시·동시·어린이시

이지호 한국문학교육학회 2003 문학교육학 Vol.12 No.-

Terms 'poetry, poetry for children, poetry by children' are not divided clearly in a curriculum of elementary literature and an elementary korean textbook. This both damages to the identify of poetry for children and makes poetry education for children confused, so should be corrected urgently. It seems that mixing of the terms 'poetry, poetry for children' poetry by children in education of elementary literature is followed by the criticism of poetry for children made in creation and comment of juvenile literature. A criticism about poetry for children that is initiated regularly in 1960's aims at criticism about each 'poetry for children' work property of literature. But the situation that genre of 'poetry for children' is denied and distorted happens in the process of searching the way of overcoming. They prescribe 'poetry for children' as adult's literature and they suggest poetry by children with an alternative proposal or grope for 'poetry fir children' like adult's poetry. This is the same to premise 'poetry, poetry for children', poetry by children' division and it is also to give up 'poetry for children' itself. As a result, the term called 'poetry, poetry for children, poetry by children' are used different meaning by writers and they are gave different value. The elementary literature also cannot avoid this influence. Because of this influence, they denote the term like 'poetry' and they throw away 'poetry' and use 'poetry for children' again. There is an example that literary education of elementary grade exhibits an originality. To treat 'poetry for children' and 'poetry by children' equally is that. It is desirable that in elementary that teach and learn the juvenile literature only 'poetry for children' is used to indicate peculiar genre of juvenile literature. Because, 'poetry for children' is misunderstood as adult's poetry, if 'poetry' is replaced by 'poetry for children' and when we use 'poetry' and 'poetry for children' together, they are recognized different things. 'Poetry for children' and 'poetry' are need not to distinguish. The former is marked 'poetry for children for children' and the latter is marked 'poetry for children by adult' in the case of need.

당시의 흥성과 신라 시문학에의 영향

최종세 동국대학교 WISE(와이즈)캠퍼스 신라문화연구소 2011 新羅文化 Vol.37 No.-

Poetry is usually regarded as the greatest genre of Chinese literature. The poetry of the Tang(唐) period is the so-called top of the Chinese literature. Many people have researched it and widely introduced it to around the world. One of the reasons is the fact that the grand empire settled and flowered, finishing conflicts over hundreds of years since the last period of the Han kingdom. Developing cultural assets such as lyrical odes of the previous age, calligraphies, paintings, and music, it resulted in making poetry. Since TangTaizong(唐太宗) governed, there were many kings who encouraged the studying and writing of poetry themselves. In the national exam, students were selected by writing poetry and then the wave of making poetry actively was formed. With the strong power of the nation, kingdoms expanded their land by getting frontiers which were differing from geography and customs through war with other countries and then the scope of the trip and industry was extended. According to the culture and custom of foreign countries through an open-door policy, poetry flowed in and poetry materials also varied. In addition to it, a variety of sources were more available to writers because the poetry genre peaked in the period of Sheng tang(盛唐) and fell down in the rebellion of Anlüshan(安祿山). All of these reasons affected the poetry genre. Silla(新羅), as a close country, often exchanged with the Kingdom of Tang(唐) through alliance before unification and by studying abroad. They came into a close relationship with each other. The poetry of Tang, which is written in Chinese characters, actually influenced the intellectual class of Silla(新羅), and they expressed their feelings in work. We might think there are a lot of work made by many people who exchanged with Tang. Unfortunately, it is no longer possible to find other works. Therefore, I would like to introduce their works and its general features focusing on unknown people through this research by referencing existing literature.

현대 중국 사회변화의 시적(詩的) 수용 양상과 특징 — 1917~1949년을 중심으로

이경하 한국중국학회 2023 중국학보 Vol.105 No.-

Poetry is the most effective text for expressing implicit meaning in a short width. For this reason, when political, economic, and cultural changes have occurred in Chinese society, poetry has often been the first to react and provide a platform to lead the change. Therefore, in this paper, we look at how poetry works for social change in modern China and how it is expanded through poetry, and while we also identify poetry as a driving force for social change and examine the relationship between society and poetry in a mutual link through the following three themes. First, it is a review of why the Literary Revolution began with the experiment of the vernacular poetry. It is no coincidence that, in 1917, when Chen Duxiu called for a Literary Revolution and developed the Vernacular Movement in the magazine “New Youth” in order to transform Chinese society, the first work to be published as a vernacular Chinese was Hushi’s vernacular poem. In the Literary Revolution, when people tried to establish vernacular Chinese as a language tool for literature, the creation of vernacular poetry was regarded as the most important literary practice, because the question of whether verse could also be written as vernacular Chinese was a very important experiment. It is from this recognition that Hushi mentioned that “new literature began from new poetry” in his later years, and it is a good example of how the poetic acceptance of social changes in modern China has been in the making since inception. The second is the social impact of poetry on the public in the context of modern China’s transformation. An example of this is Liu Bannong’s insistence, who was a leader of the 5⋅4 New Culture Movement, on the use of “ta(她, she)”, the Chines Character “Ta(她, she)”, and the poem “How can I rid my mind of her?” which was created by reflecting his insistence. He not only insisted on using the character “ta(她, she)” as a third-person pronoun for women, but also expressed the character “ta(她, she)” through his poetry more successfully than anyone else. This poem was also made into a song by linguist and musician Zhao Yuanren in 1926 and greatly contributed to the popularization of the character “ta(她, she)”. This demonstrates the influence of a single poem on the public’s social perception. Third, social demands and roles for poetry and poets in the Anti-Japanese War. As the country entered the era of resistance using the pen as a weapon, many poets devoted themselves to battle and even those who did not write poetry began to write poetry and the Anti-Japanese War ushered in a era of poetry. In this social background, Quyuan, the incarnation of a patriotic loyalist for thousands of years, was summoned as a national hero, and the role of a poet became emphasized more than ever, leading to the establishment of Dragon Boat Festival as “Poet’s Day” in 1941. By analysing the interrelationship between poetry and society by identifying poetry as one of driving force of social change, we can understand the cultural and political implications of “Poet’s Day”, which was created as a collaboration between the private and governmental sectors, and the obligations of the times. 시는 짧은 편폭으로 함축적인 뜻을 표현할 수 있는 가장 효과적인 텍스트이다. 이런 이유로 인해 중국 사회에 정치적⋅경제적⋅문화적 변화가 발생했을 때, 시는 가장 먼저 민감한 반응을 보이며 그 변화를 이끌어갈 플랫폼이 되어주곤 했다. 따라서 본고에서는 현대 중국 사회변화를 위해 시가 어떻게 작용하고 시를 통해 어떻게 확장되어 가는지 고찰함과 동시에, 시를 사회변화의 한 동력으로 파악하여 사회와 시의 관계가 상호적인 연결고리 속에 존재함을 다음과 같이 살펴본다. 첫째, 문학혁명이 왜 백화 신시의 실험으로부터 출발했는지에 대한 검토이다. 1917년 천두슈(陳獨秀)가 중국 사회의 변혁을 위해 신청년(新靑年) 에서 문학혁명을 제기하며 백화문운동을 전개할 때, 가장 먼저 백화문으로 발표된 작품이 후스(胡適)의 백화시였던 것은 결코 우연이 아니다. 백화문을 문학의 언어도구로 확정하려는 문학혁명에서 백화시 창작은 가장 중요한 문학 실천으로 간주되었는데, 운문도 백화문으로 지을 수 있는가 하는 문제는 대단히 중요한 실험이었기 때문이다. 후스가 만년에 “신문학은 신시로부터 시작되었다”고 언급한 것도 바로 이와 같은 인식에서 나온 것으로, 현대 중국 사회변화의 시적 수용이 그 출발부터 어떻게 이루어졌는지 보여주는 좋은 예가 된다. 둘째, 현대 중국의 변화 속에서 시가 대중에게 미친 사회적 영향력이다. 그 예로 중국 5⋅4 신문화운동의 기수인 류반눙(劉半農)의 ‘她’자 사용 주장과 이를 반영하여 창작된 시 「내게 어찌 그녀를 생각지 말라 하나요(敎我如何不想她)」를 꼽고자 한다. 그는 여성을 가리키는 3인칭 대명사로 ‘她’자를 쓰자고 주장했을 뿐만 아니라, 누구보다도 가장 성공적으로 자신의 시를 통해 ‘她’자를 표현하였다. 또한 이 시가 1926년 언어학자이자 음악가인 자오위안런(趙元任)에 의해 가곡으로 만들어짐으로써 ‘她’자의 대중화에 크게 기여하였는데, 이를 통해 한 편의 시가 대중의 사회적 인식에 미친 영향력이 얼마나 큰지 발견할 수 있다. 셋째, 항전시대 시와 시인에 대한 사회적 요구와 역할이다. 펜을 무기로 삼는 항전의 시대에 돌입하여, 많은 시인들이 전투에 투신하게 되고 시를 쓰지 않던 자들도 시를 쓰게 되면서, 그야말로 항전은 시의 시대를 열게 되었다. 이러한 사회적 배경 속에서 수천 년 동안 애국 충신의 화신 굴원(屈原)은 민족영웅으로 소환되고, 시인의 역할이 그 어느 때보다도 중요하게 강조되면서 1941년 단오절을 ‘시인의 날(詩人節)’로 제정하기에 이른다. 이처럼 시를 사회변화의 한 동력으로 파악하여 시와 사회의 상호관계를 분석하면서, 민간과 관방의 합작으로 탄생된 ‘시인의 날’이 기념일로서 어떤 시대적 의무를 갖고 제정되었는지 그 문화적⋅정치적 함의에 대해 알 수 있다.

시교육과 문명 인식의 문제

김종태 ( Kim Jong-tae ) 한국현대문예비평학회 2021 한국문예비평연구 Vol.- No.70

본고는 시교육과 문명 인식의 문제를 논의하였다. 시는 인간 삶, 나아가 자연과 우주를 형상화한다. 인간의 삶은 문명 현실과 항상 연결되어 있다. 본고는 한국현대시의 흐름을 시기별로 세 분야로 나누어서 문명 체험을 형상화한 작품과 시교육의 문제를 연결시켜서 논의해 보았다. ‘2. 일제강점기 시의 문명 체험과 시교육의 제언’에서는 일제강점기에 발표된 작품들 속에 나타난 문명 체험을 시교육적 관점에서 논의하였다. 이들 작품은 신문명에 대한 체험을 객관적이거나 혹은 주정적으로 형상화하려는 경향을 보여주었다. 교사는 근대화 초기라는 일제 강점기의 특수성을 고려하여 이들 작품을 학생들에게 가르쳐야 할 것이다. ‘3. 산업화시대 시의 문명 부정과 시교육의 제언’에서는 해방 이후부터 1970년대에 이르는 시기에 발표된 작품들 속에 나타난 문명 부정을 시교육적 관점에서 논의하였다. 이들 작품들은 문명적 현실에 대한 부정 의식을 중심에 두고 문명을 인식하려는 경향을 보여주었다. 교사는 산업화시대의 모순과 폐해라는 문제를 고려하여 이들 작품을 학생들에게 가르쳐야 할 것이다. ‘4. 정보화시대 시의 문명 불화와 시교육의 제언’에서는 1980년대부터 최근까지 발표된 작품들 속에 나타난 문명 불화를 시교육적 관점에서 논의하였다. 이들 작품들은 문명적 현실에 대한 불화 의식을 중심에 두고 문명을 인식하려는 경향을 보여주었다. 교사는 정보화시대의 특성을 고려하여 이들 작품을 학생들에게 가르쳐야 할 것이다. This paper discussed civilization awareness with Poetry Education. Many poets embody the reality of civilization. This paper divided Korean contemporary poetry into three periods, discussing the matter of poetry education and works embodying civilization awareness. "2. Japanese colonial era Poetry‘s Civilization Experience and Poetry Education's Advice" discussed the civilization experience in the works published in Japanese colonial era in terms of poetry education. These works tried to objectively embody the experience of civilization. A teacher Teachers should teach these works to their students, considering the characteristics of the Japanese colonial era "3. Industrial Age Poetry's Civilization Denial and Poetry Education's Advice" discussed the civilization experiences in the works published in the 1945-70s in terms of poetry education. These works recognized civilization with a critical spirit. Teachers should teach these works to their students, considering the characteristics of the industrial age. "4. Information Age Poetry's Civilization Discord and Poetry Education's Advice" discussed civilization discord in works published from 1980 to the present in terms of Poetry Education. These works recognized civilization with the spirit of discord. Teachers should teach these works to their students, considering the characteristics of the information age. Poetry embodies nature and transcendence, and civilization and reality. This paper Discussed works having civilization awareness. This paper discussed the right way to teach these works to students.

시승(詩僧) 제기(齊己)의 시가고찰

임원빈 ( Won Bin Yim ) 한국외국어대학교 중국연구소 2015 中國硏究 Vol.63 No.-

Qi Ji was a monk, he was good in poetry. Qi Ji plays was very active during late Tang Dynasty and the Five Dynasties. Qi Ji’s poetry can be classified into philosophic inclination of zen poetry、life inclination of the poetry on an object and reflection of realistic poetry. First, Qi Ji wrote zen poetry, its had much zen gusto. Some zen poetry was not seen a buddhist color. A zen poetry of this sort had the state of refined quiet, that looked much alike the state of refined quiet of a general poet``s zen poetry. Second, Qi Ji wrote the poetry on an object, its expressed the spiritual enlightenment of Ze n、a elevated character and the state of refined quiet. Particularly some poetry on an object had the state of refined quiet, its can be regarded as a zen poetry, too. Moreover the poetry on an object with the reality can be meaningful poetry creation. Third, Qi Ji had much care for real society, so wrote realistic poetry. Therefore Qi Ji ensured the high position in poetry circle of late Tang Dynasty. In the event, Qi Ji not only wrote a poetry with a high level but also took a variety of content in poetry, so that Qi Ji had been high position in the poetry circle of late Tang Dynasty and the Five Dynasties.

만해의 옥중선시(獄中禪詩)와 중도(中道) 사상 -미당 서정주의 번역과 풀이로 읽는

박판식 한국근대문학회 2023 한국근대문학연구 Vol.24 No.2

이 연구는 서정주의 풀이(번역과 해설)로 한용운이 감옥에서 쓴 14편 선시(禪詩)의 중도의 의미와 가치를 분석한 것이다. 한용운의 선시(禪詩)중에서 이 14편만을 선택하여 집중적으로 분석한 이유는 우선 앞서 밝힌 바와 같이 한용운의 시집 『님의 침묵』이 견성한 스님의 선시(禪詩)라는 연구자의 선행 연구를 증명하는 것이다. 『님의 침묵』의 사상적 근거를, 본 연구는 한용운이 깨달은 1917년 이후의 선시(禪詩)에서 그 근거를 찾고 있다. 만해가 깨달았다는 증거는 『十玄談註解』 보다 앞서 한용운이 감옥에서 쓴 선시(禪詩)에 표현되어 있었다고 보아야한다. 다만 현대적인 형식을 갖추지 않은 채 중세적인 언어로 그것이 구현되어 있을 뿐이다. 한용운 스스로가 어떤 이유에서인지는 모르지만 굳이 우리말로 옮기지 않았다는 사실 때문에 기존의 한용운 선시(禪詩) 번역은 애국충정에 근거한 관념적이고 의지적인 축면의 감상적인 정조가 주를 이루었다. 하지만 이미 깨친 승려인 한용운의 선시(禪詩)가 그렇게 호락호락한 표현과 내용을 갖고 있을 리가 없다는 사실은 누구라도 쉽게 알 수 있다. 다행히 서정주라는 뛰어난 시인이 한용운의 한시를 선별하여 우리말 시로 옮긴 것이 있어 한용운 선시(禪詩)의 의의와 그 불교적 가치를 되살리게 되어 다행이다. 한용운의 선시(禪詩)를 우리말로 잘 옮기기 위해서는 적어도 세 가지 조건을 만족해야하는데 첫째는 한시에 관한 깊고 폭넓은 교양이 있어야하며, 둘째는 불교에 대해 일정 수준이상 체득하거나 이해하고 있어야하며, 마지막으로는 당대와 맞물려 돌아가는 현대시의 언어감각을 체득하고 있어야만 한다. 이런 면에서 볼 때 서정주는 한용운 한시의 가장 우수한 한글 번역자가 될 수밖에 없다. 한용운의 선(禪) 에너지가 가장 밀도 있게 표출되고, 그 에너지의 정체가 불교의 가장 핵심적 이치인 중도라는 사실을 증명하기 위해 본 연구는 한용운이 감옥에서 쓴 선시(禪詩) 14편을 집중적으로 분석하였다. 한용운은 그의 평생에 걸쳐 한시를 썼다. 『님의 침묵』 발간 이후로 한용운의 한국어 시는 거의 없지만 한시 창작은 말년까지 지속되었다. 한용운의 한시는 한용운의 전 인생에 걸쳐 다채로운 면모들을 보여 주다. 이러한 점을 고려해 볼 때 한용운의 문학이나 불교사상에 관한 총체적 연구는 『님의 침묵』보다 오히려 그의 한시에서 그 근거를 찾아야할지도 모르겠다. This study analyzed the Middle Path and value of 14 of Han Yong-woon's Seon Poetry( Zen Poetry) written by Han Yong-un in prison with Seo Jeong-ju's interpretation (translation and commentary). The reason for intensive analysis by selecting only these 14 of Han Yong-woon's Seon Poetry( Zen Poetry) is to prove the researcher's prior research that Han Yong-woon's poetry collection "The Silence of Nim" was realized as mentioned earlier. This study finds the basis for the ideological basis of The Silence of Nim in the post-1917 Seon Poetry(禪詩), which Han Yong-woon realized. It should be considered that the evidence that Manhae realized was expressed in the Seon Poetry written by Han Yong-woon in prison before the 『禪玄註解談十』. However, it is only implemented in medieval language without a modern form. In order to translate Manhae's Seon Poetry into Korean well, at least three conditions must be satisfied: first, a deep and wide culture of Chinese poetry, second, a certain level of knowledge or understanding of Buddhism, and finally, a sense of language in modern poetry that works in conjunction with the time. In this respect, Seo Jeong-ju is bound to be the best Korean translator of Han Yong-woon's Chinese poetry. In order to prove that Han Yong-woon's Seon energy is most densely expressed and that the identity of the energy is Middle Path, the most important logic of Buddhism, this study intensively analyzed 14 Seon Poetry poems written by Han Yong-woon in prison. Han Yong-woon wrote Chinese poems throughout his life. Since the publication of The Silence of Nim, there have been few Korean poems by Han Yong-woon, but Chinese poetry creation lasted until the end of the year.

唐代 詩僧의 禪詩 양상 고찰 - 王梵志, 皎然, 齊己의 禪詩를 중심으로

임원빈 중국학연구회 2015 중국학연구 Vol.- No.73

Zen poetry is the fusion of buddhist zen and poetry, there are zen poetry of a monk and zen poetry of a general poet. Tang dynasty has many poet monks, a representative of poet monks are Wangfanzhi(王梵志) of early Tang dynasty, Jiaoran(皎然) of middle Tang dynasty and Qiji(齐己) of late tang dynasty. Their zen poetry can be classified into a zen poetry with a very strong Buddhist colors and a zen poetry of blending Buddhist elements. On Buddhism color very strong zen poetry, zen poetry of Wangfanzhi(王梵志) very strongly had Buddhism color, but because he mainly expressed instructive contents, his zen poetry did not contain profound buddhist thought. But zen poetry of Jiaoran(皎然) and Qiji(齐己) profoundly expressed teachings of buddhist. On a zen poetry of blending Buddhist elements, Wangfanzhi(王梵志) very little had elements of a zen poetry, but Jiaoran(皎然) and Qiji(齐己) very many had elements of a zen poetry. Moreover, zen poetry of Jiaoran(皎然) and Qiji(齐己) very expertly expressed their spiritual enlightenment. In conclusion, a zen poetry of Jiaoran(皎然) and Qiji(齐己) not only liven up the creative activity of a zen poetry but also raised the level of zen poetry writing, and then had a big influence on the zen poetry writing of general poets.

한국현대시와 정신주의

최동호(Choi Dong-ho) 한국비평문학회 2009 批評文學 Vol.- No.31

In the mid-1980s which was called the age of poetry, I published the Spiritual History of Modem Poetry(Yoleumsa, 1985). In the book published at the time when the people's poetry of realism was prevalent, I maintained the necessity of describing the history of Modern Korean poetry in perspective of spiritualism. It seemed necessary to reflectively discuss the radical ideology of realistic poetry. At the same time I thought we should establish an independent poetics by developing literary logic of our own. I realized that the eastern humanistic thought is a fundamental presupposition for an indedpendent poetics. Around the mid-1980, the deconstructive poetry of post-modernism appeared almost at the same time the people's poetry of realism disappeared from the center of the literary circle. I emphasized the importance of spiritualism through "Lyric Poetry and the Spiritual Conquest"(Modem Poetics. March, 1990), on the judgment that the deconstructive poetry is 'self-destructive poetry', which became popular by being created just in the place where the western reason was collapsed. It seems to be around this time that the term 'spiritualism' began to be discussed in the literary circle. Deconstructionism which was popular in our literary circle in the 1990s derived from the avant-garde impulse to pursue something new. We cannot remind the old poet Lee Sang in the literary history. That is the destiny for the deconstructists. The deconstructists will finally end in a self-destruction, coming to an impasse, if a pattern of a series of denial is formed incessantly, making one deconstruction bring about another deconstruction. In the 20th century Modem Korean poetry, we found many deconstructive poems which took the lead of popularity in the poetry circle or took advantage of the popularity. At the same time, not a few people's poems which turned away from the reality of the people disappeared in the darkness. It is not the core of our discussion to make a definition of the people's poetry or deconstructive poetry, or that of spriritualism. The point is whether it is a genuine poetry in which to include the living human life or not. The most important thing is the human spirit breathing a life. It is not easy that poetry written in the ways and on the theory which was borrowed from outside takes a solid root in our literary world. It only repeats the wave of popularity passing by after staying for a moment, if poetry has to be changed again before taking a deep root in our literary world The destructive passion which drives deconstructive poetry may seem to be a progressive passion of the young generation trying to deny the existing systems and customs. In this respect, deconstructive poetry and spiritual poetry are not mutually exclusive propositions. Mutual survival rather than mutual antipathy must be emphasized.

기획 2 : 한국 한시의 특징과 전개 (1) ; 한국 도가시의 유형과 전개 양상

강민경 ( Min Kyoung Kang ) 동방한문학회 2007 東方漢文學 Vol.0 No.33

도가시는 도교 이론을 탐색하거나 도교를 수련한 내용, 도교적 환상을 추구한 한시의 부류를 일컫는다. 우리나라의 도가시는 최치원에게서 그 연원을 찾을 수 있다. 고려 때는 도교의 신앙체계가 확립되었다. 무신의 난 이후 몰락한 문인들은 현실의 질곡이나 고통을 은일사상이나 신선 세계에 대한 동경으로 극복하고자 하여, 도가적 성격의 시를 남겼다. 조선의 도가시는 내단의 성격이 강해진다. 도가시는 조선 중기 선조, 광해군 시절에 가장 융성하게 발전하였다. 조선 후기에는 산문정신이 발흥하여 도가시는 점점 쇠퇴한다. 도가시 유형은 遊仙詩, 玄言詩, 仙趣詩, 煉丹詩, 儀禮詩의 다섯 가지로 나뉜다. 유선시는 신선이 되어 선계 체험을 노래하거나 불로장생의 염원을 노니는 내용을 담은 시다. 도가시 중 가장 많은 비중을 차지하며, 이들의 내용은 自我의 仙化, 신선고사의 줄거리 나열, 꿈을 통한 유선 등으로 나뉜다. 선취시는 현실에 발을 붙이고 있으면서 대체로 明景을 대하여 신선을 떠올리고 선계를 꿈꾸는 내용의 시이다. 현언시는 노장의 철학적 가르침과 주해를 드러내고 있으며 시 속엔 현묘한 이치가 들어 있는 시이다. 연단시는 내단법과 외단법을 통해 신선에 이르는 방법을 보여주는 실천적 시이다. 의례시란 도교의 재초례를 비롯한 갖가지 의례를 표현한 것이다. 도가시에는 유교 문화 속에서 인간의 의식을 알게 모르게 억압하고 왜곡하는 현실을 초월하려는 특성이 잘 드러난다. 현실의 한계를 극복하여 얻어지는 정신적 해방감과 승화를 만끽하기 위해, 시인은 도가시를 창작했던 것이다. 도가시는 근본적으로 현실 너머 세계의 실재에 대해 확고한 믿음을 갖고 현실에서 초월세계로 끊임없이 일탈하려는 양식이었다. 도가시는 중세인이 꿈꾸었던 자유와 초월에의 의지를 가장 잘 대변한다. Taoistic poetry means poetry which seek for taoistic theory or taoistic training or taoistic fantasy. Taoistic poetry of Korea started at Choi Chee-Won. In Koreo dynasty Taoism as a religion. After a militery official`s war, ruined civil ministers wanted overcome anguish with taoistic poetry. Taoistic poetry in Chosun dynasty were strengthened as trained poetry. These were in full flourish in the middle of Chosun. In the late of Chosun, taoistic poetry dwindled away because of the growth of prose. Taoistic poetry is devided into five. They are yusun poetry(유선시), hyunun poetry(현언시), sunchey poetry(선취시), yeundan poetry(연단시), eirey poetry(의례시). Poets wrote yusun poetry when they thought themselves as hermits and wanted long life. Sunchey poetry says about hermits and heaven standing face to fine vies. Hyunun poetry says about philosophical theory of Lao-tzu and Chang-tzu. Yeundan poetry says the methods for being hermits through training. Eirey poetry expresses taoistic ceremony. Taoistic poetry is characteristic of transcending stern realities in Confucian culture. Poets wrote taoistic poetry for mental sublimation.

漢詩의 능동적 향유와 독법에 관한 고찰 - 中國唱詩班 제작 漢詩 애니메이션 분석을 중심으로 -

전가람 중국인문학회 2020 中國人文科學 Vol.0 No.74

This paper analyzes how the classical works can become modern style by analyzing five Chinese poetry animations produced by the Chinese Poetry Animation Production Group. China has been thinking about how to attract public attention through the process of change and reinterpretation between traditional culture and popular culture. In addition, five Chinese poetry animations produced by Chinese Poetry Animation Production Group show the bold transformation of Chinese poetry, and the public begins to wake up the sleeping Chinese poem and communicate. Five animations of Chinese poetry are not only popular works that the Chinese are familiar with, but also works that show the characteristics of different writers of different ages. The Chinese Poetry Animation Production Group fully uses storytelling techniques to not only interpret the subject matter of poetry and historical anecdotes to the general public and modern, but also through these narrative devices, effectively conveys the overall feeling of Chinese poetry. Not only that, but by converting poetry into animation, the audio-visual content can resonate beyond national boundaries and languages. But on the other hand, the key point is what it means to communicate through these videos. Although the five Chinese poetry animations produced by the Chinese Poetry Animation Production Group are interesting to the audience through carefully choreographed storylines and gorgeous images, each of them hides Confucian values and ethics so that the audience who watches the program can naturally and actively accept historical facts and ideas. These aspects are still a useful testament to the modern age's traditional view of the utility of poetry and the common value of society, and how to change the classicality of appearance through the continuous use of modernity.