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- 저자 : 柳年錫 (검색결과 6 건)
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柳年錫 한국고시가문학회 2004 한국시가문화연구 Vol.0 No.14
The automatic concept that "Manbunga" must be "Yeon-gun-ga-sa" because of the author's origin as a Korean noble class so called "Yangban" is not always correct, especially in this case "Manbunga". The intensive efforts to research on the author's biographical environment had made to understand the author's exact intention to write "Manbunga". To get a grip on the content of "Manbunga", the work on a understanding the sentence structure and characteristic of "Manbunga" had been required'. The most important thing has found from this research is that the author's emotion to the king during the work on "Manbunga" was not the same as other authors who wrote the "Yeon-gun-ga-sa" expressing their loyalty with love to the king. The "Manbunga" had written by the author who had a loyalty with anger to the king. The new approach to understand "Manbunga" has been possible by this additional consideration and efforts above.
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柳年錫,黃秀貞 順天大學校 師範大學 附屬 科學敎育硏究所 2002 科學과 敎育 Vol.10 No.-
This study covers the life of "Maecheon Hwang―hyeon", who was one of the last scholars in the Chosum Dynasty, along with his social intercourse. ChapterⅡ summarizes the findings in related to his social intercourse. His social intercourse are divided into two categories in terms of area ; Local area (his home town) and Central area (capital of that time). In kwnagyang he kept company with local scholars, who helped him to consolidate his own unique poetic styles and literary world. ChapterⅢ he kept close relationship with those days' respectable scholars. Through the friendly and beneficial company, he not only got rich in social experiences, but also, he could open the new horizon, through which he became well―known with widely ranged view points of the society. In conclusion, Maecheon, one of the greatest writers, accomplished literary mastery that absorbed the pains of folks those days, along with contribution to upgrading confucian literature.
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柳年錫 순천대학교 어학연구소 1990 어학연구 Vol.2 No.-
'KASA', a form of Korean verse, occured at the end of Koryo dynasty and was enjoyed as a national literature for 600 years. It had formed contented Korean Literature with 'Shijo', a Korean verse which had lead our poems and songs Literature. Among the various researches on this field, an attempt as a basic study is required to classify 'KASA' on contents for the consideration on contents. Before beginning this study, I looked over lots of previous theories and classified 500 'KASA' works of famous men according to my own classification criteria. I represented those of famous men's works which has been known on writers and periods. consequently songs maybe classified as follows. (1) Songs of retirement in nature(3) (2) Songs of loyalty(11) (3) Songs of admonishment(26) (4) Songs of excurtion(32) (5) Songs of bravery (12) (6) Songs of eulogy(13) (7) Songs of love (9) (8) Songs of custom (12) (9) Songs of restrospection (21) (10) Songs of evangelism (192) (11) Songs of admiration (17) (12) Songs of satire (6) (13) Songs of patriotism (39) (14) others (80)
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柳年錫 순천대학교 어학연구소 1988 어학연구 Vol.1 No.-
The research results of KASA which have been analyzed and arranged are as followings. 1. The concept of KASA is a poem and a song that has an endlessly continuous prose character and the basic tone number is 3·4 or 4·4 and a line consists of 4 foot. 2. It is reasonable that the name of KASA is called KASA because it is a verse which has a prose character and it is naturally recited according to deep motion and taste. 3. The origin of KASA was not originated from a certain genre, but the peculiar KASA form had been composed based on 4 foot and a ballad rhythm and HYANG GA, Koryo ballad and the beauty of Chinese poetry form had been added, too. 4. It is firmly recognized in the academic world that the origination stage of KASA was at the end of Koryo when Buddhist poems and songs began to rise. 5. "Seo Wang Ga" and "Seung Won Ga", which have been noticed as KASA works of origination stage are the works of Na Eong Hwa Sang and they recommend a Buddhist invocation for a peaceful death. "Yeog Dae Jeon Lee Ga" the content of which is a historical place of China was a song written in E-DOO by SinDeug Cheong at the end of Koryo and was dedicated to King GONG MIN. And "Sang Choon Gog" was written by Jeong Geug In at the time of King Seong Jong of Chosun dynasty and it depicts a scense of refined life of people enjoying spring scenery.
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柳年錫 順天大學校 1996 論文集 人文社會科學篇 Vol.15 No.-
This study is a historical investigation into poetic literature developed around Suncheon city. This region had favorable conditions for active poetic composition such as beautiful scenery, rich local produce, geniality of residents. These natural factors also accelerated the development of folk songs and 'Pansori'. Chinese literature was popular amon the upper class and thus many Confucian scholars were cultivated. ① In particular, the four 'Sengpyeong recluses', Pae Suk, Cung So, Huh Um, and Cung Sa-ik, are still noteworthy, who lived in seclusion during the reign of King Myeongjong in Lee Dynasty. ② During King Yeonsangun's reign, Cho Wui went into exile to this region and came to exert a great influence on the local literary circle. ③ When Yi Su-kwang was appointed to be deputy governor here, he also composed many lyrics and songs, which are well kept in the poetry 'Sengpyeongji' ④ Sengpyeongpalmunjang, 'eight famous poets in Sunchon during the reign of King Hyojong in the Lee Dynasty', are Choi Man-gap, Yang Myong-ung, Park Si-young, Cheong Uh-hyung, Chung Ha, Chung Si- kwan, Hwang Il- ku, Huh Bin. ⑤ Many governors of the region wrote poems about the beautiful scenery and the good-hearted people of the region. They are Choi Won-woo, Lee Chung, Ryu Soon-ik, Kim Chi-nam, Kim Kwang-hyun, Lim Hong-ryang, Kim Seok-il, Kang Pil-lee, Kim Hak-soon, Kim Yun-sik. ⑥ In addition, dealt with in this study are Choi Hyon-bum who wrote 'Kangnamakpu', Kim Hak-mo who published 'Mookchosigo',and Kim Chung-tae Who edited'sengpyeongsokji' Part Ⅰ of the study was on the above ①, ②, and ③, and Part Ⅱ is on ④, ⑤, and ⑥.
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