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和歌의 修辭와 그 技巧에 關한 硏究(Ⅱ) : 「枕詞 起源考」
高陽柱 釜山大學校 1986 人文論叢 Vol.30 No.1
Ancient Japanese People Perceived the outer world in sensive way as shown in most Primitive Southern oceanics. They could not grasp the idea unless they had the concrete cognition about the object. Therefore the words implying idealistic and abstractive notions were not much inferred in the old Japanese literature. In explaining a new Phenomena or a na lure of the object, duplicated explantions or discriptions from various aspects should be needed to define the real meaning. A lot of explanatory phrases which including both the subject and the predicate were used in the Question and the answer forms. The time passed on, these corresponding Pair phrases were abbreviated. As a result, the pillow word, a form of expression were originated from these abbreviation.
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和歌의 修辭와 그 技巧에 關한 硏究(Ⅰ) : 感覺的 認識體制속에 接木된 觀念世界의 展開樣式을 中心으로
高陽柱 釜山大學校 1983 人文論叢 Vol.23 No.1
<Abstract>The pillow word, prologue and paranomasia were commonly used without having any connection with the main theme of the poem. The first one was composed with less than five syllables and the next had more than five syllables. The function of the above two rhetolics in the sentence was to lead and modify the succeeding phrases while the paranomesia, as a homonym was to develope complicated image of the poem by symbolization process due to the diverse meaning of the word.The pillow word placed in front of conceptual words like general objects gave sensual recognition by providing the realistic and concrete impression toward them. The prologue and paranomasia were attached to the main motive of the song, enhansed to realize and grasp the conceptual meaning of the theme by associating them with their own vivid sensual frame.The characteristics of the rhetolic device in the Waka were grafting the ideal world into Japanese specific sensual cognitive frame; inducing and developing the abstractive and ideological thought from hteir sensual image through the rhetolic devices.
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高陽柱 釜山大學校 1993 人文論叢 Vol.43 No.1
5·7·7 rhyme song of ancient Japanese song is named KATAUTA meaning of part song. It has been recognized as a part of a song sung in a form of question-answer and was denied its uniqueness. This thesis is intended to prove the fact that this song is the unique and independent single song as it was originated from the religious rituals. As the song has dual quality; the uniqueness and stability in inverse state, there is a tendency that the uniqueness is lost when the stability is obtained and vice versa. In case of the song as a part of SAEDOUKA sung by a person, it loses its uniqueness instead of obtaining the stability In case that the song sung by two persons in the form of question and answer, it sustains both the stability and the uniqueness on halves. When it was presented in the form of the solo sung sung by one person, it plays the role of the concluding song at the end of series songs. Keeping track of the origin of the song sung by one person, it is founded out that these songs are monologues of God descended in religious rituals, a part of which is the single song with divine message. Accordingly, this song is a unique form of expression that is used ancient religious rituals.
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高陽柱 釜山大學校 2000 人文論叢 Vol.56 No.1
出身成分鄕士である芭蕉は、若い時に自分の仕えていた主君蟬吟の突然の死亡に臨む。現實人生の無常を深くいだきながら、仕官の道からも出はぐれてしまった芭蕉は、制度社會についても疎外意識を感じる。早くから諧謔と戱れを內容とする大衆芸能である俳諧世界に身を投じて、風葉の漂泊人生、無用者の道を步むことになった。莊子の思想に?到して、彼の理想である無爲自然に身を任せつつ、「風」のように自由自在であることを慾した。「風」に任せるというような親密感に培われた「風」の意識は、芭蕉の俳諧面に多樣なる形で展開された。初期の「風狂」時代は「野ざらし紀行」を前後して、pathose的な悲壯感と、高踏的逸脫の自由なる表現に現れて居る。無常世界に?底して?順しようと、「野ざらし」を覺悟に旅に出た。「風難」の根源は變化に有ることも、ここで悟る。「誠」よってだけ達することのできる「物の見えたる光」藻、ここで出會う。自然の新しい美しさも再發見された。莊者の影響で、天?、地?說により、「不易流行」という、俳諧理論にたどり付くようになった。排句は、連句の場から難れて、自己充足しようとする發句の傾向を、もっと推進させた芭蕉によって、獨立と完結性を保つ個我の芸術、卽ち抒情詩の高い段階にまで、到達しえた。「風」のように自在であることにひかれていた芭蕉のひそかな渴望であった。
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高陽柱 충남대학교 인문과학연구소 1980 인문학연구 Vol.7 No.2
Ho JoeKi is an essay reflecting negative social situation with mutability thought by Kamono Chomei, the poet of dark, middle age of Japan, The auther had illusion with the world, and he would escaped from worldly affairs to religeous life but he could not de vote himself to the religeous life, since he was a successor of classic aristocratic culture, and the reality he denied was historical reality which might distract the aristocratic culture. With his narrow view of the world, understanding of reality did not imply positive aspects, the nature and vital real life but emphasized absolutely negative and fading away process of life. Therefore the world view was restricted to itself and ethics of the work was limited. The absolute denial of the reality did not give peace to his reclusion life but he enjoyed the aristocratic taste of life during the period of his sedusion. The reasons of the ambiguity of Ho Joe Ki are as follows: He had a resistance against aristocratic society since the failure of earthy life, which made him a priest. In other words, his awareness of innovation and new historical real is a positive aspect of his work, and the other is the fact that it was written when his world view was not stabilized.
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高陽柱 釜山大學校 1982 人文論叢 Vol.21 No.1
In ancient Korean Poetry, ancient Korean perceived natural phenomena not individually but totally. Their recognition of nature was ideological recognition. Whereas in Japanese Waka, tile traditional songs, old Japanese people did not see outer world as a whole, but separately in other words they perceived phenomena tangible and practical way, Japanese recognition of nature was sensual one. The Korean way of life rooted deeply in the nature and strong identity with the nature made difficult to adopt new situation that modernization of country laged behind. But in Japanese song, their visualization of nature objectively brought people sense of mutability and solity that they try to escape from them by selfdenial process and such attitudes toward nature facilitate accepting western culture.
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