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      • KCI등재

        시화에 구현된 사대부가 여성 한시의 미적 특질

        문희순(Moon Heesoon) 한국언어문학회 2007 한국언어문학 Vol.62 No.-

          The aim of this manuscript is to study the aesthetic characteristic of the gentry ladies" chinese poems by making the style terminologies into a subject based on the discourse of the gentry ladies" chinese poems among the ladies" chinese poems of the previous Korean Collection of Shihwa. I chosed the gentry ladies" chinese poems which were issued on the discourse of Shihwa only and considered their aesthetic characteristics. Because the Shihaw critic"s point of critique must have had an important effect on the base of creation and existence of the ladies" chinese poems, I looked into the whole aesthetic aspects which were pursued by the ladies chinese poems through the style terminologies used by lady poets of the gentry. In the previous Shihwa, the aesthetic characteristics of the gentry ladies" chinese poems are integrated into SEONGJEONGMI(the beauty of the nature), CHEONGSHINMI(the fresh and new beauty), HOGIMI(the beauty of the intrepid spirit), DONHWOOMI(the beauty of the humanity), JEOLMYOMI(the beauty of the exquisiteness). There is no discrimination on this aesthetic category compared with that of men"s chinese poems. This is an instance that the gentry ladies" versification tendency and level was not so much different compared to the gentry men"s versification tendency and level.<BR>  There were quite a few female poets in Korean Shiwha. The classes of the female poets were various from a concubine,?a gisaeng,?a court lady, a crown princess to a nameless lady. I started to study on the Shihwa with the assumption that there must have been differences among their poems that had been embodied with literature considering the situation of that era when the way of life was very much different according to the social position, The first object is the lady poets of the gentry. Because the view point and technique about the ladies of the Shihwa is not right compared to that of the men, many ladies" literary works are circulated as the form of a short phrase or a junk phrase. However, it is fortunate for us to be able to find out the female poets" poetic superiority and parts of their poems on the collection of Shihwa. The literary ability and level of the gentry female poets that we can get from the collection of Shihwa is very high. It is a more precious work if we consider the bad educational environment for females on the old days. Main Subject words: shihwa (a talk on a poetry), a lady"s chinese poem, a lady of the gentry, aesthetic characteristic.

      • KCI등재

        근대격동기 몰락 양반가 여성 양주조씨 노년의 삶과 ‘화병’

        문희순(Moon, HeeSoon) 한국고전여성문학회 2015 한국고전여성문학연구 Vol.0 No.30

        양주조씨(1836-1919전후)는 근대기 한 몰락 양반가의 여성이다. 조씨의 삶은 조씨가 이질 송교순(1852-1936)에게 보낸 한글편지 가운데, 현재까지 남아있는 18건에서 재구된다. 이 18건의 편지는 조씨 인생의 노년기에 보낸 것으로, 대략 60세∼84세 전후에 쓰였다. 편지의 내용은 신변잡기인데, 크게 주목되는 점이 화증(火症)이다. ‘화증’은 오늘날의 병명으로‘화병(火病)’이다. 조씨가 화병을 앓게 된 동인은 다음과 같은 이유에서이다. 첫째, 남편과의 이른 사별이다. 조씨의 전 생애를 통하여 가장 큰 사건은 조씨 21세에 남편이 요절한 사건이다. 혼인을 하고 몇 해 살지도 않아 배우자가 요절하여 평생을 팔자 탓을 하며 설움으로 점철된 삶을 살았다. 아들 없이 딸 둘 만 생산한 상태였다. 둘째. ‘돈’과 ‘빚’의 문제이다. 양자로 들인 아들이 가산을 탕진하였다. 조씨 화병의 가장 큰 물리적 동인은, 양자로 들어 온 아들이 조씨가 일구어 놓은 가산(家産)을 모두 탕진하였다는 것이다. 조씨는 평생 악착같은 내핍생활과 취리(取利)로 적지 않은 재산을 형성하였다. 그러나 노년기에는 난방도 되지 않는 방에서 끼니 걱정을 하였고 빚쟁이들까지 쳐들어 왔다. 셋째, 무후(無後)와 서손후계(庶孫後繼)이다. 조씨는 “자식은 있어도 탄식이요 없어도 탄식이다”라는 말을 자주하였다. 양자를 두 번씩이나 들일 수밖에 없었던 상황이 조씨의 삶을 더욱 힘들게 만들었다. 넷째. 노년기 질병이다. 병의 발발은 노심(勞心)과 심화(心火)로 인한 것이었다. 수전증․풍과 같은 노인성 질병도 앓았으나, 가장 큰 질병은 화병이었다. 양주조씨는 명문 양반가의 후예답게 자존심이 강하고 정신력이 투철하였으며, 생활력과 경제적 수완이 탁월한 여성이었다. 그러나 19세기와 20세기 초 근대격동기를 겪으면서, 이상에서 지적한 가정사와 맞물려 비운의 삶을 살다간 여성이라 하겠다. Ms. Cho from Yangju (1836~ around 1919) is a female from a collapsed noble household during the modern era. The life of Cho has been reconstructed by the 18 letters written in Korean language remaining these days, among the letters sent to her niece Song Gyo-sun (1852~1936). These 18 letters were sent during the later years of Cho’s life, which were written when she was around the age of 60 to 84. The letters deal with her private life, and among the contents, the subject significantly attracting attention is hwajeung (rage). ‘Hwajeung’ means ‘hwabyeong (mental or emotional illness as a result of repressed anger or stress)’ in the name of the disease used these days. The causes by which Cho became to suffer hwabyeong are as follows. The first reason is the early separation with her husband due to his early death. The biggest incident throughout her entire life is her husband’s early death which happened when she was 21 years old. She lived a life riddled with sorrow, blaming her fortune for her entire life, because her husband died at an early age, not living several years after marriage. She only gave birth to two daughters, and not to any son. The second reason is due to being heirless and having to inherit through a non-legitimate son. Cho frequently said that, “One laments with children and without children.” The situation in which Cho had to adopt a foster son twice made her life more difficult. The third reason is due to the issue of ‘money’ and ‘debt.’ The foster son she adopted squandered away the family fortune. The biggest physical force of Cho’s hwabyeong was the fact that the son she adopted as a foster son squandered away all the family fortune which Cho developed. Cho formed a not insignificant amount of assets through living a tough life of austerity and through money-lending. However, she had to worry about meals in a room with no heat during her later years, and even creditors raided in her house. The fourth reason is due to her disease during her later years. The cause of her disease was due to anxiety and anger in her heart. She also suffered senile diseases such as hand tremor and stroke, however, the main disease she suffered was hwabyeong. Cho from Yangju was a female with outstanding ability to maintain her livelihood and economic acumen and a female with strong self-esteem and mental power, as a descendant of a noble household. However, while experiencing the turbulent period in the modern era from the 19th century to th eearly 20th century, she became a woman who lived an unfortunate life, meshed with the family affairs mentioned above.

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