“徒劳”的挣扎:新诗初创期胡适诗歌考察 — 以最初发表的白话诗为中心

贾鸥 한국중국현대문학학회 2022 中國現代文學 Vol.- No.100

Hushi’s first published poems aimed at revolutionizing the traditional styles of poetic writings. It is said that when he was a graduate student at USA he had a big argument with his friends about how to modernize the Chinese language. Hushi insisted that Classical Chinese should be replaced by Vernacular Chinese but his friends disagreed. The main ground for this disagreement was that Vernacular Chinese is a language not well-suited for writing a poem. This left Hushi no choice but to create a poem using Vernacular Chinese with a view to proving his friends wrong and giving impetus to the revolutionary transition from Classical Chinese to Vernacular Chinese. He first attempted to write eight poems, which were later published by the magazine New Youth. It is to be admitted that Hushi’s poems were not poetic masterpieces especially by an aesthetic standard. For this reason or others, they have long fallen off the radar among Chinese literature scholars. But I do believe that there is something important to learn from Hushi’s early poetic works when viewed from a larger context that includes not only their aesthetic values but also their contributions to stylistic developments in modern Chinese poetry. So this paper aims at digging deep into Hushi’s early poetic works and evaluating them in light of his idiosyncratic project of creating new ways of writing poems. The upshot is that a careful examination of Hushi’s poems reveals that there is something important that has been neglected by the past research. I hold that Hushi’s poems made great contributions to opening a new chapter in the modern history of Chinese poetry but, unfortunately, those contributions are not fully appreciated so far by contemporary scholars.

『태평광기(太平廣記)』 언해본(諺解本)에 삽입된 한시(漢詩)의 기능 고찰

김근태 ( Geun Tai Kim ) 한국한문고전학회 2007 漢文古典硏究 Vol.14 No.-

『T`aipinkwanchi』 is the book collecting the various stories spread in China from Han dynasty to Song dynasty and it has been called as a treasure house of Chinese tale and novel literature. It was introduced to our country in Corea Dynasty and many people enjoyed it until Chosun dynasty. However, its content was so huge and it was written in Chinese that summarized version and vernacular edition were published for the general public in the mid-Chosun dynasty. In this Thesis, we focus on the function of the inserted Chinese poems in it, especially in the vernacular edition. It seems that there are wrong translated parts in the vernacularized Chinese poems in it. We can say that there are five functions in the Chinese poems inserted in it. First, they took a role as a mediator connecting the hero and heroine. But, they are different from Korean novel as in the emergence of the character who doesn`t have poetic ability. Second, the Chinese poems inserted in the work can express the emotion of the characters intensively through forms of Chinese quatrains. Third, the Chinese poems can add to the cheerful atmosphere overall utilizing the existing song, (Ak-Bu). Fourth, they can be effective in making possible for readers to understand weird stories as a foreshadowing factor in story development. Finally, it can be possible for the work 『T`aipinkwanchi』 to have full suggestion through ending the story with Chinese poems. Simultaneously, the inserted Chinese poems play an important role as a narrator to make readers solve the suspicions in the work.

Turning Songs into Poems and Poems into Songs: Intersections of Literary Sinitic and Vernacular Korean in Chosŏn Literature

Christina Han 성균관대학교 동아시아학술원 2021 Sungkyun Journal of East Asian Studies Vol.21 No.2

This article investigates the dynamic intersections of Literary Sinitic and vernacular Korean and their impact on the innovations in poetry and song in fifteenth- through nineteenth-century Chosŏn Korea. More specifically, it traces the evolution of poetry or song discourse and explores the different strategies employed by Chosŏn poets and songwriters to render oral songs into text. It also investigates the differing views on the function of poetry and song, musical and textual preservation, and emotional and lyrical immediacy, which influenced the composition and translation of song-poems. The article probes the creative collaboration and competition between Literary Sinitic and vernacular Korean, and the fluid relations between translation and vernacularization. On the whole, it explores the ways in which the evolution of poetry-song discourse and the ensuing literary innovations contributed to Chosŏn's complex linguistic ecology.

버내큘라 구전전통의 연속성 - ‘즉흥 서술시’에서 ‘힙합 서사’로

독고현 ( Tockgo Hyun ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2018 世界文學比較硏究 Vol.63 No.-

이 논문은 민간속요(folk ballads)와 즉흥 서술시(narrative poems; toasts)에서 힙합의 랩으로 이어져오는 버내큘라(vernacular) 전통의 연속성을 구전전통의 언어관행에 중점을 두어 고찰한 연구물이다. 먼저 미국흑인들의 버내큘라 언어관행을 개괄할 목적으로 조라닐 허스튼(Zora Neal Hurston)의 「흑인 표현의 특징들」(“Characteristics of Negro Expression”)과 ‘미국흑인 버내큘라 영어’(AAVE)의 특징적 어법들을 살펴본 후, 이러한 고유의 언어체계를 바탕으로 ‘시그니파잉’(Signifying)이라는 포괄적인 언어관행과 여기에 속하는 세부적인 사항들을 살펴볼 것이다. 그런 후에 이 사전작업을 바탕으로 ‘토스트’라고 불리는 즉흥적인 서술시와 오늘날의 힙합 서사를 언어관행에 주목하여 비교하면서 버내큘라 구전전통의 연속성을 탐색하는 것이 본 연구의 핵심이다. This is the research to investigate continuity of the vernacular tradition from folk ballads and narrative poems called ‘toasts’ to hip-hop narrative or rap, focusing on the language practice from the oral tradition. In African American literature or art, the vernacular is defined as expression coming from the creative interaction between the African-rooted tradition and that which is invented in the new land. The vernacular art includes the church songs such as spirituals and gospel, the blues, jazz, ballads (including toasts), sermons and prayers, folk-tales, and rap songs that are part of the oral tradition of black expression. For the systematic research process this paper examines and summarizes Zora Neal Hurston’s wonderful catalog of “Characteristics of Negro Expression” and distinctive usages of African American Vernacular English(AAVE) first of all, and ‘Signifyin(g)’ which is a practice in African American language culture involving a verbal strategy of indirection. The essence of this thesis is the procedure of examining the relation between toasts and hip-hop narrative on the basis of these.

백년전쟁 초기 프랑스 시가에 나타난 정치적 감정들

홍용진 한국서양중세사학회 2017 西洋中世史硏究 Vol.0 No.40

본 논문은 백년 전쟁 발발을 전후로 속어로 지어진 6편의 시가들을 통해 이 당시 프랑스 왕국에서 나타나고 있는 다양한 정치적 감정들을 살펴보고자 한다. 먼저 「잉글랜드와 플랑드르의 반란에 대한 단가」는 프랑스왕 중심의 열렬한 민족감정을 보여주지만 전쟁 초기만 하더라도 「왜가리 맹세」나 「라몽 드 코르네 씨, 실례합니다」와 같은 시가들은 피카르디나 기옌지역과 같이 양국 사이에 위치한 지역에서는 그러한 이분법적 대결구도가 선명하지 않다는 점을 보여준다. 전쟁이 발발한 이후 주요한 전투들과 관련하여 등장한 세 시가들 또한 서로 다른 감정선들을 보여준다. 「크레시 전투에 대한 시가」가 지역적 정체성에 기반을 둔 봉건귀족적인 애도를 표현하고 있다면 「〈30인의 잉글랜드인과 30인의 브르타뉴인들 간의 전투〉>에 대한 시가」는 프랑스 민족감정과 기사도의 이상이 혼합된 감수성을 보여준다. 다른 한편으로 「〈30인의 잉글랜드인과 30인의 브르타뉴인들 간의 전투〉에 대한 시가」에서는 시가의 배경에 일반 농민들이 등장하고 이들에 대한 선정(善政)이 주제가 되더니 급기야 「푸아티에 전투에 대한 한탄(哀歌)」에서는 귀족들에 대한 비판과 ‘선량한 자크들’의 적극적인 정치참여 의지가 표명되고 있다. 이상의 6편의 시가들은 지역적 다양성과 역사적 사건의 전개에 따라 당대인들의 복잡다단한 감정들을 보여주며 감정이 지닌 정치적 영향력을 재고할 수 있게 해 준다. This article aims to survey various political affections in the Kingdom of France through six vernacular poems composed in the early stage of the Hundred Years' War. At first, Le Dit de la rebellion d’Engleterre et de Flandre shows fervent notional sentiment for the French Kingship. But, in the two poems such as Les Voeux du Héron and Mossen Ramons de Cornet sius agensa composed in Picardy and Guyenne, border zones between the England and the France, this dichotomous confrontation is not so clear even at the beginning or the War. In the other hand, another three poems, appeared after the outbreak of real battle and military campaigns, shows also different affective perspectives on principal battles. The Poème sur la bataille de Crécy is an elegy for feudal nobility based on local identity, and the Poème sur 〈La bataille de trente englois et de trente bretons〉 represents a affective mixture of French national sentiment and ideal chivalry. Especially, the last poems, where appeared the ordinary peasants, focuses on the Good Government for them. Finally, Complainte sur la bataille de Poitiers expresses severe critics on nobility and political will of 'Jacques bonhomme. These six poems, representing contemporary complex affections in diverse regions in the course of historical evolution, lead us to deliberate political effects of affections.

小林一茶의 ≪시경≫ 俳句化 양상 고찰

유정란 동양고전학회 2017 東洋古典硏究 Vol.0 No.68

이 글은 小林一茶(고바야시 잇사, 1763-1827, 이하 ‘잇사’라고 칭함)의 ≪시경≫ 俳句(이하 ‘하이쿠’라고 칭함)化 양상을 살피고 그 의미를 도출한 것이다. 잇사는 1803년 ≪시경≫을 공부하고, 이를 하이쿠로 재창작하여 ≪享和句帖≫을 작성했다. 현재까지 이에 대한 국내의 연구는 없으며, 일본과 중국에서 잇사의 ≪시경≫ 수용 양상을 다룬 바 있다. 그러나 그 내용은 주로 國風에 한정되었으며 연구자들 사이에 용어 합의가 이루어지지 않는 등 다양한 문제점을 내포하고 있었다. 따라서 본고에서는 이러한 문제를 해결하기 위해 전 작품을 대상으로 연구를 진행하였으며, 번역이라는 관점을 지양하고 俳句化라고 명명하였다. 나아가 두 장르간의 심층적인 교류와 영향 관계를 문학적으로 분석하기 위하여 ≪시경≫ 俳句化 양상을 주제의식의 재현, 시어와 이미지의 변용, 의경 전화와 제목 차용의 층위로 나누어 살펴보았다. 주제의식의 재현에서는 주로 고향이나 부모를 그리워하는 작품이 선별되어 俳句化 되었다. 이때 단순한 주제 차용의 수준이 아니라 핵심 의미를 도출, 주석을 고려하여 해석하거나 잇사 개인의 원작 이해가 많이 개입되었음을 살폈다. 시어와 이미지의 변용에서는 해당 원천들의 의미를 절취하거나 조합하여 자신의 방식대로 해석한 작품이 두드러졌다. 의경 전화에서는 일본적 정경으로 그 분위기를 바꾸는 작품이 있었는가하면, 제목 차용의 수준에 머무르고 있는 작품도 존재했다. 俳句化의 의식 지향은 ≪시경≫의 감정이나 격앙된 어조, 비난 등을 의도적으로 탈락시키고 이치를 배척하거나 詩敎의 관점을 탈피한 것, 도덕적 이상을 담아내지 않는 작품에서 찾을 수 있었다. 잇사는 ≪시경≫을 하이쿠로 옮겨 올 때 매우 많은 부분에서 하이쿠적인 감상과 습관을 자각적으로 사용한 것이다. 잇사가 ≪시경≫을 俳句化한 것의 의미는 우리의 ≪시경≫ 수용과 대조해볼 때 두드러지게 나타났다. 조선에서는 ≪시경≫을 언해하였지만 의역이 아닌 직역을 하였기 때문에 ≪시경≫ 원문의 글자가 유지되었다. 일본의 경우도 훈독체로 ≪시경≫을 수용하였기 때문에 원 글자가 바뀌지는 않았다. 그러나 잇사는 ≪시경≫의 출발점인 민요의 성격을 드러내기 위하여 일본의 민족어 시가 형태로 그 내용을 옮겼다. 동아시아의 보편적인 ≪시경≫ 수용 방식을 벗어나 잇사는 민족어 시가로 ≪시경≫에 대응한 것이다. 따라서 잇사의 ≪시경≫ 俳句化의 의미를 본래 ≪시경≫의 출발점인 노래 그 자체로 인식하여 받아들인 태도에서 찾아야 할 것이라고 보았다. This article is for considering and looking through the meaning of Classic of Poetry(Shi jing) Hiku-ka of Kobayashi Issa before reviewing and adapting Classic of Poetry(Shi jing) in Eastern Asia. Issa wrote his works by using Hyanghwa-Gucheop in 1803, and he had adopted it as his creative works of Hikai absorbing Classic of Poetry(Shi jing) for about half a year. There has been no national study about this so far, and this study covered the aspects of Issa’s adapting way of Classic of Poetry(Shi jing) in Japan and China. There have been several problems that the contents were limited to Guo-feng and there were no agreement of terminology as well among researchers. To overcome these limitations, therefore, this article aimed at all the works, rejected the view point as just a translation, and denominated this study as Haiku-ka. Above all, this study looked though Issa’s Classic of Poetry(Shi jing) by splitting the aspects of Haiku-ka into borrowing topics and materials. In borrowing topics, the works with the topics of homesick and nostalgic parents stood out. Furthermore, annotations and understandings of Issa’s original works were deeply involved. In borrowing materials, the original meanings in the works were transformed and changed or even reinterpreted by their own way. Eliminating sublime emotions, furious tone, and condemnation was main characteristic of Haiku-ka in Classic of Poetry(Shi jing). Besides, there were ways of exclusion of reasoning, deviating from the viewpoint of Sigyo(edification by poetry), not including moral senses. In other words, Issa used habits and impressions like the way of Haiku when he was doing Haiku-ka in Classic of Poetry(Shi jing). The meaning that Issa’s Hiku-ka of Classic of Poetry(Shi jing) stood out compared to adaptation of Classic of Poetry(Shi jing) in Eastern Asia. Although Classic of Poetry(Shi jing) in Vietnam was transferred in the form of the poem in Vernacular, the meaning and contents were not changed. Moreover, the original works and characters in Joseon were not destroyed because Classic of Poetry(Shi jing) was not liberally translated but literally. However, Issa transferred the Classic of Poetry(Shi jing) in the form of the poem in Vernacular to reveal the value of popular ballads. This was a different adapting way of Classic of Poetry(Shi jing) from that in Eastern Asia.

Lyric Principles and Productivity: Intersecting Landscapes and the Culture of Coleridge’s Cottage Gardens

전범수 21세기영어영문학회 2015 영어영문학21 Vol.28 No.1

This essay suggests that Coleridge’s poems of poetic failure are often considered thematically, and perhaps narrowly, in terms of an intensely private genre in which a poet-speaker confronts a scene of personal crisis or transition and confesses lyrical impulses at the breakdown of his creative power. Take, for example, “This Lime-Tree Bower My Prison,” “The Eolian Harp” and “Reflections on Having Left a Place of Retirement.” Fascinated with the images of a poet-speaker secluding himself in an enclosed, embowered place, Coleridge presents the contained site as partly a lyrical and sublime space in which the effects of the fall of imagination could be reversed; but this essay argues that the genre assumes greater importance as it draws on the changing values of plants and places. The genre helps twenty-first century readers understand the Coleridgean tropes of containment and botanical analogies as an open, if stylized, question about the transitions in the cultural representation of rural Britain and vernacular landscapes in poetry. Highlighting the contrasting values of extravagant beauty and vast productivity, Coleridge’s scenic mode helps us rethink the conventional views of Coleridge’s blank verse lyric poems as a vehicle for a quintessential Romantic meditation on the content and interruption of the poetic vision itself.

Lyric Principles and Productivity: Intersecting Landscapes and the Culture of Coleridge`s Cottage Gardens

( Bum Soo Jon ) 21세기영어영문학회 2015 영어영문학21 Vol.28 No.1

This essay suggests that Coleridge’s poems of poetic failure are often considered thematically, and perhaps narrowly, in terms of an intensely private genre in which a poet-speaker confronts a scene of personal crisis or transition and confesses lyrical impulses at the breakdown of his creative power. Take, for example, “This Lime-Tree Bower My Prison,” “The Eolian Harp” and “Reflections on Having Left a Place of Retirement.” Fascinated with the images of a poet-speaker secluding himself in an enclosed, embowered place, Coleridge presents the contained site as partly a lyrical and sublime space in which the effects of the fall of imagination could be reversed; but this essay argues that the genre assumes greater importance as it draws on the changing values of plants and places. The genre helps twenty-first century readers understand the Coleridgean tropes of containment and botanical analogies as an open, if stylized, question about the transitions in the cultural representation of rural Britain and vernacular landscapes in poetry. Highlighting the contrasting values of extravagant beauty and vast productivity, Coleridge’s scenic mode helps us rethink the conventional views of Coleridge’s blank verse lyric poems as a vehicle for a quintessential Romantic meditation on the content and interruption of the poetic vision itself.

계명대학교 동산도서관 소장 국문시가 자료의 가치

권순희(Kwon Soon-Hoi) 계명대학교 한국학연구원 2008 한국학논집 Vol.0 No.37