한국 한시(漢詩)에 나타난 수미호응(首尾呼應)의 양상

구본현 ( Gu Bon-hyeon ) 한국한시학회 2018 韓國漢詩硏究 Vol.26 No.-

It is the purpose of this article to reveal the aspect of “the response of beginning and ending in Sino-Korean Poetry”. “Response of beginning and ending” is one of the methods to persuade the readers to show their empathy. “Beginning and ending” points to the beginning and end of the text. However, the range to be pointed becomes different according to condition. There are many different terms for “response of beginning and ending”. However, they have two things in common. First, the content and meaning of the beginning and ending should be logically linked. Second, the style, sentiments of sentences or paragraphs that form the beginning and the ending should be similar. In other words, it can be said that the sentences and expressions that constitute the beginning and ending create logical consistency of text, artistic aesthetics, and consistency of style. There are two ways to create “response of beginning and ending” depending on the expected effect. It is for “emphasis” and for “change”. Examples of ways to create the effect of emphasis are repeat, gradation, contrast, and exemplification. Repetition and gradation are a way of placing similar scales on the bottom. Arranging opposing views can have the effect of praise and censure or contrast. Exemplification is a way to make arguments or opinions justifiable and to increase persuasiveness. The emphasis is the repetition of similar things, which has the disadvantage of being monotonous. The effect of the change can be obtained by placing the logarithm which is not the same category but logically related to beginning and ending. The submissive response to change has the disadvantage of being harder to understand than the case of emphasis, but it has the advantage of increasing the degree of immersion. Specific methods include command and answer, cause and remembrance, and balance of treatment.

하나님의 또 다른 이름: ‘처음과 마지막’: 창세기와 요한계시록의 상관관계

김창주(Kim Chang-Joo) 한신대학교 신학사상연구소 2013 신학사상 Vol.0 No.161

<성경전서>는 창세기에서 시작하여 요한계시록으로 끝난다. 창세기는 세상과 인간의 처음을 말하고, 요한계시록은 세상과 인류의 마지막을 다룬다. 구약성서가 태초를 강조한다면 신약성서는 종말에 초점을 맞춘다. 태초와 종말은 상호 대립적인 것처럼 보이지만 상호 보완적이기 때문에 둘 중의 하나 없이 다른 하나를 이해할 수 없다. 즉 처음이란 마지막 없이는 불가능하며 그 반대도 역시 마찬가지다. 그럼에도 처음과 마지막, 창세기와 요한계시록의 상관관계에 대한 신학적 논의가 거의 이루어지지 않고 있다. 이것이 이 논문의 출발점이며 동시에 처음과 마지막에 관한 세밀한 논의가 요청되는 지점이다. 그렇다면 <성경전서>의 구성이 태초와 종말로 이루어진 것은 신학적 의도가 있는 것인지 우연인지 궁금하다. 논리적으로 처음과 마지막의 연속성은 당연한 귀결로 간주할 수 있으나 신학적으로 볼 때 둘의 상관관계는 하나님의 속성에 관련하여 논의해야 할 주제이기도 하다. 세상의 시작과 끝이란 창조자이며 지배자이신 하나님의 배타적인 영역에 속한다는 신학적 천명이기 때문이다. 그러기에 창세기에서 요한계시록에 이르는 <성경전서>의 방대한 구성은 ‘처음과 마지막’ 이신 하나님에 관한 진지한 신학적 성찰이라고 말할 수 있다. This article explores the relationship between the Book of Genesis and the Book of Revelation. The Old Testament speaks of the beginning in Genesis, and the New Testament speaks of the end in Revelation. Is it a coincidence that the Bible starts with a beginning and concludes with an end? Beginning and end exclude each other semantically, but they are complementary to each other functionally. It is inseparable in the Bible that creation as the beginning and eschatology as the final events are related each other. Thus, the composition of the Bible is indissolubly bound up with the biblical message. Moreover, it is noted that 'first and end' in the Bible be understood as the theme of divine attribute. In the pre-history (Gen. 1-11) there is already a relationship between beginning and end. God brings the world out of chaos (Gen. 1;2), and through divine decision it can return to chaos (Gen. 6-9). The Book of Isaiah reads: "I am the first and I am the last; besides me there is no god" (Isa. 44:6). In this respect, 'first and end' is a theological statement that human beings cannot participate or interfere, but that only God, as the creator and the dominator, can. Beginning and end belong to divine space. What is given to us is present tense, as Paul the Apostle insists: "See, now is the acceptable time; see, now is the day of salvation!" (2 Cor. 6:2). In fact, revelation is not an issue of historical time, but every day, here and now. This article tries to analyze Genesis 1-11 and the Book of Revelation, respectively. Then it will be discussed how correspondent beginning and end are in the present framework of the Bible. As the canonical composition of the Bible shows, God is "the Alpha and the Omega, the first and the last, the beginning and the end" (Rev. 22:13).

일반논문 : 『악학궤범』 처용무 작대(作隊)의 의미 조명

이종숙 ( Jong Sook Lee ) 한국사상사학회 2010 韓國思想史學 Vol.0 No.36

이 논문은 『악학궤범』의 처용무보를 분석하여 처용무의 작대 변화에서 드러나는 의미를 탐색하였다. 『악학궤범』은 조선조 처용무의 정석이므로 5인의 무용수가 청·홍·황·흑·백색의 오방색 의상을 착용하고, 열(列)을 짓고, 방(方)을 이루며, 하도(河圖)의 모습으로써 서로 움직여서[相탕] 결국 일월이 운행하는 모습의 양식을 갖춘 춤이 되는데, 이는 무슨 의미를 나타내는가를 알고자 하였다. 『악학궤범』 처용무보의 작대 변화는 원(○)형 → 일(一)자형 → 십(十)자형 → 동심원(⊙)형 → 십(十)자형 → 일(一)자형 → 원(○)형으로 환원되었다. 원(○)형으로 시작하여 원(○)형으로 마치는 회귀(回歸)의 모습이 되었다. 처음과 끝[終始]이 일정한 경로를 거쳐 동일한 모습으로 회귀하는 시간적 순환성의 특징을 나타냈다. 오행의 자연(自然) 순환 순리를 모방하였고, 자연을 닮은 회귀 순환의 춤이 곧 좌선하는 원형으로 표현되었다. 그러나 원운동을 통해 단순하게 회귀하는 것이 아니라 끊임없는 나선형의 미래로 생출(生出)해 나아가는 모습을 모방함으로써 벽사진경(벽邪進慶)을 염원하는 의미로 인해 나례(儺禮)에서의 축귀의례(逐鬼儀禮)에 이용되는 춤이 되었다. 처용무의 역리적 특성은 크게 시간의 순환성과 공간의 형상성에서 찾을 수 있었다. 첫째로 종시의 순환적 형태인 시종회무도(始終回舞圖)와 종합구성 형태에 주목했는데, 『주역』에서의 종시(終始)는 끝남으로써 시작되는 이치로 통했다. 이 점은 처용무가 한 해를 마무리하는 섣달 그믐날의 나례와 잔치의 마무리 춤에 속하는 의미에 상통할 것으로 보았다. 즉 종시의 날에 나례를 베풀듯이 순환하는 종시를 형상하여 벽사진경의 염원을 담아낸 춤임을 확인시키는 것으로 보았다. 끝남이 곧 시작이라는 하늘의 도리[天道]를 종합적 춤 구성으로 실현하여 형상한 것이라고 여겼다. 한편, 처용무보의 일렬작대와 오방작대, 불출대 회선과 동심원 등에서 나타나는 작대의 공간적 변화는 궁극적으로 청·홍·흑·백을 통섭하는 황자 중심의 관계성 의미로 통일되었다. 다양한 공간적 형상을 추구하여 변화를 추구하지만 의미는 오직 득상우중행(得尙于中行)이라는 점에 귀착되었다. 다만, 일렬 대열에서 상생과 상극이 황자의 좌우에 공존했던 것과는 달리 오방작대의 모습에서는 오행의 질서 있는 대대(待對)와 순환을 형상하였다. 특히 황자는 사방의 처용을 흑으로부터 차례로 마주하고 대무를 마친다. 이 역시 군(임금)의 힘이 사방에 두루 미치는 영향을 형상했다. 또 한편으로는 겨울, 봄, 여름, 가을에 대해 황이 중앙에 있어서 사방에 차례대로 통달하고, 선창(先唱)하며, 시생(施生)하여 4성의 벼리가 됨을 의미한다고 볼 수 있었다. 『악학궤범』 처용무 자체로 본다면, 오행의 각종 배열과 상대하는 작대의 중심은 오직 `득상우중행`이라는 공간성 의미를 기초로 좌우의 음양분화와 사기(四氣)의 통섭을 행하고, 또 다시 오기(五氣)의 음양 동작의 분화를 5인의 처용이 주재(主宰)하는 표현 형상이었다. 주돈이의 태극도설 이후의 성리학자들에게 있어서 음양과 오행은 분리하기 어려운 짝 개념이 되었다는 사실을 조선 초기 『악학궤범』 처용무로부터 발견하는 사상사적 의미를 제고해 볼 수 있다. 유가사회에서의 춤은 예악의 한 부분이므로, 조선당시의 춤을 형상(形象)으로 안무하고, 역리적으로 춤의 내용을 설명하고자 했음에 대해 그 원리를 파악하고자 했다. 『악학궤범』의 처용무보는 김용이 주돈이의 태극도설로써 현행처용무의 순서를 정리한 것과는 완전히 다른 구조였다. 다양한 변화가 형상되지만 종국에는 오직 임금을 정점으로 배열된 공간적 의미와 시간적 구성을 표현한 무보였다. This paper sought to analyze the Cheoyong Dance Music of Akhakgwebeom and examine the meaning in changes in the dance composition. Akhakgwebeom is the standard for Joseon Cheoyong Dance; five dancers wear clothes in five directional colors, namely, blue, pink, yellow, black and white, form rows, indicate directions, move in a river-crossing formation, and perform the dance of the sun`s and the moon`s movement; the study sought to identify this meaning. The dance composition of Cheoyong Dance Music shown in Akhakgwebeom and Akhakgwebeomholgi consists of circle (○), line (一), cross (十), and concentric circle (⊙), and again cross (十), line (一) and circle (○); it begins with a circle (○) and returns to a circle (○). As such, the first and last portions go through a certain path and then return to a certain formation, achieving a chronical regression formation. The dance imitated the nature circulation principle of Five Elements, and a circle of nature`s regression, namely, sitting in Zen meditation. However, the circular movement expressed not simply a regression, but a continuous spiral formation symbolizing a rebirth for the future and prayers for casting evils and seeking blisses. The dance was used in rituals of casting off evils. Paradoxical characteristics of Cheoyong Dance can be found in its chronological regression and spatial formation. First, the regressive formation of the beginning and ending, namely, Beginning-Ending Regressive Dance Painting, and the comprehensive formation were noted; In Book of Change (Juyeok), the ending and beginning is said to mean starting by ending; this point conforms to the fact that Cheoyong Dance is performed as the finalizing dance at the evil-casting ritual held on the eve of new year. In other words, as the evil-casting ritual was held at the year-end, the dance formed a regressive beginning-ending formation, and embraced the prayer for evil-casting and promotion of blisses; as such, the dance formed the Heavenly Way of the ending being the beginning. Further, spatial changes of dance formations in Cheoyong Dance Music, such as one-line formation, five-direction formation, the regression formation, and the eccentric circle were ultimately incorporated into Hwangja, namely, Yellow Cheoyong, who governed blue, pink, black and white. Diverse spatial forms were sought for effecting changes, but, ultimately, the theme regressed to the middle-of-the-road worship. While the line formation featured both mutual survival and mutual opposition on the right and left sides of Hwangja, the five-directional formation featured the Five Elements` order and circulation; in particular, Hwangja meets and faces Cheoyong from four directions beginning with Black, thereby closing the face-to-face dance, which symbolizes the king`s power reaching to four directions. Also, the Yellow, centered vis-a-vis winter, spring, summer and autumn, communicates to four directions, and leads the singing, symbolizing the revival of life and the backbone of four sounds. Dance was part of rituals and music in the Confucian society; the study sought to examine the principle of Joseon`s choreography of dance formations and paradoxical explanation of dance. It was found that Cheoyong Dance Music shown in Akhakgwebeom has a structure totally different from what Kim Yong, based on Juhi`s taegeuk theory, arranged the order of the current Cheoyong Dance. Diverse formations were created, but in the end, the dance expressed a composition wherein only the king was centered with other elements spatially and temporally arranged in the surroundings.

易學을 통해본 圓覺經의 成佛論 -周易과 正易을 중심으로-

이현중 한국동서철학회 2019 동서철학연구 Vol.0 No.94

In this paper, the relationship between the original destiny to attain Buddhahood and spiritual practice, as set forth in the Complete Enlightenment Sutra, was considered based on the principle of inverted and reverse generation and completion (倒逆生成) in the Jeong Yeok (正易), which is a classic text of studies in the Book of Changes, based on thoughts unique to Korea. If a person is destined to attain Buddhahood, not only is spiritual practice unnecessary, but also ignorance cannot exist—and if ignorance exists, a person cannot be said to be a Buddha. This is a problem that arises when spiritual practice is discussed from the dichotomous viewpoint that understands nature and phase, people and Buddha, and ignorance and complete enlightenment separately from the viewpoint of things. Problems arising from the viewpoint of things or the viewpoint of “beginning followed by ending” are resolved only when the problems are understood from the viewpoint of “ending followed by beginning.” This is a method for considering spiritual practice—not from the opposite viewpoint, which is from people directed toward Buddha—but from the viewpoint of the original destiny to attain Buddhahood, that is, in the forward direction, from Buddha toward people. The two approaches are not two, but the representation of what was originally one approach but from two separate viewpoints. The Book of Changes indicates changes from ending to beginning as inverted generation and reverse completion (倒生逆成), and changes from beginning to ending as reverse generation and inverted completion (逆生倒成), thereby indicating that the two ways are one body but can be distinguished from one another. If spiritual practice is understood from the viewpoint of reverse generation and inverted completion, based on inverted generation and reverse completion, life per se will be a spiritual practice. If life is represented from the viewpoint of inverted generation and reverse completion centering on wisdom, life itself will be a manifestation of complete enlightenment. If the manifestation of complete enlightenment is represented from the viewpoint of reverse generation and inverted completion, it will be ignorance, people, and an inherent sense of the past, that is, of the aspect of all phenomena, the final, complete enlightenment and Buddhahood in the the future—that is, the aspect of the main body—and an awakening and epiphany in the present. These three viewpoints can be represented as one, following awareness. 본고에서는 『원각경』의 成佛論을 中國易學의 전적인 『周易』의 順逆合一과 韓國易學의 전적인 『正易』의 倒逆生成을 중심으로 고찰하였다. 우리는 일상의 삶으로부터 遠離心을 發하여 수행을 일으키도록 하기 위하여 實相의 세계를 물건적 관점에서 가치상의 우열을 가진 性과 相, 중생과 부처, 무명과 圓覺의 양자로 구분하여 중생, 무명을 벗어나서 원각, 부처에 이르는 수행과 成佛을 논한다. 그러나 相에서 性을 향하는 상구보리는 逆방향 중심의 證悟成佛論으로 順방향의 衆生本來成佛論과 모순을 일으킨다. 중생이 본래성불이라면 무명이 없어서 수행을 할 필요가 없고, 무명이 있다면 부처라고 할 수 없음은 물론 수행을 통하여 성불할 수 없다. 따라서 물건적 관점에서 제시된 실상의 두 측면인 본래성불과 증오성불이 하나가 되는 合一이 필요하다. 물건적 관점에서 중생이 수행을 통하여 成佛함은 사건적 관점에서는 불성, 圓覺이 씨가 되어 수행이라는 사건으로 나타나는 생성이다. 그것은 수행이란 중생이 부처가 되는 물건적 변화가 아니라 본래 부처가 자기를 드러내는 始終의 事件임을 뜻한다. 따라서 물건적 관점에서 實相을 이해하는 것을 바꾸어서 사건적 관점에서 이해할 필요가 있다. 『正易』에서는 세계를 사건적 관점에서 倒逆生成으로 나타내고 있다. 역생도성이 씨를 뿌려서 가꾸는 과정이라면 도생역성은 열매가 씨로 사용되는 과정으로 씨도, 싹도, 꽃도 모두 열매의 다양한 모습이다. 도역생성의 관점에서 보면 수행은 佛性의 작용, 圓覺의 작용인 점에서 不修之修이고, 성불 또한 이룸이 없는 成佛이며, 삶과 수행이 일체인 점에서 삶이 그대로 淨覺을 隨順함이다.

조작된 「朝鮮總督報告 韓國倂合始末」

윤대원 서울대학교 규장각한국학연구원 2010 한국문화 Vol.52 No.-

1910, November 7th, Korea governor Derauchi-masadake(寺内正毅) reported 「Korea annexation beginning and end」 (韓國倂合始末) arranged the contracting process of ‘Korea-Japan annexation treaty’ to the home country government. He emphasized the annexation treaty ‘consensual treaty’ being in the report. Especially in August 22council in the Royal presence, Emperor Soonjong(純宗) wrote directly a his name in plenipotentiary letter of attorney and he did to make Great Seal press, pleasantly accepted a treaty, he emphasized. However, If you examine 「Korea annexation beginning and」 endcarefully, the main subject of the report with fact is different on a large scale. First, the annexation treaty violated the treaty contracting process which was decided by domestic law. Japan to avoid a Cabinet meeting in the treaty did not receive the consent of the Cabinet. Moreover, Japan did not keep their enforced procedures. Namely since 1907 Korean Empire had to meet with the Resident-general's approval about the law or the important agenda. But Japan fabricated this process. Moreover,Resident-general bribed Grand Chamberlain(侍宗院卿) Yun Deok-young(尹德榮) with money. In return Yun Deok-young stole Great Seal(國璽) and stamped on the plenipotentiary letter of attorney. This is an obvious illegal. In conclusion Resident-general Derauchi distorted, fabricated 「The Korea-Japan annexation beginning and end」 to hide the illegality of a treaty contracting and exaggerate his merits

≪在我的开始是我的结束≫主题再探析 ―以人本主义心理学和女性主义为视角―

Qu Tong 영남중국어문학회 2023 중국어문학 Vol.- No.94

Taking the short story “In My Beginning Is My End” by Chinese neorealist writer Fang Fang as the object of study, this paper examines Huang Suzi's spiritual crisis and life dilemma from the root, with feminist and humanistic psychology as the research perspectives, and focuses on analysing the truths and behavioural motives behind her spontaneous prostitution, unravelling the various misunderstandings and controversies that have always been entangled in Huang Suzi's body, and then analysing the deeper themes of the novel. When we examine the text of the novel, we find that Huang Suzi lived in the dichotomy structure of father and son, man and woman, which is simply the product of the interweaving of the right of the father and the right of the man. This dichotomy structure seems simple, but the complexity of the structure is the root of the tragedy of Huang Suzi's life. In the dichotomy of father and son, Huang Suzi is always the object of her father's control and destruction. In her father's eyes, Huang Suzi as a child is just an appendage of her parents, and she does not have an independent personality and the ability to think, and of course does not deserve to have the right to make her own choices. As a result, Huang Suzi, who has not been separated from her family, gradually loses her ability to communicate under her father's control, and “aphasia” becomes her eternal label. In the male-female dichotomy, Huang Suzi is the other, stared at, erased and defined by the subject, a prey to be hunted at any moment. She is not only scrutinised by the opposite sex, but also suspected and scorned by the same sex.Her identity is constantly shifting between Madonna and whore; in front of her father, she has to play the role of a pure and perfect daughter; in front of other men, she has to play the role of the ideal goddess in their hearts. As soon as Huang Suzi makes a gesture of resistance, she immediately falls from her pedestal and is transformed from a pure and flawless Madonna into a degenerate prostitute. Such harsh standards and poor living conditions make Huang Suzi even more self-absorbed, but she always has the desire to seek her true self in her heart. Huang Suzi splits into a second personality, “Yu Xi”, and through her spontaneous prostitution she dissolves the great damage caused by the rape, perfectly reversing the identities of victim and perpetrator/john and prostitute, thus achieving the three-stage soul leap of revenge, self-redemption and self-unification. But the damage done by the act of spontaneous prostitution is also real and decisive, and this is how Suzi Huang comes to her end. After the reform and opening up, with the influx of new things, Chinese women gained more social resources and job opportunities, and the first group of working women with both knowledge and skills emerged in society. However, as the economic and material deprivation gradually became a thing of the past, the spiritual emptiness and life predicament that lurked beneath the surface of the seemingly abundant lives of intellectual women became one of the persistent problems that modern people can hardly get rid of. Fang sees this hidden pain and extends her brush into the depths of modern people's souls, poking at the pain points, exploring the value of life and the resilience of life in a mundane and indifferent narrative, giving humanistic care. Compared to Fang's previous works, “In My Beginning is My End” is more curious in content, and the narrative language continues Fang's usual “zero-degree narration”, trying to restore the truth of Huang Suzi's life. Compared to her other female characters, Huang Suzi has the toughness and tenacity of Fang's previous works, but she is also more determined and has a more tragic ending.

조선 선비들의 노후 인생관

김문준,김광환,장경희,송현동 동아시아고대학회 2024 동아시아고대학 Vol.- No.73

조선 유학자들의 생사(生死)와 노년에 대한 인식은 역경 의 ‘생생(生生)’의 철학에 기반한 ‘원시반종’(原始反終)과 ‘군자유종’(君子有終)이라는 인식에 기반한다. 모든 만물의 변화는 음양(陰陽)의 상호작용으로 이루어지면서 끊임 없이 무한한 순환(循環)과 종시(終始)의 과정을 겪는다. 음양의 순환(循環)과 종시(終始)에 의한 만물 변화는 기의 취산(聚散)으로 이해하는 인식으로 확장한다. 죽음이란 이러한 우주자연의 순리에 부합하는 것이며, 이에 따라서 인생의 죽음을 관조적이고 초탈적으로 수용하고자 한다. ‘군자유종’은 군자가 명에 따라 그 역할을 다하고 죽음에 이르렀다는 의미이다. 이러한 인식에 따라 노년기에는 일을 내려놓고 마무리하는 삶이 지혜롭다. 유가는 죽음이라는 자연적 필연성 문제를 도덕적 필연성 문제로 전환했다. 생사의 명(命)은 인력으로 바꿀 수 없지만, 도덕의 명(命)을 중시하여 죽음을 맞이해서는 도덕 사명을 완수하고자 했다. 이에, 선비들이 바라는 노년기는 산수와 더불어 검소한 생활로 자족하면서 독서와 강학을 하는 것으로, 안신입명하면서 자락(自樂)을 누리는 삶이다. 또한 모든 노인들이 어질게 살면서 장수하는 ‘인수지역’을 꿈꾸었다. 자신은 자신의 생을 글로 정리하면서, 이를 바탕으로 노년기의 삶을 지혜롭게 보내고자 했다. Joseon Confucian scholars’ perception of “life and death” and old age is based on “a philosophy of life-generation (生生).” It is based on the perception that “If there is a beginning, it always goes back to the end (原始反終)” and “Well dying of Man of Virtue”(君子有終). All changes in everything are made through the interaction of “yin and yang.”(陰陽) and they constantly go through the process of infinite circulation and “the end and beginning(終始).” The change in all things through the circuit, the change of yin and yang, and “the end and beginning” extends from the perception that it is understood as the “gathering and dispensing” of qi (氣). Death is in line with this logic of cosmic nature, and therefore, they attempt to contemplate on the transcendental acceptance of the death of life. “Well dying of Man of Virtue” means that a Man of Virtue has fulfilled his role and reached death. According to this recognition, it is wise to put down and finish work in old age. Confucianism turned the natural inevitability problem of death into a moral inevitability problem. The fate(命) of life and death cannot be changed by human power; however, it was intended to fulfill the moral mission by emphasizing the mission of the fate of morality. Therefore, the life of old age that the scholars want is a life of reading and knowledge while being satisfied with a frugal life in nature, and is a life of enjoying “the pleasures of being with oneself” and a life of relaxed body and the heaven. In addition, they dreamed of “a peaceful world where everyone can live a good life,” where all elderly people live a long life. The scholars wrote about their life in old age, based on which, they tried to spend his their old age wisely.

오장환 시의 반복 형태 구조 연구

신익호(Shin Ikho) 한국언어문학회 2007 한국언어문학 Vol.60 No.-

  The technique of repetition in poetry generally means the creation of emphasis through the repetition of words or phrases, but in this paper, it puts stress on emotions derived from the comparison and contrast between words and phrases in the structure of the entire poem. According to the poet’s style, the repetition of words and phrases in the poetry can provide a different meaning. In Jangwhan O’s poetry the repetition of words and phrases can take the form of various transformed patterns.<BR>  1) The A+A pattern is in the formation of a circulation structure which means that his poem has symmetry at the beginning and the end. This is done through the repetition of the first and last stanzas. It shows a dual structure is in actual fact where the opening and ending of its content is fittingly placed together. This dual structure pattern restrict of the infinite possibilities of repetition of stanzas as it equally replaces internal metrical units. In addition, this technique also places emphasis on the last part of the stanza. In “Red Mountain”, the narrator ironically expresses the tragic situation of the homeland through the monotonous form which consists of the repetition and parallel of the same phrases.<BR>  2) The A+A" pattern is an example of the use of variety of repetitions within the fixed form. It portrays the aspects of development while maintaining the relationship between the comparison and contrast of ideas. Like A+A, the symmetry is achieved at the beginning and the end stanzas. Today, in the age of the free verse, the change of emotion and the subsequent explanation of meaning about the structure are focused to support the aesthetic structure of the use of repetition. This is also achieved through an artist’s highly functional practice and the careful adoption of a creative process. “My Song” shows the symmetry between the repetition of phrases and the use of varied repetition in the phrase in the connective statement at the beginning and the end. The various narrative suffixes in it have the main function of sharing the communitive feeling toward the future oriented hope.<BR>  3) The A+A"+A pattern uses a variety of repetitive transformations drawn from the idea of the simple repetition. It provides a diverse effect when the narrator gives a slight change to the simple repetition. In “Rainy Season”, the repetition of the same phrases, sentences and couplet raises the feeling of extreme emotion like fear or discomfort. The technique portrayed makes reader feel reality through the many images of the desolate hometown recognized by the narrator.<BR>  4) The A+B → A"+B" pattern divides the first half and the second half though it is similar to the A+A" with respect to the development of similar phrases. It forms a responsive relationship a responsive by the collision and reconciliation of the content of two parts by means of the contrastive form of A-B/A"-B". “Sheep” means the restriction of existence because sheep is confined in the fence instead of wandering through the vast plains. So it brings out pity and heartbreak because the reality of the sheep is the same as that of the narrator.

윤동주 산문 연구

오창은(Chang-eun, Oh) 어문연구학회 2009 어문연구 Vol.59 No.-

Yoon Dong-Ju left four prose works (“Shooting the Moon”, “They Say Shooting Stars Fall”, “Flowers Bloom in the Flower Garden” and “The End and the Beginning.”) behind. There are more than four hundred literary researches on his poetry but full scale discussions on his prose have never been made. This thesis is written in order to make track for Yoon Dong-Joo’s world of consciousness in his school days at Yeonhee College and to understand his poetry more clearly through these four prose works. These four prose works written by Yoon Dong-ju were all created during his days in Yeonhee College and the poetry that is referred to as his master piece was also created in his Yeonhee College days. This study was able to grasp the changes in consciousness during the period when Yoon Dong-Ju was most sensitive through comparing his poetry with his prose. In the “Shooting the Moon” (1938) known as his first prose, his lonely ego was described. Yoon Dong-Ju at that time made an appearance of sentimental self in sorrow that could not be solved. Accordingly, the shape of “others” did not show up apart from “I” agonizing over the realities of the colony. In “They Say Shooting Stars Fall” (1939-1940 presumed), Yoon Dong-Ju realized the realities of the colony which was the cause of his sorrow and gradually began to sense the shapes of the people suffering from the colonial rule. The darkness surrounding him in this period was perceived as not only ‘my’ darkness but also the darkness of ‘you and I’ and the darkness of the times wrapping the whole village. Such consciousness was expanded and in “Flowers Bloom in the Flower Garden” (presumed to have been written before February 25, 1941), Yoon dong-Ju found himself placed in ‘the world turbulent with the roaring of cannons.’ He also showed the attitude full of faith that “Spring will Come from Far Away.” His most noteworthy prose is “The End and the Beginning” (presumed to have been written in April ~September, 1941). In this prose, the circular sensation stands out in that ‘the ending point becomes the starting point and the starting point becomes the ending point.” Yoon Dong-Ju realized that rapid progress could be made between the end and the beginning and he found the shape of positive others like ‘laborer’ in the course of rapidly progressing consciousness. Yoon Dong-Ju’s prose written in the period from 1938 to 1941 shows relatively clearly ‘the process of changes in the perception of realities by the main body.’ In the early stage, he showed his shape fallen into sentimental sorrow and gradually grasped the tragic realities and struggled to proceed as the main body carrying the practical will in such realities. In such a changing process, his poetry obtained the dramatic tension called ‘hope in sorrow.’ The pathos or the sentiment of shyness which appears in his poetry was the sensation obtained in ‘the strong transforming process’ of ‘the weak main body’ facing realities. At the end of the Japanese imperialism, the tragic death of Yoon Dong-Ju can signify ‘symbolic sacrifice’ derived in the course of the Joseon people confronted with Japanese imperialism right before its collapse, in view of the ‘weak but strong shape.’

『대학(大學)』청송장(聽訟章)의 이해-이천과 주자를 중심으로-

황태현 ( Hwang Tae Hyun ) 영산대학교 동양문화연구원 2016 동양문화연구 Vol.24 No.-

본 논문은 유가의 핵심경전인 『大學』 聽訟章에 관한 연구다. 『大學』은 『中庸』과 함께 『禮記』의 한 편에서 독립된 경전으로 송대 성리학자들에 의해 본격적으로 주목받기 시작했다. 『大學』에 대한 성리학자들의 관심은 古本 『大學』의 차서에 대한 의문으로 발전했고, 북송의 程明道와 程伊川 형제는 각자의 철학적 이해에 근거해 改本을 남긴다. 이후 주자는 『대학장구』를 지으면서 정이천개본 『大學』에 근거했다고 스스로 밝히고 있다. 정이천개본 『大學』과 주자의 『大學章句』는 기본적인 차서와 체열에 있어서는 대체로 일치하지만, 聽訟章에 있어서는 차이를 보인다. 정이천과 주자는 "格物致知"를 『대학』의 핵심으로 보고 있다는 점과, 청송장을 본말에 대한 해석이라고 보고 있다는 큰 틀에서 맥락을 같이 한다. 그러나 그들은 청송장과 격물장의 차서에 있어 다른 관점을 보이는데, 이 문제는 본말과 格物致知를 어떤 관계로 볼 것인가로 연결된다. 정이천은 청송장과 격물장을 연결해 하나의 장으로 봄으로써 격물치지의 핵심이 본말을 아는 것에 있다는 관점을 밝혔고, 주자는 청송장을 經과 傳 사이에 배치함으로써 『대학』이 經과 傳이라는 형식, 그리고 內聖外王이라는 내용이 본말의 구조를 지니고 있음을 밝히고자 했고, 또한 청송장만으로는 격물치지의 의미를 충분히 밝히지 못하고 있다고 보고 보망장을 지어 격물치지의 의미를 보다 선명하게 설명하려 한 것으로 보인다. This paper presents an investigation into the chapter of preside at lawsuit in The Great Learning, one of core Confucian classics. The Great Learning is a classic separated from The Book of Rites along with The Doctrine of the Mean and started to attract full attention from Neo-Confucian scholars in Song Dynasty. The interest of Neo-Confucian scholars in The Great Learning evolved into their question about the order of its old texts. The Cheong-Ming-Dao and Cheng-Yi-Chuan brothers of Northern Song Dynasty left a changed version of its texts based on their respective philosophical understanding. Zhu-Xi confessed that his Embodied in The Great Learning was based on Cheng-Yi-Chuan`s version of The Great Learning. There is a match in the basic order and system between Cheng-Yi-Chuan`s version of The Great Learning and Zhu-Xi`s Embodied in The Great Learning, but they differ in the chapter of preside at lawsuit. Cheng-Yi-Chuan and Zhu-Xi are in the same line in major aspects that they regarded "studying the phenomena of nature in order to acquire knowledge" as the essence of The Great Learning and considered the chapter of preside at lawsuit as interpretations of whole course of an event from beginning to end. They, however, show different perspectives with regard to the order of chapter of preside at lawsuit and that of studying the phenomena of nature, which is connected to a question about relations between the whole course of an event from beginning to end and studying the phenomena of nature in order to acquire knowledge. While Cheng-Yi huan connected both the chapters, regarded them as a single chapter, and argued that the essence of studying the phenomena of nature in order to acquire knowledge lied in knowing the whole course of an event from beginning to end, Zhu-Xi placed the chapter of preside at lawsuit between the classics and commentaries on classics and demonstrated that the form of The Great Learning in the classics and commentaries on classics and the content of sagely within and kingly without had the structure of whole course of an event from beginning to end. In addition, he believed that the chapter of preside at lawsuit would not be enough to figure out the meaning of studying the phenomena of nature in order to acquire knowledge and wrote the chapter of Bu-wang to elucidate its meaning more clearly.