가칭 영랑전과 화랑세계의 향가 관련 기록 검토

신재홍 ( Jae Hong Shin ) 한국시가학회 2014 韓國 詩歌硏究 Vol.36 No.-

The documents which Hwarangsegi`s transcriber had remained is recently published with tentatively named Yeongrang-jeon and Hwarangsegye. It is certain that these two documents are forgeries with evidences of several characters` life age. But it is probable that some parts of those would be the contents come out several original documents of any period after Shilla dynasty. So I examined the contents related to Hyang-ga in the documents. In the beginning of Yeongrang-jeon poem of chinese form and Baekpa-ga written by similar letters in Hyang-ga is recorded. However not only letters of same words are different each other, but also poetic form of Baekpa-ga differ from that of Hyang-ga. Besides the annotations of the documents have marks to be touched up. Therefore Baekpa-ga may be made up by any transcriber. The aspects of composition and enjoying of Hyang-ga are described in Yeongrang-jeon. Seven Hyang-ga poets among Yeongrang` vassals are called ``Yeongmoon-chilja``. The two poets` names among them are recorded on Samgukyusa, a history book published on Koryeo dynasty. And the enjoying aspects are described more concretely than that of Hwarangsegi. We could find that Hyang-ga`s aesthetic level and cultural position was very high and composition of Hyang-ga was a necessary action of Hwarang groups.An important Hyang-ga poet, Shinchung`s political traces are described in the document. His political position of the time has been inexplicit until now. And the lineage of Weolmyeong who is most famous Hyang-ga poet is recorded in Hwarangsegye and Yeongrang-jeon. His birth year is estimated to be A.D.720. And it is explicitly described that his ancestors were the members of Hwarang groups. With these records we can guess his age when he managed a Buddhist rite and versified Hyang-ga poem.The names of a couple, Muwang and Seonhwa who are famous hero and heroine narrated in Samgukyusa are showed in Hwarangsegye. The heroine`s lineage is explicitly recorded in the document. The heroine`s grandmother is one of royal harems who are recorded in Hwarangsegi. Besides Bodong, one of three Hwarangs who had become momentum of composition of a famous Hyang-ga poem is recorded in Hwarangsegye. He was a son of a concubine of a famous Hwarang.

향가의 비유법

신재홍 ( Jae Hong Shin ) 한국문학교육학회 2005 문학교육학 Vol.17 No.-

향가 교육을 위한 기초 연구 - 향가 난해구의 재해석 (7) , 「 원왕생가 」 -

신재홍(Jae Hong Shin) 한국문학교육학회 1999 문학교육학 Vol.3 No.-

According to the above discussion, Wonwangsaeng-Ga (Song of wish for the Western Paradise) can be interpreted as follows: Is the moon throughout Going with wish to the Western Paradise? In front of Amitabha Please take a report and tell Him: Looking up the Buddha who vowed deeply Puting together and straightening two hands, `I wish to go the Western Paradise, I wish to go the Western Paradise` There is a man who has been said so. Ah, If He leave me, How He could achieve the forty eight vows?

전력시장에서 정보에 따른 발전기업 입찰 전략연구

신재홍 ( Jae Hong Shin ),이광호 ( Kwang Ho Lee ) 단국대학교 산업기술연구소 2004 산업기술연구 Vol.5 No.-

김만중 문학에서 어머니의 장르별 형상화와 그 의의

신재홍 ( Shin Jae-hong ) 한국독서학회 2018 독서연구 Vol.0 No.48

In this study, I paid attention to the deep and intimate relationship between Kim Man-Jung and his mother Mrs. Yoon described in the Seopoyeonbo. I tried to reveal the significance of Kim Man-Jung's mother in his creative activities and literary world by comprehensively examining the status of mother discussed by various genres. To this end, I analyzed the aspects of figuration from the mother of reality to the mother of fiction in poems with Chinese letters, the biographical writing, and the novel, and extracted the writer's consciousness contained in it. There are many poems with Chinese letters the author has wrote with missing emotions when he was far away from his mother. In the poem the mother who the speaker met in the dream is in the center of the family. On the period of exile author was saddened and remorseful, but he could not express it in words that he could not even put on the collection of life. In Yoonssihaengjang, the author emphasized the aspect of reading and education while describing his mother's life, so he established an example of woman intellectual. Behind the description of the mother's biographical writing is the consciousness of the infertile son who had a lifetime. The mother was shaped in the novels. In the Guunmong, Mrs. Yu the mother of Yang So-yu was taken as the center-person of the family and in the Sassinamjeonggi the heroine Sassi was described for figure of mother having relation with her son. Mrs. Yoon was a major driver of Kim Man-Jung's literary creation. Not only she gave a direct motivation to creats Guunmong but also was major material when expressing the experience of everyday life in a moment, and her whole life was the motive of the description of biographical writing. These mothers have been shaped in various genres, including the consciousness of the family, the consciousness of women's understanding, and the self-consciousness of the infertile. This writer's consciousness about the mother shows a tendency to spread to works of other characters or other genres. There are many poems which have female materials in Kim Man-Jung's collection of literary works. In Guunmong the eight women who have individualities were drawn. In Seopomanpil the writer's interest and positive evaluation of female writers and the view point toward women in description is remarkable. The writer's consciousness shown in the figuration of the mother spreads throughout Kim Man-Jung's whole literature. Therefore, the existence of the mother is widely located in Kim Man-Jung's creative activities and literary world and has a key significance.

고전 소설의 알몸 형상과 그 의미

신재홍 ( Jae Hong Shin ) 한국독서학회 2011 독서연구 Vol.0 No.26

In the figures of naked body in Korean classical novels we could catch these literary meanings. First, the figures of naked body signify the extreme situations of suffering. The heros or heroines of Sukhyang-Jeon, Simcheong-Jeon, and Jeokbyeok-Ga have suffered for life problems with naked bodies. Life is a series of suffering and overcoming, so the human``s naked life is captured by these figures. Also the extreme situations of human``s suffering may be death, so human beings in front of death are revealed by these figures. Second, the figures of naked body signify humiliation according to deviator and also the shape of spirit. The naked heros in Baebijang-Jeon, Oyuran-Jeon, Gangneungmaehwa-Taryeong are humiliated among people living in the social conventions and rules. They sneer and satire the heros because of their shapes deviated from social norms. But the floundering of one of the heros to get out dangerous situation appears the existential conditions of human beings. Third, the figures of naked body signify playing and vitality with sexual amusement. In Chunhyang-Jeon the young boy and girl``s sexual playing scene is described vitally and interestingly. Becoming of man and woman``s naked bodies to the tools of sexual playing, they play and enjoy with pleasure. Compared this, the scene of sex in daytime of Byeongangsoi-Ga appears hero and heroine``s expectation for the future family life. The common people who have not anything find an energy of life in the sex with naked bodies. Forth, the figures of naked body signify the crimes of lust imprinted in body and the punishments. The hero``s awful naked corpse in Byeongangsoi-Ga shows his crimes against the tree spirit and punishments from the spirits. Further than this, the awful figure becomes a symbol of obsceneness and illness of human body. This figure of naked corpse is an intensive expression of the common peoples`` physical states of the time.

<원왕생가>와 삼층 석탑의 구조적 상동성

신재홍 ( Shin Jae Hong ) 한국문학교육학회 2013 문학교육학 Vol.40 No.-

WonWangsaeng-Ga is a work of the involving type of 10 lines Hyang-Ga. This poem has been exquisitely constructed by spatial structure of meaning. The poetic I on earth asks the moon moving toward west to speak his story his story in front of the Buddha in heaven. In his story the composition between earth and heaven is obviously figured in a form of the praying poetic I looking up the Buddha on upper seat. According to this spatial composition the temporal meaning of past, present and future is aggregated. In this structure of meaning the spatiality shows remarkable features. Through analysis of this poem the structure of three stairs of meaning unit is appeared. The 3 paragraphs 4-4-2 lines of 10 lines Hyang-Ga are constructed with the way of involving paragraph. And the structure is constructed with a course of making theme concrete. The core word is posed in the center of second paragraph, and the key words are wrapping the core word. So WonWangsaeng-Ga is a poem having structure of complex layers. We could find the structural similarity between this poem and three storied stone stupa. In the early period of great Shilla when the poet live, the style of stone stupa were establishing. These stupa shared the contemporary symbolism and senses of beauty with WonWangsaeng-Ga. The way to make space in anywhere among three stories for setting crystals come from buddha``s body is related to the core word set in the center of second paragraph of the poem. The way to stick an iron pole into third story of stupa is connected with the coherent theme forward heaven of the poem. The rhythmical feeling from pilling up three stories with cube stones and roof stones is compared with the rhythmical sense of the poem. Comparative study between literature and formative art shows the ways of understanding cultural senses and aesthetic consciousness. With this study we can understand not only literature but also formative art.

<유리창>과 <제망매가>의 비교 고찰

신재홍 ( Jae Hong Shin ) 한국독서학회 2015 독서연구 Vol.0 No.34

JeongJiyong’s modern poem Yurichang and Wolmyeong’s Jemangmae-ga, one of HyangGa which is lyric genre of Shilla dynasty have common features of 10-lines form and expression of emotions from experience of death. We can find more similar and different details in two poems through analyzing meaning structure, rhythm, images, and themes. The 10-lines of Yurichang could be divided into 1-2-2-1-2-2 lines. These units comes from JeongJiyong’s characteristic 2-lines 1-stanza form. This form is similar to the 10-lines HyangGa, involved Jemangmae-ga, which could be divided into 5 parts with each 2-lines. But two poems have difference in meaning structure. The paragraphs of meaning are constructed with four stages in Yurichang, but with three stages in Jemangmae-ga. There is common rhythm of three foots a line with mixing two or four foots in Yurichang and Jemangmae-ga. But personal rhythm made through marking pauses before and after a word in Yurichang could not be found in Jemangmae-ga. Besides the exclamations in two poems have common role to lead toward closing of poem with gathering poetic thoughts. However poetic speaker’s individual breath is involved in the exclamation of Yurichang unlike that of Jemangmae-ga. There are also common features in that experiences of death are figured on opposite basis of life and death. The world is divided two parts such as inside and outside of glass window in Yurichang or coming into and going away in Jemangmae-ga. But cognitions of death have been got with senses in Yurichang, but with thinking in Jemangmae-ga. And the speaker of Yurichang accepts death with grief, but he of Jemangmae-ga finds out religious vision. However the metaphors of star with a flash in Yurichang and scattered leaves in Jemangmae-ga have similar meaning of disappearance and instantness. Two poems have similarities in that images related death have been made with connecting materials in time and space. The exclamation in Yurichang is remarkable example among those of JeongJiyong’s 10-lines poems. Through shift of its position in Jeonggwajeong-gok, one of KoryeoGayo, the exclamation remains in modern poem, Yurichang. And on the flow of three paragraphs and four paragraphs to the modern poetry, the latter gains triumph. So four paragraphs remain in Yurichang. Besides, the thematic differences of two poems should be appeared by poets? personalities and the trend of thinking and literature in their days. But the common thematic features could show a phase of Korean lyricism which have flowed in deep dimension. With this comparative study we can have two points in Korean lyric history to examine traditions of lyricism. But this study have limits of comparing only two poems.

이육사의 시와 화랑도의 향가 비교 고찰

신재홍(Shin, Jae-hong) 국어국문학회 2015 국어국문학 Vol.- No.170

Yiyooksa’s poems have forms which are very refined and themes of constancy. The forms of Yiyooksa’s poems have been considered with influence of Chinese poetry. But it is more useful to compare those to Hyanggas on the same linguistic basis of Korean poetry. Through comparing Yiyooksa’s poems to Hyangga in the forms and themes we can find some features of Korean lyrics. Yiyooksa composed Chinese poems and Shijos for himself. And passages which show the poet’s concerns of Korean traditional poetry are found in his poems and proses. With this we know that the poet have wide concerns for various genres of Korean poetry. Therefore the viewpoint of influence of Chinese poetry could not be enough to understand forms and themes of Yiyooksa’s poems. The forms of three, five, six stanzas and two, three lines are mainstreams in Yiyooksa’s poems. The poems of five stanzas with each two lines are constructed by three paragraphs. This form could be compared with that of Hyangga which is set by three paragraphs with each two or four lines. The meaning structure of ten lines Hyangga which the second paragraph(from fifth to eighth line) is developed on the basis of the first paragraph(from first to fourth line) and the third paragraph(ninth and tenth line) is jumped or changed is different from that of Chinese poetry constructed by four paragraphs. And Yiyooksa’s poems of four stanzas with each two lines could be compared with eight lines Hyangga. The two poetic forms have common features which could be analyzed by three paragraphs in spite of outward appearance of four paragraphs. In addition, theme of constancy in Yiyooksa’s poems could be compared with that of Hyangga. The constant attitude for independence of his own fatherland is connected to the medieval poet’s loyalty for his own king. This theme could be found in Shijos which are prevailed on the period of Choseon dynasty, but we can go back to Hyangga of Shilla dynasty, So we compared Yiyooksa’s poems to Hyanggas of Hwarangdo that is a group of the noble young men of Shilla dynasty. The peak, one of Yiyooksa’s poems, is appeared to be constructed by four paragraphs, but could be analyzed by three paragraphs. This meaning structure have similarities with eight lines Hyangga. The plain, another Yiyooksa’s poem, has common structure with ten lines Hyangga in the three paragraphs meaning structure. But it shows some differences in the number of lines and the function of stanzas. Themes of The peak and The plain are converged on taking historical prospect after overcoming severe situations of the days. Compared with this, Mojukjirangga, one of eight lines Hyanggas, shows theme of subordinate’s loyalty to his chief, and Changiparangga, a ten lines Hyangga, expresses theme of pursuit of sublime ideas. Yiyooksa’s poems and Hwarangdo’s Hyanggas have common attitudes of constancy for dream of life. Like this, refined forms and themes of constancy of Yiyooksa’s poems could be compared with Hwarangdo’s Hyanggas. With this comparing some persistent features of Korean lyrics would be revealed.

『화랑세기』를 통해 본 초기 소설사의 양상

신재홍 ( Jae Hong Shin ) 한국고소설학회 2008 古小說 硏究 Vol.25 No.-