일본문학(日本文學),일본학(日本學) 편(篇) : 춘계국제심포지엄 ; 인간과 자연의 공생: 환경,언어,지역으로 본 일본문화 : 도코쿠와 도손의 대비적 삶이 문학에 미친 영향

천선미 ( Sun Mi Chun ) 한국일어일문학회 2011 日語日文學硏究 Vol.78 No.2

透谷と藤村はお互いに緊密な共存關係を維持しながら友情を分けた友達と同時に師弟の間だった. しかし、思想の頂点と言える「文學界」の以後、これらの生は各各反對に流れた. 本稿は二人の幼年時代からの生を追跡して以後相反するように流れた各自の生と文學の原因が何だったのかを具體的に調べようとした. 透谷の場合、成長過程で極めて現實的な氣質の家族たちから經驗したさびしさと疎外感を乘り越えるために、積極的に現實に跳びこんだが懦弱な自分の力では勝ち拔けることができない現實にぶつかりながら神の眞理を深く自覺するようになる. 最後の紐でもあった信仰さえ自分の現實に再びぶつかりながら遠くなったが最後までその眞理を捨てなかった. 一方、藤村は幼年時代からいつも經濟的な貧困に苦しみながらできた强い生活力で現實感覺がすぐれた. ひととき透谷の理想を憧れてその生まで模倣して見たが透谷の墜落と虛しい死を見てから早く現實を直視し始めた. すなわち藤村は生き殘るために初期とは違うように展開されて行った透谷の觀念化された思想からすり拔けて來て自分の生を積極的にかきわけて行き始めた. 透谷と藤村の生を比べて見た時、少なくとも一つ明らかに現われる差異は``現實克服の視覺``だ. すなわち現實と關係なく、最後まで自分の論理を貫徹させた透谷と現實へ手早く태ってきた藤村の生は結局これらの文學まで影響を及ぼすようになったのだ.

호텔직원의 프로틴 경력태도가 직무만족과 경력몰입에 미치는 영향: 전공여부의 조절효과

천선미(Chun, Sun-Mi),이형룡(Lee, Hyung-Ryong) 한국관광레저학회 2020 관광레저연구 Vol.32 No.10

「세 사람(三人)」에 나타난 여성묘사 -「노처녀(老孃)」와의 비교를 통하여-

천선미 ( Sun Mi Chun ) 한국일어일문학회 2014 日語日文學硏究 Vol.90 No.2

本稿では島崎藤村的第;的人生とも言われる加藤靜子と的出會いと戀愛、それから再婚末で的時期に以前とは違った女性認識的變化があったことに注目して、今期的代表作品である「三人」(1924)を中心に20余り的差があるが、``工リ-蔔女性たち的苦惱``と``溫泉旅行``、そして``オ-兒ドミス``という共通分母を持って展開された「老孃」(1903)と的比較を通じて女性的變貌について的描寫を調べた。兩作品に共通的素材である結婚觀とジェンダ-意識、そして近代人として的評價を中心に比較分析的結果、一、女性は幸せとは別にただ結婚で縛られたことが、「三人」では結婚は女性が選擇できる一部であり、末た幸せは自分的自由意志だと話していた。二、以前的女性は敎育的有無と成長背景などに關系なく、性的本能を乘り越元られない存在な的で男性によって人生が支配される。つ末り性差別意識があったが、「三人」では、獨立的な人格體な的で性的な警戒がなく、自主的に引っ張って行っていた。最後に、以前的女性は近代社會的矛盾に對抗して極端的な方法で抵抗したが未熟な自分的內面とぶつかり、限界を感じたが、「三人」的女性は旣に眞的近代社會的一員として認められた的で、無謀な抵抗は必要しなかった。ただ、近代知識人的テ-マ-だった自我覺醒について惱みながら內面的成熟的ために努力するだけだった。こ的ように藤村は靜子と的出會い以降、女性に對する認識的變化を明確に示している。それにもかかわらずこ的時期にさ元否定的な女性觀が支配的なことは、後的藤村文學的推移が父親として人生や故鄕につながる回顧、そして社會的指導者として的人生が最後末で水面にあったからだと類推してみる。 This study notes that, during the period called the second prelude of his life, there was a change in the way Shimazaki Toson viewed women; it was at this time that he met, fell in love with, and remarried kato Shizko. Focusing on Three Men, a representative work of this period, the study investigates the differences in how he described women by comparing Three Men with A Spinster. Even though Three Men was published 20 years after A Spinster, the two works both feature ``agonies of elite women,`` ``a spa trip,`` and ``a spinster.`` The study draws a few points from comparisons between the two works in terms of outlook on marriage, gender awareness, and the evaluation of woman as modern man. First, in contrast with the idea in A Spinster, that the future of women is tied only to marriage, he expresses an altered view that marriage is just an option that women have, and their happiness depends not on marriage but on their own free will. Second, a woman in A Spinster cannot go beyond her own sexual instinct, regardless of her educational background or personal history and winds up the victim of discrimination due to sexual difference and thus is subjugated to a male. However, 20 years after A Spinster, female characters are shown to lead their lives as independent beings with their own personalities and without any gender boundaries. Lastly, females in A Spinster resist the contradictions of modern society in an extreme manner, but despair when they are faced with an immature inner world. In contrast, females in Three Men don``t need to be reckless in their resistance, since the women of this period were already acknowledged as true members of modern society. Rather, they strive towards their own inner maturity through self-awareness, which was regarded as the exclusive property of modern intellectuals. As indicated above, Shimazaki Toson showed an outstanding leap in his awareness of women after he met Shizko. Nevertheless, in this whole period, he still showed a mostly negative attitude towards women in general. The reason for this might be that his continued life as a father, recollections of his homeland, and his position as a social leader remained on the periphery of his mind and informed the trends of his later works.

지카라모치(力餠) 연구

천선미 ( Sun Mi Chun ) 한국일어일문학회 2012 日語日文學硏究 Vol.83 No.2

The thesis investigates what message Towson in his later years tried to convey and what his life was like through the readings of Chikara Mochi(力餠) , a collection of fairy tales by Towson in his later years. Chikara Mochi is the fourth and last collection of fairy tales by Towson published in 17 years after he published three collections of fairy tales every three to four years from 1917. The difference from the previous fairy tales is that in this collection he excludes his own story. Another difference is that Chikara Mochi is a fairy tale for adults, which means it is intended to be read by all people. With these characteristics, this collection of fairy tales conveys the following messages. First, this work conveys the message of ``acceptance of diversity.`` Chikara Mochi shows us the complicated and diverse situations through animals and objects as well as humans. The interesting thing is that the tales contained in the same chapter express the contradictory ideas. It means that Towson tries to tell the readers to accept and acknowledge all the situations. The second message Towson tries to tell us is ``overcoming hardships.`` He tells the story of an old man, who was once a potter, in a realistic manner. In this tale, he emphasizes that we can overcome any obstacles, no matter how hard the situation is, if we persist in trying to fight it off. The messages of Chikara Mochi which urge readers ``to acknowledge diversity`` and ``to overcome hardships`` even in hardest times, say in 1940, are the ways Towson in his later life has taken his life journey. The fact that Towson titled this tales Chikara Mochi , which means ``rice cake for cheer``, reveals his intention. The significance of Chikara Mochi lies in the fact that he, for the first time in his career, presents a vision for overcoming hard reality, aside from his own comfort. It means that the motif of Chikara Mochi comes from the way Towson tries to overcome reality all through his life.

일장기(日章旗)와 불교의 상관관계

천선미(Chun, Sun Mi) 동아시아일본학회 2014 일본문화연구 Vol.0 No.51

This study examines the relationship between the national flag of Japan and Buddhism. Prince Sh?toku, who made Japan a Buddhist nation and sought to establish it as a sound and independent nation, chose the sun, signifying Vairocana, as the national symbol and ‘日ノ本, meaning the source of the sun, as the name of the country. The historical records of Japan written in the 8th century, 『Kojiki』 and 『Nihon Shoki』, presented the origin myth of the nation for the first time, and the sun was used as a major symbol. Considering the time these records were written, the sun symbol was most certainly influenced by Buddhism. In addition, sun patterns had been used on the Japanese commemorative day and regarded as a talisman for the safety of noblemen since the Heian period, well before one was used in the national flag. This was because a sect of Buddhism, Shingon Buddhism, thought to have incorporated incantations or mysterious miracles, was widespread at the time, and the sun symbols of their central Buddha Mah?vairocana were therefore imitated. Sun patterns spread more widely during the Edo period, being used even in everyday objects and in a variety of colors. However, the important point is that the red sun pattern, which is now on the national flag of Japan, was a talisman, featuring a sacred color. Conclusively, sun patterns had been seen by the Japanese as guardians for individuals and the nation, well before they were used in the national flag. What is notable is that the sun patterns in Japan began under the influence of Korea Buddhism, which was introduced to Japan in the 6th century from Baekje, Goguryeo, and Silla.

시마자키 도손의 『버찌가 익을 무렵(桜の実の熟する時)』론

천선미(Chun, Sun-Mi) 동북아시아문화학회 2016 동북아시아문화학회 국제학술대회 발표자료집 Vol.2016 No.10

This study analyzes an awareness change of ‘maternalism and mother’ before and after Tŏson’s stay in Franceas described in “When the cherries are ripe”. Shortly before going to France, Tŏson was aware of ‘maternalism and mother’ for the first time. Although he faced the greatest challenge of his life due to his extramarital relations with his niece, he recognized ‘maternalism and mother’ consistently with correct establishment and growth of awareness. The existing studies describe “When the cherries are ripe” as ‘a review of Tŏson’s development’ and it also proves his positive development from previous confusing recognition of ‘maternalism and mother’. The growth toward a positive consciousness in “When the cherries are ripe” definitely affected his family who he had a negative attitude toward because of his prejudice and his later works in which he tried to reconcile with people around him.

시마자키 도손(島崎藤村)의 모성인식

천선미(Chun, Sun-Mi) 한국일본문화학회 2015 日本文化學報 Vol.0 No.65

This study tries to discuss T?son"s Perceptions of Motherhood which has been so far overlooked by the bias that T?son distrusts women, and review 「母(Mother)」(1911) in which T?son, for the first time, mentioned Motherhood even before he stayed in France. T?son discovered and recognized the preciousness of woman"s Motherhood through the years when he nurtured his children on his own after his wife died. 「Mother」was written around this time, and in this work, T?son for the first time expressed dear love of a Mother towards her sons and daughters, which is the so called “Motherhood." This change in Perceptions of Motherhood is more apparent, compared with 「爺(Father)」(1903) which was written earlier than「Mother」and based on the same incident. While 「Father」reveals a typical man who views women with the eyes of distrust,「Mother」is written from a viewpoint of a son who looks at his Mother. Specifically, a Mother named ‘德(Otoku)’ discards her previous passive self and actively tries to recover her relationship with her son through direct conversation. Otoku can be viewed as a projection of T?son"s deceased wife Hyuyuko who died unexpectedly leaving young children to her husband"s hands. Moreover, Otoku"s active attitudes towards her son can be interpreted as T?son"s intention to give the Mother a chance to show her Motherhood towards her son, despite being a short period. However,「Mother」closes its page with the dialogues between two uncles who wants to keep their relations secret and also negate their relations. The work concludes with the secret dialogues between men. It means that while T?son acknowledges Motherhood women have, he intends to be clear that he would never acknowledge improper sexual pleasures of women.

시마자키 도손의『어린이에게(幼きものに)』론 - 충실한 부모로서의 출발 -

천선미 ( Chun Sun-mi ) 한국일어일문학회 2018 日語日文學硏究 Vol.106 No.2

本稿は『幼きものに』(1917)を通じてフランス滯在後、藤村の親としての成長過程を考察した。渡佛前、突然妻が死亡し、一人になって仕方ない狀況で子どもたちの面倒を見ながら始まった初期親の意識は未熟で否定的だった。しかし、『櫻の實の熟する時』(1917)を通じて遠い他國で母親と母性を肯定的に見始めてから歸國後にはお母さんをはじめて親として意志し始めたということが分かった。このように藤村の親の意識は'母'中心に展開され始める。ところが同時期に發表された『幼きものに』には初めて親としての'父'が登場していた。しかし、'母'も同時に現れていることから、偏向されることなく、ひたすら子らの安否を心配する眞の親の姿をアピ一ルしようとしたことを知ることができた。つまり、『子供に』は藤村が初めて親の正しい槪念の定立を見せている作品だった。 『子供に』を切っ掛けで、親の意識が成長して確立され、その後、1920年代の藤村は本格的に充實した親としての姿を展開し始めた。200本余りが收錄された童話集『ふるさと』(1920)と『幼きものがたり』(1924)をはじめ、『嵐』(1927)に收錄された短編小說は藤村が父親として、つまり、充實した親として子どもたちを養育していく過程を記錄した作品だ。このように『子供に』は藤村が'親の意識'を確實に自覺するようになったのを見せてくれる作品であり、1920年代藤村文學の展開樣相を解明できるカギになっていることを知ることができる。 This study examines the growth of Toson as a parent beginning after his stay in France through 『To Children』(1917). Just before he fled to France, his wife suddenly died. As a widower, he had to take care of his young children in an unavoidable situation, and his early parental consciousness was immature and negative. However, through 『When the Cherries Ripen』(1917), he began to consider mother and maternity in a positive light in a distant country and, after returning home, started to rely on his mother as a parent. Thus, Toson’s parental consciousness began to evolve around the mother. However, the ‘father’ as a parent appeared for the first time in 『To Children』, which was released during the same time period. The fact that ‘mother’ appeared at the same time reveals that he was trying to show a true parental affection, caring only about the comfort of his children without being biased. In other words, 『To Children』 was the first work in which Toson showed the right concept of parents. Alongside his development and establishment of a parental consciousness as is shown in 『To Children』, Toson also began to develop as a full-fledged parent in the 1920s. The short stories in 『Hometown』(1920), a collection of more than 200 fairy tales, 『Childhood stories』 (1924), and『Storm』(1927) show his process of raising children as a faithful parent. As such, 『To Children』 demonstrates that Toson became fully aware of ‘parental consciousness’, and it is the key to explain how Toson’s literature in the 1920s developed.

시마자키 도손의 『미풍(微風)』론 -새로운 변화의 시작-

천선미 ( Sun-mi Chun ) 한국일어일문학회 2016 日語日文學硏究 Vol.96 No.2

This article aims to revalue Shimazaki Toson`s "Breeze" which has not drawn public attention even though it was written in the crucial moment of his private life as well as his literary life.It was written just before he fled to France due to the extramarital relation with his niece.He had made efforts to change his literary tendency from his previous work, "After Meals", but he was not able to break out of his literary style."Breeze", however, shows a new transformation in his strong willingness to change. In this article, I analyzed the new change shown in "Breeze" in two different ways. Firstly, "Wordless Person" shows the transition from persistent ties with Huyuko to Gomako for the first time. This signifies that "Breeze" played a huge role during the period of upheaval towards his later literary works such as "The Family" and "New Life". Secondly, although, at first, he tried to describe his acquainted women in his boyhood in "Childhood", he gave more attention to his reminiscence instead.This enabled him to see his literary potential regarding his ``boyhood`` and this change continued to his latter years.In general, when assessing Toson`s literature, the three-year stay in France is considered as the turning point of his literature.However, as mentioned above, we are able to see deeply the time of huge changes in his life through "Breeze" and, also, the characteristics of his later literature are manifested in it. In short, "Breeze" proves the new change had already begun before his stay in France.Though "Breeze" has been overshadowed by his biggest scandal in life, ``Flee to France(1913)``, and his diverse literary changes after his return to Japan, the real turing point of Toson`s literature is "Breeze".

晩年の藤村硏究 -1940年前後の時代認識-

천선미 ( Sun Mi Chun ) 한국일어일문학회 2013 日語日文學硏究 Vol.87 No.2

60歲を過ぎた藤村は、以前ずっと執着してきた個人的な問題から脫却したし、名望のある作家として、また尊敬される社會の指導者として、もはや國家と社會の發展をために自分の意見を披瀝し始めた。1930年代後半まで藤村は日本を今より世界に開放して疎通しなければならないと强調して、いわゆる``世界主義``を主張した。しかし、國際ペンクラブ大會に出席するため旅に出た南米旅行(1936~1937)以降、藤村は從來とは違った新たな變化を見せ始めた。つまり國際大會の參加をきっかけに各國の別のイデオロギ-のため、純粹な文學分野でも政治的になった國際社會の動向を肌で感じ、藤村はしばらく忘れていた``祖國愛``をまた感じるようになる。以降から藤村は``國家主義``と``世界主義``という對立的な思想を全て收容し始めた。その變化は『力餠』と「『東方の門』の構想ノ-ト」の晩年の作品でよく現われていた。帝國芸術院の議員に推された後から發表された作品は以前よりもっと思想の境界がなくなり、さまざまな狀況に收容して展開していた。時にはナショナリズムに依據して戰爭を贊美して扇動するため、愛國心を刺激する記事を書いたりしたものの、一方では長い戰爭でくたびれた國民を眺めながら長期戰爭に突入する戰爭によって疲弊していく現實を不憫に描いたりもした。ところで、この時期の書き入みは一時期にそれぞれ集中されておらず、持續的に繰り返されていた。結局、1940年前後、藤村の時局に對處しようとした姿勢は、周圍と思想、そして是非に關係なく、狀況に從おうとしたものであったことを知ることができた。 今まで調べた1940年代前後の藤村の行動から知ることができたのは2つである。第一、意圖してもしなくても以前までの時代に對する言及がほとんどなかった藤村が初めて自分の意見をある程度披瀝したということにあり、第二、多くの人生逆境と戰爭を經驗した藤村が當時、嚴しい生活を强いられている國民らに結果的に兩面の價値性を認めて時代順應という人生のノウハウを傳えることになったのだ。 Away from his own personal matters, Towson in his 60s began to express his own ideas on a variety of issues about nation and society as a prestigious writer and a respectable social leader. Until the late 1930s, Towson supported cosmopolitanism, arguing that Japan should open its door to the world more widely. However, after his trip to South America for the purpose of attending The International Pen Conference(1936~1937), he began to show changes of his view. Towson felt his forgotten love for his country again after witnessing international tendency in which a range of ideologies swayed even literature at the international conference. Before and after 1940, Towson began to accept both ‘Nationalism’ and ‘Cosmopolitanism,’ which seem contradictory. Especially, his later works such as 『Chikara Mochi(力餠)』and 『Writer``s Note of Toho no mon (東方の門The Gate to the East)』show this change remarkably. Over time, Towson acknowledged and accepted even more various circumstances, which was outstanding in his newspaper editorials and speeches published after he became a member of The Imperial Art Academy in 1940. Even though he wrote some patriotic poems to glorify and encourage a war, he also strongly criticized the long war which made people tired. These contradictory writings were repeatedly published around those times. To sum up, Towson expressed his thought and arguments before and after 1940, depending on the situations regardless of ideas dan ideologies. Though he is sometimes criticized for being opportunistic for survival in times of media censorship, he by no means did it only for himself. Instead, Towson in his later years, just before his death due to his illness, tried to deliver his instructions for life earned through many wars he experienced for long years to people who had a weary life. The instructions he tried to deliver were to acknowledge and accept all with generous viewpoints regardless of ideologies.