청년기 이성교제에 관한 내러티브탐구

이우금 평택대학교 피어선기념성경연구원 2012 피어선 신학 논단 Vol.1 No.1

This research was conducted based on love stories of young adults in a narrative inquiry. The subjects of inquiry are what young adults experience through love, what the love in young adults means to their life, and how different Christian’s love and non-Christian’s love are. The research shows that experience of love and the meaning make a significant difference depending on whether they have religion or not. The similarity and difference derived from the inquiry are as in the following. The first similarity between Christian young adults and non-Christians is that love changes. The second similarity is that love stories are being shaped by their own world views. The subjects(participants) in this inquiry had different love stories; Christian had their own love stories based on Christian world view; Non-Christian based on non-Christian world view. Third, the love is influenced by their original families. Fourth, the common feeling through love is happiness. The subjects(participants) described their feeling while they love the other; the feeling they expressed in common is happiness. The difference of love between Christian young adults and non-Christian young adults are as in the following. First, the source of love is different. The starting point of love is different between Christian and non-Christian. Second, two different groups have different priority of romance and commitment in the composition of love. Third, the meaning of commitment is interpreted in different ways between Christian and non-Christian. Fourth, non-Christian young adults and Christian young adults have different priority for their future stories in story profile. This inquiry tries to provide opportunities of reinterpreting individual love stories to consolidate relational identity with God. It was meaningful in the aspect of counseling to inquire what young adults experience through love and through which how the experience influence their life because young adults’ existential matter can be practically approached. 본 연구는 내러티브 연구방법을 사용하여 청년들의 사랑이야기를 심층연구를 하였다. 청년들은 사랑을 통하여 무엇을 경험하고, 청년기의 사랑이 청년기의 삶에 주는 의미는 무엇이며, 그 경험과 그 의미가 기독청년과 비기독청년의사랑에서는 어떻게 다르게 나타나는가를 연구문제로 설정하였다. 연구결과 청년들의 사랑의 경험과 의미는 신앙의 유무에 따라 확연히 다르게 나타났다. 연구의결과로 도출되어진 공통점과 차이점은 다음과 같다. 기독청년과 비기독청년의 사랑이야기에서 도출된 공통점은 첫째, 사랑은변한다는 것이다. 둘째, 자신이 가지고 있는 세계관대로 사랑이야기를 만들어 나간다는 것이다. 본 연구에 참여한 청년들은 기독교인은 기독교인의 세계관으로, 비기독교인은 비기독교인의 세계관으로 다른 사랑이야기를 가지고 있었다. 셋째, 사랑은 원가족 경험에 의해 영향을 받는다는 것이다. 넷째, 사랑을 통하여 공통적으로 느끼는 감정은 행복이었다. 참여자들은 사랑을 하면서 느끼는 감정을여러 가지로 표현했는데 공통적으로 나온 감정은 행복이었다. 비기독청년과 기독청년의 사랑이야기에서 도출된 차이점은 다음과 같다. 첫째, 비기독교인과 기독교인은 사랑의 근원이 다르다는 것이다. 사랑의시작점이 기독교인과 비기독교인은 다르게 나타났다. 둘째, 비기독교청년과 기독청년의 사랑의 구성에 있어 낭만과 헌신의 우선순위의 다르다는 것이다. 셋째, 비기독교인과 기독교인의 헌신의 의미가 다르다는 것이다. 넷째, 비기독청년과기독청년의 이야기 프로파일은 미래이야기에 대한 우선순위가 다르다는 것이다. 본 연구는 개인적인 사랑이야기의 지평을 하나님과의 관계적 정체성의 이야기로 확장시켜 주는 지평의 융합이라는 재해석과정에 이르는 계기를 제공하고자 하였다. 청년들이 사랑을 통하여 어떤 경험을 하며, 그 경험은 삶에 어떤 의미를 부여 하는지를 연구하는 것은 청년들의 실존 문제를 실재적으로 접근할 수 있어서 상담학적으로도 큰 의미가 있었다.

동서양 사랑시를 통해 본 사랑의 개념 차이 연구

정수현,정경조 한국사상문화학회 2014 韓國思想과 文化 Vol.72 No.-

The emotion of Love is universal but each society has each way to understand and interpret it. Though love has general desire beyond time, space and culture, it is a historical thing affected by life condition, ruling ideology, and viewpoint of each era and the theme of love can be the critical criterion of spiritual and cultural ways. But, in Korean culture history, love was degraded as private section or women's affairs , couldn't an academic subject, and was regarded as the part of theme. The analysis object of this thesis is the literature, essence of love expression, especially love poems. Love is universal and essential problem and one of main themes in literature. Although it can vary in personal characteristics, conditions and communities experiences, it has existed in all ages and cultures. It has been reborn in spite of the changes of era and art convention because of the lasting desire of love. The distinct difference of Oriental and Occidental love is self-actualization and others-realization, egocentrism and altruism. Self-actualization and egocentrism is that the selfish desire is based upon the premise of reciprocality and others-realization and altruism is that love is oriented to organic communities. To put it in another way, social order or custom can be the object of conflict in Occident but the object of obedience in Orient. Therefore, it must be ruled by social control. The ‘Korean Love’ is different in each era, but it must be molded primarily by Confucian order. Confucius recommends praises the harmony of husband and wife but disdains and oppresses the love of unmarried couples. In Korean traditional narration, the love between men and women had not been thought of as instinct or pleasure but moral value and religious belief. Most of Korean love poems have made the poetic narrator heroine and expressed the love and longing for her beloved regardless of their authors sex because when an author chooses a poetic narrator, it can be affected by his unique type of creation and traditional system. There are two reason to stifle this lovely emotion in Korea. First of all, they think that the more oppressed, the more innocent and strong. Secondly, that's because they put the solicitude of others before themselves. 사랑은 인류보편의 정서지만 그것을 이해하고 해석하고 풀어내는 감각은 사회마다 다르다. 사랑은 시간과 공간, 문화를 초월하는 인간의 보편적 욕망을 담고 있지만 각 시대의 삶의 조건이나 지배 이념, 가치관에 영향을 받는 역사적인 것이어서 사랑주제는 한 시대의 정신적 문화적 양식을 보여줄 수 있는 중요 척도로 사용될 수 있다. 그러나 한국 문화사에서 사랑은 사적(私的) 영역으로 치부되거나 여성의 일로 폄하된 채, 진지한 학문적 탐색 대상이 되지 못했고 다른 주제의 일부분으로 다룬 정도에 불과하였다. 본 연구의 분석대상이 되는 주요 자료는 시대마다 양산된 사랑 표현의 결정체라고 할 수 있는 문학, 그 중에서도 사랑시를 그 대상으로 삼으려 한다. 사랑은 보편적이고 근원적인 인간문제로서 문학의 주요주제 중 하나이다. 사랑에 있어서의 그 정조나 색조가 사람됨에 따라 또한 시대 변동의 조건에 따라, 한 집단의 공동체적 경험에 따라 다양하지만, 동서고금을 가릴 것 없이 특히 남녀 간의 사랑에 대한 문학적인 표현은 엄연히 주류로서 항상 존재해 왔다. 비록 시대가 변하고 예술의 형식이 변했을 지라도 사랑을 향한 인간의 욕구는 변하지 않았기 때문에, 문학속의 사랑은 언제나 새로 태어나면서 이어져 왔다. 동서양의 사랑관의 가장 뚜렷한 특징 또는 차이점은 ‘자기실현’과 ‘타자실현’, ‘개인 중심’과 ‘사회 중심’으로 요약할 수 있다. 자기실현과 개인중심은 자신의 궁핍한 욕망을 채우려는 이기심(利己心)이 항상 주는 만큼 받으려는 상호성을 전제로 하고 있다는 것이고, 타자실현과 사회중심의 사랑관은 개인이 속한 사회 전체를 유기체로 보고 그 안에서 개인의 욕망실현을 고려하는 지극히 이타주의적인 사고를 말하는 것이다. 따라서 서양식 사랑관에서의 사회적 질서나 관습은 극복과 투쟁의 대상이었지만 동양식 사랑관에서는 순응과 수용의 대상이었기 때문에 인간의 본성인 사랑의 감정도 사회의 통제를 피할 수 없었던 것이다. ‘한국인의 사랑’은 시대에 따라 그 모습을 달리했으나 한국인의 사랑 개념을 주로 형성한 것은 유교의 질서이다. 유교는 자손의 번영을 전제로 하는 부부사이의 화합을 용인하고 또 그것을 찬미한다. 하지만 미혼남녀의 교제는 결코 인정하지 않았으며 결혼 전에 발생하는 사랑의 감정은 철저하게 억압당했다. 한국 전통서사에서는 남녀의 성 또는 사랑을 단순히 인간의 본능이나 쾌락의 차원에서만 생각하지 않았다. 그것에 윤리적 가치를 부여하기도 하고 숭고한 마음을 담기도 했으며 주술적 종교적 믿음을 바치기도 했던 것이다. 한 작가가 시 창작을 할 때 시적 화자를 선택하는 일은 작가 자신의 고유한 창작 방법에 의해 결정되기도 하지만 전통과 같은 제도에 영향을 받기 때문에 한국의 애정시가는 대부분 작가의 성별과 무관하게 여성 화자를 내세워 임에 대한 사랑과 그리움을 표현한다. 한국인들이 이처럼 애정표현을 억제하는 이유는 크게 두 가지로 생각해 볼 수 있다. 우선 감정은 억제할수록 순수하고 강해진다는 생각에서 비롯된다. 그래서 한국 전통사회에서는 적극적이고 노골적인 자기표현보다는 공유된 경험과 분위기를 통해 말없이 은근슬쩍 속내를 내비치는 무언의 커뮤니케이션이 발달했다. 두 번째는 자기보다는 상대방에 대한 배려를 먼저 해야 한다는 가치관 때문이다. 사랑하면서도 사랑한다고 말 ...

이선관 시의 사랑 현상학

한정호 ( Jeong Ho Han ) 현대문학이론학회 2014 現代文學理論硏究 Vol.0 No.57

이선관(1942-2005)은 마산의 지역사회에서는 상징성을 갖는 문학인이다. 그는 육체적 장애를 딛고 시인의 길로 나아갔고, 학인(鶴人)이라는 아호마냥 고고하게 살면서 참다운 문학활동을 펼쳤다. 그는 날카로운 시선으로 당면한 사회현실에 끊임없이 저항하면서, 우리의 문학마당에 크고 넓은 사랑을 실천하고자 했다. 이 글에서는 이선관의 삶과 시세계를 총체적으로 짚어보고자 했다. 이를 위해 글쓴이는 그의 삶과 문학 활동에 초점을 맞춰 시작 태도와 시관, 시세계의 특성에 대해 살펴보았다. 특히 글쓴이는 그의 시정신을 인간사랑, 자연사랑, 나라사랑, 지역사랑이라는 현상학적 측면에 초점을 두고 따져보았다. 우선, 글쓴이는 지금껏 잘못 알려졌거나 가려져 있었던 출생, 개명(改名), 가족관계, 등단에 관한 사항들에 대해 소개하고 재조명해 보았다. 아울러 그는 작품 속에서 자신의 시작 태도 내지는 시관을 드러냄으로써, 시인으로서 갖추어야 할 자세와 책무에 대해 남달리 고민하고 노력했음을 확인할 수 있었다. 다음으로, 글쓴이는 그의 시가 일관되게 보여준 사랑 현상은 사람·자연·나라·지역에 대한 사랑으로 나누어 살펴보았다. 이를테면 인간사랑과 장애 극복의 시정신을 보여주었고, 자연사랑과 오염 고발의 시세계를 구축하였다. 또한 그는 나라사랑과 통일 염원의 시정신을 일관되게 형상화했으며, 지역사랑과 문학 실천의 시정신을 한결같이 보여주었다. Lee Seon-gwan(1942-2005) was literature man, the symbolism of having the writers community in Masan. He took a physical disability and the poet``s path. He participated in faithful literature activities, with aloof living like the pen name of name of crane man. He is a keen eye constantly on the social reality faced by resistance, while he want to practice the large and spacious love in yard of our literature. In this article, I am willing to see his life and poetry as a whole. To this end, I looked to characteristics of poetry world, attitudes and reflection making of poem, focusing on his life and literary activity. In particular, I have seen to try to reason, focusing on the phenomenological aspect of the love in total, like human love, nature love, country love and region love. First of all, regarding the pace of life and literature of Lee Seon-gwan, It is well organized for its part in this community. However, the writer introduced and revived renaming that the wrong was ever born, known or even veiled, family relationships, including matters related to introduce about the career. In addition, he got his start in the attitude or work by exposing attitudes and reflection making of poem as the poet as worried about attitude and commitment. Next, he is ostensibly reveals the resistance and criticism about the reality by attitudes and reflection making of poem but his love towards the inner world was able to see that is filled with. This showed that the phenomenon of people who are consistently loved the poetry and the love for nature and country and region was divided into. For example, he showed poetry spirit of human love and the spirit of failover with poem related to his identity. he made poetry world of natural love and pollution accusations to give awareness for the ecological environment. Also, he had symbolized the poetry spirit of consistently, loves all of us, the desire for the reunification of the country in the proposition what should do and showed a spirit of constant practice literature and love for area of Masan. He published the 13 volumes of poetry. while the literary activities for Thirty-five years. And, of course, he have not been contained at collection of poems rather than the prose works, there is no separate them. In that respect, collection of poems fall out and together collection of poems and snatching collection of poems, essay or column publishing in several media houses, prose literary works of Lee Seon-gwan, and further, Lee Seon-gwan``s literature complete works the entire range of literature works and I expect to publish them in a hurry.

프롤레타리아 문학의 연애 담론과 서사 양상

김진석(Kim Jinsuk) 한국언어문학회 2010 한국언어문학 Vol.73 No.-

This study examined love discourses and their patterns in proletarian literature. With regard to this theme, this study discussed topics as follows. Love is one of prevailing discourses narrated in the most revolutionary language in modern novels. This is closely related to customs that comprehend the ethics and ideas of society. Nevertheless, love in proletarian literature reflects schematism as a means of class struggle. This resulted in the shrinkage of writing and separation from readers. With regard to this issue, Lee Gi yeong raised the problem of love as a part of popularization theory. In order for proletarian literature to pursue popular literature, it needs to accept love narrations. Furthermore, he emphasized the uptake of literary heritages through bourgeois literature. This means that he understood love as an important element of revolutionary romanticism One of prominent achievements of Hometown is the acceptance of love. In the first half of this novel, love stories involving In dong, Bang gae, Mak dong, etc. form an important narrative structure. Their sensual love stories reinforce the reality of the story as realism literature. This is an element that overcomes the schematism of proletarian literature and stirs up the readers' attention as popular literature. In this sense, the novel is a genre picture of love that presents realistically the romantic factor and real life of rural society. In the later half, on the contrary, love affair surrounding Ahn Gap soak and labor and peasant struggle form the core of the narration. She is a new intellectual worker who integrates 'the optimistic future of the labor class' and 'heroism' However, she suffers a love problem, caught between Kim Hee joan and Gwak Gyeong ho. This reflects the writer's intention to emphasize 'compatriotic love' for class revolution. This love narration is one of new patterns distinguished from proletarian literature of the previous generation, but it reveals literary limitations as the characters exhibit emotional attitude and consciousness of purpose.

키에르케고어의 사랑론과 나르시시즘 그리고 교육

김동규 중앙대학교 중앙철학연구소 2023 철학탐구 Vol.72 No.-

이 글의 목적은 키에르케고어의 사랑론을 간결하게 요약하고, 그것의 정수가 성스러운 나르시시즘임을 입증하는 데 있다. 그러는 과정에서 본 논문은 그의 사랑론이 예수의 언행에 기초를 둔 대표적인 헤브라이즘적 사랑론임을 밝힐 것이다. 이 작업은 플라톤 사랑론과의 선명한 비교를 통해서 진행될 것이다. 마지막으로 사랑에 내재한 교육학적 차원이 맹목적인 사랑, 그 정열의 파고(波高)를 헤쳐 나가는 나침반 역할을 하고 있음을 보여줄 것이다. 키에르케고어에 따르면, 진정한 사랑이란 자기 부정과 희생을 통해 확보되는 이웃 사랑이다. 이 사랑은 신 앞에서 평등한 사랑이다. 반면 우리가 통상 사랑이라 부르는 것, 곧 에로틱한 사랑이나 우정의 본질은 편애다. 여기서 사랑의 대상은 또 다른 ‘나’에 불과하다. 편애를 통해서 궁극적으로는 자기를 사랑하는 것이다. 한편 사랑관계는 3자관계로서 사랑하는 사람, 사랑받는 사람, 그리고 사랑으로 구성된다. 여기서 중간항으로서의 사랑이 바로 키에르케고어가 이해했던 신(神)이기도 하다. 아름다운 사람만을 사랑의 대상으로 선택하는 플라토닉 러브와는 반대로, 키에르케고어는 못나고 추한 사람을 사랑해야만 한다고 주장한다. 못난 이웃이더라도 피조물에 내재한 신성(신과의 유사성), 즉 사랑의 씨앗이 감춰져 있기 때문이다. 이 점에서 그의 사랑관은 사랑(신과 자기 속의 신성)이 사랑(타인 속의 신성)을 사랑하는 동어반복적인 절대적 나르시시즘이다. 이렇듯 키에르케고어가 사랑을 절대화한 까닭은 ‘성장해야한다’라는 당위 때문이라고 해석할 수 있다. 그에게 교육의 당위는 사랑에 힘입어 무조건적이고 절대적인 것이며, 교육적 정향(Orientation)으로 말미암아 사랑은 맹신으로부터 거리를 둘 수 있게 되었다. This paper aims to concisely summarise Kierkegaard’s theory of love and demonstrate that its essence is absolute narcissism. The paper will compare Plato’s theory of love to Kierkegaard’s and show that the latter is derived from Hebraic traditions and is based on Jesus’s teachings. Finally, it will be shown that education is deployed as a device to prevent love, which occupies the highest ontological position, from falling into dogma and blind faith. Kierkegaard posits that neighbourly love, which involves self-denial and sacrifice, is the embodiment of true love. Thus, it is a love that emphasizes equality in the sight of God. However, the fundamental nature of what we commonly refer to as love, encompassing both erotic love and friendship, is based on personal preference. In this context, the object of love is another ‘self.’ Ultimately, in such relationships, one loves oneself. A loving relationship constitutes of three entities: the lover, the beloved and the love shared between them. Kierkegaard believes that God, as perceived by him, is represented by the concept of love as an intermediary. In contrast to platonic love, which chooses only what is good and beautiful to love, Kierkegaard argues that we should also love the ugly. This is because even an unattractive neighbor contains the seed of love by being a creature that resembles God. Thus, one can conclude that Kierkegaard’s view of love is the absolute narcissism, in which the divine in me loves the divine in others. Kierkegaard deifies love in this way because of the pedagogical imperative to grow up. For him, the pedagogical imperative is unconditional and absolute, driven by love, and the value of education helps to protect love from blind faith.

사랑의 점화와 지각편향

신홍임,김민식 한국사회및성격심리학회 2012 한국심리학회지 사회 및 성격 Vol.26 No.4

사랑은 대상의 지각에 어떤 영향을 주는가? 본 연구에서는 긍정적인 정서가 대상의 전체 지각을 촉진한다는 선행연구들을 토대로 긍정적인 정서의 한 예로 볼 수 있는 사랑의 점화가 전체지각을 수월하게 하는지를 살펴보고자 하였다. 또한 한 개인이 추구하는 사랑의 유형에 따라 전체/부분지각에서 자기조절과정의 초점이 달라지는지를 탐색해보고자 하였다. 실험 1에서는 사랑의 점화조건에서 통제조건에 비해 전체지각이 부분지각보다 빨라지는 경향이 나타났다. 이 결과는 사랑의 점화가 무의식적으로 전체지각에 영향을 주는 것으로 해석할 수 있다. 실험 2에서는 현재 이성친구와 교제를 하는 대학생들을 대상으로 이성친구의 이름으로 사랑을 점화하고, 전체/부분 지각과제를 수행하도록 했다. 그 후 질문지를 실시하여, 낭만적 사랑과 우애적 사랑의 유형으로 구분하고, 사랑의 유형에 따라 전체 지각과 부분 지각의 반응시간에서 차이가 나타나는지를 비교하였다. 그 결과, 낭만적인 사랑의 유형에서는 전체지각이 부분지각보다 더 빨리 진행되었으나, 우애적 사랑의 유형에서는 전체지각과 부분지각 간에 유의한 차이가 나타나지 않았다. 이 결과는 사랑이 점화되는 유사한 상황에서도 개인이 현재 추구하는 사랑의 상이한 유형이 전체 또는 부분지각에 다른 영향을 주게 되는 것으로 해석할 수 있다. 논의에서는 후속연구의 진행방향과 지각의 자기조절과정에 영향을 줄 수 있는 변인들을 다루었다. On the basis of previous research showing that positive emotion like love facilitates global perception, two experiments were carried out to answer, whether the love priming always has a positive impact on global processing, and whether global versus local perception varies with the self-regulatory focus associated with love styles. In Experiment 1, participants were primed by either imagining a walk with a person they were in love with (love priming condition) or a walk alone (control condition). Then, they were shown large letters made of small letters and decided if either of two specific letters appeared on the screen. In contrast to this, in Experiment 2, love was primed subliminally with the name of the loved person and the participants had to do the letter task as in the previous experiment. In addition, they had to fill out the love style scales and were divided into two groups (romantic love and companionate love). Experiment 1 showed that the love priming condition reduced the reaction time for the global perception compared to the control condition. In Experiment 2, love priming also facilitated global perception in the group of romantic love. However, in the group of companionate love, global processing benefits decreased after the love priming trials. The results implicated that various love styles could be differentiated in regard to different goals which might have an impact on the self-regulatory focus in perception.

매체와 코드로서의 사랑, 그리고 사랑 이후의 도시

정성훈(Sung-Hoon Jung) 인제대학교 인간환경미래연구원 2014 인간 · 환경 · 미래 Vol.- No.12

이 논문은 근대화 시대에 사랑의 탄생지였던 도시가 ‘사랑 이후의 도시’로 변화하고 있다는 진단을 내림으로써, 그에 따르는 ‘사랑 이후’에 관한 여러 물음들에 대한 답변의 실마리를 제공하고자 한다. 이를 위해서는 우선 사랑 혹은 연애가 도대체 어떤 관계를 뜻하는 것인지에 대한 규정이 필요하다. 필자는 사랑을 ‘친밀성의 코드화’를 이룬 ‘상징적으로 일반화된 커뮤니케이션 매체’로 간주하는 니클라스루만의 이론에 따라 사랑의 의미론이 변화해온 과정을 고찰할 것이다. 그리고 근대화 혹은 도시화가 왜 사랑과 깊은 연관성을 갖는지를 살펴보고, 근대 사회의 성립과 근대적 자아 형성에서 연애의 기능은 무엇인지 밝힐 것이다. 이 논문의 후반부는 정이현의 소설을 비롯한 최근 한국의 소설, 음악, 영화, 그리고 청춘의 현실에 관한 문헌들을 기초로 사랑 이후의 도시로 변화하는 서울을 진단할 것이다. 결론적으로 이러한 진단은 근대 사회 혹은 근대인의 기초가 흔들리고 있다는 문제의식과 밀접하게 연결된다. In this paper, I diagnose a change of urban life. It is the turn from the city of love to the post-love city. Through the age of modernization in Korea, the place which lovers met had been city. Nowadays radical individualism and the risk of exclusion are bringing about a turn to the post-love city. This diagnosis premises the concept of love. I regard love as a symbolic generalized communication media. This media has been coded for intimate relations. By Niklas Luhmann, the passionate love causes the coding of love and the romantic love causes the distinct differentiation of this symbolic media. Love as a coded media has formed the self-narrative of individual. In the Korean popular literature, music and cinema after 1990"s, young women and young men do not pursuit loving. Love is being pushed out for the individual life or the social inclusion. This change implies the crisis of modernity.

중국 고대의 ‘사랑’ 개념과 사랑시의 주제 ― 先秦에서 唐代까지의 사랑시를 중심으로

金俊淵 ( Kim Joonyoun ) 중국어문연구회 2022 中國語文論叢 Vol.- No.111

This paper attempted to analyze love poetry in China and investigate the concept of love in ancient China, the main themes of love poetry, and the typicality and emotions of love poetry by period. For this, a representative poems were selected and a topic modeling study was conducted by analyzing the TF-IDF index. Topic modeling is a statistical model for identifying the subject of a particular text. TF-IDF is a method of approaching the subject of poetry by analyzing the frequency of poetic words. Since there are no separate documents collected only from ancient Chinese love poems, this paper selected 164 love poems several documents by period and made separate documents for TF index analysis. The documents for IDF index analysis were made into 942 poems contained in three documents containing about 300 poems by period. For these poems, I secured a list of the top 50 TF-IDF indices for topic modeling. In ancient China, love is a concept closely related to the social system of marriage. Therefore, it is difficult to explain with modern love theory that values only the emotional aspect. As the theme of ancient Chinese love poems shifted from Pre-Chin(先秦) to Tang(唐) Dynasty, the theme of ‘breakup’ was strengthened rather than ‘passionate love’. Overall, ‘思’ which means ‘missing’, was found to represent the characteristic aspect of ancient Chinese love poetry. Sub-topics of love poetry include ‘Breakup’ and ‘Worry’. This is not because the concept of love has changed, but rather because the perception that love poetry should also be the result of intellectual actions has become stronger. The typicality of love poetry of each period was explored by dividing 164 love poems by period and examining the TF-IDF index. Pre-Chin’s love poems are characterized by many works that sing pure love, and female speakers are the mainstream. Although women appear as the main characters in the love poems of Han-Wei and Six Dynasties, it is evaluated that indirectness or figurativeity has increased in that most of the poets were men. The breakup quickly emerged as a major theme and the description became more delicate. In love poetry of the time, the ingredient of resentment was strengthened, and the theme of betrayal was often mentioned. It is also noteworthy that ‘tears’ was frequently used. Among the top 50 words in the TF-IDF index, those that do not overlap with each period were analyzed to see how the expression representing the emotions of love poetry changed. As a result, the role of ‘heartache(傷)’ in the Pre-Chin, ‘worry(憂)’ in the Han-Wei and Six Dynasties, and ‘resentment(恨)’ in Tang dynasty stood out. Pre-Chin’s love poems often expressed heartbreaking emotions that he/she could not be with his/her beloved. The love poems of Han-Wei and Six Dynasties dealt with the worries of the wife or husband who were engaged in staying alone due to separation or bereavement. The love poems of the Tang dynasty have been embodied several times in which they resent and lament the situation in which love is difficult to achieve amicably.

이태준의 중단편소설에 나타난 사랑의 문제

정원채(Won Chai Jeong) 한국현대소설학회 2010 현대소설연구 Vol.- No.45

Love`s issue of Lee, Tae-Jun`s short and medium-length story was analyzed in this thesis. Love`s attribute, recognition about sexual appetite, physical description about woman`s characters was examined in this paper. Character who appeared Lee, Tae-Jun`s short and medium-length story show strong desire about love. At this time, love that hero`s desire is romantic love, and viewpoint about love that he have is alike thinking of free love. But Lee, Tae-Jun is not novelist that believed romantic love and free love practicable in reality. This point was proved end of lose hero`s love. Desire and frustration, lust and disillusion of love were repeated on Lee, Tae-Jun`s love story. Sorrowful mood was producted between desire and frustration of love. And Sorrowful mood was built up with farewell motif. Meanwhile Lee, Tae-Jun show double and inconsistent attitude about sexual desire. Sexual appetite and physical charm were imagined negative in Lee, Tae-Jun`s short and medium-length story except a few works. Nevertheless interest about sex and sexual desire was still alive not solved. This interest on sex and sexual desire came to the surface narration about naked body of woman`s characters. In addition to description about woman`s body in Lee, Tae-Jun`s love story which claim our attention. Because Desire of love and sex were connected with interest and description about woman`s body. The woman`s body were showed by man`s viewpoint, and then description of woman was focused on face around eye, figure, dress. Eye, figure, dress are mark that appear personality and identity of woman`s character. Besides Lee, Tae-Jun raising romantic quality and pathetic mood of works with sick body. Woman`s body in the Lee, Tae-jun`s short and medium-length story had shown idealized figure that desire of man`s novelist was reflected. Work`s romantic quality was strengthened by idealized woman`s body.

Príncipes encobertos e princesas enamoradas: do disfarce por amor no teatro de Gil Vicente

Maria João Pais do Amaral 한국 포르투갈-브라질 학회 2008 포르투갈-브라질 연구 Vol.5 No.1

The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times. The main object of this essay is love disguise in two plays of Gil Vicente, Portuguese dramatist who developed his theatrical activity between 1502 and 1536 under the patronage of the monarchs Manuel I and João III. Widely spread in 16th century European literature, the motif of love disguise has its origins in chivalry romances, which are one of the many diverse sources of Gil Vicente's court theatre and also one of the dramatist's first spectators' favourite kind of books. I analyse it in Comédia do Viúvo and Tragicomédia de D. Duardos, where the protagonists, princes Rosvel and Duardos, hide their true identity and social rank from their beloved in order to prove the authenticity of their affection. In a first moment, I compare the way each of these two princes uses love disguise, reflecting on the function and meaning of the obvious differences this comparative analysis brings into light. In a second moment, I relate those differences with both the dramatic genre each of these two plays belongs and the conception of love that is on the basis of the stories enacted in Viúvo and Duardos, which, although originating in courtly love conventions, goes far beyond it. Finally, and because Gil Vicente's theatre is an art that strongly depends on circumstances, the date on which these spectacles were presented for the first time before the Portuguese king and court, as well as the purposes they were meant to fulfil, are also taken into consideration in this reflection on the innovative use of love disguise motif by one of the most important Portuguese dramatists of all times.