선시와 오도송의 문학적 특성과 표현기법

다국어 초록 (Multilingual Abstract)

This study aims to comprehensively examine the expressive aspects and performative meaning of the two genres by comparing and analyzing the literary characteristics, expressive techniques, ideological and literary differences, and significance of Seon-si(Seon poetry) and Odo-song (Enlightenment Verses).
First, we examined the historical background and ideological foundations of Seon-si and Odo-song, andidentified the functions and roles these two literaly forms played within the development of Seon Buddhism. Next, we summarized the concept and formation of Odo-song, as well as its changes overtime, and examined the process by which the genres influenced each other in the exchange between Korean and Chinese Seon Buddhism. In the literary analysis, we focused on the literary charactristics, vocabulary, and expressive techniques of the works, analyzing the literary characteristics of Seon-si, such as intuitive language, symbolism, metaphor, paradoxical expression, and experiential narrative style. we compared Odo-song with its conciseness, direct language, and compressed expression of enlightenment in Seon.
In particular, we analyzed the similarities and differences between the two genres, focusing on the use of specific vocabulaly, the characteristics of expressive techniques, and the utilization of Buddhist vocabulary.
This study contributes to clarifying the genre expansion and literary and ideological sianficance of Buddhist literature by analyzing from the perspctive Seon-si and Odo-song, and it can be used as basic data for research on Seon literature.

목차 (Table of Contents)

• Ⅰ. 서 론 ····································································································· 1
• 1. 연구의 목적 ···················································································· 1
• 2. 연구의 방법 및 내용 ······································································ 2
• Ⅱ. 선시와 오도송의 발전 양상 ····························································· 5
• 1. 선시의 발전 양상 ·········································································· 5
• 2. 오도송의 발전 양상 ······································································ 15
• 3. 선과 선문학의 연관성 ·································································· 22
• Ⅲ. 선시와 오도송의 문학적 특성 ······················································· 26
• 1. 선시와 오도송의 특성 ·································································· 26
• 2. 선시와 오도송의 공통점과 차이점 ············································ 28
• 3. 불교 문학에서의 위상 ································································ 29
• Ⅳ. 선시와 오도송의 어휘와 표현기법 ················································· 31
• 1. 선시의 종류 ···················································································· 31
• 2. 어휘와 시적 표현 ·········································································· 34
• 3. 표현 기법 ······················································································ 43
• Ⅴ. 선시와 오도송의 사례 비교 ··························································· 59
• 1. 한국과 중국 선시 ········································································ 59
• 2. 한국과 중국 오도송 ······································································ 67
• 3. 사례 비교 결과 ············································································ 75
• Ⅵ. 결론 ····································································································· 78
• 참고문헌 ···································································································· 81
• ABSTRACT ·························································································· 83