육당 최남선과 석전 박한영의 여행기 『풍악기유(楓嶽記遊)』 - 두 남자의 여행, 두 개의 글쓰기-

정기인,채송화 국제한국문학문화학회 2018 사이 Vol.24 No.-

Pungak-Giyu is a co-authored by Choi Nam-seon and Park Han-young. Choi Nam-seon described the schedule and sentiments of the trip to Mt. Geumgang by Korean prose and Park Han-young presented the feelings during the trip in a compact way by classical Chinese poetry. Until now, Pungak-Giyu has been studied many times, but most of the studies have not even mentioned Park Han-young’s poems, and the studies mentioned have just pointed out that Park Han-young’s poems are also included. This is based on the implicit premise that modern Korean literature is consists of only with vernacular Korean texts. This presupposition distorts the perception of this period by studying only Korean texts, but this period’s texts were abundant with classical Chinese texts. Therefore, this paper studies Choi Nam-seon’s Korean text and Park Han-young’s classical Chinese poetry together, and discussed the interaction and meaning of these two texts. The prose of Choi Nam-seon and the poetry of Park Han-young are closely related. Choi Nam-seon confesses that he can not express Mt. Geumgang in his writing and he keeps asking how poet should expressed it. Subsequently, Park Han-young’s classical Chinese poetry comes up and suggests Mt. Geumgang in very compressed way. In addition, Choi Nam-seon suggests Park’s sentiments for traveling, and Park Han-young’s poetry follows it and express his feelings. The dual writing of Korean prose and classical Chinese poetry reflects the contemporary textual environment on several levels. First, this reflects the demand of classical Chinese readers. In the 1920s and 1930s, readers learned classical Chinese from their childhood, and many people wrote classical Chinese poem. At the same time, the modern media was being reorganized around the vernacular Korean language, and Koreans had to acquire Japanese, Korean and classical Chinese at the same time in general education. Second, the literature on the mountain of Choseon, especially the Mt. Geumgang, was composed mainly with classical Chinese poetry, and this was the widest and most sophisticated work that Choi Nam-seon could utilize to describe Mt. Geumgang. Third, Park Han-young, who was comprehensive of history,g eography, culture, and myths of Korea, was still a person expressing his appreciation in a classical Chinese poem, and classical Chinese prose. Choi Nam-seon is a person who tried to enlighten as many Koreans as possible through Korean prose. This textual environment yielded bi-lingual Pungak-Giyu of Korean prose and classical Chinese poetry. The analysis and evaluation of“Korean text” should be made broader and deeper, including these Korean-Classical Chinese Texts, in order to fully understand colonial period Korean literature. 『풍악기유』는 육당 최남선과 석전 박한영의 공동 저술이다. 최남선이 국문 산문으로 금강산 여행의 일정과 감회를 상세히 서술했고, 박한영은 한시로 여행 중의 감회를 압축적으로 제시했다. 지금까지 『풍악기유』는 누차 연구되었지만, 대부분의 연구들이 박한영의 한시를 언급조차 하지 않았고, 언급한 연구들도 단지 박한영의 한시가 함께 수록되었다는 것을 지적하는 데에 그쳤다. 이는 근대문학 연구는 국문만을 연구 대상으로 삼는다는 암묵적 전제에서 비롯한 것이다. 이러한 전제는 이 시기 국문과 한문이 혼종되어 있던 텍스트들을 시야에 담지 못하고, 국문만을 대상으로 연구하여 이 시기에 대한 인식을 왜곡시킨다. 따라서 이 논문은 최남선의 국문과 박한영의 한시를 함께 연구하며, 이 두 텍스트의 상호작용과 그의미에 대해서 논의하였다. 최남선의 국문 산문과 박한영의 한시는 밀접하게 연관된다. 최남선은 금강산을 글로는 표현이 불가능하다고 여러 차례 고백하고 시인이라면 어떻게 이를 표현했을까를 계속 묻는다. 뒤이어 박한영의 한시가 등장하여 한시로 금강산을 압축하여 제시한다. 또 최남선의 국문 산문은 함께 여행하는 박한영의 심정을 암시하고, 박한영의 한시는 뒤이어 자신의 심정을 제시한다. 국문 산문과 한시라는 이중적 글쓰기는 여러 층위에서 당대 텍스트 환경을 반영한다. 첫째, 이는 당대 독자들의 한문 교육과 한시에 대한 수요를 반영한다.1920~1930년대 독자들은 어린 시절부터 한문을 배웠고 한시를 짓는 사람들도 많았다. 동시에 근대 매체는 국문을 중심으로 재편되고 있는 상황이었고, 일반 교육에서 일본어, 조선어, 한문을 동시에 습득해야 했다. 둘째, 조선의 산천에 대한 문학, 특히 금강산을 읊은 한문학 전통이 유구하게 남아 있었고 이는 최남선이 활용할 수 있는 가장 폭넓고 깊이 있는 유산이었다. 셋째, 당대 조선의 역사, 지리, 문화, 신화 등에 해박한 사람이었던 박한영은 여전히 한문으로 글을 읽고 한시로 감상을 표현하는 인물이었고, 최남선은 국문 산문을 통해 최대한 많은 조선인들을 계몽시키고자 노력하는 인물이었다. 이러한 텍스트 환경이 국문 산문과 한시라는 ‘국한문 텍스트’로 『풍악기유』를 산출했다. 이러한 ‘국한문 텍스트’에 대한분석과 평가가 더 폭넓고 심층적으로 이루어져야 식민지 시기 문학사를 온전히 인식하고 이해할 수 있을 것이다.

중국인 학습자의 자국어 문학 학습 경험을 활용한 고전시가 교육 연구

김영 ( Jin Ying ) 서울대학교 국어교육과 2018 先淸語文 Vol.45 No.-

The purpose of this study is to suggest a method of Korean classical poetry education utilizing Chinese learner's experience of learning a native language literature. Korean language learners of Chinese universities, which have been educated in an emphasis on literary literacy, have a deep understanding of the genre characteristics of classical poetry through their classical poetry education and already possess considerable literary ability. For this reason, this study focuses on Chinese learners' experience of learning their native language, and assumes that Chinese learners can be set as active and active subject of classical poetry. In this study, we first re-conceptualized the learning experience of the native language through the literature study method, and summarized the learning experiences of the Chinese learners. Next, I looked at the concept of reader response, the type of reader response, and the effects of native language literacy learning experiences on reader responses. Finally, it is shown that classical poetry utilizing the experience of native language literary learning has the educational significance of ‘learner's active ability to construct semantically’, ‘empathy for emotions expressed in farewell poetry’, ‘cultural communication ability through natural image’. Based on this theoretical foundation, In order to examine the practical aspects, the learners read the farewell poetry and freely used their thoughts and feelings. The learner's responses to the texts were classified into four responses according to the response type classification criteria of Alan C. Purves & & Rippere, Victoria: ‘Associative Response’, ‘Perceptual Response’, ‘Interpretive Response’, and ‘Evaluation Response’. The Associational Response of texts is divided into ‘association with the learner's self - experience’ and ‘interactive textual combination of images’. The Perceptual Response to text is divided into ‘perceptual coherence perception of text’ and ‘perception of semantic rule of text’ and the Interpretive Response to text is divided into ‘Interpretation based on textual information’ and ‘interpretation using external knowledge of learners’. Finally, the Evaluative Responses to the text were divided into ‘evaluation of the aesthetic characteristics of the text’ and ‘assessment by the learner's ethical attitude’ to analyzed and inferred the learners' native language learning experience in response text. Through the learners' response patterns, the literary ability learned in their native language was based on acceptance of the farewell poetry, and it was able to see the positive effect mainly. However, at the same time, we were able to examine certain limitations such as ‘text misunderstanding due to lack of Korean language ability’, ‘insufficient text understanding due to lack of text analysis ability’, ‘failed text appropriation due to lack of consciousness of participation in text’, ‘Expression of criticism due to the supremacy of national literature’. Based on the reading patterns of learners, In this study, the goal of classical poetry education using experience of learning a native language literature was set as ‘Understanding and appreciation of classical poetry’, ‘enhancement of comparative ability between Korean classical poetry and Chinese literature’ and ‘Cultivating mutual cultural communication ability’, The contents of education were presented as ‘recognition of explicit information that implements poetic meaning’, ‘mutual text ventilation centered on motifs’, and ‘emotional empathy with images of natural objects’. The purpose of this education and the contents of education to realize the method of education should be defined as ‘Identification of reaction through grasp of contents element’, ‘Refinement of reaction through identification of literary devices’, ‘Activation of reaction by summoning personal and literary experience’, ‘Relativization of reaction through group inquiry’, ‘In-depth response through comparison of Korean and Chinese works’. This study has educational significance in that it takes into consideration the features of Chinese learners in the classical Chinese education and draws out the educational methods that can take advantage of literary experience. It has certain significance in encouraging the learner's subjectivity, activeness, and interaction between learners in Korean literature class actively.

논문 : 김억의 한시 번역과 "조선적 근대시"의 구상

정기인 ( Ki In Chong ) 민족문학사학회·민족문학사연구소 2015 민족문학사연구 Vol.59 No.-

이 글은 김억이 한시 번역을 한 이유와 그의 한시 번역과 그가 창안한 ‘격조시형’의 관계에 대해서 살펴본다. 조선적 시형식에 대한 탐색 과정 중에, 김억은 자신이 조선적 시형식에 대해서 무지하다는 것을 고백할 수밖에 없었고, 민요와 시조는 당대적인 조선인의 사상과 감정을 담는데 한계가 있고, 특히 시조는 음률의 필연도 없다고 비판했다. 따라서 그는 자신의 시론에 매우 잘 부합하는 정형시이며, 번역관에 적절하게 함축적이고, 친숙했던 한시로 돌아가서 이를 번역하면서 새로운 ‘조선적 근대시’를 실험하였다.그의 한시 번역은 여타 서구시, 일본시, 인도시 번역 등과 다르게, 처음부터 일정한 음수율을 지키고 압운을 하려는 모습이 보이며, 이는 1925년부터 1930년을 이르는 시기에 7.5조로 고정되어 간다. 이는 이후 ‘근대적 조선시’로서의 격조시형을 발표하게 되는 것과 관련있다.‘격조시’는 ‘格調’라는 표현이 한문전통에서 ‘기성의 권위를 존중하며 형식을 중시하는 시론’인 것처럼 일종의 시 창작 교과서로 사용되고자 하는 김억의 바람이 담겨 있다. 음절수의 정형, 압운, 음수의 기층단위인 음력을 설정한 것 등은 한시의 영향으로 보인다. 그리고 다시이 격조시형을 가지고 800편에 달하는 한시를 번역한 것은, 한문의 풍요로운 전통을 조선어로 전유하려는 노력이었다고 할 수 있다. This paper examines the reasons why Kim Ok’s translated classical Chinese poetry, and the relation between the translation and his ‘noble poetry(格調詩)’ form that he created.While searching Korean poetic form, he confessed his ignorance of Korean poetic form.He argued that Korean folk song and sijo(時調) had limits to express contemporary Koreans’ thoughts and feelings. He particularly criticized sijo for lacking indispensible rhythm. For these reasons, he returned to classical Chinese poetry which he was familiar with, and translated them, creating a new form of ‘modern Korean poetry.’ Classical Chinese poetry is fixed verse, which corresponds to both his poetics and his ideas on translation.Kim Ok’s translation of classic Chinese poetry was different from those of western,Japanese, and Indian poetry. He translated classic Chinese poetry with rhymes and consistent syllabic meter, which turned into the fixed 7.5 syllables in the years of 1925 to 1930. This is related to the ‘noble poetry’ form that he regarded as ‘modern Korean’poetry. ‘Noble poetry(格調詩)’’s Kyokcho(格調) means ‘poetic theory which respects poetic tradition and places emphasis on form.’ The reason why Kim Ok used this concept was to utilize his ‘theory of noble poetry’ (格調詩形論小考) as a “textbook” for writing poetry for young poets in Korea. Fixed Syllable, rhyme, and setting ‘umlyok(音力)’ as basicunit of meter seems to be a legacy from classical Chinese poetry. His translation of approximately 800 classical Chinese poetry into this form was his efforts to appropriate Classical Chinese’s rich tradition in the Korean context.

한시 제재와 연계한 고전시가 교육 방안 연구

송재연 ( Song Jae-yeon ) 한국한문교육학회 2018 한문교육논집 Vol.50 No.-

본고는 중등학교 국어교육과 한문교육의 소통과 연대 가능성을 모색하고자 하는 시도의 하나로, 고전시가와 한시의 관련 양상에 穿鑿하여 한시 제재와 연계한 고전시가 교육 방안에 대해 고찰하고자 한 글이다. 한문 교과서를 검토한 결과, 교과서에 수록되어 있거나 수록되었던 한시 제재는 우리나라 문인의 작품뿐만 아니라 중국 문인의 한시문까지 포함하고 있었고, 주제 역시 다양했다. 이 중에서 우리나라 문인의 한시는 주제의식과 정서의 측면에서 국어교과의 ‘한국 문학의 전통’과 관련시켜 통합교육을 시도할 수 있다. 특히 한국 문학의 전통 중에서 ‘자연친화 사상’이나 ‘이별의 情恨’의 경우에는 고전시가와 한시를 견주어 읽음으로써 고전시가 해석의 깊이와 이해의 폭을 넓힐 수 있다. 한편 중국 문인의 한시문은 고전시가 창작의 배경이 되는 典故와 典範으로서 교육적으로 활용될 필요가 있다. 즉, 고전시가 창작이 중국 고대 경전을 비롯한 다양 종류의 한시문의 내용을 引喩함으로써 이루어진다는 점에 착안한다면 한문교과에서 이러한 典故 또는 典範으로서의 성격을 지닌 한시문을 교육해야 할 필요가 있는 것이다. 국어교과에서 고전문학을 다루는 영역은 대체로 ‘전통과 특질’에 집중되어 있는데, 이러한 한국 문학의 전통과 특질에 연계하여 시가 창작의 典故로서 배경지식 역할을 했던 한시문 작품들을 교육하고, 나아가 창작의 典範 역할을 했던 중요한 한시문의 경우 그 全篇을 온전하게 교육할 필요가 있다고 생각된다. 물론 현재의 상황에서 典故나 典範 역할을 했던, ‘장형’의 ‘난해’한 한시문 全篇을 온전하게 교육한다는 것은 한계가 있지만, 국어 교과서 수록 부분에 한정해 부분 발췌를 한다거나 작품 내적 연관 관계가 두드러진 부분 위주로 교육하는 방식으로 현실적 방안을 찾아 나가야 할 것이다. 또한 궁극적으로는 국어과와 한문과의 연계를 통해 문학 교육의 목표뿐만 아니라 교육의 대상이 되는 제재를 공동 논의를 통해 선정하여 시가 창작의 典範이 되는 작품들에 대한 교육을 확대해 나가야 할 것이다. This paper is to consider methods of Classical poetry education through Chinese poetry, focused on the related aspect of classical poetry and Chinese poetry, as an attempt to seek communication and solidarity between Korean language education and Chinese Classics Education in secondary schools. The works of Chinese poetry in the Chinese textbooks had various themes, including not only the works of Korean writers but also the literatures of Chinese writers. Among these works, the Korean writer's poetry can try integrated education in relation to the' tradition of Korean literature 'in terms of subject consciousness and emotion. Especially, in the case of ‘nature friendly concept’ or 'parting sentiments' among the traditions of Korean literature, it is possible to broaden the depth and understanding of Korean classical poetry, by comparing it with Chinese classical poetry. Also the Chinese writer’s poetry are the background knowledges of creation Korean classical poetry, namely authentic precedent(典故) or Classic(典範), so the need for teaching Chinese writer’s poetry can be raised. In literature curriculum, the area of Korean classical literature is generally regarded as 'tradition and characteristic' or 'reflection of contemporary society'. Especially, I think it is necessary to educate the works of Chinese which acted as background knowledge as a source of the poetry's creation, and as classic of creation. In the current situation, there is a limit to educate all parts of the literary work which has many volumes and is difficult to understand, but it is necessary to find a practical method in such a way as to make partial excerpts only in the part of Korean textbooks, or such a way as to educate the related parts with Korean classical poetry. Ultimately, through the linkage between national language curriculum and the curriculum of classical Chinese education, it is necessary to expand the education on the works that are the norm by selecting not only the goals of literary education but also the works that are subject to education through joint discussion.

한국현대시 해석과 전통문학의 감각 : 한시(漢詩)의 경우를 중심으로

김용직 국어국문학회 2004 국어국문학 Vol.- No.138

The purpose of this work is to study the relationship between Modern Korean poetry and Classical Korean poetry in Chinese. Classical Korean poetry in Chinese has a history of more than 2,000 years. In the Koryo and Choson period, Chinese characters were central to the culture of Korea. At that time, a lot of classical Korean poems in Chines were written by the educated class, some of them were superior to Chinese poems. In the Modern period, Korean poetry strongly had the Western impact. As the result, the modern poetry of the West such as Great Britain, Germany, France, Russia, the United states and so on was imported and translated. Since then, Korean poets has written the modern poetry within the discontinuity of the tradition of classical Korean poetry in Chinese. This tendency that prevailed not only in the poetics but in the criticism resulted to various problems of the interpretation in modern poetry of Korea. Han yong-un is one of the most important poets in the history of modern poetry in Korea. When he was young, he studied Chinese letters and read some Chinese works. When he was grown up, he became a buddhist monk. He remained many excellent classical Korean poems in Chinese, based on the study of the Buddhist scriptures, because most of Korean buddhist monks had to learn the Buddhist scriptures through the Chinese letters. He also wrote a lot of beautiful Korean poems, <Al-soo-upseoyo (I don't Know)> is one of his masterpieces. The last part of this poem is as follows. Burn ashes become fuel again. My endlessly burning heart, whose night does this flickering lamp illumine? A Korean critic interpreted these lines as a 'Love song'. But we can realize this is a wrong interpretation when we carefully look up his classical Korean poetry in Chines. Most of the classical Korean poems in Chinese written by Han yong-un reflected the Buddhist thought and spirit. Those are metaphysical poetry.<Al-soo-upseoyo (I don't Know)> is one of the metaphysical poetry. Some of Korean critics, however, misinterpreted this poem as a 'Love song' because of the influence of the West, which has lots of love songs in its literature. It may be a new direction in poetics to analyze the structure of classical Korean poetry in Chinese. The theory of metaphor has been studied actively in modern criticism of the West. P. Wheelwright defined the metaphor is the combination of the two elements and a juxtaposition. He tried to analyze one of E. Pound's poetry, In a Station of th Metro as the example. The apparition of these faces in the crowd; Petals on a wet, black bough 'Apparition' and 'petals' are juxtaposed in these two lines. The modifying phrases of them have the same pattern. But it can be differently interpreted from the standpoint of the characteristic of respective words in the lines. In the first line, 'these faces defined by 'the crowd' is noun(pronoun) but 'wet' and 'black' in the second line are the adjective form. So these lines are not the complete juxtaposition grammatically. If we know 律詩 (Lu shih, Regulated verse), one of the forms of classical Korean poetry in Chines, the problems we faced here can be overcome. 律詩 consists of 8 lines. Line 3, 4 and line 5, 6 are strictly formed as a couplet. This is line 3, 4 of 黃眞伊(Whang Jin-i)'s poem, <奉別蘇判書世讓>(Bong Byul So Panseo Se-yang, Parting from a Lover), in the period of King Joongjong in the Choson dynasty. 樓高天一尺 In the pavilion that soars into the sky 人醉酒千觸 We have got drunk over many cups of wine The pattern of the third line is Noun+Modifier+Noun+Modifying phrase and the forth line has the same pattern. The strict rule of a couplet is kept. This two lines are juxtaposed not only in the form but also in the context. This strict juxtaposition relates organically to the meaning structure of this poem. It is impossible to use the strict juxtaposition by the Korean language and the Western languages - English, German, French, Italian, Russian and so on. 律詩, however, shows lots of examples of the strict juxtaposition in the theory of metaphor. We can have the meaningful outcome in the understanding of Korean poetry when we understand the tradition of classical Korean poetry in Chinese.

漢詩敎育 評價의 現況과 課題

金經益 한국한자한문교육학회 2016 漢字 漢文敎育 Vol.41 No.-

이 글에서는 한시 교육 평가에 대한 이론적 토대를 마련하기 위해 관련 연구 성과와 한문과 교육 과정에서 한시교육에 해당하는 내용을 검토하였다. 한시교육평가의 현황은 한문과의 대표적인 대단 위 평가인 대학수학능력시험 ‘한문’ 영역의 한시 평가 문항과 학교 단위에서 이루어지는 평가 문항 및 도구를 살펴보았다. 이론적 검토와 현황 분석은 한시교육 평가의 방향을 모색하는 토대가 될 것 이다. 한시 교육 평가 관련 연구는 주로 한문 교과서 소재 한시 평가 문항 분석, 문학 교육 평가, 교육과 정 분석, 한시 텍스트의 수준과 범위 등에 대한 것이 대표적으로 이루어졌다. 이 글에서는 한시 교육의 전반을 살펴 한시 교육의 평가의 방향으로 첫째, 한시 교육의 목표 점검 을 통한 한시 평가 방향 모색, 둘째, 학생의 문학적 경험을 표현할 수 있는 평가, 셋째, 교육과정 실행 차원에서의 한시교육 관련 교육과정 재구성, 넷째, 한시 텍스트의 수준과 범위에 대한 논의의 구체화 등을 제시하였다. For the purpose of preparing a theoretical foundation on Chinese Classic Poetry education evaluation, contents on the Chinese Classic Poetry education in the Chinese Classics subject curriculum and related study results were reviewed. In regards to the present condition of Chinese Classic Poetry education evaluation, Chinese Classic Poetryy evaluation questions in the ‘Chinese Classics’ area of scholastic aptitude test, an major unit evaluation of Chinese Classics subject, and evaluation questions and tools used in school unit were reviewed. The theoretical review and analysis of present condition will become a foundation for searching for a future direction of Chinese Classic Poetry education evaluation. In regards to studies on Chinese Classic Poetry education evaluation, they mostly consisted of analysis of questions on Chinese Classic Poetry in Chinese Classics textbook, evaluation of literature education, analysis of curriculum and Chinese Classic Poetry text level and scope. Overall Chinese Classic Poetry education was reviewed in this study to present followings as a direction of Chinese Classic Poetry education evaluation. First, search for a direction of Chinese Classic Poetry evaluation through the inspection of Chinese Classic Poetry education goal. Second, evaluation that can express students’ literary experience. Third, reconstruction of curriculum related to Chinese Classic Poetry education in the curriculum implementation level. Fourth, specification of a discussion on the level and scope of Chinese Classic Poetry text.

중학교 한시교육 현황 및 제안

이의강 한국한자한문교육학회 2016 漢字 漢文敎育 Vol.40 No.-

본고는 중학교 『한문』 교과서의 漢詩 수록 양상을 분석하고, 한시 작품 해석상의 주의 사항 몇 가지를 제시한 것이다. 중학교 『한문』 교과서에 수록된 한시를 놓고 진행한 분석을 통해, 한문과 교육과정의 성취기준을 가장 유효하게 달성할 수 있는 교수-학습 재료가 바로 한시임에도 불구하고, 한시 텍스트는 絶句 위주의 매우 적은 수량이 수록되어 있으며 작품 해석도 또한 미진한 점이 있음을 확인할 수 있었다. 심지어 어떤 교과서의 한시 수록은 구색 맞추기에 지나지 않았다. 이는 과거 한문학에서 한시가 차지하였던 실상과 어긋난다. 한시교육 종사자들은 한시교육의 이론과 실천을 점검하여 한시교육의 활성화를 도모하기 위해서 안팎으로 보다 많은 노력을 기울여야 한다. 밖으로는 한문교과의 수업 시수를 보다 많이 확보하기 위해 노력해야 하며, 안으로는 한문교육 효과를 극대화하기 위해 더욱 많은 명편의 한시 작품을 수록하고 보다 유효한 교수-학습을 수행하여야 할 것이다. 우리나라 교육의 “인간다운 삶을 영위하게 하고, 민주 국가의 발전과 인류 공영의 이상을 실현하 는 데에 이바지하게 하는 함”이라는 목적 달성에 부응할 때 한시교육의 이론과 실천은 강화될 수 있다. This study was conducted in order to review classical Chinese textbooks in secondary schools and, based on the results, to make suggestions helpful for the theories and practical application of classic poetry education. Chinese classic poetry is one of the most effective teaching‐learning materials for achieving the achievement standards of the classical Chinese curriculum. Thus, this study analyzed Chinese classic poems contained in middle school Classical Chinese textbooks. According to the results, Chinese classic poetry texts were mostly quatrains (絶句), the number was quite small, and interpretations of such poems were incomplete. In some of the textbooks, Chinese classic poetry was included merely for variety. Those involved in Chinese classic poetry education need to make more efforts to activate Chinese classic poetry education by examining the theories and practices of Chinese classic poetry education. That is, efforts should be made externally to increase the number of classes of the Classical Chinese curriculum, and internally to maximize the effects of Classical Chinese education through including more masterpieces of Chinese classic poetry. In addition, the effectiveness of teaching‐learning needs to be enhanced. The theories and practices of Chinese classic poetry education may be reinforced when they serve the objective of education in Korea, which is “to guide people to lead a human life and to contribute to the development of a democratic nation and the ideal of co‐prosperity of mankind.”

문화유산으로서 고전시가의 미디어를 통한 현대적 전승과 보급 ― TV 버라이어티쇼 <中國詩詞大會>와 <經典詠流傳>을 중심으로

盧垠靜 ( Rho Eunjung ) 중국어문연구회 2024 中國語文論叢 Vol.- No.116

Classical poetry contains both the concept of value as a great work and the concept of time as it was transmitted over a long period. However, since classical poetry was perceived as old and outdated, in opposition to modern poetry, it was considered difficult to understand and obsolete. Through new media that activates interaction with the mass media such as television, <The Chinese Poetry Competition> and <Everlasting Classics> reinvented classic poetry that existed in fixed text into a more present reality. The contents of the classic poetry were not changed, but the programs imaged and visualized them to make them easier to understand so that they could resonate with the present everyday emotions. This can be seen as a result of viewers repeatedly learning classical poetry through repeatedly playing programs on new media such as smartphones, apps, SNS, and various platforms, and uploading their opinions and re-enactments. The modern transmission and dissemination of classical poetry through this method is worth paying attention to in terms of education. However, it cannot be overlooked that classical poetry becomes a tool for enhancing national ideology through discussions between the <The Chinese Poetry Competition> and <Everlasting Classics> on stage and in the audience, and on various platforms during and after the broadcast. While praising the historicalness and value of classical poetry, it is necessary to be wary of awakening self-esteem and evoking a sense of homogeneity as a ‘cultural nation’ so that it doesn’t go in the direction of advocating cultural supremacy and exclusive patriotism.

중국 고전 詩詞와 현대 음악과의 상관성 연구

박남용,김영명 한국중국언어문화연구회 2011 한중언어문화연구 Vol.- No.25

This study is about the existing state of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs. The correlation between Chinese literature and music is studied using the method of comparative literature on this paper. Beginning from Shi jing(詩經) and Chu ci(楚辭), the tradition of Chinese poetry has achieved the most dominant position in Chinese culture through the present day and is having a great effect on Chinese socioculture today. In this respect, the actual condition of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs has been made up pretty high. Specially these days we can see Chinese popular singers are creating new modern popular music writing the lyrics with Song Ci poetry. Many works of Classic Chinese poetry and Ci poetry were created into modern lyrical songs, chorus, or revolutionary songs about 1940s, since 1920s. There are two cases on this happening, one is the music to be created on the base of Classic Chinese poetry and the other is the music to be created on the base of Chinese Tang Song Ci(唐宋詞). In the case of the former, there are ‘Jian Jia(蒹葭)’, ‘Lu ming(鹿鳴)’ and etc. in Shi jing and the symphonic poem, ‘the Flow of the Guluo river(汨罗沉流)’ which is made in memory of the decease of Qu Yuan(屈原). Also there are many cases of the conversion of music with the works of Li bai(李白) who wrote the best poetry among poets of his time. In the case of the latter, the representative works had the conversion of music such as the ones of Su Shi(蘇軾), Yue Fei(岳飛), Li Qing Zhao(李淸照), Jiang Kui(姜虁), and etc. mostly. This existing state of the conversion of music from Classic Chinese poetry and Ci poetry to modern songs is happening because the musical character of poetry and Ci poetry have the affinity that makes it easy to be the conversion of music and because they have the outstanding familiarity with the audience when the poetry and Ci poetry in familiar to the readers become the conversion of music. Through the mutual correlation between this literature and music, we can understand literature refreshingly and comprehend the phenomenon of diffusion in the popular culture of literature.

발해 한시문학의 현황과 창작 경향

장원철(Jang Woncheol) 대동한문학회 2007 大東漢文學 Vol.26 No.-

  ‘발해학’이라고도 불러도 좋을 만큼 근래 들어 활황을 보이고 있는 발해 연구 분야 가운데에서 발해 한시문에 대한 연구는 그다지 활발하지 못한 편이다. 발해 문학에 대한 그러한 연구 부진의 원인은 무엇보다도 발해 문학의 실상을 알려줄 문헌이 그다지 남아 있지 않은데다, 전하는 작품조차도 중국이나 일본과 같은 다른 나라에 남아 있는 단편적 자료만을 연구 대상으로 해야 했기 때문이다.<BR>  현재까지 전하는 발해의 한시문은 모두 209편으로 8가지 종류로 나뉘어져 있다. 이 가운데 실용적 문장을 제외하고서 문학적 연구의 대상이 될 만한 한시 작품으로는 주로 일본 쪽의 문헌에 전해 오는 9수만이 있을 뿐이다. 이러한 빈약한 자료적 형편으로 볼 때 발해 문학 연구의 가장 주된 대상은 발해 문학의 정화로서 발해 문학이 도달한 수준을 가늠케 하는 기준의 역할을 그나마 해낼 수 있는 한시 작품을 꼽아야 할 것이다.<BR>  특히 이들 작품은 단편적이기는 하나 그 자체로서 발해문학이 도달한 높은 문학적 수준을 보여준다는 의미에서 주목의 대상이 된다고 하겠다. 아울러 나라 사이의 문화적 교류를 통해 8ㆍ9세기 동아시아 한자문화권이 형성되던 시기에 발해 사람들이 중국과 일본을 왕래하면서 한시의 교환을 통해 국가를 넘어선 정서적 교감, 나아가 문화적 동질의식과 상호 이해를 증진시켜 가는 과정을 보여준다는 점에서 연구 대상으로 주목된다고 하겠다.<BR>  일찍이 필자는 7~10세기에 이르는 우리나라 한시의 역사를 재구성해내기 위해서 네 부류의 작품의 그룹을 검토해 볼 필요가 있음을 주장한 바 있다. 이 가운데 특히 주목할 것은 8세기 이후 통일신라와 더불어 남북국 시대를 형성하고서 중국ㆍ일본 등지에 사신으로 다니면서 작품을 남겼던 발해 시인들의 한시문학이라고 하겠다.<BR>  통일신라와 정치적으로 대립하였던 발해는 신라와는 별반 교류를 가지지 않았던 반면 주변의 중국ㆍ일본과는 신라와 경쟁적으로 활발한 정치ㆍ문화적 교류를 행하였다. 이들 발해 사람들이 중국과 일본에 문헌에 남겨놓은 한시 작품은 그러한 과정의 산물로서 정작 발해 본국의 문학적 유산이 남아있지 않은 상황에서 이 시기 한시문학의 전개 양상을 파악하는 데에 매우 귀중한 자료이다. 특히 이 시기의 한시의 역사의 전개는 초기의 정치ㆍ의례적 표현수단을 벗어나서 특히 9세기에 이르게 되면 국가와 언어를 달리하는 개인들 사이에서 상호간의 의사를 소통하는 새로운 역할, 곧 문화적 동질의식과 상호이해를 증진시키는 공동문어문학의 서정적 갈래로서의 성격을 강화하는 방향으로 나아가게 된다. 따라서 발해 한시문학에 대한 논의는 당대 중국과 일본의 한시문학에 대한 비교적 시각과 동아시아 한시네트워크의 성립이라는 국제적 문화교류와의 관련 양상에 입각하여 이루어져야 할 필요성이 새삼 제기된다고 하겠다.<BR>  발해 시인들이 남긴 작품은 그 계기가 어쨌든 간에 모두 지리적 범위의 확대를 통한 문학적 교류를 행했다는 점에 그 의의가 있다고 할 수 있다. 그 호간에 심정과 사상을 전달할 수 있는 유일하고도 유력한 방법이었다. 이 논문에서 다루었던 8세기 이후로 중국ㆍ일본 등지에 사신으로 다니면서 작품을 남겼던 발해시인의 한시문학이야말로 지리적 확대에 따른 문화적 교류를 통해 동일한 한자문화권에서의 문화적 동질 의식과 상호 이해를 증진하였던 대표적 경우로 그 문학사적 의의를 높이 평가해야 할 것이다. 러한 교류의 수단이 다름 아닌 한자문화권의 공통문어문학인 한시문이라고 할 수 있는데, 특히 한시문학은 서로 언어가 통하지 않는 이국인끼리 상호간에 심정과 사상을 전달할 수 있는 유일하고도 유력한 방법이었다. 이논문에서 다루었던 8세기 이후로 중국 일본 등지에 사신으로 다니면서 작품을 남겼던 발해시인의 한시문학이야말로 지리적 확대에 따른 문화적 교류를 통해 동일한 한자문화권에서의 문화적 동질 의식과 상호 이해를 증진하였던 대표적 경우로 그 문학사적 의의를 높이 평가해야 할 것이다.   Recently, as studying on Balhae has been flourished, we have established a discipline which might be called Balhae Studies. On the other hand, studies on Balhae poetry, i.e., written in classical Chinese, have been not yet so fully explicated. It is because we hardly find the primary sources of Balhae’s poetry. Although we have some documents originated in the Balhae period, the poems found in these documents are very rare and kept either in China or in Japan.<BR>  Out of two hundred nine documents in eight categories that are known to be written inthe Balhae period, only nine poems, i.e., mostly reserved in Japan, are handed downto us. Although we have a lack of the original sources, we must primarily try to select the cream of the crop among these poems thus, we could show how the literature of Balhae has developed, and set down a barometer upon which we manage our studies on Balhae literature.<BR>  We should focus our studies on these top notch poems, although they are a few in numbers, since they are the representatives of Balhae literature by virtue of which we direct our studies further on Balhae literature which is known to achieve its artistic excellence. In between the 8th and 9th centuries, the East Asian cultural community was established with the dynamic cultural exchanges among the nations in the region of East Asia based on the literature written in classical Chinese. In the poems of Balhae, we find how these cultural exchanges aremade possible, since the poems, written in classical Chinese, i.e., the officialwritten language among the nations in the region, show how the kingdom of Balhae communicate with China and Japan. In so doing, it is remarkable how the nations communicate each other with the poems written in the classical Chinese to enhance their cultural identity by exchanging their emotions.<BR>  Early on in the other papers, I have insisted that in order to reestablish the history of Korean poetry written in classical Chinese throughout 7th and 8th centuries, we need to investigate into four kinds of the poems. Among them, it is necessary tofocus primarily on the poems left by the poets of Balhae who are sent as the emissaries to China and Japan in the two kingdom period of the Korean history wherein Balhaeand Shilla are opposed to each other.<BR>  Balhae, because of its political opposition to Shilla, had the dynamic relationships politically and culturally with China and Japan, yet less with Shilla. Thus, the poets of Balhae left the poems in the documents that they wrote in China and Japan. While it is hardly to find much of the poetic literature within Balhae itself, the documents found in China and Japan are the precious sources upon which we find out how the poetic literature of it, i.e., written in classical Chinese, is developed in this period. If we closely examine the historical development of poems in this period, the political and diplomatic expressions found in the early poems have enhanced to be lyrical. In the 9th Century, the poems, i.e., written in classical Chinese, become consequently viz., literature of lingua franca, the means by which the peoples in East Asia, who speak different languages, communicate and understand each other, since they share the communal written language. Therefore, it is necessary to study the poems of Balhae in conjunction with those of China and Japan so that, in this way we explain how the Classic East Asian poetic literary network is to be born among three countries.<BR>  Whether they intended or not, the literary works, that are left by the poets of Balhae, seem to extend the geographical and linguistic limits of the countries in the region. The Chinese poetry is specifically the communal writing tool in East Asia, viz., the Chinese cultural region. Thus, by virtue of the poetry written in classical Chinese, the three different peoples in the region, although they speak their own lan