원굉도 시가의 사회시적 성격

우재호 영남중국어문학회 1994 중국어문학 Vol.24 No.1

關於袁宏道和他的文學的硏究, 主要有兩方面, 一個評價是, 他和他的作品對於現實社會竝沒有深切的責任感, 對他自已更沒有積極的肯定, 無憂無慮的面對現實世界. 령一個評價是, 他正是一個關心世道的人. 他對於祖國和人民的現在和未來一定有積極性和愛情, 他的作品呈現着對於國家和社會有深切的責任感. 這些評價有極端的兩面性. 筆者也比較贊成後者的評價. 後者的這樣評價, 是在魯迅及궤位硏究家的文章和論文中已經發現的. 可是, 那些文章裏沒有列擧充分的例子, 不足證明自己的看法. 困此, 筆者提取而提示袁宏道的社會詩, 要證明他的詩歌中凝聚着現實社會和世界的關心. 如果我們熟讀他的詩歌, 可以認識他的作品決不是沒有關心世界和現實的. 在他的文集裏, 有흔多暴露對現實政治社會和國家內外情勢的矛盾. 這類的詩歌, 處處散見. 這種詩歌, 內容上可以分爲三個方面進行說明, 一個是歌詠官吏暴政的詩歌, 一個是歌詠人民生活的詩歌, 령一個是歌詠明朝的內外情勢的詩歌等. 看到他這種詩歌的時候, 我們可以把握他的作品決不是沒有關心世界和現實. 假使我們看見他一部分的詩歌, 可能知道他是超現實者, 或者逃避世界的隱者, 或者任性情而遊覽山水的放浪不羈之士. 這樣的分析和接近, 不能分明地把握他和他的文學. 這眞是對他和他的文學極大的歪曲和錯誤. 所以這樣的評價, 無疑令人再考. 筆着想可以說, 他的這種傾向的詩歌, 與他的山水遊覽和隱居關係흔密切, 不能忽視他的這類詩歌. 爲正確的分析他和他的文學, 爲全面的評價他的詩歌, 我們應該參考和考慮到他的那些詩歌.

당대(唐代) 매화시(梅花詩)에 나타난 매화(梅花)의 상징성

우재호,권영해 영남중국어문학회 2012 중국어문학 Vol.0 No.61

中國歷代的文人都十分喜愛梅花所具有的獨特象征意義。梅花不畏嚴嚴寒,竟在孟冬時?綻綻的形象,給予詩人們深刻的印象。在嚴嚴寒中,先于百花盛開的特質,使梅花具有了與?不同的象征性。本文認爲梅花的象征意義大致在唐代已經形成,幷對唐代梅花詩中出現的象征性進行了分析。唐代梅花詩中出現的梅花的象征意義,大致分成‘春的使者’、‘冷美人’、‘相思子’、‘高風亮?的自我’等四個小?,幷對其進行了考察。梅花多在冬至前後含苞待放,有時甚至在深冬盛開。所以梅花是春天的使者,預示著春天將至這種??的變化。在雪花飄落的冬季盛開開出?白花瓣的梅花被描繪成?肌玉骨的高傲的形象。白雪、月色和梅花的?妙組合激發出觀賞者內心無限的想象力與情懷,所以把梅花比?成仙女或美人。用女人的姿態來形容花的特征時,梅花幷不是華麗與?媚的形象,而是具有端雅和孤傲氣質的女人的象征。關于‘相思子’的梅花詩多以與好友的贈答形式出現,除此之外,與家人或同事等關系親近的人,爲相互贈詩而作的情況十分常見。有時把對故?的思念之情, 寄托在梅花上,?通過作品來抒發。在‘高風亮?的自我’上,梅花等同于詩人自身,其高?的形象被賦予了詩人自身的堅?意志或高?品格,這便是梅花的寓意。有時通過路邊盛開的寒梅形象來抒發詩人懷才不遇的感慨。南北朝時代,僅個別詩人以曲子形式吟唱的梅花,到了唐代,作爲詩的素材被廣泛傳播,在宋代以後,梅花作爲象征文人氣質的代表性花卉的地位被確定。梅花的這種象征性,在唐代梅花詩中,大部分被具體化,?且紮根下來,壹直保持原樣,流傳至今。

袁宏道와 李贄의 교유에 관하여

우재호 대구대학교 중국문화연구소 1994 中國文化硏究 Vol.3 No.-

회소(懷素) 초서(草書)와 역대 회소초서가(懷素草書歌)에 대하여

우재호 영남중국어문학회 2018 중국어문학 Vol.0 No.77

This paper is a part of study on monk calligrapher and poetry of monk calligrapher who were engaged in activities since the beginning of Tang Dynasty. Since I can not deal with all the poems on calligraphy and monk calligraphy of many generations in one short essay, I first selected and analyzed Cursive song poetry on the Huai Su's Cursive style of writing. Among the numerous monk calligraphers, Huai Su's calligraphy and poetry created by contemporary poets have been passed down to the present day, and since then Huai Su is represented as a typical monk calligraphy. Since the date of birth and entire life of Huai Su was not even clear yet, in the first chapter, I tried to summarize the life of Huai Su. And in the next chapter, I selected and analyzed 13 pieces of Cursive song poetry on the Huai Su's Cursive style of writing in Tang Dynasty, and 15 pieces of that in next many dynasties. Based on this, I summarized the poetic characteristics of Cursive Song Poetry on the Huai Su's Cursive style of writing of many generations in four areas such as title, form, content, and expression technique.

樂府詩 「梅花落」에 관한 小考

우재호 한국중국언어문화연구회 2014 한중언어문화연구 Vol.- No.34

There are total 35 poems with the same title of 「Plum blossom falls(梅花落)」 written by Wei and Jin dynasty(魏晉代) poets, such as Bao zhao(鮑照), Wu jun(吳均), and by Ming dynasty(明代) poets, such as Liu ji(劉基). By studying these 35 poems, this paper investigates 「Plum blossom falls」 a Yue-fu Poetry and Imitative Yue-fu Poetry which was composed by a number of writers. This paper analyzes the characteristics, contents and the formation of 「Plum blossom falls」. Based on an analysis of a Korean Classical Poetry 「Plum blossom falls」and comparison between the Korean Classical Poetry 「Plum blossom falls」 and Yeu-fu Poetry 「Plum blossom falls」, this paper studies whether the Yeu-fu Poetry 「Plum blossom falls」 can be regarded as a Plum Blossom Poem(梅花詩). The contents and the formation of the existing 「Plum blossom falls」are diverse. 「Plum blossom falls」 was originally a title of a Yue-fu Poem 「Songs accompanied by horizontal flutes(橫吹曲)」 in Han dynasty. It was a Songs accompanied by bamboo flutes(笛曲) singing of soldiers at a battlefield longing for their homes on a warm spring day. After Wei and Jin dynasty, the content of 「Plum blossom falls」 became mostly about women lamenting spring and longing for their husbands who went to battlefields. Due to the fact that 「Plum blossom falls」 in the Korean classical poetry is similar with Yue-fu poetry in its contents and formation, it is safe to say that 「Plum blossom falls」 in the Korean classical poetry is an imitation of the Yue-fu poetry 「Plum blossom falls」. Although 「Plum blossom falls」 has a title of a Yue-fu poetry, hence its formation is similar with other Classical poetry after Tang dynasty(唐代) and poetries about the ecology and symbolism of Plum blossoms became mainstream over time, 「Plum blossom falls」 can be categorized as a Plum Blossom Poem.

원굉도(袁宏道) 시가(詩歌)의 연원(淵源)

우재호 한국중국어문학회 1995 中國文學 Vol.23 No.-

청개구리에서 항아리곰팡이균에 의한 감염과 회복

우재호,이도나,이인경,브루스 월드만 한국양서ㆍ파충류학회 2017 한국양서·파충류학회 학술대회 Vol.2017 No.07

Batrachochytrium dendrobatidis, also known as Bd, is a pathogenic chytrid fungus that affects amphibians all over the world. The fungus is known to have lethal effects to its host and is suspected to lead to endangerment of several amphibian species around the world. However, not all infected individuals show clinical symptoms and Asian amphibian species have been recorded to show immunity towards the fungus. We have conducted infection and recovery experiment in wild caught individuals of Japanese tree frogs (Hyla japonica) to analyze the infection rate of animals exposed to differential dosage of Bd and the recovery rate with extended heat exposure. We collected adult individuals of Hyla japonica from 4 different ponds located in South Korea, namely Nakseongdae (37.47° N, 126.95° E), Incheon (37.46° N, 126.76° E), Gwangju (37.47° N, 127.30° E), and Pocheon (37.89° N, 127.29° E) during the breeding season between May and August 2016. The experimental subjects were tested three times for Bd through PCR assay using the swab samples collected during different steps of the experiment. The initial screening was done using the samples taken as soon as the animals were collected from the wild. The second screening was performed with the swab samples taken after the infection and recovery process, and the third screening was performed after 3 weeks from the second screening only on the recovery group to confirm the results. Infection process was conducted with 45 naturally uninfected animals at three different level of zoospores/ml – 100,000 zoospores/ml, 200,000 zoospores/ml, 300,000 zoospores/ml and control group for up to six days. The 1ml of the diluted culture was inoculated directed to the infection group animals. An additional 19ml of distilled water would be added to the container and the frogs were maintained to have direct contact with the water at least 2 hours a day through turning of the container. During the third day of infection, another 1ml of diluted culture was inoculated to the infection group animals in the same manner. The infection rate of each group was 100,000 zoospores/ml (42.11%), 200,000 zoospores/ml (50.0%), 300,000 zoospores/ml (66.67%) and control group (0.0%). Overall, the infection rate of all the group was 45.44%. Mortalities during infection procedure in infection group was 42.86% (15 out of 35 animals died), while none out of 5 animals died in control group. Recovery process was conducted at the temperature of 32℃ for 4 days with 6 naturally infected animals and 31℃ for 7 days with 21 naturally infected animals. The recovery rate of first 6 animals was 0%, which means all of 6 animals testing positive for Bd screening in the post recovery procedure. However, all the animals were recovered in second group, although two animals died during the process. The results may support conservation efforts and help to study the effect of climate change and temperature difference to the current Bd epidemic.

송대(宋代) 서예시(書藝詩) 시탐(試探) -당대(唐代) 서예시(書藝詩)와의 비교를 겸하여-

禹在鎬 영남중국어문학회 2021 중국어문학 Vol.- No.88

Poems on Calligraphy, which began to be created in Tang Dynasty, was on track in the middle of Tang Dynasty. However, these calligraphy poems were more actively built and more diverse in Song Dynasty than in the day. Tang Dynasty's calligraphy poems was able to select about 100 numbers throughout Quantangshi (全唐詩Complete Poetry of the Tang: A Complete Collection of Tang Poems), but Song Dynasty's calligraphy poems could extract about 946 numbers from Quansongshi (全宋詩Complete Poetry of the Song: A Complete Collection of Song Poems). Therefore, in this paper, I analyzed the characteristics of Song Dynasty's calligraphy poems using these Song Dynasty's calligraphy poems as the primary research subject. Song Dynasty's calligraphy poems are almost 10 times more numerous than Tang Dynasty's calligraphy poems, so the contents covered in the subject were more diverse and rich than Tang Dynasty's calligraphy poems. In this paper, the analysis angle was slightly different from that of previous studies in China, first of all, focus on the title of the poem, and the analysis was conducted focusing on calligraphers, calligraphy, stone inscription and books of rubbings.

당대(唐代) 서승(書僧) 변광(䛒光)의 서예(書藝)와 서예시(書藝詩)

禹在鎬 영남중국어문학회 2020 중국어문학 Vol.0 No.85

In this paper, we extracted and analyzed the calligraphy works of Monk Calligrapher Bianguang(䛒光), who made a reputation by working in Late Tang Dynasty, and the poems of the time when he commented or sang the calligraphy of Bianguang and the evaluations of the past writers after Tang. Although Tang Dynastic achieved fame as Monk Calligrapher and Huaisu(懷素) and Gaoxian(高閑) are representative monks who still have a reputation today, the poems of contemporary writers who recited the calligraphy of Bianguang have been handed down in large quantities to this day after Huaisu. As the life of Bianguang overlaps with the chaotic end of Late Tang Dynasty, it is difficult to grasp the true face of his poetry and calligraphy, with his collection of poems and the collection of poems and calligraphic writings extolling the Bianguang calligraphy now leaving no trace until today. However, I summed up Bianguang's Cursive Style of Writing through the seven existing poems reciting the calligraphy of Monk Calligrapher Bianguang contained in Quantangshi (≪全唐詩≫). Successive to Monk Calligrapher Huaisu's styles, his calligraphy was natural without restraint, and it can be seen that he had never been shabby or paranoid because of his pliant and grandeur. This was also confirmed in the post Tang Dynasty assessments of Bianguang’s calligraphy.

文房四友를 읊은 唐詩에 관하여

우재호 한국중국언어문화연구회 2015 한중언어문화연구 Vol.- No.37

Since Tang Dynasty, the poetic words by personification of Four Precious Things have been used in prose. From this, I undertook to figure out: How Metaphor was made use of in the poetry of The Four Friends of the Study; Whether the rhetoric in prose appears again in poetry, or whether there are other particular rhetoric. It would be too abstract to examine the Chinese poetry in all ages, so I narrowed it to the Tang Dynasty selecting 52 poems of ‘paper, writing brush, ink-stick, and ink-stone’. There are 15 poems of paper, 12 of writing brush, 4 of ink-stick, and 21 of ink-stone. Except for the three poems which were counted twice, the primary sources in this study are 49 poems. The poets from Wei-Jin the Southern and Northern Dynasties and Tang Dynasty used simile and metaphor most. They described The Four Friends of the Study by making use of comparison and hyperbole, or sometimes by way of personification. But there are some cases that all the above rhetoric were synthetically used. From the fact that there were personifications in poetry, I drew a conclusion that poetic words from the personification of The Four Friends of the Study have been universally used since the middle and late Tang Dynasty and more universalized in the Song Dynasty.