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이경규(Lee, Kyung Kyu) 한국중어중문학회 2016 中語中文學 Vol.0 No.66
The discrepancy between many Northern Song poets and contemporary critics’ views on Huang Tingjian’s Ci stems from Tingjian’s use of both vulgarity and elegance in his poems. This study tries to make clear of this debate by paying a close attention to Tingjian’s later work of vulgar Ci. For the purpose of the analysis, the study looks at 94 poems from 1094, which is the year Shaosheng(1094) that Tingjian turned 50. I will then focus on Tingjian’s change in his view of vulgar Ci and the poem’s characteristics to explain the author’s method and purpose of his compositions. The gist of the study is on the transformation of Huang Tingjian’s perspective on vulgar Ci poems. Tingjian’s prayer after monk Faxiu’s admonishment on the writing and the preface of Xianshanji are particularly useful writings to analyze such changes in Tingjian’s thoughts His thinking was that as long as there existed a clear right and wrong on the author’s mind, vulgarity and elegance is comparable. This idea is related to Su shi’s concept of “YiShiRuCi(以詩入詞)” and it provided a basis for Tingjian’s work. Nankezi, a story about a Guan Yin (Goddness of Mercy’s) metamorphosis into a footman’s wife, is a fitting example that illustrates Haung’s perspective on Zen Budhism and that following vulgarity is not something to be frowned upon. Nankezi is also known to be written purposefully to show Zen Buddhism’s focus on salvation and mercy, despite the public’s criticism. In Wanxisha, Tingjian replaced slang and vulgar words but did not avoid them, even after Su Shi’s critique. On the other hand, his friend Hui Hong praised Tingjian for his use of informal language and supported further use. Thus, contemporary critic’s view of Tianjian’s later poems was rather a unidimensional outlook that did not fully incorporate the author’s purpose. Huang Tingjian, like Su Shi, declined to be seen as obscene and dispersed his view on vulgar Ci poems through creating his own poems and essays.
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여성 문집의 텍스트 문제와 해석 김삼의당(金三宜堂) 한시의 텍스트비평
박영민 ( Young Min Park ) 한국한문학회 2016 韓國漢文學硏究 Vol.0 No.61
Majority of current studies on Sameuidang’s literature have been completed through the edited and published versions. However, a comparison between the transcribed and the published version suggests that Sameuidang’s initial works have been altered by the editor’s intentions. In this context, a thorough analysis on Sameuidang and her works must be conducted so as to build a concrete clear foundation for research. To this aim, this study conducted a textual criticism to examine and compare how the transcribed and published works of Sameuidang have been created and handed down. The transcribed version of Sameuidanggo is seen to have been produced by an initial transcription followed by another transcription that created the title and identified an appropriate spot to place the work. Meanwhile, the edited version was created by compiling individual works under a series of literature with specific categories. Transcribed and published works can be differentiated from many aspects, which include: arrangement of poems, title of poems, whether or not the poem is part of a series, assumed time of creation, original language and tone of poem, intention of the transcriber and editor, etc. A review on these differences indicate the transcribed version to be more identical to the initial version while the published version went through alterations of the editor. Hence, in conducting research on Sameuidang’s literature, it is essential to regard the transcribed works as primary focus for study and the published versions secondary. However, most studies regarding Sameuidang’s works have been conducted through the lens of the published versions, which can lead to misinterpretations. This study hopes to contribute to the development of a critique on Sameuidanggo. Furthermore, this study hopes to shed light to the work of verifying the authenticity of Sameuidang and her work Sameuidanggo.
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김재성(Kim Jae-Sung) 불교학연구회 2007 불교학연구 Vol.16 No.-
This article focuses on the meaning of death and the meditation on death (mara?asati or mara?a-sa???) in the early Buddhism and Therav?da tradition. Death is a kind of existential suffering and provides an important opportunity for our spiritual development. According to the Buddhist teaching, to be born as a human being is very difficult chance to get. We can improve our spiritual path through the realization of the urgency of our death.<BR> In the early Buddhist literatures, the meditation on death was supposed to help us overcome our attachment to life and our unheedful, lazy attitude of practice, and thus eventually attain the final liberation, nibb?na. The key point of the meditation on death is to feel the impact of death in each moment between in-breath and out-breath, or every bite of food. When we understand and accept our death as an unescapable reality of our life, the meaning and real value of our life become clearer, motivating us to cultivate spiritual path, which will enable us to overcome our attachments and fundamental defilements. The meditation of death is a practice that leads us to overcoming of death itself and thus to full accomplishment of our life.
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