세종 ( Se Jeog Kim )
With the establishment of Chosun Dynasty, the effort to admire true charity of the new dynasty resulted in completion of (龍飛御天歌). The process creating it is roughly categorized into two parts: one is for Chinese one jointly completed by three scholars of Gwon Jae(權제, 1387~1445), Jeong In-Ji(鄭麟趾, 1396~1478) and An Ji(安止, 1377~1464) on April 5. 1445(in the 27th reign year of king Sejong) and the other is for Korean edition completed by scholars from Jiphyunjeon such as Taehujung Choi Hang(1409~1474) in 1447(in the 29th reign year of king Sejong). However, as in Chinese was designed to inform the foundation of the new dynasty and honor its charity, the effort to make it music accelerated immediately. That is, four months after it was completed, king Sejong was not satisfied with the performance to Tang`s code. Three months after Korean Yongbiouchonga was completed in February of 1447, he listened it performed to Korean and Tang musical codes and decided to use it for public and private banquets. In December of 1449(in the 31th reign year of King Sejong), the king made it overnight with a stick tapping on the ground. (上邃曉音律. 新樂節奏. 皆上所制. 以柱杖. 擊地爲節. 一夕乃定). Music of (鳳來儀) instituted at this time was inherited to volumes 140-145 of 『Sejong-Janghun-Daewang-Silrok』. The consists of as follows: Jeoninja(前引子)·Jinguho(進口號)·Yeominrak(與民樂)·Chihwapyong(致和平)·Chipunghyung(醉豊亨)·Hwoinja(後引子)·Toiguho(退口號). It was recorded in Moo-Bo of Siyonghynagakjungjae , volume 5 of , but unfortunately, it is considered as music of the past.

<완산가>의 전승과 변이 고찰

김신중 ( Shin Chung Kim )
There are two variants of Wansanga, Gasa in Min Ju-hyeon. What is called, they are Jonggabon and Songgokbon. Inquiring into characteristic of these two variants, Jonggabon is the preceding type more related with the original text. Therefore, Jonggabon takes the primary meaning of the writer comparatively, on the other hand, Songgokbon reflects on the manner of the reader in a way. In this regard, I have inquired into the common substance of Wansanga in two types. In succession, I have investigated the phase of variation of the text, opposing two types. As a result, Wansanga has two dualistic constitution, Gihanggasa and Jajeongasa. And I confirmed that it has gone through the variation of popular tradition in a process of enjoyment and reception.

종교시로서 신라(新羅) 향가(鄕歌)와 T.S. 엘리엇 엮어읽기

서철원 ( Cheol Won Seo )
The purpose of this paper is to comparative reading between Shilla Hyangga and T.S. Eliot at the point of religious poetry: rejoice through despair and rebirth through death. the way of readings are three. First, we read the birth of religious issue by comparison between Mojukjirangga(慕竹旨郞歌) and The Love Song of J.Alfred Prufrock. Second, comparing reiterations of religious Time and Space between Changiparangga(讚耆婆郞歌) and Ash Wednesday. Third, comparing the motivations to the Paramita between Jemangmaega(祭亡妹歌) and Marina.

정극인의 시가에 드러난 자연시 연구

유육례 ( Yuk Rye Yu )
Jeon Geuk-In described natural beauty of gardens and forests through writing poetry while he was living in Taein. His contributed to formation of Ganhogadan. In particular, its influence expanded to Song Soon and Jeong Chool. The subjects of his natural poetry were shown in Chinese poetry, Gyeonggichega, lyrics and verses, but they are significantly described especially in and . The nature in his poetry involves rivers and lakes and homecoming after his resignation from a government office. In general, nature indicates the nature explained by Laozi. This study categorizes nature into nature of Confucius and that of Laozi and analyses it targeting the nature in and by Jeong Geuk-In. The nature of Confucius involves rivers and lakes, and that of Laozi involves homecoming. However, Jeong Geuk-In worked for government office and retired into nature. He had two sides of a Confucian who pursued career success and Taoist who sequestered himself from the world. Therefore, , , Chinese poetry and Korean verses he wrote showed such two-sideness. There are various styles of two-sideness in his poetic works and in particular, describes nature of rivers and lakes while describes homecoming after his resignation. Therefore, his literary works definitely show such two-sideness.

흥과 시름의 구현 양상 연구

최재남 ( Jae Nam Choi )
The aim of this article is to study the embodiment condition of Heung(興) and Sirum(시름) in the Sijo composition. The Heung(興) is mirth as a positive attitude and the Sirum(시름) is trouble as a negative emotion. As usual, the Heung(興) is performed `Heunge Kyeowo Hanora(흥에 겨워 하노라)` and the Sirum(시름) is `Sirum Kyeowo Hanora(시름 겨워 하노라)`. In Chinese Korean poetry, especially six thousands poems of Leesaek(이색, 1328~1396), the Heung(興) is spring up such as Sungheung(乘興), Uheung(遇興) etc. The contents of Heung are Chunheung(春興), Chuheung(秋興), Koheung(高興), Cheongheung(淸興), Yooheung(幽興) etc. And the Sirum(시름) is separated two category such as public trouble Woo(憂) and private trouble Soo(愁). Public troubles are Woose(憂世), Woomin(憂民), Wooguk(憂國) etc. Private troubles are Sinsoo(新愁), Sooan(愁顔) etc. In Sijo composition the Heung(興) is appeared pleasure for four seasons. Continuously `pleasure for spring` and `pleasure for autumn` is realized. And a pseudo fisherman is a very important theme as the Heung of Eobuga(漁父歌). In the performance field, Alcoholic drink and beautiful women are another significant theme. In addition, We are interested in Song and Keomungo(거문고). The Sirum(시름) is separated two boundary, public trouble and private trouble. Public trouble is clearly appeared at Eobudanga(어부단가) of Leehyunbo(이현보, 1467~1555). Private trouble takes shape as follows, sentimental thoughts while away from home, separation from one`s lover, loneliness etc. To disperse the Sirum(시름), the writer of Sijo makes use of alcoholic drink, sing a song, and passing away time.

<서동요(薯童謠)>의 형성과정

류병윤 ( Byong Yoon Ryu )
This paper focuses and develops its discussion on the formative process of , one of the Hyang-ga(鄕歌, folk songs, mainly songs of Shilla dynasty). The record concerning this song is narrative literature. It is a story about Seo-dong who dug up and sold yams as a means of living, and how he came up with a plan to marry the princess and eventually raised his social status. In the story, functions as a turning point. The following is a conclusion regarding the formative process of after examination of the record concerning this song. Based on the records of Samguk-Yusa(三國遺事, Remnants of the Three Kingdoms), is presumed to be the earliest song created amongst the existing Hyang-ga. is a song which altered the `who` and `what` from a pre-existing nursery rhyme. Nursery rhymes and folk songs can constantly be modified depending on the situation, and this process occurs even to the present. It is quite possible to presume that the alteration of this song took place around the period of Mu Wang(武王, king Mu) of Baek-Je dynasty as mentioned in the records. This can be sought out from the background when the alteration took place, a violently tensed period between two dynasties, Silla and Baek-je. As it seems to be Seo-dong who changed the lyrics of this song, it is possible to say that the formation of the present is the period of Mu Wang of Baek-je dynasty. `Ga`(歌) is a song which has a melody and is accompanied by musical instruments, and `Yo`(謠) is a song that is simply sung. It is rather impossible to confirm the writer of a `Yo`(謠) as they are usually the work of many people. Altering the lyrics is quite common. So, it can be presumed that such types of nursery songs were originated a remarkably long time ago. In addition, what Il-yeon, the editor of Samguk-yusa, wanted to impart in the `Mu Wang` section was not about the forming of but the details about the establishment of a temple known as Mireuksa. While he was recording the establishment of Mireuksa and stories related to Mu Wang, he added , a song that was spread by word of mouth, as it had relevance with Mu Wang.
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