동아시아 詩會文化의 기원

姜必任(강필임) 한국중어중문학회 2014 中語中文學 Vol.59 No.-

In the ancient East Asia, literary men were subjects of spiritual culture. The poetry was the center and a poetry club was an important medium for creation, consumption and exchange of spiritual culture. Such poetry clubs were based on the tradition of ‘conveying the meaning by creating the poem (賦詩言志)’ and awareness of ‘getting along through the poem (詩可以群)’. As appreciation culture for the arts of the Elegant Assembly in the WeiJin(魏晉) Courts Period was developed, exchange culture of literary men was formed. In particular, in the WeiJin-Northern and Southern Courts Period, the value of literature, the awareness of pure literature, the sense of sovereignty of literary men was enhanced. With this background, non-political horizontal exchange culture was born and the social atmosphere appreciating talented people with ability to create the poetry was formed. Moreover, the paper was generally used. Taken all together, it could be born. Of course, human playful instinct pursuing the pleasure and artistic instincts were added. The poetry club was the intellectual and artistic exchange culture of the intellectuals in the East Asia through the poetry and the open human meeting sharing ideological and cultural tastes. It was the cultural meeting enjoying the advanced culture, the elegant exchange culture and intellectual amusement. Poetry and poetry culture which ancient literary men enjoyed do not have effective value any longer, because of various reasons such as uniqueness of expression media which are Chinese characters and westernization of academic cultural areas. However, the size of its spiritual value, aesthetic depth and social and cultural meaning are not useless yet. It is required to find the current meaning and revive the intellectual exchange culture, even though we do not create the poetry using Chinese characters.

南北朝 後期에서 唐代 初期 地域文化圈과 文化接變

姜必任(강필임) 한국중어중문학회 2011 中語中文學 Vol.50 No.-

唐代의 詩會文化

姜必任(강필임) 한국중어중문학회 2016 中語中文學 Vol.0 No.63

While there are many influences that nurtured the development of the Poem of Tang, one of the important influences is the full-scale expansion of the class that created and enjoyed the poetry and the time and space for poetry as the culture of collective literary exchange through the poetry party became established. The poetry party which began to form during the period of Wei, Chin, and the South & Northen Dynasties of China held meetings mainly in Changan and Luoyang regions centering on court poets and few aristocrats during the early and Mid-Tang periods. It gradually evolved into the exchanging culture in the literary societies from the Mid-Tang period and expanded throughout the region and nation. Also, the xingjuan(行卷) culture which prevailed during the Tang Dynasty as a supplementation of the state examination system induced literary people to directly participate in the exchange through poetry partys to let themselves known, giving direct and indirect influence on the development of poetry partys. Poetry partys during the Tang Dynasty pursued interactivity and instantaneity and developed formats such as changhe poetry(唱和詩), lianju poetry(聯句), and heyun poetry(和韻詩). Owing to the openness of the society during the Tang Dynasty, poetry partys also pursued the openness and eliminated the status-oriented exclusion to allow anyone with excellent poetic capacity to join in the party. Also, poetry partys pursued sharing in addition to poem writing to share and spread the great works of each other. For literary people could enjoy the honors and even be appointed to important positions when they win fame as poetic genii, competition was essential and poetry partys also pursued competitiveness. However, poetry partys also pursued enjoyment through drinking and dancing, discussion, and writing of miscellaneous style poems, reversible poem, lianju poem. In other words, the poetry party during the Tang Dynasty formed an important cultural exchange among literary people and could lead the expansion of the creation of the Poem of Tang and the class that enjoyed it.

鼓吹曲辭의 儀式樂的 變遷

강필임(姜必任) 한국중어중문학회 2009 中語中文學 Vol.44 No.-

하퇴의지 착용 장애인의 평지 및 계단보행 시절단단과 소켓 사이의 압력분포 비교

강필 한국장애인재활협회 2008 재활복지 Vol.12 No.2

본 연구는 실리콘 하퇴의지 착용 장애인의 평지 및 계단 보행 시에 절단단과 소켓 사이에 압력 분포에 미치는 영향을 알아보고자 7명의 하퇴절단자를 대상으로 절단단과 소켓 사이에 정적, 동적 압력을 측정하였다. 측정에 사용된 장비는 F-socket system (Tekscan사)을 사용하였다. 소켓 내부의 전면과 후면에 압력 센서를 고정시켜 전방과 후방에 각각 근위부, 원위부의 4개 영역을 설정하였고, 기록된 자료를 중심으로 보행의 입각기 동안에 평균 압력(mean pressure during stance phase, MP), 최대 압력(peak pressure, PP), 최대치 80% 이상의 평균 압력(mean pressure over 80% of peak pressure, MP_(80+)), 최대 압력이 발생한 시기(time of peak pressure occurrence, Tpeak), 최대치 80% 이상의 압력이 적용된 시간(time in which pressure exceeded 80% of peak pressure, TP_(80+))을 계산하였다. 평지보행에 비해 계단을 내려갈 때, 평균 압력, 최대 압력, 최대치 80% 이상의 평균 압력은 전방 근위부에서 유의하게 감소하였으나(p<.05), 전방 원위부에서 유의하게 증가하였다(p<.05). 최대치 80% 이상의 압력이 적용된 시간(TP_(80+))는 계단을 올라갈 때에 비해 계단을 내려갈 때 전방 원위부에서 유의하게 감소하였다(p<.05). 따라서 계단을 내려올 때 전방 원위부에 압력의 증가로 인한 불편함이나 피부 문제 등이 발생할 가능성이 높다고 생각된다. This study examined the effects of socket flexion angle in trans-tibial prosthesis on stump/socket interface pressure. Seven trans-tibial amputees voluntarily participated in this study. F-socket system was used to measure static and dynamic pressure in stump/socket interface. The pressure was measured at anterior area(proximal and distal) and posterior area(proximal and distal) in different gait patterns(walking on a flat surface, going upstairs and going downstairs). We analyzed data with one-way ANOVA and Tukey's honestly significant difference test at the 95% of confidence level. Mean pressure(MP), peak pressure(PP), mean pressure over 80% of peak pressure (MP_(80+)) during stance phase in going downstairs decreased significantly in anterior proximal area and increased significantly in anterior distal area compared with walking flat. Time of peak pressure occurrence(T_(peak)) during going downstairs occurred significantly slower in anterior distal area and occurred significantly faster in posterior distal area compared with walking flat.

晉宋 士族 家風과 文學의 相關性 硏究

姜必任 한국중국학회 2002 중국학보 Vol.45 No.-

陳郡謝氏是晉宋最典型的文學士族, 從『詩品』所載一百二十二名詩人中陳郡謝氏達到九名之多, 可以證明之, 謝氏的文學傳統, 就像當時其他士族一樣, 以莊園經濟爲背景, 有了爲繼承家族傳統的傳承和學習, 不盡如此, 謝氏士族亦有獨創的家學和家風, 這就是, 他們常常家族內展開文學敎育和文學集會, 以企圖提高家族成員的文學素質, 此文學集會, 因爲是家族成員之間進行, 能구脫離政治功名的束縛而比較自由地創造文學, 這흔自然地使文學脫離哲理性走向抒情的方向發展, 不過, 他們都有自己是最高士族的自豪感, 其極高的自豪感就導致家風的封閉性, 文學的虛飾性浮誕性, 忠君保國意識的淡化, 謝靈運對劉宋王朝所採取的行爲方式就是這樣的重家經國意識的表現, 陳郡謝氏還有重老莊的特徵, 這有助于謝氏對山水詩發展作出貢獻, 這些謝氏重抒情的文學風氣, 重老莊的家風, 就使得玄言詩風轉變爲山水詩, 這種變化己在謝混時開始, 謝靈運ㆍ謝專連ㆍ謝瞻等人促進之. 總而言之, 文學不一定在內外環境隱定的時候能成功, 謝靈運的處境就證明之, 他所處的就是陳郡謝氏處于極高危機的時期, 隨之他的內心矛盾亦極烈 又, 陳郡謝氏, 在政治上謝安時代就成功, 在文學上謝靈運時代才成功, 這說明文學成功比政治成功還要有흔長時間온양

<고풍> 59 수의 문학사상과 그 창작실천

강필임 한국중문학회 1998 中國文學硏究 Vol.17 No.1

위진(魏晉) 연악가사(宴樂歌辭) "淸商三調歌詩" -위진 시기의 상화가사(相和歌辭) 수용과 발전

강필임 한국중국학회 2012 중국학보 Vol.66 No.-

淸商三調歌詩是配合平調、淸調、瑟調等淸商三調而歌唱的, 以曹魏三祖作品和古辭爲主, 是魏晉宴樂歌辭. 原爲三十六曲, 現在所存者十九曲, 不存者只傳曲名和作者. 因爲主要是宴會上所唱的歌詞,內容也主要是以三祖要給賓客所顯示、傳達的、或者希望與賓客共享的感情爲主. 武帝以表現自己建功立業、經世濟民的渴望爲多, 慷慨悲哀. 文帝以相思、想念亡父之情、鄕愁等人間普遍的感情爲多, 這表現重視眞實感情的時代精神. 如此, 曹魏三祖通過在宴會上所唱的淸商三調歌詩, 能反映出現實社會, 探索人生不朽價値, 表現建功立業之志, 以形成了建安風骨, 促使了樂府民歌的文人詩化、抒情詩化, 但也導致相和歌詞的雅化和魏晉樂府藝術的衰落. 淸商三調指稱平調、淸調、瑟調, 以絲竹爲主, 悲哀凄凉. 淸商三調歌詩是配合淸商三調而同時歌唱的, 故促使樂府歌詞的齊言化. 又分段爲解而歌, 給人以反複重疊的感受. 淸商三調都以``∼行``爲名,這也是由此而發生的.淸商三調歌詩是繼相和曲, 開拓``大曲``這綜合藝術形式. 這是作爲漢代娛樂性民歌的相和歌詞逐漸被雅化的過程, 也是淸歌向歌弦化發展, 再向大曲這大型綜合藝術發展的過程.

古題樂府 창작에서 전통 ‘曲’ ‘辭’의 존재적 가치 - 鼓吹曲辭를 중심으로

강필임 한국중국학회 2009 중국학보 Vol.60 No.-

乐府向文人诗发展, 一定要经过传统曲调消失并徒诗化。 故要研究乐府文人诗化, 先要考察乐府曲调何时亡失。 不过有关乐府曲调的文献记录很少流传, 因此很难考察古題樂府的脫音樂化过程。 本文通过考察宋代「今鼓吹鐃歌詞」中 「上邪曲」就是「晉鼓吹曲」中的「大晉承運期」, 分析出在宋代除了「今鼓吹鐃歌詞」的「上邪曲」、 「晩芝曲」、 「艾如張曲」等以外, 其他的鼓吹曲调都没存在。 以此为基础进一步考察了在文人对古题乐府进行模拟创作时, 传统曲调和歌词起了如何的影响。 魏、 吳、 晉创制宫廷鼓吹曲时, 都按传统曲调和歌词而创制, 故可以说是此时传统曲、 辞的经典价值很大。 東晋末何承天的 「鼓吹鐃歌」15首是并未配乐的私造作, 但仍具有官制的、 雅頌的内容和风格, 不过有些篇已反映了文人个人的情绪, 因此可以说是传统曲调和歌词的经典价值有是有, 但有点儿微弱了。 謝朓作「隨王鼓吹曲」10首是一个新创作曲辞, 传统曲调和歌词的拘束薄弱了。 齊朝沈約和謝脁等人所创作的鼓吹曲名作是从传统曲调和歌词, 甚至其仪式乐的功能都解放出来了, 传统曲调和歌词已失了其经典价值。 传统曲调不在, 故能产生永明體, 传统歌词的不在, 故能使用产生所谓‘賦題法’, 也能使用典故、 押韵、 比喻、 对仗等文人诗常用的修辞。 这些发展过程就是乐府脫曲調化而徒詩化, 逐渐发展成文人诗了。 传统曲调和歌词的经典价值的亡失, 就造成了乐府的创造性发展, 就是永明体。

당대(唐代) 시회(詩會)의 통시적(通時的) 변화: 상사일(上巳日) 시회(詩會)를 중심으로

강필임 ( Kang Pilyim ) 한국중국학회 2017 중국학보 Vol.81 No.-

본 연구는 唐代 上巳日 詩會를 중심으로 당대 시회의 통시적 변화를 고찰했다. 상사일 시회를 주요 연구대상으로 삼은 이유는 시회의 직접적인 기원이라 할 수 있는 蘭亭雅會가 상사일에 열렸고, 당대 문인들은 상사일이면 蘭亭雅會의 풍류를 모방하고 시회의 전통을 계승하고자 많은 시회를 개최했기 때문이다. 『全唐詩』에서 上巳日, 上巳, 三月三日, 三日, 修?, ?? 등의 시어가 사용된 작품을 뽑아 주요 연구대상으로 했다. 전통적으로 상사일에는 동으로 흐르는 물가에서 몸을 씻으며 한 해의 재앙을 떨어버리는 `修?`라는 전통풍습이 행해졌다. 당대 문인들은 이 수계 행사와 함께, 시회를 개최하기도 했다. 당대 황실에서는 상사일이면 渭水나 曲江으로 나가 수계를 진행하고 관료들과 시를 지어 酬唱하기도 했다. 이때 지어진 시는 應制詩나 奉和詩였는데, 전반적으로 내용보다는 修辭가 중시되었다. 시의 형식은 시대에 따라 古詩에서 점차 律詩나 絶句로 지어졌다. 상사일 宮庭詩會는 전반적으로 初·盛唐 시기에 빈번하게 개최되었고, 中唐 이후 현저히 감소한다. 당대 일반 문인들도 시회에서 지은 작품에 봄날의 경치나 상사일 연회의 즐거움 등을 주로 묘사했다. 특히 초성당의 시회에서는 주어진 제목으로 참가자들이 동시에 시를 짓거나, 현장에서 제시된 韻 자로 시를 창작함으로써, 각자의 作詩 능력을 발휘했다. 그러나 궁정시회와는 달리, 문인 간의 시회는 단순히 시가 창작만이 목적이 아니라, 궁극적으로는 그것을 통한 상호 소통이 목적이다. 대표적인 작품이 中唐 大和 4년(830년)의 상사일에 李德裕와 劉禹錫이 주고받은 唱和詩이다. 唱和詩의 和詩 작자는 일차적으로 唱詩에 대한 독자여서 기본적으로 상호 내면적 교류가 가능하다. 이처럼 중당 이후의 문인 시회에서 창화시가 시회의 주요 형식이 된 것은, 시회문화가 干謁이나 詩才의 경쟁보다는 문인 간의 소통과 교류의 역할이 중시되면서 보편적 교류문화로 정착했기 때문이다. 또 中唐 시기 元?, 白居易가 `和韻`의 唱和詩를 수창하면서, 시회에서도 依韻, 次韻 등의 방식으로 和詩를 창작했고, 晩唐에는 次韻詩가 창화시의 주요 형식이 되었다. 당대 시회는 初·盛唐에는 宮庭과 귀족을 중심으로 전개되다가, 中唐 이후 문인 사회에 파급되면서 정치성이 약해지고 상대적으로 수평적인 교류문화로 정착했다. 이러한 환경변화를 바탕으로 唱和詩나 和韻詩 등 상호성이 담보된 시가형식이 보편화 될 수 있었고, 시회문화는 문인사회의 보편적인 교류, 오락, 창작문화로 정착된 것이라 할 수 있다. This study examined the diachronic changes in the poetry parties during the Tang Dynasty focusing on the Sangsiri(上巳日) Poetry Party(詩會). Sangsiri was originally the “snake day” in the beginning of March, however, was fixed to March 3 after the Wei- Jin(魏晉) period. The reason the Sangsiri Poetry Party was chosen as the major subject of study is that the Meeting of Scholars in the Lan Pavilion which is considered as the direct origin of poetry party was held on Sangsiri, and the literary people at the time held a number of poetry parties on Sangsiri to take after the art of and continue the legacy of the Meeting of Scholars in the Lan Pavilion(蘭亭). The works that used poetic words such as Sangsiri, Sangsi(上巳), March 3, Xiuxi(修?) and Fuxi(??) in 『Quantangshi (全唐詩)』 were selected as the major subjects of the study. Traditionally, people had the custom of `Xiuxi` which was to bathe in the waters flowing toward the east to wash away ill fortunes of the year on Sangsiri. Literary men of the Tang Dynasty also held the poetry party with xiuxi. The royal family of Tang also did xiuxi in Weishui(渭水) or Qujiang(曲江) on Sangsiri and wrote and exchanged poems with bureaucrats. The poems written during this time were Yingzhi poetry(應制詩) or Fenghe poetry(奉和詩), which emphasized rhetorics than the overall meaning. The format of the poems gradually moved on from ancient poem to lvshi or quatrains according to the period. The poetry party in the palace on Sangsiri was held frequently during the early Tang Dynasty and quite rarely from the mid-Tang Dynasty. Ordinary literary people during the Tang Dynasty also mainly appreciated the spring scenery or the joy of the party on Sangsiri in the poems they wrote at the party. During the poetry parties held in the early Tang Dynasty, in particular, the participants demonstrated their poetic mastery by writing poems at the same time on the given subject or using the rhyme presented at the scene. Unlike the poetry party in the palace, however, the poetry parties held by literary people were intended for not only writing poems but also communicating with each other through the poems. One of the typical examples is the antiphon poems(唱和詩) exchanged between Li Deyu(李德裕) and Liu Yuxi(劉禹錫) on Sangsiri in the fourth year in the reign of King Wenzong(文宗) of the mid Tang Dynasty(830). The author of the responding poem(和詩) in antiphon poetry is primarily the reader of the changshi(唱詩) and basically it enables internal reciprocal exchange. The fact that the antiphon poetry became the main format for a poetry party indicates that the culture of poetry party settled down as a universal exchange culture as the emphasis was given on the communication and exchange between literary people than as a way of seeking to interview with requests for favor or as the competition of poetic talent. After Yuan Zhen(元?) and Bai Juyi(白居易) began to write antiphon poetry in the mid-Tang Dynasty, the participants of poetry parties created responding poems in the manner of yiyun(依韻) or ciyun(次韻), and rhyme poem became the major format of the antiphon poetry in the late Tang Dynasty. The poetry parties were mainly held by the royal family and bureaucrats in the early Tang Dynasty and gradually lost political aspects as they were spread to literary people and settled down as a relatively horizontal exchange culture from the mid Tang Dynasty, and the formats that assured reciprocality such as antiphon poetry and poems with the same rhythm became universal.