태국 화문 소시(小詩)의 상상력 연구

박남용 ( Park Namyong ) 한국외국어대학교 중국연구소 2016 中國硏究 Vol.68 No.-

This paper had studied the 『The Little Poems Mill(小詩磨坊)』 which is the collection of Thai-Chinese(泰華) poems. The Thai-Chinese literature formed in 2007 has been creating a lot of little poems for 10 years. This paper usually analyzed that not only how the Chinese living in Thailand reflected their life and culture in the little poems but also what kind of literary meaning and achievement they had. Honestly, the Chinese living in Thailand has been opening a new chapter in the Thai-Chinese literature. This paper divided the imagination of the little poems into several parts for the analysis method. First, the imagination problem about time and space. This paper analyzed the spirit world of poet through the diversity of poetic word which was composed of time and space in Thai-Chinese poems. Second, the imagination of diaspora. This paper analyzed the harmony or conflict between localization and hometown looking back on the history of immigration of the Chinese living in Thailand. Third, the imagination about his mother culture, i.e. great Chinese culture of the Chinese living in Thailand. The Thai-Chinese little poems were closely connected with China, Chinese, Chinese ethnic, Chinese culture. Therefore, it was generally assumed that there were various imagination world related to China, Chinese, Chinese ethnic, Chinese culture in their poems. Fourth, Buddhist poetry imagination of Buddhism. There are various culture related to Buddhism in Thailand, because Thailand is Buddhist nation as everyone knows. Therefore, Thai-Chinese poems proposed the poem and religion, i.e. various world of Buddhist poetry and Buddhism through the imagination of poet. Consequently, this paper had analyzed not only the source process of poetic creation but also the meaning and achievement of poetic creation making use of illuminating various imagination world based on the Thai-Chinese little poems.

기획논문 : 송산(松山) 권재규(權載奎)의 한시(漢詩) 연구(硏究)

이재숙 ( Jae Sook Lee ) 경상대학교 남명학연구소 2012 남명학연구 Vol.34 No.-

본고는 구한말 일제강점기를 거쳐 해방과 6.25 전쟁 둥의 암울하고 비극적인 시대를 산 송산 권재규의 의식양상을 그의 한시작품을 통해 고찰하였다. 이를 통해 일제강점기 근세 한시 창작 경향과 송산 한시의 시대적 가치를 자리매김 하는 데 목적이 있다. 송산 권재규는 1.300여수의 많은 한시를 남기고 있는데, 그의 문집에는 을미년(1895)부터 해방 후 6.25전쟁에 문경으로 피난을 갔던 경인년(1950년) 7월까지의 시가 시기별로 수록되어 있다. 이에 대한 의식양상을 살펴보면 다음과 같다. ① 일제 침략과 국권강탈의 현실상황에서 송산은 어찌할 수 없는 현실을 인정하고 속세와 단절함으로써 일본이 요구하는 제도, 서구 문물, 신교육 둥을 거부하였다. 송산의 한시에는 망국(亡國)의 울분(鬱憤)을 절박하게 토로하고 성현(聖賢)의 학문과 나학(儒學)을 통해 후학들을 양성하여 일제 에 항거하려는 자정의지(自靖意識)이 표출된다. ② 특히 그의 한시에는 朱子에 대한 존모의 뜻과 나학(儒學)에 대한 투철한 계승의식이 많이 드러난다. 이러한 주자 존모 사장에 기인하여 그가 지은 한시 작품에 가장 많이 차운한 대상은 역시 주자(朱子)의 시이다. ③ 송산의 신수시는 산수기행을 통한 비분강개함을 토로한 측면과, 자연의 대상물을 통한 도체(道體)의 성찰 둥 두 층위로 읽혀진다. 송산의 한시는 근세 한시의 다분화한 의식경향 중에서도 한문학의 전통 양식 올 계승하고 우국의지(憂國意識)과 절의의지(節義意識)을 표출하였다. 특히 망국의 시기에 우국의식을 표출한 무수한 작품들은 쇠락한 한시 창작 시기에 한시를 통해 전통 유학자들의 의식을 강화하는데 기여한 것으로 파악된다. 아울러 도학에 침잠하여 존양성찰의 깨달음의 의미를 담고 있는 일련의 산수시(山水詩)들은 근세 전통 유림의 도학시(道學詩)로서의 면모를 보인다. This paper is considered the conscious aspect of Jae Gyu Gwan, Song San who had lived the gloomy and tragic period from the Japanese colonial period of Guhanmal to liberation and Korean conflict by his Chinese poems. It is aimed to find the creative trend of modern poems in Japanese colonial period and the timely value of Son San`s Chinese poems. Jae Gyu Gwan, Song San left about 1,300 Chinese poems, the collection of his works is shown time-series poems from 1895 to July, 1950 escaped to Mungyeong by Korean Conflict after liberation. His conscious aspects are as follows; ① In the status invaded by Japan and lost the sovereignty of a nation, he recognized its reality but cut the world, rejected the system, the Western culture, new education, others forced by Japan. Chinese poems of Song San are expressed his frustration for national ruin and the seif-comfortism to resist to Japan by cultivating younger students with the sage`s studies and Confucianism. ② Especially, his chinese poems are found a lot of the respect and love for Zhu Xi and the clearly successional consciousness for Confucianism. By this thought, his Chinese poems matched rhymes from Zhu Xi`s poems. ③ Landscape poems of Song San are divided into 2 kinds of the aspect expressed the sorrowful indignation by landscape travels and the self-examination by nature. Chinese poems of Song San are succeed to the traditional style of Chinese literature and are expressed patriotism and loyalism. Many works shown patriotism in the period of the national ruin that are understanded as contributing to reinforce the mind of traditional Confucian scholars by chinese poems in the declined period to create chinese poems. Moreover, he withdrew into Taoism and created landscape poems with the realization for one thought of Eastern philosophy which have to remove the improper mind by keeping the good conscience and cultivating human nature, they are found as Taoism-typed poems of traditional Confucian scholars in modern times.

松山 權載奎의 漢詩 硏究

이재숙 경상국립대학교 경남문화연구원 2012 남명학연구 Vol.34 No.-

This paper is considered the conscious aspect of Jae Gyu Gwan, Song San who had lived the gloomy and tragic period from the Japanese colonial period of Guhanmal to liberation and Korean conflict by his chinese poems. It is aimed to find the creative trend of modern poems in Japanese colonial period and the timely value of Son San's chinese poems. Jae Gyu Gwan, Song San left about 1,300 chinese poems, the collection of his works is shown time-series poems from 1895 to July, 1950 escaped to Mungyeong by Korean Conflict after liberation. His conscious aspects are as follows; ① In the status invaded by Japan and lost the sovereignty of a nation, he recognized its reality but cut the world, rejected the system, the Western culture, new education, others forced by Japan. Chinese poems of Song San are expressed his frustration for national ruin and the self-comfortism to resist to Japan by cultivating younger students with the sage's studies and Confucianism. ② Especially, his chinese poems are found a lot of the respect and love for Zhu Xi and the clearly successional consciousness for Confucianism. By this thought, his chinese poems matched rhymes from Zhu Xi's poems. ③ Landscape poems of Song San are divided into 2 kinds of the aspect expressed the sorrowful indignation by landscape travels and the self-examination by nature. Chinese poems of Song San are succeed to the traditional style of Chinese literature and are expressed patriotism and loyalism. Many works shown patriotism in the period of the national ruin that are understanded as contributing to reinforce the mind of traditional Confucian scholars by chinese poems in the declined period to create chinese poems. Moreover, he withdrew into Taoism and created landscape poems with the realization for one thought of Eastern philosophy which have to remove the improper mind by keeping the good conscience and cultivating human nature, they are found as Taoism-typed poems of traditional Confucian scholars in modern times. 본고는 구한말 일제강점기를 거쳐 해방과 6.25 전쟁 등의 암울하고 비극적인 시대를 산 송산 권재규의 의식양상을 그의 한시작품을 통해 고찰하였다. 이를 통해 일제강점기 근세 한시 창작 경향과 송산 한시의 시대적 가치를 자리매김하는 데 목적이 있다. 송산 권재규는 1,300여수의 많은 한시를 남기고 있는데, 그의 문집에는 을미년(1895)부터 해방 후 6.25전쟁에 문경으로 피난을 갔던 경인년(1950년) 7월까지의 시가 시기별로 수록되어 있다. 이에 대한 의식양상을 살펴보면 다음과 같다. ① 일제 침략과 국권강탈의 현실상황에서 송산은 어찌할 수 없는 현실을 인정하고 속세와 단절함으로써 일본이 요구하는 제도, 서구 문물, 신교육 등을 거부하였다. 송산의 한시에는 亡國의 鬱憤을 절박하게 토로하고 聖賢의 학문과 儒學을 통해 후학들을 양성하여 일제에 항거하려는 自靖意識이 표출된다. ② 특히 그의 한시에는 朱子에 대한 존모의 뜻과 儒學에 대한 투철한 계승의식이 많이 드러난다. 이러한 주자 존모 사상에 기인하여 그가 지은 한시 작품에 가장 많이 차운한 대상은 역시 朱子의 시이다. ③ 송산의 산수시는 산수기행을 통한 비분강개함을 토로한 측면과, 자연의 대상물을 통한 道體의 성찰 등 두 층위로 읽혀진다. 송산의 한시는 근세 한시의 다분화한 의식경향 중에서도 한문학의 전통 양식을 계승하고 憂國意識과 節義意識을 표출하였다. 특히 망국의 시기에 우국의식을 표출한 무수한 작품들은 쇠락한 한시 창작 시기에 한시를 통해 전통 유학자들의 의식을 강화하는데 기여한 것으로 파악된다. 아울러 도학에 침잠하여 존양성찰의 깨달음의 의미를 담고 있는 일련의 山水詩들은 근세 전통 유림의 道學詩로서의 면모를 보인다.

「열녀춘향수절가」의 한시(漢詩) 어구(語句) 활용양상 연구

안순태 ( Soontae An ) 한국한시학회 2015 韓國漢詩硏究 Vol.23 No.-

본고는 「열녀춘향수절가」에 漢詩 語句들이 어떻게 수용되고 있는지 정리하고 분석하여 「열녀춘향수절가」에서의 한시 어구 활용 양상과 그 특징을 밝히는 것을 목표로 한다. 「춘향전」은 대표적인 판소리계 소설이고 「열녀춘향수절가」는 「춘향전」의 대표적인 이본이다. 「열녀춘향수절가」에는 故事들이 매우 풍부하게 인용되어 있을 뿐만 아니라 漢詩 語句도 상당수 인용되어 있다. 이는 판소리가 폭넓은 향유층을 확보하고 있었던 만큼 민중의 요구는 물론 식자층의 요구까지 고려한 결과다. 「열녀춘향수절가」에서는 대체로 絶句, 律詩 등 온전한 형태의 한시가 아닌 語句 형태로 한시를 활용하고 있다. 이 한시 어구들은 原詩의 맥락을 고려하여 활용하고 있는가의 여부에 따라 비맥락적으로 활용한 예와 맥락을 고려하여 활용한 예로 나누어 살필 수 있다. 原詩의 맥락을 고려치 아니하고 한시 어구를 활용하는 경우는 관용적인 표현으로서 한시 어구를 활용한 예, 그리고 언어유희를 위해 한시 어구를 활용한 예 등이 있다. 관용적 표현으로서 한시 어구를 활용한 예는 작품 초반에 이몽룡이 광한루에 나가 바라본 풍경을 묘사하는 대목 등 주로 경관 묘사에 활용되고 있으며 언어유희를 위해 활용한 예는 사랑가 대목이나 기생점고 대목에서 확인할 수 있다. 또 原詩의 맥락을 고려하면서 한시를 활용하는 경우는 작품의 분위기 조성에 기여하거나 原詩의 일부 구절을 활용해 새로운 시로 재구하는 방식으로 활용하고 있다. 이별가 대목에서 이몽룡이 이별과 관련된 한시 어구들을 인용한 것이나 옥중 춘향이 꿈에 湘妃를 만나는 대목에서 한시 어구를 활용해 傳奇的 분위기를 조성한 것, 춘향이 이몽룡에게 쓴 편지에서 李白의 시구를 빌려와 새로운 작품으로 재구한 시를 덧붙인 것이나 잔치에서 이몽룡이 다양한 시를 변개하여 완성한 어사출두시 등이 그 예다. 「열녀춘향수절가」에서 인용하고 있는 한시 어구들은 대부분 『唐音』이나 『古文眞寶』 등 한시 초학자들의 교본에도 수록된 작품들이다. 작품에서 한시 어구들을 활용하되 대중성을 멀리 벗어나서는 안 된다는 제한이 있었기 때문이다. 판소리계 소설은 판소리에 기인하고 있으며, 판소리계 소설이든 판소리든 그 향유층의 폭이 상당히 넓었기에 폭넓은 향유층의 요구를 두루 충족시키기 위한 방편으로 한시 어구를 활용한 결과 이러한 특징이 나타나게 된 것이다. This study analyzes how phrases from Chinese poems were adapted in Yeolneochunhyangsujeolga and aims to identify the characteristics and aspects of their usages within the novel. Chunhyangjeon is one of the most prominent pansori novels and the Yeolneochunhyangsujeolga is a representative different version of Chunhyangjeon. Yeolneochunhyangsujeolga abounds with anecdotes from old stories and with phrases from Chinese poems. This is thanks to the broad audience of pansori, which led the creators to aim on satisfying the varying taste of the highbrow as well as that of the general public. In Yeolneochunhyangsujeolga, Chinese poems are quoted by phrases, rather than retaining their original form as quatrains or eight-line verses. Such phrases can be classified into two categories: phrases that are used in the context of the original poems or phrases that are used out of the original context of the poems. The examples of the phrases used within the original context include the usage of Chinese phrases as idioms and the usage of the phrases as puns. Chinese phrases as idioms are mainly used when depicting the scenery, such as in the part when Lee Mongyong goes to Gwanghallu and describes the view at the beginning of the story. Phrases from Chinese poems are used as puns in “Sarangga” and in “Gissang Jeomgo.” In addition, the original context of each poem is retained in passages which add to the atmosphere of the story or when parts of the original poem are reconstructed to be made into a new poem. In “Ibyelga” when Lee Mongyong quotes Chinese poems on parting and also in the part where Chunhyang meets Sangbi, a water spirit in her dreams, as she is in prison, the phrases from Chinese poems are adapted to create a romantic ambience. On the other hand, in Chunhyang`s letter to Lee Mongyong, passages from Li Bai`s poems are borrowed and added to create a new poem. Quotes from various Chinese poems are also modified in Lee Myongyong`s Poem as the king`s secret royal inspector, which he completes at a feast. The majority of the poems quoted in Yeolneochunhyangsujeolga could be found in beginner`s books such as Dang-Eum and Gomunjinbo since it was imperative to use Chinese phrases which do not fare far from the public appeal. This is due to the broad audience pansori attracts. Quotes from Chinese poems were used to satisfy the varying taste of the audience, and led to the various usages of such phrases.

화가(和歌)와 한시(漢詩)의 혼효(混淆) 양상과 특징

최귀묵 ( Choi Kwi-muk ) 한국고전문학교육학회 2018 고전문학과 교육 Vol.39 No.-

이 글에서 필자는 대략 10~17세기에 걸쳐서 일본의 상층 귀족이 화가(和歌)와 한시(漢詩)를 ‘혼효(混淆)’하여 창안해서 향유한 세 가지 양식의 양상과 특징을 살펴보았다. 세 가지 양식이라고 한 것은 ‘화한낭영(和漢朗詠)’, ‘시가합(詩歌合)’, 그리고 ‘연구연가(聯句連歌)’를 가리킨다. ‘화한낭영’은 10세기에, ‘시가합’은 12세기에, ‘연구연가’는 14세기에 각각 등장했으며, 그 후 일본 문학사에 지속적으로 영향을 끼쳤다. 화한혼효가 진행되면서 화가와 한시의 거리가 점차 가까워지더니 마침내 둘이 결합해서 한 작품을 이루게 되었다. 즉 화가와 한시는, 낭영하기에 적합한 작품이라고 해서 한데 모였고(화한낭영) 경합을 위해 작품 대 작품으로 맞섰으며(시가합) 종국에는 장시(長詩)를 구성하는 행으로 갈마드는 데까지 이르렀다(연구연가). 화한혼효는 자국어 노래를 한시에 손색이 없게 만들고자 하는, 중세 동아시아 문학사의 공통된 움직임의 일본 버전이라고 말할 수 있다. 한편 한시가 화가와 병렬, 경합·교대, 결합되면서 어떤 위상 변화가 나타났는지 확인함으로써 세 가지 양식이 존재한 시기의 한시에 대한 일본인의 태도, 거기에 상응해서 발현된 일본 한시의 특징에 대해서도 논의할 단서를 발견할 수 있다. ‘나’가 아닌 ‘좌중’의 기호, 시인의 내면이 아닌 시대가 숭상하는 내용과 표현, 자기표현이라는 서정시의 본령이 아닌 즐거운 오락을 위한 수단이라는 점이 중세 전·후기 일본 한시의 특징이고, 이러한 특징은 일본 한문학사의 저층을 흐르는 흐름이었다고 할 수 있다. 필자는 동아시아 문학사의 관점에서 중세 시기 일본 한문학사를 논할 실마리가 여기에 있다고 생각한다. In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan “combined(混淆)” waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the “Collection of Japanese and Chinese poems for singing”(和漢朗詠), “A collection of Japanese and Chinese poems” (詩歌合), and the “Renku renga”(聯句連歌). “Collection of Japanese and Chinese poems for singing” appeared in the 10th century, “A collection of Japanese and Chinese poems” appeared in the 12th century, “Renku renga” appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited(“Collection of Japanese and Chinese poems for singing”), facing each other work against work in a competition(“A collection of Japanese and Chinese poems”), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)(“Renku renga”). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one’s own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of “myself” but of the “audience,” content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

김부식 漢詩에 나타난 표현 특성 연구 - 東文選 수록 작품을 중심으로

주천 가천대학교 아시아문화연구소 2023 아시아문화연구 Vol.61 No.-

Neukcheon Kim Bu-sik (1075-1151) was a famous politician, litterateur, and historian of the Goryeo Dynasty. His works are mainly included in Dongmunseon. In this paper, 33 typical Chinese poems included in Dongmunseon are studied and analyzed. Besides, the artistic features of Kim Bu-sik's Chinese poems are comprehensively studied by considering the theme contents embodied in Kim Bu-sik's Chinese poems. In this paper, the topics in Kim Bu-sik's poems are classified and analyzed by content. The poems fall into four types: anthem, exhortation, lyrics, and lament. This paper provides a detailed analysis of the implied meaning, writing techniques, background, and emotion in these poems, as well as the influence of Chinese literature on them. This paper examines the diversity of themes, genres and rhetorical devices, as well as the uniqueness of styles and conceptions in Kim Bu-sik's Chinese poems. The focus is the acceptance and borrowing of the artistic elements of Chinese poetry. Therefore, Kim Bu-sik’s unique creation features and literature charms are explored. This paper elaborates on the influence of Chinese culture on Korean Chinese poetry through analyzing the 33 Chinese poems in Dongmunseon. Although it is a relatively basic study, it has a reference meaning and value in Kim Bu-sik's research on literature and Korean Chinese poems. In addition, this paper targets only on Chinese poems in Dongmunseon, but it also provides a basis for expanding into many other works by Kim Bu-sik. 뇌천 김부식(1075-1151)은 고려 시대의 유명한 정치가, 문학가, 사학가이다. 그의 작품들은 주로 동문선 에 수록되어 있다. 본고에서는 동문선 에 수록된 33수의 전형적인 한시를 연구하고 분석하였다. 동시에 김부식의 한시에서 구현되는 주제 내용에 대해서 고찰함으로써 그의 한시의 예술적 특징을 종합적으로 연구하였다. 본 논문에서는 김부식 한시 속에 나타난 주제를 내용별로 분류하고 고찰하였다. 주로 응제봉화시, 권풍귀간시, 한유서정시, 애도시 등 네 가지 측면에서 내용을 연구하였다. 특히 전형적인 시가의 우의(寓意), 창작수법, 배경, 시인이 표현하는 감정과 그가 참고한 중국 문학 등에 대해 상세하게 분석하였다. 또한 본 논문은 김부식 한시의 예술적 특징에 대해 제재의 다양성을 살펴보았다. 창작과 수사수법의 다변성(多變性), 풍격과 사고의 경지에 대한 창작의 독특성 등 세 가지 측면에 대하여 예를 들어 분석하였다. 또한 중국 시가의 예술적 요소에 대한 수용과 참고 측면을 상세히 고찰하여 김부식의 독특한 창작 특징을 조명하였다. 본고는 상술한 몇 가지 측면에서 동문선 에 기재된 한시를 중심으로 한국의 한시 작품에 내재된 중국 문화에 대한 참고를 서술하였다. 비교적 기초적인 연구에 해당되지만 김부식의 문학 및 한국 한시의 내용과 형식 연구에 의해 종합적 의미와 가치를 파악하였다. 또한 본 논문은 동문선 에 수록된 한시만을 연구 대상으로 하였지만 실제 김부식의 많은 저작 연구에 확대될 수 있는 기초적인 연구 논문이다.

高丽末鄭誧词的中国词接受融合情况

김현주 한국외국어대학교 중국연구소 2009 中國硏究 Vol.47 No.-

This study, under the great topic of in what form the chinese ci poems had been adopted into the Goryu dynasty as well as how it was expressed, more specifically, through the initial analysis of the creation background of ci poems of Goryu Jeong Po鄭誧(1309~1345), it is to examine the author’s creation attitude toward ci poems, the aspects of the work and also the adoptive style of Chinese ci poems. The ci poems of the author Jeong Po had three kinds of 詞牌(names of the tunes to which ci poems are composed), 11 ci poem works and those were all that ci poems were inserted into the melody which was in trend during Tang Song period. However, most of them were, unlike Chinese ci poems, not anymore special than reciting the scenery of the season. Throuth the ci poem works which describe scenery of the season, he implicitly expressed the his disappointed state of mind. With Lee JaeHyun李齊賢on the head, the <蔚州八景>詞written through 聯章歌辭of 8詠體 which was widely used from Goryu to Josun dynasty has shown the new aspect from which the chinese ci poems advanced from Goryu. Jeong Po, who understood the tendency of creation of Goryu poet, would be a critical source for viewing the settlement of Chinese ci poems into the Goryu’s literary world as well as the process of the evolvement.

김억의 번역 한시에 나타난 미의식 연구

박종덕(Jong-deok, Park) 어문연구학회 2010 어문연구 Vol.65 No.-

This study is designed to understand Kim Eok's translation viewpoint based on his Korean version of the anthology of Chinese poems and look into his aesthetic consciousness about Korean modern poetry by giving careful consideration to the traits shown in his real translation on the basis of this understanding. I ultimately studied Kim Eok's aesthetic consciousness shown in his Korean version of Chinese poems by considering the characteristics and rhythmic aspects in the process of his translation of the titles and contents of Chinese poems. This is the significant matter that can explain the influence between his translation of Chinese poetry and Korean modern poetry and ultimately scrutinize the aesthetic source of Korean modern poetry. The following is the result of careful consideration of Kim Eok's aesthetic consciousness shown in his Korean version of Chinese poems. First, the reason he translated Chines poems can be found in his viewpoint of Korean literature. He defines Korean literature as what 'Koreans' reveals 'Korean sentiment' in 'the Korean language.' Moreover, his translation viewpoint can be said "Translation is creation." This is Kim Eok's unique point of view that he understands translation not as the matter of language but as the matter of emotion. From this point of view, he translation reaches the level of recreation of texts by choosing not literal translation but liberal translation. In this study I comprehended it as the situation -oriented translation. The second point is the aspect of translation language. Kim Eok tries to find the aesthetic consciousness of the Korean language through the Korean translation of Chinese poems. As a result of reviewing the process of translating the titles of poems, I could find the cases of translating the original title of a poem literally, using the material of a poem or giving a new title. His titles of poems formed the complementary cooperation with the contents and built up new aesthetic consciousness of poetry in translation. The third aspect is rules of versification. He suggested fixed rules of versification even considering organization of vowels and consonants, repetition of lines and verses, standardization of the number of syllables and timing of pronunciation as the ways of ensuring rhythmic sense of Korean poetry. Among these, what Kim Eok noted is standardization of the number of syllables. It can be confirmed in that the basic rules of versification of the Chinese poems he translated are made up of 3 feet and 7·5 meters. In addition, he felt sorry that there is no rhyme in Korean modern poetry. Thus he tried to realize it in the process of translation of Chinese poems. Therefore, he tries doing liberal translation actively to ensure rhyme in spite of the change of amount of information that the original poem contains. We could judge this rhyme as the unique aesthetic consciousness appearing in Chinese poems in Korean translation.

한국 漢詩문학에서 唐詩의 가치와 수용양상 硏究

손복 한국중국언어문화연구회 2012 한중언어문화연구 Vol.- No.28

Tang (Dynasty) poem in Chinese literary history is positioned as the supreme poem as well as the great literary and cultural heritage of China and therefore, it should not be assessed simply as a poetic genre in the history. The reason why reading and appreciating Tang poem in order to understand Chinese culture and thought is meaningful is that the background of Chinese consciousness is implied in Tang poem as China itself. In particular, Tang poem is not just limited to Chinese literature. Tang poem, as a great human cultural heritage, had also influenced over our literature directly and indirectly. And there has been a lot of controversies so far while discussing over what signifies Tang poetry style in a differentiated perspective with Song (Dynasty) poem in connection with so-called Tang poetry style that was our classic poetry following Tang poetry style. In this regard, this study reviewed a pattern as to how literary historic value and features of Tang poem had been accommodated in our Chinese poetic literature and influenced over our such literature. Poetic achievement of Tang poem that was assessed as the greatest value in Chinese literary history had underwent accommodation, transformation and development process in connection with our Chinese poem. Overall current of our Chinese poetic history had shown its own unique pattern depending on each times or poets along with their tendency of learning Chinese Tang poem or Song poem. It goes without saying that strenuous effort of our ancestors who tried to improve poetic level qualitatively of their own by modeling Chinese superior poems in advance was imbued in this issue of learning Tang (poem) or Song (poem). In our Chinese poetic history, Chinese poetry style has an aspect of having partly accommodated Chinese poetic achievements as they are or further developed them partly as well and its summary is as follows. First, our Tang poetry style succeeded poetry school mainly based on Jeol-gwi (절귀), not a verse (율시), in its style. There were a lot of poets who left master poems even in verse among the poets of early poetry school (학당) but while passing through early 16 century, as its style was gradually concentrated on Jeol-gwi in general, we could not find any outstanding works in particular in addition to Jeol-gwi. In addition, most of this Jeol-gwi was also concentrated on 7-lettered poem instead of 5-lettered poem. Second is accommodation of romantic features. Romantic features is the one that could be seen mainly in Lee, Baek’s poems in terms of the fact that it expressed poem motivated by imagination of poets, not by their experience, like unworldly expression or royal poem (궁사), Boudoir lament poem (규원시) or Frontier poem (변색시). These features could be seen conspicuously in our Chinese poetry style as time passes and it is considered that this trend may be mainly influenced by poems of Lee, Hu-baik who worshipped poems of Lee, Baek. Third is accommodation of sensual, splendid (염려) and luxurious (기미) expressions. In the early poetry school, such expression was prominent and gradually, its expression had been steadily imbued with refined and delicate touch strongly. Fourth is accommodation of introvert, static expression. This way of expression is to show poetic emotion implicitly with understated sense without directly exposing its emotion. Therefore, such poems have a tendency of naturally introvert and static pattern. As these features are elements harmonized with our emotion, it is hard to regard such elements as a specific poet’s influence. Fifth, elements like maximization of image exploitation and strengthening accustomed Tang poem and reading poem (소리 시) could be enumerated and these elements are evaluated to be a unique poetic achievement of our poetic school that was almost impossible to be found in Tang poem and an early poetic school. Learning Tang (poem) of our country had been succeeded by starting f...

“徒劳”的挣扎:新诗初创期胡适诗歌考察 — 以最初发表的白话诗为中心

贾鸥 한국중국현대문학학회 2022 中國現代文學 Vol.- No.100

Hushi’s first published poems aimed at revolutionizing the traditional styles of poetic writings. It is said that when he was a graduate student at USA he had a big argument with his friends about how to modernize the Chinese language. Hushi insisted that Classical Chinese should be replaced by Vernacular Chinese but his friends disagreed. The main ground for this disagreement was that Vernacular Chinese is a language not well-suited for writing a poem. This left Hushi no choice but to create a poem using Vernacular Chinese with a view to proving his friends wrong and giving impetus to the revolutionary transition from Classical Chinese to Vernacular Chinese. He first attempted to write eight poems, which were later published by the magazine New Youth. It is to be admitted that Hushi’s poems were not poetic masterpieces especially by an aesthetic standard. For this reason or others, they have long fallen off the radar among Chinese literature scholars. But I do believe that there is something important to learn from Hushi’s early poetic works when viewed from a larger context that includes not only their aesthetic values but also their contributions to stylistic developments in modern Chinese poetry. So this paper aims at digging deep into Hushi’s early poetic works and evaluating them in light of his idiosyncratic project of creating new ways of writing poems. The upshot is that a careful examination of Hushi’s poems reveals that there is something important that has been neglected by the past research. I hold that Hushi’s poems made great contributions to opening a new chapter in the modern history of Chinese poetry but, unfortunately, those contributions are not fully appreciated so far by contemporary scholars.