18세기 조선과 일본 문단에서의 상고적 문학론의 배경과 그 추이

하지영 한국고전문학회 2015 古典文學硏究 Vol.48 No.-

This study examined the background in which antiquarianism was continually developed in both Joseon and Japan in the 18th century, as well as the detailed aspects of development in each country. Neo-Confucianism and the literary theory of the Song Dynasty significantly influenced both countries as the mainstream discourse in the 18th century, and antiquarianism was called for as an alternative to overcome these issues. In addition, consciousness of Little China that was rising at the time reinforced and expanded the logic of antiquarianism. Despite this common background, both Joseon and Japan expressed different views on classics and creation. While Shin Yu-han and Lee Yong-hyu preferred Wang Shizhen’s literature, they did not discuss his works as genuine classics, but rather tended to broadly accept and complement the accomplishments of all of the writers in history, including those during the Tang and Song dynasties. Moreover, they were cautious to avoid direct imitations of literary style, and they pursued stimulating thoughts by studying great classics. On the other hand, the writers of Ogyu Sorai’s school in Japan preferred Li Panlong’s literature in Qianhouqizi, emphasizing his works as essential classics, while not being open to other writers of the Tang and Song dynasties. They also emphasized repeatedly studying the classics and directly imitating literary style. These views are attributable to differences in the fundamental perception of Chinese literature and the “Tao” of each country. Joseon writers, who had a firm grounding in Chinese literature and who emphasized the internal disposition of “Tao,” aimed at reflecting their free thoughts on literature. On the other hand, Japanese writers, who had a poor grounding in Chinese literature and who emphasized the contrived nature of “Tao,” made it their legitimate task to reclaim the dignity of the classics through imitation. Writers of both Joseon and Japan in the 18th century shared common views on the meaning of antiquarianism, while also spinning off methodologies and purposes suitable for the environment of each literary world. 본고에서는 18세기 한일 양국에서 상고적 문학론이 지속적으로 전개되었던 요인과 각국의 세부적인 전개 양상에 관하여 살펴보았다. 18세기에 송대 성리학과 문학론은 주류 담론으로 양국에 큰 영향력을 발휘하고 있었으며, 상고적 문학론은 이를 극복하기 위한 대안으로 요청되었다. 이와 함께 이 시기에 고조된 중화계승의식이 상고적 문학론의 논리를 강화하고 확장하는 역할을 하였다. 이러한 공통적인 배경에도 불구하고 한일 양국은 전범과 창작에 대해 상이한 견해를 제출하였다. 申維翰, 李用休 등은 王世貞의 문학을 선호하면서도 본격적인 전범으로 거론하지는 않았으며, 당송 문인을 포함한 역대 문인들의 성취를 두루 수용, 보완하려는 입장을 보였다. 또 직접적인 문체의 모방을 경계하고, 고문의 학습을 통해 사유의 자극을 받는 것을 추구하였다. 반면 일본의 소라이(徂徠) 문인들은 李攀龍의 문학을 선호하면서 필수적인 전범으로 부각시켰으며, 다른 唐宋 문인에 대해서는 배타적인 입장을 보였다. 또 고문을 반복적으로 학습하고, 문체의 직접 모방할 것을 강조하였다. 이들의 견해에는 각국의 한문학 향유 기반, 그리고 ‘道’에 대한 근본적인 인식의 차이가 작용한다. 한문학 향유 기반이 탄탄하며 ‘도’의 내면적인 성향을 강조하였던 조선 문사들은 작자의 자유로운 사유를 문학에 반영하는 것을 추구하였다. 반면 한문학향유 기반이 미약하며 ‘도’의 작위성을 강조하였던 일본 문사들은 모방을 통해 고문의 격을 재생하는 것을 당위적 과제로 내세웠다. 18세기 한일 양국의 문사들은 상고적 담론이 가지는 의미에 서로 공감하면서도, 각각 문단의 환경에 맞는 방법론과 목적을 파생시켜 나간 것으로 정리할 수 있다.

18세기 조선과 일본 문단에서의상고적 문학론의 배경과 그 추이

하지영 ( Ji Young Ha ) 한국고전문학회 2015 고전문학연구 Vol.48 No.-

This study examined the background in which antiquarianism was continually developed in both Joseon and Japan in the 18th century, as well as the detailed aspects of development in each country. Neo-Confucianism and the literary theory of the Song Dynasty significantly influenced both countries as the mainstream discourse in the 18th century, and antiquarianism was called for as an alternative to overcome these issues. In addition, consciousness of Little China that was rising at the time reinforced and expanded the logic of antiquarianism. Despite this common background, both Joseon and Japan expressed different views on classics and creation. While Shin Yu-han and Lee Yong-hyu preferred Wang Shizhen`s literature, they did not discuss his works as genuine classics, but rather tended to broadly accept and complement the accomplishments of all of the writers in history, including those during the Tang and Song dynasties. Moreover, they were cautious to avoid direct imitations of literary style, and they pursued stimulating thoughts by studying great classics. On the other hand, the writers of Ogyu Sorai`s school in Japan preferred Li Panlong`s literature in Qianhouqizi, emphasizing his works as essential classics, while not being open to other writers of the Tang and Song dynasties. They also emphasized repeatedly studying the classics and directly imitating literary style. These views are attributable to differences in the fundamental perception of Chinese literature and the “Tao” of each country. Joseon writers, who had a firm grounding in Chinese literature and who emphasized the internal disposition of “Tao,” aimed at reflecting their free thoughts on literature. On the other hand, Japanese writers, who had a poor grounding in Chinese literature and who emphasized the contrived nature of “Tao,” made it their legitimate task to reclaim the dignity of the classics through imitation. Writers of both Joseon and Japan in the 18th century shared common views on the meaning of antiquarianism, while also spinning off methodologies and purposes suitable for the environment of each literary world.

‘로마 문화 혁명’의 지적 배경: 로마 공화정 후기 상고학자의 역할을 중심으로

안희돈 ( Ahn Hee-don ) 한국서양고대역사문화학회 2015 서양고대사연구 Vol.43 No.-

The theory of the ‘Roman Cultural Revolution’ is based on recent researches in humanities that emphasized the complex and reciprocal relations between power and knowledge. During the Roman republic, ‘mos maiorum’ was the essential foundation on which the ruling elites relied in order to carry out their social and political roles. We, therefore, have to regard the attacks of moral decay made on the nobiles in the late Roman republic, not only as moral ones, but also political. In this paper, I examined the features and roles of Roman antiquarianism in the late Roman republic in order to understand the intellectual background against which Augustus’ ‘Cultural Revolution’ could be carried out. The Roman antiquarianism of the late republic was not just an elegant way of enjoying leisure time. Varro was an exemplary scholar of antiquarianism. After the collapse of the first triumvirate, he supported Caesar. He wrote his most representative work, ‘Antiquitates rerum humanarum et divinarum’ and dedicated it to Caesar, who was probably planning the reformation of the Roman religion. In the work, he asserted that he was re-establishing the ‘mos maiorum’ which had been neglected by the nobiles and forgotten. Varro’s assertion could be utilized as a useful weapon for the reformers who wanted to establish a new social and political order without being hindered by ‘mos maiorum’ of the nobiles. Augustus’ ‘Roman Cultural Revolution’ could appear and succeed against this intellectual background.

중국 고대문명 연구 100년: 쟁점과 전망

심재훈 숭실대학교 역사문물연구소 2023 숭실사학 Vol.- No.50

This study reviews the scholarship of early Chinese civilization since the 1900s focusing on the keywords of “regionalism” and the “doubting or believing antiquity.” The two issues, perhaps more substantially than any other regions, seem to be rooted on particular historical conditions inherent in China such as the dominance of antiquarianism and the celebrated traditional scholarship as well as being a response to the Western impact. Chinese archaeologists’ long-term endeavor to disprove the Western origins of Chinese civilization argued by Johan G. Anderson in the 1920s marks the transition to Sinocentric regionalism, which was propelled by the growth of indigenous scholarship, from Eurocentric regionalism. As represented by Su Bingqi’s “regional systems and cultural types” (quxileixing 區系類型) and K.C. Chang’s “Chinese interaction sphere,” the new regionalism results in a contradiction between the centrifugalism prevalent in the multiregional Neolithic archaeology built on current Chinese territory and the centripetalism ingrained deeply in traditional Chinese historiography. While Chinese scholars tend to reconcile the pluralistic phenomena into the monolithic linear trajectory, Western scholars gives more stress on muitiregional trajectories. Another methodological dispute on the authenticity of early Chinese texts underlies these controversies. It was the “doubting antiquity” (yigu 疑古) theorized by Gu Jiegang in 1920s following Tominaga Nakamoto, Cui Shu and Shiratori Kurakichi’s lead that took the studies of early Chinese civilization in the 20th century by storm. But the new archaeological discoveries since the late 20th century, including the Chu bamboo slips, led Chinese scholars to revisit the doubting antiquity discourse to the extent that in the 1990s, Li Xueqin urged to “step out of the doubting antiquity.” This declaration has affected the current trend of “believing antiquity” in Chinese academia. More and more influential Chinese-American scholars further seem to have reshuffled the academia in the West, which was previously in exclusive support of “doubting antiquity.” Especially, it is expected that the revisionist approach overcoming the extreme of doubting or believing antiquity both in China and the West will open a new vista in the studies of early Chinese civilization.

이태준 단편 소설에 나타난 계급 관계와 미의식

장수익 한국문학이론과비평학회 2004 한국문학이론과 비평 Vol.23 No.-

In Lee Tae-Jun's short stories, the setting of narrative originates in the relationship of three social classes ; the people(peasants at rural and the poors in city), the Chosen native bourgeois, and the modern power of Japanese-imperialism. The people hope a relief of the Chosen native bourgeois as a kind of romantic escape, but the perpetrators of Japanese-imperialism interupt their solidarity. And then the people and the native bourgeois don't get out of difficulties due to the rule of the imperialism and capitalistic system. The native bourgeois have an intention of enlightenment to the people, it does not realised as disturbance of the imperialism and capitalistic system. After all, Lee Tae-Jun describes the people's poor life through the warm and sympathic observation instead of the enlightenmentic action. At this point, the sympathic observation brings discovery to the people's human value in his short stories. This is an evidence that he belongs to Chosen-naturalism. On the other hand, the sympathic observation leads him to antiquarianism about Chosen relics of the past. From Chosen relics, he gets the power that indures the rule of the imperialism and capitalistic system. But a sense of failure of enlightenment remains in the deep side of his soul, he swings to the left after 8․15 Emancipation, which he considers as opportunity that enlightens to the people.

여왕(?王) 동기(銅器) 명문(銘文)의 해석과 의의 -할궤(??), 할종(?鐘)을 중심으로-

노학관 ( Roh Hac-kwan ) 단국사학회 2017 史學志 Vol.54 No.-

This dissertation is a meticulous examination on the reign of King Li of the Western Zhou, and I have used the Hu Gui ??, which was excavated in 1978, and the Hu Zhong ?鐘, which was discovered during the Qing Dynasty, as the main materials. The dissertation has especially focused on identifying the discrepancies between the bronze inscriptions and the transmitted texts containing records of King Li. As a result, I have argued that the records of the transmitted texts on King Li should be reconsidered. First of all, the physical features of the Hu Gui and the Hu Zhong, including the patterns and the style, indicate that they can be dated to Late Western Zhou. However, it should also be emphasized that the tendency of antiquarianism can be seen in the vessels. This aspect triggers one to wonder if there was a specific reason behind the casting of archaic styled vessels by the royal family of the Zhou. Accordingly, the possibility of an intended antiquarianism cannot be totally ruled out. Secondly, I have examined the inscriptions themselves, engraved on the Hu Gui and the Hu Zhong. Both of them contain ostentatious self-praises of the King. They also demonstrate attempts of formulating a strict hierarchy starting from King Li himself all the way up to the high Heaven. This emphasis on a rigid hierarchy can be interpreted as stressing the king's royal origin to consolidate his legitimacy and the authority of the king.

하계(霞溪) 권유(權愈) 산문 소고

하지영(Ha Ji young) 한국고전연구학회 2018 한국고전연구 Vol.0 No.42

숙종 연간 남인계 관각 문인들은 전대 문인의 상고적 정신과 문학적 시도를 계승하면서도, 자기들만의 독특한 문체를 발전시켜 나갔다. 이처럼 문예, 문체, 수사(修辭)에 대한 높은 관심은 전례를 찾아보기 어렵다. 숙종 연간 남인계 관각 문단을 대표하는 권유는 노론계 문인과는 다른 글쓰기 미감을 보여준다. 그의 작품은 자구의 조탁에 힘쓰고 생경한 전고를 끌어오는 등 난해성이 두드러진다. 인물의 삶을 기록하는 전장, 비지류의 글쓰기의 경우 대상인물을 적극적으로 평가하기보다는 그대로 그의 삶을 보여주는 방식을 선택함으로써 노론계 문인과의 차이를 드러냈다. 이러한 권유의 글쓰기 방식은 자신의 주관을 독자에게 전달하는 것보다 대상 인물의 삶에 초점을 맞춘 것이라 평가할 수 있다. 물론, 권유 문학에서 진단되는 난해성, 서사성을 남인계 문단 일반에 적용할 수 있을지 여부는 추후 다른 남인계 관각문인의 작품 분석이 병행되어야 논할 수 있을 것이다. 그럼에도 이관명, 송시열 등의 노론계 문인의 글쓰기와 권유의 글쓰기가 보이는 차이가, 각 당파가 내세우고 있는 전범인 당송과 진한고문 간의 차이와 겹쳐진다는 것은 분명해 보인다. 권유의 문학은 기이한 개성의 반영이라기보다는, 당대 남인들의 요구와 취향을 극단적으로 추구한 결과로도 이해할 수 있을 것이다. In King Sookjong’s period, Namin(南人) Gwan-gak literati developed their own unique writing style while succeeding the antiquarianism and literary attempts of writers from the previous period. Thus, there is no precedent for the high interest in literature, style, and investigation seen in this period. Gwon-yu represents the Geungi Namin Gwan-gak literati in the Reign of King Sukjong. He exemplifies a different aesthetic of writing. His work has been intensifying the esotericism, such as his efforts of phrasing and quoting from the classics. In case of the writing of Jeonjangryu (傳狀類) and Epitaph (碑誌類) that record the life of the character, he showed the difference with the Noron(老論) writers by choosing to show a character’s life as it was rather than actively evaluating the character. The writing method of Gwon-yu can be evaluated as focusing on the life of the character rather than conveying his subjectivity to the reader. Of course, whether or not the esotericism and narrativity diagnosed in Gwon-yu’s literature can be applied to the general Namin Gwan-gak literati sould be discussed in parallel with the analysis of the works of Namin Gwan-gak literati. Of course, whether or not the esotericism and narrativity diagnosed in Gwon-yu’s literature can be applied to the general Namin Gwan-gak literati should be discussed in parallel with the analysis of the works of Namin Gwan-gak literati. Nevertheless, it seems clear that the differences in the writing of the Noron writers such as Lee Gwanmyeong, Song Siyeol etc. overlapped with the difference between Tang-Song and Qin-Han Writings that exemplified the ideal model of Literature of each party. Gwon-yu’s literature can be understood as a result of an extreme pursuit of the demands and tastes of the contemporaries of Namin, rather than a reflection of a unique individuality.

밸러드 부흥운동과 낭만적 문학 밸러드의 탄생: 퍼시와 워즈워스를 중심으로

한규만 현대영미어문학회 2018 현대영미어문학 Vol.36 No.1

This paper explores the evolution of British ballads and the impact of the ballad tradition on Romanticism during the eighteenth and nineteenth centuries. Through the period, the traditional and broadside ballads of folk people were collected and published by antiquarians such as Thomas Percy and Sir Walter Scott. W. Wordsworth and many Romantic period poets imitated Percy’s Reliques and were influenced by the themes and techniques of the ballads of the lower class. In Lyrical Ballads, Wordsworth is seen to adopt the ballad tradition as the basis of his poetics of Romanticism. He is considered to creatively imitate the characters, subjects and poetic techniques of popular ballads for his literary ballads. The ballad tradition includes the anonymity and orality of folk people as well as the language of common people and the incidents of their lives. .

겐엔학파(?園學派)의 고문 비평의 쟁점과 특징-오규 소라이(荻生?徠)의 『사가준(四家雋)』, 『고문구(古文矩)』, 다자이 슌다이(太宰春臺)의 『문론(文論)』을 중심으로-

하지영 ( Ha Ji-young ) 근역한문학회 2017 한문학논집 Vol.48 No.-

Interest in reading and writing of Classical Chinese during the Edo Period has increased, and Ohgyu Sorai and his Disciples were at the beginning of the flow. The more the rhetoric of Classical Literature was taken into consideration, the more concrete grounds and cases were needed to elucidate their own arguments. Sorai of < Sagajun(四家雋) >, < Komungu(古文矩) > is prose criticism that pays exceptional attention to the descriptive characteristics, the operation of the lexical items, and the connotations of ancient writing. Sorai’s criticism method reflects his literary theory including the idea that recovery of a descriptive is important in prose, and it can be achieved through rhetoric. Sorai’s critique has an important meaning as an actual example that genuinely demonstrates the remedy of Qin Han classical theory which had not been materialize even by the Former and Latter Seven Master(前後七子). On the other hand, Dazai Shundai of < Munron(文論) > is prose criticism that refutes Sorai’s literature theory, Former and Latter Seven Master on the basis of the Jaedolon theory(載道論). The reasoning behind literary criticism in the way of historical explication, along with the reasoning behind taking strong warning against literary remedies can be said to be the unique reasoning held by his lecture literature. When compared it with the prose criticism enforced at the Korean literary world at the same time, the prose criticism of Sorai and Shundai have the following characteristics: first, they criticize the literature of Former and Latter Seven Master’s Literature, and second, they carry out detailed analysis in words and phrasal units. These methods of criticism can provide one clue that can be seen by analogy of the differences in the position of the writers of Korean and Japanese about Classical Chinese.

The Elegant Inkstones and Artful Calligraphy in Modern Korea: The Catalogue of Three Inkstones Studio (三硯齋硯譜, Samyŏnjae yŏnbo)

서윤정 한국미술사학회 2024 미술사학연구 Vol.- No.322

This study investigates The Catalogue of Three Inkstones Studio (三硯齋硯譜, Samyŏnjae yŏnbo), compiled by Pak Yŏngch’ŏl (朴榮喆, 1879~1939), a prominent Korean bureaucrat, businessman, and collector during the Japanese colonial period. The catalogue centers on three inkstones reputedly associated with notable Chinese and Korean scholars. Pak Yŏngch’ŏl, despite his modernist and enlightenment leanings, was deeply rooted in classical Chinese culture and used his collection to assert his cultural and intellectual identity. The study examines the cultural significance of inkstones, their role in forging social ties, and the strategic utilization of the past by modern intellectuals for self-fashioning. The first inkstone is notable for its inscriptions by Dong Qichang (董其昌), Weng Fanggang (翁方綱), and Kim Chŏnghŭi (金正喜), illustrating the cultural interconnectedness between Chinese and Korean scholars. The second inkstone, crafted by the eighteenth-century scholar Chŏng Ch’ŏlcho (鄭喆 祚), is explored in terms of the craftsmanship and social networking practices of the late Chosŏn era. The third inkstone features a poem by Shen Rujin (沈汝瑾) and showcases the transnational cultural exchanges between China, Korea, and Japan. Pak Yŏngch’ŏl’s collection practices and the subsequent compilation of the catalogue reflect his efforts to align himself with the cultural heritage of both China and Korea, while also embracing modernization under Japanese influence. The catalogue not only serves as a historical compendium but also as a reimagined past that aligns with the cultural aspirations of subsequent generations. Through a detailed analysis of the inkstones and their associated texts, the study provides a micro-historical perspective on East Asian intellectual history and material culture, revealing the intricate interplay between cultural memory, networks, and craftsmanship.