Above, I examined the autumn birds and winter birds used in seasonal language in Basho’s works. Autumn’s representative birds examined the traditional pattern and the process of change from geese, quail, winter’s representative birds and ducks t...
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다국어 초록 (Multilingual Abstract)
Above, I examined the autumn birds and winter birds used in seasonal language in Basho’s works. Autumn’s representative birds examined the traditional pattern and the process of change from geese, quail, winter’s representative birds and ducks t...
Above, I examined the autumn birds and winter birds used in seasonal language in Basho’s works. Autumn’s representative birds examined the traditional pattern and the process of change from geese, quail, winter’s representative birds and ducks to Basho’s works. The results are summarized as followed.
First, it is important to note that the ‘goose’ version of the ‘goose’ is a general view of the scenery, but it also contains lyrical aspects. Basho is not only a traditional expression of western expression when used as a ‘geese’, but also a new contribution called ‘sick geese’ or ‘colored flower’ instead of a traditional article. This can be a new way of writing for Basho, which combines the characteristics of traditional Waka and Haikai.
Second, the pattern of ‘quail’ is to recite a crying cry from a desolate field, as the winds of the late fall sweep the body. In this way, the quail that Basho focuses on is constructing a new perspective based on an attempt to grasp the characteristics of the material, based on the tradition, and the connection with daily life.
Third, the pattern of shorebirds swarms in the winter waters, but the cries are very pitiful and expressive. However, the shorebirds in Basho’s works are not muted, but they are changing to a light and cheerful atmosphere. In addition, there is no cry for the traditional bones, and only the emerging plovers from the creek in the deepening cold winds of the evening. This is also a new way of expressing Basho.
Fourth, the duck’s bona fide frost is a cold winter night. In Waka, the emphasis was on the harmony of the two vocabularies like “frosted duck wing”, and in the early Haikai, humor was demonstrated using the homonym of “reed and duck bridge”.
On the other hand, Basho not only visually expresses the auditory sensation of the duck’s cry, “dimly white,” but also focuses on the wintery duck bridge covered with warm hair. In this way, it was confirmed through the above examination that Basho’s method of writing was based on tradition but did not spare effort to look at the material with Basho’s unique perspective and focus on it to create a new work.
다국어 초록 (Multilingual Abstract)
本稿は、芭蕉の発句に表れている鳥の本意と作句法に関する考察である。先稿では 春と夏の鳥に関して検討し、ここでは続く秋と冬の鳥を対象として検討することにす る。特に歌語の伝...
本稿は、芭蕉の発句に表れている鳥の本意と作句法に関する考察である。先稿では 春と夏の鳥に関して検討し、ここでは続く秋と冬の鳥を対象として検討することにす る。特に歌語の伝統的な本意が芭蕉の発句でどのように受け継がれ、どのように変化 を見せるか、そしてどのように作句に活用されるかを和歌、連歌、初期俳諧の歌論書 および作品を通してその流れを把握し、芭蕉ならではの特徴を探ろうとする。この作 業は芭蕉の求めていた鳥という季語の世界と芭蕉の発句の世界を理解するに大いに役 に立つと思う。 現存する芭蕉の発句は作句年代未詳の作品を含めて総976句であり、そのなかで鳥 を詠んだ作品は総88句である。春25句、夏38句、秋11句、そして冬14句である。秋と 冬の作品は春と夏に比べて少ないが、秋の発句には鴈と鶉、冬は千鳥、鴨、そして鷹 などがある。鳥の種類が最も多い季節は冬で、総10種類登場する。 まず、秋の鳥としては‘雁’と‘鶉’について、次に冬の鳥としては‘千鳥’と‘鴨’について 調べ、和歌での本意と季語の本意を詮索する。また、このような検討を通して芭蕉は 伝統的素材の持っていた本意をどのように受け継ぎ、どうのように変化して行くかを 検討する。そして、その本意に基づいた新しい素材と表現を俳諧にどのように活用し ていくか、その上、俳諧だけの独自の世界をどのように築いていくかを、‘鳥’を季語と した発句を通して明らかにしようとする。
참고문헌 (Reference)
1 이현영, "바쇼의 홋쿠에 나타난 새의 본의와 작구법에 관한 소고 -봄과 여름의 새를 중심으로-" 한국일본언어문화학회 (41) : 381-402, 2017
2 一条兼良, "連珠合璧集" 三弥井書店 105-, 1972
3 紹巴, "連歌至宝抄" 岩波書店 237-, 1985
4 久松潜一, "貞門俳諧集 2" 集英社 473-, 1995
5 大磯義雄, "蕉門俳論俳文集" 集英社 206-, 1976
6 堀切実, "翻刻『俳諧雅楽抄』" 11 : 263-, 1976
7 竹内若, "毛吹草" 岩波書店 298-, 1988
8 井本農一, "松尾芭蕉集全発句 1" 小学館 1-604, 2003
9 "日本俳書大系 山之井" 日本俳書大系刊行会 470-, 1926
10 小島憲之, "新編日本古典文学全集 『万葉集』1-4" 小学館 342-, 2004
1 이현영, "바쇼의 홋쿠에 나타난 새의 본의와 작구법에 관한 소고 -봄과 여름의 새를 중심으로-" 한국일본언어문화학회 (41) : 381-402, 2017
2 一条兼良, "連珠合璧集" 三弥井書店 105-, 1972
3 紹巴, "連歌至宝抄" 岩波書店 237-, 1985
4 久松潜一, "貞門俳諧集 2" 集英社 473-, 1995
5 大磯義雄, "蕉門俳論俳文集" 集英社 206-, 1976
6 堀切実, "翻刻『俳諧雅楽抄』" 11 : 263-, 1976
7 竹内若, "毛吹草" 岩波書店 298-, 1988
8 井本農一, "松尾芭蕉集全発句 1" 小学館 1-604, 2003
9 "日本俳書大系 山之井" 日本俳書大系刊行会 470-, 1926
10 小島憲之, "新編日本古典文学全集 『万葉集』1-4" 小学館 342-, 2004
11 「新編国歌大観」編集委員会, "新編国歌大観 第2巻" 角川書店 164-, 1986
12 峯村文人, "新日本古典文学全集 新古今和歌集" 小学館 79-, 2003
13 小沢正生, "新日本古典文学全集 古今和歌集" 小学館 36-, 1994
14 後藤重郎, "山家集" 新潮社 393-, 1995
15 井本農一, "季語の研究" 古川書房 1-40, 1981
16 東聖子, "国際歳時記における比較研究" 笠間書院 117-138, 2012
17 角川書店編纂委員会, "図説俳句大歳時記·冬" 角川書店 440-, 1973
18 有賀長伯, "初学和歌式"
19 山下一海, "俳諧本意の成立と季語について" 弘栄堂書房 (16) : 52-55, 1991
20 白石美鈴, "『連歌至宝抄』の紹介・翻刻" (54) : 74-, 2015
오에 겐자부로(大江健三郎)의「사육(飼育)」론-놀이의 의의와 회상의 장치를 중심으로-
중·일 영토갈등의 메커니즘 -센카쿠열도와 미국의 정책-
류테이 다네히코(柳亭種彦) 고칸(合巻)의 삽화 속 공간표현과 시간표현 — 『니세무라사키 이나카겐지(偐紫田舎源氏)』와 『쇼혼지타테(正本製)』를 중심으로 —
학술지 이력
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2022 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2019-01-01 | 평가 | 등재학술지 유지 (계속평가) | |
2016-01-01 | 평가 | 등재학술지 선정 (계속평가) | |
2015-12-01 | 평가 | 등재후보로 하락 (기타) | |
2014-09-04 | 학술지명변경 | 외국어명 : Japanese Studies -> Journal of Japanese Studies | |
2014-01-20 | 학술지명변경 | 외국어명 : 미등록 -> Japanese Studies | |
2011-01-01 | 평가 | 등재 1차 FAIL (등재유지) | |
2009-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2007-08-21 | 학회명변경 | 한글명 : 외국학종합연구센터일본연구소 -> 일본연구소영문명 : INSTITUTE OF JAPANESE STUDIES CENTER FOR INTERNATIONAL AREA STUDIES HUFS -> INSTITUTE OF JAPANESE STUDIES | |
2006-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | |
2005-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | |
2003-01-01 | 평가 | 등재후보학술지 선정 (신규평가) |
학술지 인용정보
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.46 | 0.46 | 0.37 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.33 | 0.3 | 0.742 | 0.11 |