『신센만요슈(新撰万葉集)』에 있어서 계절 표현의 방법- 『만요슈(万葉集)』의 계승과 선구적 양식화 -

박일호 한양대학교(ERICA캠퍼스) 일본학국제비교연구소 2023 비교일본학 Vol.58 No.-

『고킨와카슈』 이후의 가집 편찬의 규범적 형식이 된 사계절 분류는 바로 『신센만요슈』에 의해 정제된 형식으로 시도되고 그 양식적 기초를 갖추게 되었다. 사계의 시간적・미적 경계를 의식하며 이에 근거하여 와카 분류와 배치를 명확히 하는 ‘문예적 계절 분류 방법’의 선구적 양식화는 『신센만요슈』에 의해 이루어진다. 그리고 『신센만요슈』는 『만요슈』 이래의 전통적 계절어와 서경 표현을 이어받으면서, 이를 하나의 유형으로서 고정화하는 길을 열어 헤이안시대의 와카의 유형적 가어와 이지적 표현의 방법에 대한 선험적 길잡이가 되었다고 할 수 있다. 또한 전통적인 수사법인 마쿠라코토바의 시학적 종언이면서 동시에 변화의 시발점이 된 가집이 『신센만요슈』이며, 언어의 중층성에 근거하는 가케코토바는 『신센만요슈』에서는 이미 중심적 수사법으로서의 위상을 정립하고 있다. 물상과 심상 사이의 새로운 관계성을 발견하게 하며 그 이미지의 선명성을 강화하고 공감의 깊이를 더하는 미타테 또한 『신센만요슈』에 서는 가케코토바와 함께 중추적 수사법으로 활용되고 있다. 이와 같은 중층적 수사법과 의인화를 통해 구상성과 실재성을 넘어서는 관념적 음영을 만들어 내는 관념화의 방향은 헤이안 시대 와카의 방법적 중심이 되는데, 그 선구적 위상을 가지는 가집이 『신센만요슈』라고 할 수 있다. Seasonal classification has been a standardized form in compiling a collection of poems since Kokinwakashu. Also, its refined style contributes to building the base of stylization, which is attempted by Sinsen Manyoshu. In other words, the leading stylization in the literary seasonal classification methods is made by Sinsen Manyoshu. It helps to clarify the classification and arrangement of Waka, based on time and aesthetic boundary of four seasons. Furthermore, Sinsen Manyoshu has inherited traditional seasonal and scenery expressions in describing the poems since Manyoshu and it has also served as a leading guide to how the similar lyrics and intelligent expressions were made in Heian period. Sinsen Manyoshu is the origin of the change as well as the poetic closure of traditional rhetoric, Makurakotoba and also Kakekotoba, based on the semantic duplicity of language, is standing as a central rhetoric in Sinsen Manyoshu. Mitate makes us find the new relationship between physical and mental imagery in the poem, going further to enhance the vivid imagery and deepen the empathic understanding. Thus, It is also being used as a crucial rhetoric along with Kakekotoba in Sinsen Manyoshu. For such a reason, the direction of ideation, which became a methodical center of Waka during Heian period, creates ideological shadowy image beyond concreteness and reality through the reduplicated rhetoric and personification. Therefore, Waka has played a leading role in a collection of poems. This is what we call Sinsen Manyoshu.

나라 · 야마토와 『만요슈』

구정호 중앙대학교 일본연구소 2015 日本 硏究 Vol.0 No.38

This dissertation is an argument between capital between the ancient Japan and Manyoshu from the presentation from Fall International Symposium of Institute of Japanese Studies in Chung Ang University. One of characteristics of Manyoshu is songs(Uta) have many names of region, especially from Nara and Yamato. The ancient Japanese changed their capital around Aska and Nara from the end of 7th to the beginning of AD 8th century. It met with the most important work of Termo. to build a new capital. Therefore, culture of the age was flourished in Nara and Yamato. The capital was settled down in Nara when Heijokyo was founded in AD 710. This dissertation examined transfer of the ancient Japan through the record of Nihonshoki Shoku-nihongi and Manyoshu.

『만요슈』의 매화가 고찰

구정호 한국일어일문학회 2020 日語日文學硏究 Vol.115 No.-

This study focuses on Waka singing Japanese apricot flowers to understand characteristics of poems of flowers of Japanese apricot in Manyoshu. The Japanese apricot flowers are originally from China and they date back to 8th Century A.D. . and many Many Japanese writers loved it just as Chinese writers did. Historically, poems of Japanese apricot flowers had been influenced by Chinese poems. Japanese writers of the era accepted literature style of Biào you méi’ in the Book of Odes and Méi huā luò in Pozo and developed their own style, with their original Japanese emotions. In Manyoshu, flowers of apricot were used to describe proposal of marriage. Furthermore, the full bloom of this flower was interpreted as the maturity of women, an important element to enhance the meaning of marriage proposal. The eighth and tenth chapter of Manyoshu include the songs of four seasons. Through the study, the researcher discovered the spring songs of Waka. These two chapters mainly includes Xuězhōngméi and full bloom of apricot flowers while the winter songs mainly deals with Méi huā luò. 本稿は『万葉集』に所収された梅を素材とした和歌を分析して『万葉集』における梅花歌の性質を考察した。AD 8世紀初、漢土から流入した梅は日本の文人たちに好まれたものである。日本の梅花歌は中国の梅花詩の影響を受けたもので、『詩経』の「摽有梅」から鮑照の「梅花落」に次いでいく梅花詩のながれは日本においてもそのまま享有され、さらにそれを日本的情緒に変容発展していった。『万葉集』の梅花歌の中でも中国の漢詩に見られるように、梅の実が求婚を象徴するものとして詠まれていてそのうえ、梅花の開花が女性の性的成熟に譬えて詠んでいたことがわかった。それから『万葉集』の巻八と巻十に所収された梅花歌を検討した結果、巻八と巻十の春歌部の梅花は開花を詠んでいて内容的には主に雪中梅をテーマにしている反面、冬歌部に所収された歌の場合は主に梅花落をテーマにする傾向が見えてきた。

일본고전문학(日本古典文學)에 보이는 남녀(男女)의 사랑 -『만요슈(萬葉集)』의 「불륜」을 중심으로 -

최광준 ( Choi Kwang-joon ) 한국일어일문학회 2016 日語日文學硏究 Vol.99 No.2

This paper is about liaison of the natural fears about the classics of the literature of Japan at the time, the people`s concept of sex between men and women are how. Take a look at the reflected. As you can see the relationship between the men and women in the dictionary definition of adultery `inappropriate love`, or refers to the `an inappropriate relationship`. Love affair is contrary to morality take a backseat. Japan`s sexual morality is a lot you don`t understand when you see the part of us. That`s a Japanese citizen, not everyone does that mean you. The ancient Japanese people are taken the Meiji Restoration of the practice of polygamy (明治維新) by modern system since changed. And adultery. The adultery in Japan had disappeared in the late 1940s. Modern physical relationship, or the concepts of the affair, in return for sexual intercourse of men and women. Once upon a time and the modern concept of sex. In ancient literature, especially "Manyoshu" in extramarital affair at this point is the song of many song that can say. Japan is in love songs of men and women so. At that time, having an affair not power, and in women, and an ordinary of men and women of noble rank as the central love. But "Manyoshu" the songs of Azuma(東歌) and Sakimoori(防人歌), in having an affair can not find out. Of course, a love affair is not appear, but I`m sure you. In addition to the songs looking in the final announcement on the songs of" Manyoshu". Next time I`ll introduce another paper about the prince Siki`s songs, Abenoiracheume`s songs and Nakatoomminoasomiazumahito`s songs.

주석학적 관점에서 본 가히야(かひや) 논쟁

구정호 한국일어일문학회 2019 日語日文學硏究 Vol.111 No.-

This study focuses on lyrics of “Kahiya” which has a great controversy during the period of Roppyakuban Uta-awase, based on an analytic viewpoint of Manyoshu. Mikohidarike, who was the representative writer, followed a tradition of a viewpoint of “Monogatari such as Isemonogatari and Genjimonogatari in his writing. In contrast to Mikohidarike, Rokujoke who represented Rokujoke selected “Manyoshou” as a primary source of Waka, so he tried his new approach to Waka thorough Roppyakuban Uta-awase. The analysis of “Kahi” in “Kahiya” is the most controversy part of the study. Several different viewpoints in its understanding are existed according to each party. Mikohidarike and a party of Shunzei understands the meaning of Kahi as a compound word of “Ka” and “Hi,” while Genshou and a party of Rokujoke interprets this word as “to rear.” As a result of research, the researcher concludes Mikohidrike’s analysis is relevant, even though there was no clear concept of Jodai Tokushu Kanzukai that the distinction of Korui and Oturui in his era. Despite this fact, Shunzei’s analysis and methodology is based on study of actual usage of vocabulary which is the most ground work of the study of modern Manyoshu study. 本稿は六百番歌合当時、「かひや」という歌ことばの意味解釈をめぐる一連の論争を万葉研究の注釈学的方法から考察を試みたものである。「かひや」をめぐる論争は藤原俊成を軸とする「御子左家」と藤原清輔死後、顕昭を中心とする「六条藤家」との学問的衝突の一面を見せる。本稿は「かひや」に関する一連の論争を中世万葉研究という観点に基き、当時の歌論・歌学書などの著述に施された方法論と近来の万葉注釈学的方法論との隔たりを検討した。

매화가의 와카사적 고찰 - 다비토의 매화연가(梅花宴歌)를 중심으로-

구정호 ( Ku Jeong-ho ) 한국일어일문학회 2017 日語日文學硏究 Vol.102 No.2

本稿は日本の詩歌文學の中で梅を素材とした和歌を中心にそれを文學史的側面から考察をおこなった。梅は中國から渡來した植物で、歌の素材としては奈良遷都以後の詩歌に詠まれたものである。梅が中國の文人に好まれたのは詠物詩の流行とともに當時盛んになった庭園造成のブ一ムによるものだった。このような狀況がそのまま日本に流入し、日本の文人の間に受容されていく過程を大伴旅人の梅宴歌を中心として考察をこころみた。 その結果、万葉集の梅歌は內容においては漢詩の主題であった「梅花落」の影響下にあったことが判明された。『万葉集』所收の梅の歌118首の內、梅の香を詠んだものは市原王の一首のみである。この一首を除いてはすべて梅の外觀の美に重点をおいたと言える。このような現象は万葉時代には漢詩の世界をそのまま?呑みした時期であってまだ和歌の獨創性は現われていない時期であるといえよう。 This dissertation researched and observed “Poems of Flower of Apricots,” from historical perspective of Japanese poetry. The flower of apricots, originally from China, has been used as subject matter of Japanese poetry from AD 710. The flower of apricots became to be in favor of Chinese writers` eye because it has been considered as representation of their dignity. At the same period time, nature poetry and indoor gardening was also contemporary trend with the songs of the flower of apricots. Based on the historical background, this study traced how the songs of the flower of apricots had become popular among Japanese writers, with the songs for Tabito`s banquet as the primary sources. As a result, the researcher discovered that its format was transferred from Chinese classical poetry to Waka, and its contents were influenced by Chinese classical poetry singing fallen petals of the flower of apricots. Manyoshu has 118 songs of the flower of apricots, however, just one poem is singing the scent of the flower written by Ichiharano Okimi. Except this one song, the other 117 poems praise about appearance of the flower. According to this fact, the trend of the poems of apricots` flower mainly dealt with its appearance in the age of Manyoshu. Therefore, the concept that the poems of the flower of apricots contains praise for its scent had been appeared in the age of Heian. In further study, the researcher would seek the trend of the poems of the flower of Japanese apricots by focusing on the history of Waka.

기억장치로서의 단카 - 일본사회의 집단기억과 정체성 형성의 기제 -

박지영 ( Park Jiyoung ) 세계문학비교학회(구 한국세계문학비교학회) 2021 世界文學比較硏究 Vol.75 No.-

본 연구는 일본의 기억문화에서 단카가 어떤 역할을 하며, 또 그 형식이 어떤 원리로 작동하는지, 장르적 본질에 입각하여 탐구한 것이다. 먼저 그 연원인 『만요슈』가 근대 국가 성립기에 정전으로 규정된 이후 집단에 공유되는 ‘문화적 기억’을 담당해 왔다는 점을 확인했다. 『만요슈』에 의해 공유되고 전승되어온 기억은 각 시대의 필요에 따라 재구성되었지만, 변하지 않는 점은 고대 일본인의 삶을 전해주며 기원을 상기시키는 텍스트로서 일본인의 정체성을 형성해 왔다는 점이다. 그 모방으로서 ‘○○만요슈’의 이름으로 지속적으로 기획된 앤솔로지들은 각 시대의 삶을 단카로 집적하여 전달하고자 한 것으로, 문화적 기억을 전달해온 『만요슈』의 외피를 입은 ‘기억 저장소’로 이해할 수 있었다. 이들이 기억을 보관하고 전승하는 메커니즘은 단카 형식 자체가 지닌 압축성과 기록성, 근대 이후 사생을 창작원리로 삼아온 사실성, 기회시적 특성을 활용한 시사성, 일반인이 널리 참여하는 민중성을 통해 설명할 수 있었다. 특히 같은 체험을 기록한 단카들이 집적되고 특정 컨텍스트 아래 배열될 때 중층적인 의미구성이 일어나며, 이러한 서사적 확장가능성을 통해 개인의 기억이 집단 기억으로 전입될 수 있다는 것을 구명했다. This study searches for what role Tanka in Japanese memory culture, and how its form works, based on the essence of the genre. First, it is confirmed that the origin of Manyoshu has been in charge of the ‘cultural memory’ shared by the group since it was designated as a ceasefire during the establishment of the modern nation. The memories shared and handed down by Manyoshu have been reorganized according to the needs of each era, but the point that has not changed is that it has formed the identity of the Japanese as a text that conveys the life of ancient Japanese and reminds us of the origins. As an imitation, the continuously planned anthology was intended to convey the lives of each era by aggregating in a Tanka, it could be understood as a ‘memory store’ in Manyoshu, which has conveyed cultural memories. The mechanism by which they are stored and transmitted could be explained through the compressibility and recordability of the Tanka form itself, the factuality that has taken sketching as a creative principle since modern times, the suggestion taken advantage of opportunity poem characteristics, and the popularity with widespread participation by the public. In particular, when the Tanka recorded of such them is accumulated and arranged as a specific context, a multi-layered composition of meaning occurs, and through this narrative expandability, individual memories can be transferred in collective memory.

레이와(令和)와 『만요슈(万葉集)』 - 새로운 연호 성립 과정 고찰을 통해 본 일본문화론 -

김수희 일본어문학회 2019 일본어문학 Vol.86 No.-

The 1st of May 2019 marked the day when the so-called “Era of Reiwa” started. The establishment of this year name dates back to the 13th of July 2016 when the emperor made a remark on his abdication. On the 8th of August, the message was proclaimed as “the words of the emperor who has served as the symbol of the country.” Then, the new era name “Reiwa,” which took over the previous era name “Heisei,” was proclaimed on the 1st of April 2019, and the new era name was launched on the 1st of May, when the new emperor ascended. The origin of the new era name is Manyoshu, and it was told that the name came from the initial sentence in “The 32 Poems Featuring Plum Blossoms,” included in the fifth volume. It is noted that in the entire history of the Japanese era names, which has lasted more than 1,300 years, the era names whose origin is detected are all from books or manuscripts in Classical Chinese. Therefore, the establishment of “Reiwa” attracted much attention from people in that the new emperor ascended through “abdication,” an event which did not occur approximately in the last 200 years and that the year name is for the first time based on the national book. In this article, I analyze various significances of the new year name “Reiwa,” which was proclaimed in a festival mood, and consider what they reveal about the Japanese culture and society. The present study also considers the issues relating to the academic significances of Manyoshu as a basis for “Reiwa” and its cultural issues. 2019年5月1日から、いわゆる「令和の時代」が始まった。ことの発端は、2016年7月13日、天皇の退位の意向が報道され、8月8日にはビデオメッセージとして「象徴としてのお務めについての天皇陛下のおことば」が公表され、退位に向けての制度整備が動き出した結果であった。様々な過程を経て、2019年の4月1日「平成」の次の元号として「令和」が公表され、5月1日の新天皇即位と共に使われるようになった。新元号の出典は『万葉集』で、巻五の「梅花の歌三十二首」の序文に出る「初春令月、気淑風和」から採っていると伝えられた。ちなみに、千三百年以上続いている日本の元号の歴史において、出典が判明する元号はすべて漢籍が出典とされている。従って「令和」改元は、約二百年ぶりの「譲位」による皇位継承の代始改元でありながら、古来漢籍を出典としてきた中で、初めて国書が元号の典拠に選ばれたことになり、世の注目が集まった。 本稿はお祭りムードで発表された新元号「令和」に関連し、様々な側面からその意義を考察し、その過程から見えてくる日本文化や社会の一側面について考えてみようと試みたものである。なお「令和」の典拠としの『万葉集』の学問的な意義、文化論的な諸問題についても考察してみたものである。

여행하는 하이쿠, 개구리는 몇 마리인가 - 하이쿠적 시선의 발견과 시적 소통의 가능성 -

김정례 세계문학비교학회 2023 世界文學比較硏究 Vol.85 No.-

Frogs can be considered as hatred creatures for their crying habit in groups with loud noises. However, in Japanese literature, frogs have been a motif arousing poetic inspiration. Frogs appeared in about 20 songs in the ancient poetry collection ‘Manyoshu’(around 770), and were marked “Gawaz” instead of “Gaeru,” an ordinary expression for frogs. The word “Gawaz,” for frogs here was distinctly used from a “Gaeru” referring loud and hatred frogs, but a magical and poetic terminology that can bring a transition to a poetic being. This tradition continued even after Japan wrote literature in their own writing, Kana. Among Japanese poems, the most well-known work is Matsuo-basho (1644-1694)’s Haiku “Old Pond/ Frog Jumping/ Water Splashing.” In the mid-to-late 19th century, many invited Western writers were attracted by the simplicity and uniqueness of Haiku and translated them directly into their own languages. “Old pond” was the most preferred work at that time. This work could be strange and esoterically sensitive even for the Western expert writers, but the unfamiliarity and esotericity of frogs in Haiku became more famous as it was interpreted as the mystery of Japanese culture or the world of oriental dhyana(선). In this paper, we learned about the poetic sensibility of Japanese frogs that have been handed down through traditional Japanese poetry, and further examined how they differ from Koreans, and the meaning of the difference. Furthermore, this paper can be regarded as a report of poetic filed based on cultural exchange of different poetic tradition, expression and sensitiveness of South Korea and Japan. 개구리는 무리 지어 함께 우는 습성 때문에 실생활에서는 때로 혐오감을 일으키는 생물체 로 여겨지기도 하지만, 일본 시가문학에서는 일찍이 고대 시가집 『만요슈(万葉集)』(770년 경)에 20여 수의 시가[일본어로는 우타(歌)라고 함]에 등장한다. 그런데 『만요슈(万葉集)』 에서는 당시 개구리를 표현하는 일상 언어인 ‘가에루’ 대신에 ‘가와즈’라고 표기했다. ‘가와 즈’는 시적인 존재로서의 개구리로의 전환을 가져오는 마법을 부리는 시적 언어, 이른바 가어 (歌語)였다. 이 전통은 일본이 자신들의 문자인 가나로 문학을 기록하게 된 이후에도 이어졌 다. 이처럼 일본 시가문학 속의 개구리는 고대부터 지금에 이르기까지 시인들의 시적 발상을 유도하는 모티브로서 『만요슈』를 비롯하여 귀족 중심으로 향유되던 와카(和歌)와 렌가(連 歌), 그리고 그것을 패러디하는 형식으로 출발한 하이쿠(俳句) 및 센류(川柳) 등의 일본 전통 시가, 나아가 근현대시에 이르기까지 셀 수 없이 많이 읊어졌다. 그중 가장 유명한 것은 마쓰 오 바쇼(松尾芭蕉, 1644~1694)의 하이쿠 <오래된 연못/ 개구리 뛰어드는/ 물소리 첨벙>이다. 이 하이쿠는 세계에서 가장 유명한 일본 시이기도 한데, 현재 100개 이상의 영어 역 외에 중 국어, 프랑스어, 독일어, 스페인어 등 많은 외국어로 번역되었다. 한국어로는 적어도 8개 이상 의 한국어 역이 있다. 그런데 개구리는 세계의 거의 모든 곳에 분포하기 때문에 모두에게 낯익은 소재였지만, 바 쇼가 읊은 위의 하이쿠 속의 ‘뛰는 개구리’는 하이쿠의 간결함에 매혹되어 있던 서양인에게 낯설고 난해한 시적 감성이었다. 그럼에도 불구하고 이 하이쿠는 당시 유행하던 자포니즘을 타고 일본에 대한 호기심을 부추기는 한편 동양적 선(禪)의 세계로 해석되며 더욱 유명해짐 으로써 세계에서 가장 유명한 하이쿠가 되었다. 그렇다면 한국에서는 이 하이쿠를 어떻게 이해하고 있을까? 본 논문에서는 이 물음을 바탕으로 일본 전통시가를 통해 전승되어 온 일본인의 개구리에 대한 시적 감성에 대해 알아보 고, 우리의 그것과 어떻게 다른지, 그 다름이 의미하는 바에 대해 고찰했다. 나아가 서로 다른 한일 양국의 시적 전통과 시적 표현방법, 시적 감성을 바탕으로 한 문화교류의 가능성에 대해 고찰했다.

전쟁단카의 수용 양상과 일본의 역사인식

박지영 한국외국어대학교 외국문학연구소 2022 외국문학연구 Vol.- No.87

This study discusses the pattern in which war memories by Tanka poem relate to the public's history awareness. As a result of comparing of Showa Manyoshu with the exhibition contents of Yushkan and ShowaKan, it's found that the composition of the editing is divided like a gallery in the memorial, and each Tanka was arranged by case to produce historical narratives. Tanka is directly used as an exhibition historical material for the memorial. Yushkan analyzes that Waka representing ‘Yamatogokoro’ and the Tanka of the fallen soldiers were exhibited to induce empathy of visitors. Meanwhile, Chiran Peace Museum gives meaning to the Last Tanka of the tokkō pilots as a message of peace for Japan's future. It says that Tanka is accepted in the logic of these memorial and produces history awareness associated with emotions. 본 연구는 단카 短歌에 의한 전쟁기억이 대중의 역사인식과 관계맺는 양상을 논구한 것이다. 쇼와만요슈 昭和万葉集 제6권을 대표적 전쟁기념관인 유슈칸 遊就館 및 쇼와칸 昭和舘의 전시 내용과 비교한 결과, 편집 구성이 기념관의 전시실처럼 구획되어 있고 각 단카들이 기념관에 전시된 사료처럼 사건별로 배치되어 역사적 내러티브를 생산한다는 점을 알 수 있었다. 관람객이 전시를 보면서 역사 이해의 기반을 형성하게 되듯이 쇼와만요슈 를 읽는 과정 역시 기억을 공유하는 일원으로서 정체성 확인하고 역사인식을 형성하는 통로가 될 수 있는 것이다. 단카는 기념관의 전시 사료로 직접 활용되기도 하는데, 유슈칸의 경우 ‘야마토고코로 大和心’를 표상하는 저명한 와카 和歌 및 전사자들의 유영(遺詠)과 유족들의 추도가를 전시하여 전사를 둘러싼 내러티브를 극대화하고 관람객의 감정이입을 유도하는 것으로 분석되었다. 전쟁중 감정의 공동체 형성의 바탕이 된 단카가 그대로 수용되면서 관람객을 ‘대동아전쟁’ 당시의 감정으로 되돌리는 역할을 하는 것이다. 한편 지란 특공평화회관(知覧特攻平和会館)은 특공대의 유영을 일본의 미래를 위한 메시지로 비약하여 의미부여를 유도한다. 특공대원들에게 절망적 죽음을 가장 아름답고 영예로운 순간으로 전유하는 형식이었던 단카는 특공작전을 숭고한 희생이자 평화의 아이콘으로 기억하게 하고 그 결과 반성과 비판의식은 정서적으로 압도되는 것이다. 단카는 이들 기념관의 논리 속에서 수용되며 감정과 결부된 역사인식을 생산하고 있다고 할 수 있다.