고시조의 도가철학적 조명(其二)

문영오 동덕여자대학교 인문과학연구소 2002 人文科學硏究 Vol.8 No.-

고산시가의 도교철학적 조명

문영오 동국대학교 한국문학연구소 1992 한국문학연구 Vol.0 No.14

漁父四時詞 硏究

文永午 淸州大學校 1982 論文集 Vol.15 No.1

Before and after the invasions of Korea by Japan (1592) and China (1636), there had appeared two great sijo (three-verse Koreanode) poets: Yon So˘n-do (Kosan) and Jo˘ng Ch'o˘l (Songkang). They might be said to have established their own literary spheres which drew different curves in the world of sijo. Songkang's curve ranged from jangga (long poem) to tan'ga (short poem), while Kosan's curve limited itself to building the inviolable sanctuary of tan'ga. This leads us to see some contrasts between them. In composing poems, Songkang was improvisational; Kosan was prudential. The former produced, in bulk, poetical works aimed at enlightment;the latter carefully wrote poems putting value on practical life. Thus making fine contrasts, the two poets built their own fortresses impenetrable by any other poets. They are two "peaks" inthe history of sijo. They stand so conspicuous in the history that it is quite natural for students of Korean literature to study the literary achievements of both of them. The purpose of this thesis is to examine an aspect of Kosan's poetical world and to show his real image and the very essense of sijo. A study of ‘Ode to Fisherman's Four Seasons’ deals with the area which has never been noticed by any other studies: some natures in such a work as the above-mentioned, influences on him or his acceptances, and a comparison between Kosan and Yi Hyon-bo (Nong'am). The study argues that the former was best versed in music during 500 years of the Yi-dynasty, and that his works were extracted from and directed for practical life, unlike the latters which had been formed without practical experience. It is also made clear in the study that 'Ode to Fisherman's Four Seasons' might fairly be regarded as a sijo poem which marked a new genre of sea literature, and that love of sea in it should be understood as a nostalgic longing for the birtheplace of life. The literary values will later be examined of the other writings in the posthumous works of Kosan except Chineses posms, namely, SO˘(書) so(疏) and Ki(記).

燕岩小說에서의 道敎思想硏究 : 특히 老莊哲學을 中心으로 Especially focusing on the philosophy of Lao-tze and Chung-tze

文永午 同德女子大學校 1989 同大論叢 Vol.19 No.1

The conclusion as a result from discussions on the backgrounds thought with respect to Taoism, among Yoenam's novels, 'Kimshinseonjeon', 'Heusangjeon' and 'Hojil' can be summarized like the followings. We can suggest backgrounds thought of Yoenam as Taoism. This is testified by Taoism's direct revelation in Kimshinseonjeon, one of his novels. The fact that he was wholly devoted to Taoism was explicitly found in his descriptive citation of records of Taoist hermits with supernatural powers and his confession on his Taoism's way of thinking in the preface of Yoenam collections. Therefore we can easily conclude that the system of Yoenam's thought are based on not only Realism, but also Taoism. Kimshinseonjeon would rather be interpreted not in the respect to protect the society from the harmness which was prevalent at that time, but in his ceaseless pursuit of thought of Taoist hermit with supernatural powers. In his novel, Heusangjeon regarded as the novel which deals with the Realism to the full extent, we can find traces of Taoism dispersed in many places. The most representative proof was description of construction of a Utopia in deserted island. This description can be grafted on Lao-tze's Utopia in small population in small territory. Thus we can interprete his description of deserted island when he visited there with a boatman, as a fulfillment conditions of an Utopia. We can find his another infiltration clue into Taoism, that is, anti-knowledge thought in the above novel. This infiltration was revealed in his another novel Hojil. This novel is a Taoism novel through which Yeonam emphasized thought of Taoism and superiority of the Taoism's ruling principle. From the thought of Taoism several essential elements can be abstracted; thought of adaptation to Nature, uniqueness of mundane affairs and substances, anti-war idea. Especially in Hojil Chung-tze's thought was conspicuously revealed. This can be proved in his statement in the an epilogue, 'Looking back the manuscript, 'Geohyeobpyeon' and 'Docheogpyeon' of Chung-tze's work were associated with. Taking this remark into consideration, we have to sublate the studying direction whose research attitude on background thought was focused only on the philosophy of the principle on human nature. The writer intended to study Yaeducksunsangjeon and Minongjeon in the same way of research method used in this study, but he finally decided to do them for the future because of the shortage of the space of this journal.

閔翁傳 考究 : 道敎哲學 침전을 中心으로

文永午 동국대학교 인문과학대학 국어국문학과 1992 東國語文論集 Vol.5 No.-

韓國 古詩歌에서의 繪畵性 考察

文永午 同德女子大學校 1989 同大論叢 Vol.19 No.1

The goal of this study was achieved by selecting the poems with which, from whatever point of view, a pictorial scenery is associated and by discussing the characteristics of them. The number of poems which reached the stage of uniformity between poetic meaning and pictorial expressions came to on-tenth among 3,300 Korean classic poems. And we found out the fact that the higher the personality and knowledge of poets were, the closer the relationships between their poems and pictoral expressions were. The conception and formation of the uniformity between poetic meaning and pictorial expressions maninly based on the Chinese poets, Wangyu and So dongpa have been developed into as a traditional heritage and consciousness of Oriental literary men. Consequently they have been one of the important characteristics in the Oriental art. The above mentioned consciousness was revealed among major Korean literary men who in the 'Three Dynasty' period in Korea.- in this case they wrote poetry in Chinese. As a classification standard of the selected poems in this study, the writer suggested 1. elegance-sclusion, 2. solitude-plainness, 3. transcendency-reminiscence and 4. unified stage between picotiral scenery and poetic meaning. Based on these standards the writer selected the representative poems in which the above standards were well revealed. While studying poems in this respect, the writer reached the conclusion that an appreciative eye on traditional poetry must be changed. In other words, it is natural that the interpretation of traditional poetry be re-examined with the respect to the uniformity between a pictorial expression and poetic meaning. The writer found out that almost all of the Korean traditional poems on pictorial themes can be regarded as descriptive poems which deal with natural scenery, especially landscape. This phenomenon that the characteristics of a painting in the literary artist's style were found in the descriptive poems can be easily explained when we consider the general tendency that poets regard 'nature' as their Utopia. Looking back the Chinese literary history of the uniformity between poetry and pictorial painting, the above mentioned tendency can be traced to about 1,600 year. It started from Gogeji of one of the old dynasty 'Dongjin' to the end of the last dynasty 'Cheung'. In Korea we also have the long period of literary heritage, that is, from 'Three Dynasty' period upto now. In addition to the classification standards mentioned in this study, the writer want to suggest more classification standard, 1. freshness, 2. simplicity, 3. quiet beauty and 4. natural beauty, for the further study. In this study old form of Korean verse('Gase' poetic form) and Chinese verse form were excluded. It will be interesting to study them with methods used in this study.

國文學에 表白된 女人像

文永午 同德女子大學校 1985 同大論叢 Vol.15 No.1

<山中新曲>과 <金鎖洞記>의 交融性

문영오 국어국문학회 1999 국어국문학 Vol.- No.124

한문소설(漢文小說)에 삽입된 한시(漢詩)의 기능연구(機能硏究) ―금오신화(金鰲新話)와 연암소설(燕岩小說)을 중심(中心)으로―

文永午 동국대학교 한국문학연구소 1981 한국문학연구 Vol.0 No.4

「金鰲新話」에 굴절된 恨의 고찰

文永午 동국대학교 한국문학연구소 1987 한국문학연구 Vol.0 No.10