청대 여시인 서소화(徐昭華)의 『서도강시(徐都講詩)』 제재(題材) 고찰

윤혜지 ( Yun Hye-ji ) 중국학연구회 2021 中國學硏究 Vol.- No.95

이 논문은 청대 여시인 徐昭華의 작품집 『徐都講詩』의 題材를 고찰한 논문이다. 서소화는 자신의 문학적 재능을 바탕으로 스스로의 힘으로 명성을 얻은 여성 시인으로, 청대 경학자 毛奇齡을 스승으로 삼은 최초의 여제자이기도 하다. 그녀의 시작품은 규방을 넘어서는 인생에 대한 통찰과 六朝體의 문학창작으로 당시 높은 평가를 받았다. 남겨진 작품은 120수 정도로 그 중 『徐都講詩』에 그녀의 시 82수가 남아 있다. 『徐都講詩』은 스승 모기령의 문집 『西河集』뒤에 실려 있는데, 그녀의 초기 시를 수록하고 있다. 양호한 가정환경에서 전문적으로 詩를 배우고, 스승까지 두었던 여성작가의 출현은 중국 여성시의 성숙을 보여줄 뿐 아니라 본격적인 여성시문학의 출현을 알리는 신호탄으로 그 가치가 있다. 『徐都講詩』의 제재는 크게 擬古, 思親懷友, 遊覽, 閨怨, 詠史 5가지로 나눌 수 있는데, 의고시를 통해 서소화가 六朝體를 학습했던 흔적을 엿볼 수 있고, 사친회우시를 통해 청초기 여성들의 시창작 문화와 외부세계와의 소통양상을 관찰할 수 있다. 또한 유람시는 서소화의 체험적 시상을 반영해 작가의 창작상의 즐거움과 시야의 확대를 느낄 수 있고, 규원시는 규원을 촉발시키는 자연경관과 상념에 대한 면밀한 묘사로 규원의 현실성을 더했다. 마지막으로 영사시에서는 여성 인물을 노래하면서 더 많은 일반여성들의 삶과 감정을 반영해 서소화의 공감적 사고와 발전적 여성관을 확인할 수 있었다. This thesis studied miscellaneous subjects of 『Xu du jiang shi』, the works of Xu Zhaohua who was a poetess in the Qing Dynasty. Xu Zhaohua was a poetess who gained fame on her own based on her literary talent and first female student of Mao Qiling, a scholar of classical studies in the Qing Dynasty. Her poetical compositions received high praise at the time by her insight into her life and creation of literature beyond women’s quarters. She had left about 120 poems. Among them, her 82 poems were left in 『Xu du jiang shi』. Appearance of the poetess who learned writing poems professionally and had her teachers in good home environment is valuable as a signal that women appeared in poetic literature in earnest as well as it shows mature of poems by Chinese women. The miscellaneous subjects are largely divided into 5 subjects. Nigu poems (擬古詩) has found that Xu Zhaohua learned Regular script of Liuchao style(六朝體) as the trace. Women’s culture of creating poems and aspect to communicate with the outside world can be observed in the early Qing Dynasty through Siqinhuaiyou poems (思親懷友詩). And Xu Zhaohua’s joy of creation and expansion of perspective can be found from sightseeing poems(遊覽詩) by reflecting her experiential poetic concepts. And for Guiyuan poems (閨怨詩), reality of boudoir lament was added by describing natural landscape and thought that triggered it. Finally, Xu Zhaohua’s empathic thought and developmental view of womanhood could be found in poems on history(詠史詩) as she sang about women and reflected more general women’s lives and feelings in them.

유우석의 우언시 연구

윤혜지 ( Hye Ji Yun ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2015 世界文學比較硏究 Vol.53 No.-

당대 시인 유우석은 우언시로 당시의 정치상황을 개혁하고 자신의 인생경험을 술회하고자 하였다. 그래서 그의 우언시에는 정치를 풍자하고 있는 작품이 전체 우언시의 3분의 2가넘는다 나머지 작품도 모두 작가의 정치적 실의를 우의한 작품들이다. 즉 유우석의 우언시는 모두 당시의 정치적 상황에서 야기되었다고 봐도 무리가 아니며 실제로 그의 작품은 영정혁신(永貞革新) 혹은 당시의 당쟁상황과 분리할 수 없다. 결과적으로 유우석의 우언시는 강한사회성을 지닌다 하겠다. 이밖에 시인은 창작방식에 있어 이원론의 대비적 수법으로 선악을 선명하게 대립하고있으며, 형식운용에 있어 대부분 우언고사를 담아내기 좋은 고체시(固體詩)에 집중하였다. 또 시인은 각 우언시에 인(引)’의 방식으로 창작동기에 대한 설명을 덧붙였는데 여기서도 유우석 우언시의 사회성을 확인할 수 있다. 끝으로 유우석 우언시의 16수 중 13수는 모두 동물 우언시로 한국 문인 중 정약용의 동물우언시와 상이점이 많아 향후 비교연구의 과제를 남긴다 Liu Yuxi composed his fable poems reflecting on his life experiences along with some hope of thereby reforming the policies. So, more than two-thirds of fable poems expressed political satire and rest of the fable works adressed writers`` thought on the situation. Therefore, the political climate may well have contributed to Liu Yuxi``s fable poems. In fact, his works would not have described without the "Yongzhen Innovation(永貞革新)" or the party strife at that time. Consequently, Liu Yuxi``s strong views on social context can be felt throughout his work as he evinced. Poets indicated dualism which believes good and evil or god and the devil. This is a feature often found in Tang Dynasty fable poem. Most poets choose a ancient poetry(固體詩) of less restrictive and suitable for the allegorical poem. Liu Yuxi’s Fable poem have "Yin(引)" form. Poets use these methods more clearly communicate their own creative purposes. Every Fable poem except three works are animals Fable Poem. (including insects) Finally, Liu Yuxi use fresh and simple language, Borrowing the image of an animal or thing, In the creation story plus satire, lessons, reveal meaning, raised the level of Chinese Fable Poems

금·원대 여성작가 詩詞작품 연구

윤혜지(Yun, Hye‑,ji) 한국문화융합학회 2019 한국문화융합학회 전국학술대회 Vol.2019 No.4

포조의 「尺蠖賦」 와 이규보의 「放蟬賦」 내용 비교 -현실인식에 따른 처세관을 중심으로-

윤혜지 ( Yun Hye-ji ) 한국외국어대학교 중국연구소 2016 中國硏究 Vol.68 No.-

This research investigated the worldly wisdom view of Baozhao and Lee, gyubo on reality cognition in their works, focusing on 「Chihuofu(尺蠖賦)」 of Baozhao(鮑照)`s Cifu(辭賦)and Lee, gyubo(李奎報)`s 「Bangseonbu(放蟬賦)」, who wrote Fu(賦) the most in early Goryeo period Chinese classics. Both of them were the talented persons(奇才) of ill-timed Hwejaebulwoo(懷才不遇), who intended to live their period by selecting the method of adaptation to the period. Baozhao`s 「Chihuofu」 and Lee, gyubo`s 「Bangseonbu」 are the works that well show their way of life, through which their external worldly wise view and their inner worry through it could be imagined. Common ground of their works revealed the worldly wisdom to act by viewing the period and penetrating the others, also, revealed their inner conflict that talked about seclusion as the ideal worldly wise in the dark era, while revealing their inner conflict regarding they couldn`t. Due to such contradictory recognition on reality, they came to have the values of Anbunjijok(安分知足) as a way of self-protection(保身), telling moderation and self-control as a behavior pattern. Lastly, they talked about the nature of life that they perceived by suggesting `Gongsim(空心)` as a way of living the turbulent age. Different points were, first, rather than Baozhao, Lee, gyubo thoroughly put his worldly wise into the practical action, in respect of the object of life, Baozhao reflected himself completely on `an inchworm`, however Lee, gyubo considered cicada as the ideal object that he couldn`t reach. Lastly, while Baozhao concentrated on expression his own emotion(情感), however Lee, gyubo emphasized lessons in his works.

에도 후기 여성작가 한시작품 내용연구 - 에마 사이코, 하라 사이힌, 야나가와 코란을 중심으로

윤혜지 ( Yun Hye-ji ) 한국외국어대학교 중국연구소 2017 中國硏究 Vol.70 No.-

This study analyzed the contents of works by focusing Chinese Poems of three Japanese female writers, who were excluded until now, in the Edo period. Each chapter was given title to Love Poem, Trip Poem and Magnanimous Poem based on the individuality exposed in the works of three writers. First, Emma Saiko learned poems from Lai Sanyoyo(賴山陽), who was her teacher and lover. She wrote Chinese poems by having poetic turn of mind which was influenced by Lai Sanyoyo. Hence, her Chinese poems showed theme in love prominently. Next, Yanakawa Koran wrote Chinese poems whilst traveling around Japan with her husband, Yanakawa Saikan(梁川星岩). For that reason, her works of Chinese poems mainly covered tiredness of traveler and homesickness etc. Last, Chinese poems of Hara Saihin showed modernity because she tried to abandon femininity of her own will, and her will showed in Chinese poems with magnanimous character. This was found rarely in the female works during that time for she tried to abandon. However, all of three writers created their Chinese poems by focusing on their own individual sensitivity rather than natural atmosphere and this shows the characteristics of Japanese literature that is well known for expressing their emotions. This study would be a start point, and this will be analyzed continuously to explore the common tendency and individuality of each writer. In addition to this, the relationship between Japanese Chinese poems, Korean Chinese poems and Chinese poems will be studied by comparison analysis of these works.

南宋 宮女詞 初探

윤혜지 ( Yun Hye-ji ) 한국외국어대학교 중국연구소 2017 中國硏究 Vol.72 No.-

『QuanSongCi』included sixteen palace people’ Ci poems in the Southern Song Dynasty. Two of them are concubines and the remaining fourteen court ladies who were caught by Mongolian Army and were taken as prisoners to the north during the Southern Song Dynasty. Their works can be divided into five categories; first, the three Ci of imperial concubine Zhang Shu-fang; second, 「Wangjianghong」Ci of Gong di(恭帝) 's court lady Wang Qing-hui and Zhang Qiong-ying; third, 「changxiangsi」 Ci of Zhang Li-zhen and Yuan Zheng-zhen; fourth, ten「Wangjiangnan」ci known to have been written by Jin De-shu and other nine ladies to commemorate Wang Yuan-liang’s returning to the south; the fifth, 「shuangtianxiaojiao」Ci of Wu Shu-zhen. Away from the poem writing tendency of female writers in the Song Dynasty with graceful style of women’ feelings as a main theme, their works became rich in the contents by dealing with Northern landscape and depression of national Subjugation and reflecting the tragic fate of the captivity of North palace and a feeling of homesickness, so it itself became as a record of women's history. Their Ci regarded as ‘contrast’ and ‘feeling and setting happily blended’ which express their feelings openly and vividly. Especially their Ci have ‘Generous and tight tone’, ‘Grief and indignation words’, ‘simple and straight express’, which are rare in the Song Dynasty women Ci and only expressed in the Southern Song Dynasty palace people’ Ci. This is of significance in terms of presenting the possibility that female writers are also able to write bold style Ci. In addition, initiative and truth shown in their Ci can be said to have made meaningful progress in the history of women's literature.

고려사인의 중국사 수용양상 고찰 -이곡사(李穀詞)를 중심으로-

김현주 ( Hyun Ju Kim ),윤혜지 ( Hye Ji Yun ) 한국외국어대학교 외국학종합연구센타 중국연구소 2008 中國硏究 Vol.42 No.-

Perfluorooctanoic acid를 이용한 식물독성평가

김도경(Dokyung Kim),김다솜(Dasom Kim),곽진일(Jin Il Kwak),김민주(Min Ju Kim),김민지(Minji Kim),김보정(Bo-Jeong Kim),서효민(Hyomin Seo),송가현(Gahyeon Song),윤혜지(Hye-Ji Yun),이태양(Tae-Yang Lee),최정우(Jeong Woo Choi),안윤주(Youn-Joo A 환경독성보건학회 2017 한국독성학회 심포지움 및 학술발표회 Vol.2017 No.10