이규보의 『동국이상국집』 영색시(詠色詩)에 나타난 색채관과 특징

이선이 ( Syun-yi Lee ) 온지학회 2019 溫知論叢 Vol.0 No.61

고려시대의 시격과 체는 당시 문인들의 시론 가운데 하나였으며, 이규보의 시는 화려하게 운을 활용하는 구조적인 특징을 가지고 있다. 제목에 있는 색명으로는 시문(詩文)에서 색명으로 사용하지 않는다. 색명인청(靑)자로 운을 사용하여, 제목과 함께 백 - 청, 흑 - 청, 황 - 청, 홍 - 청, 청 - 청의 대비효과와 방향성을 가지게 하였다. 평면에서 공간구조로 전한시킨 것이 영색시의 구조적 특징이다. 황홍청을 노래한 시의 공통점은 동식물이 자라고 뛰노는 자연에서 색을 찾으려고 하고 있다. 영홍시에는 적은 청과 대응하는 것은 뜻에 맞지 않는다고 하여 홍을 쓴 이유를 밝혔다. 기존의 사유와는 다른 면이며, 빛의 중요성을 강조한다. 이규보의 영색시는 전통 오방색 청·황·적·백·흑이 아닌 청·황·적·백·흑의 오색을 쓴다. 홍은 빛을 상징하며, 적은 청과 무늬를 이룰때 쓰인다. 때문에 홍과 적은 서로 의미가 다르고 색의 운용방식도 달라진다. 고려청자의 색은 청색 또는 비색이 아니라, 녹색으로 인식되었다. 옥석과 같은 돌의 색을 현재는 청색계열로 분류하지만, 고려는 백색계열로 인식하는 경향이 있었다. 청과 녹을 구분할 수 있었던 것은 청자가 생활 깊숙이 스며들어 있던 결과이다. 이것이 영색시를 통해서 나타난 이규보의 색채관 특징이라 할 수 있다. Forme poetique and adonien in the Goryeo Dynasty were among the Poetics, and Lee Kyu-bo's poems have structural features that utilize their luck with splendor. The color name in the title is not used as the color name in the verse. Using rhyme as the color name "靑(blue)", the contrast effect and direction of 白 (white)-靑(blue), 黑(black)-靑(blue), 黃(yellow)-靑(blue), 紅(magenta)-靑(blue), and 靑(blue)-靑(blue) were given along with the title. Translated from a plain into a spatial structure is a structural feature of Colored poetry. The common thing about poems that sing about 黃(yellow)-紅(magenta)-靑 (blue), and 靑(blue) is that animals and plants are trying to find color in nature, where they grow and run. Magenta(紅) poetry revealed why he used magenta because he said it was not right to react to red. It is different from conventional reasons and emphasizes the importance of light. Lee Kyu-bo's poetry sang the five color(blue(靑), yellow(黃), magenta(紅, or orange), white(白) and black(黑)) in five colors(blue, yellow, red, white and black). Hong(紅) symbolizes light, and is used to make blue patterns. Because of this, the magenta(紅) and the blue(靑) have different meanings and different ways of operating colors. The color of Goryeo celadon not recognized as blue or celadon green(翡色), but It was recognized as green(綠). Although the colors of stones such as jade are now classified as blue, Goryeo tended to recognize them as white. It was in the daily life of the celadon that the distinction between blue and green was made. This can be said to be the colorimetric characteristics of Lee Gyu-bo through a poem sung in colors.

국제상품(國際商品) 가격안정(價格安定)을 위한 적정조절이론(適正調節理論)의 적용(適用)

이선,Lee, Seon 한국개발연구원 1979 韓國 開發 硏究 Vol.1 No.1

사회시론의 한 가능성 - 황지우 시론에서 하버마스의 ‘보편적 화용론’과 칼 포퍼의 ‘세계3 이론’ 수용을 중심으로 -

이선이 ( Lee Sun-hee ) 한국현대문예비평학회 2018 한국문예비평연구 Vol.- No.59

이 연구는 황지우의 시론에 담긴 문제의식과 해결방안을 밝힘으로써 황지우 시론의 성격을 규명하는 데 궁극적인 목적이 있다. 시인이자 미학자인 황지우가 ‘시적인 것’이라는 용어를 중심으로 1980년대 전반에 전개한 두 편의 시론이 갖는 논리는 하버마스의 ‘보편 화용론’과 칼 포퍼의 ‘세계3 이론’을 적극적으로 수용한 결과이다. 이 수용의 과정을 거치면서 제시한 ‘징후의 의사소통론’과 ‘시적인 것의 존재론’은, 주관적이고 특수한 것으로 인식되던 시에 대한 기존의 인식에서 벗어나 사회적인 사유틀 안에서 시를 인식해 나가려는 하나의 시론(試論)이라 할 수 있다. 이러한 황지우의 시론은 기존의 문학사회학이 강조해 온 반영론을 화용론적 관점으로 재구조화하고 그 속에서 행위자(작가와 독자)와 사회구조가 매개된 담론의 비판적 가능공간을 만들어내는 의의를 갖는다. This paper examines critical issues and its resolutions shown in Hwa ng Ji-woo’s discourse on Poetry, and thereby aims to identify the chara cteristic of Hwang Ji-woo’s discourse on Poetry. Hwang Ji-woo, a poet and an aesthetician, developed two poetic discourses as well as the ter m, ‘the Poetical,’ in the early 80s. Such discourses have established a lo gic, which is a result of promptly embracing Jurgen Habermas’s Univers al Pragmatics and the concept of World 3 in Karl Raimund Popper's thr ee worlds. Hwang then suggests new theories such as ‘symptomatic co mmunication’ and ‘ontology of poetic matters’, in an attempt to diverge f rom the existing recognition of poetry being subjective and exceptional, and to recognize poetry in the boundary of societal reasoning. All in all, Hwang Ji-woo’s discourse on the modern poetry is meaningful in terms of restructuring the reflection theory, which conventional cultural sociolo gy has been emphasizing, into pragmatic perspective, and further creatin g discourses’ critical capacity that incorporates authors, readers and soci eties.

영화 ‘태극기 휘날리며’를 활용한 한국 문화 교육 방안-재외동포의 민족 정체성 교육을 위한 시론(試論)-

이선이 ( Lee Sun Yi ) 한국언어문화교육학회 2005 언어와 문화 Vol.1 No.2

This thesis is aimed to grope for methods to teach ethnic identity to Koreans abroad by applying the movie titled “TaeGukgi: Brotherhood of War”. Culture is what is always defined newly according to any significant changes in the historical circumstances. So far, cultural education was intended to implant strong ethnic pride into people for the Korean language education. However, sometimes, the intention went a little too far and was blamed for its educational enforcement. Only when both the respect for the cultural education and agony for the usefulness of the current education are combined together, can there be the intricacies of culture. For Korean abroad, The ethnic pride has to be transformed into collective unconscious as positive force of life in a given situation. The movie “TaeGukgi: Brotherhood of War” is believed to be a good teaching material by showing that Taegukgi itself can effectively teach the meaningful ethnic identity to Korean abroad as global citizen, as well as overcome the blind enforcement. First, by analyzing the movie, familism which can play as the basis of patriotism will be observed. The observation will cover the following: 1. How we recognize the ethnic which is invisible community. 2. How we can accept the ethnic as the possibility of voluntary bonding between people. Also the plans for the Korean cultural education are discussed in detail, based on the analysis (Kyunghee University)

일제강점기 한국과 일본의 조선민족성 담론 비교

이선이 ( Sun Yi Lee ) 국제비교한국학회 2008 비교한국학 Comparative Korean Studies Vol.16 No.2

일본 문학의 ‘번역’에서 보이는 역사인식 고찰

이선이(Lee Sun-yi) 가천대학교 아시아문화연구소 2010 아시아문화연구 Vol.18 No.-

After the liberation, South Korean intellectuals strove for a development of a National Literature, and the so-called 'Japanese trend(日流)' received an enormous favor after 1990. When we consider the popularity of Japanese culture, it seems that some South Koreans who accepted Japanese culture had not been influenced by the unenthusiastic criticisms of Japanese literature. Considering a sense of superiority evident among South Koreans which can be attributed from a haunting past, any form of Japanese tendency is easily dismissed. However, the inclination of some South Koreans toward Japanese' historical novels, which lasted for more than four decade, proves to be an exception. This study attempts to investigate the opposing phenomena in the appreciation of Japanese literature through analysis of the translation process in the novel 'Tokugawa Ieyasu'. A critical view on how South Koreans became deliberately inclined and appreciative of Japanese history is explored, thus the likelihood of having a unique perspective and historical awareness throughout the process.

대내외 경제 여건과 전망

이선,Lee, Seon 한국전자정보통신산업진흥회 1998 電子振興 Vol.18 No.10

근대중국의 민족주의와 여성주의 : 딩링(丁玲)의 옌안시기 작품을 중심으로

이선이 ( Lee Sunyi ) 한국여성사학회 2004 여성과 역사 Vol.- No.1

This study aims to explore the relationship between nationalism and feminism in modem China through a writer, Ding Ling (1904-1986). While the nation and people were experiencing a difficult time, she tried to achieve her ideal in `Yenan`. During the Yenan period she took a `participatory - irrespective of gender` approach. While recognizing women`s fertility, she intended to participate in the revolution to the same extent as men. In the books she published in Yenan, she described the details of the dilemma that women participating in the revolution had faced. She demonstrated her loyalty through her first work in Yenan, which promoted the need of a war against Japan. However, throughout her stay in Yenan, she had seen women who were neglected by and became a salve to a `grand mission`, that is, the socialist revolution and the movement for the liberation of people. Moreover, she realized that revolutionary leaders relied heavily on traditional Confucian patriarchy. She started criticizing that the oppression of women was embedded in the Chinese revolution that was supposed to facilitate the socialist revolution and the emancipation of people. She adopted a critical attitude towards the social structure and the Party leaders` views in Yenan, rather than automatically identifying herself with the Party. She regarded the Yenan society from various perspectives and argued that it was not one simple entity. Due to her critique of the Yenan society and the Party, Ding Ling attracted considerable criticism during the `Zheng feng movement` in 1942, and had to attend an ideology disciplinary session at a Party executives school. Afterwards, she did not analyse the situation that herself or women in Yenan were in. Groups/societies that are based on class, race or ethnicity have considered the gender issue a taboo or an act to serve the interest of the enemy. This was the case even during the revolution and the war-time in China, given the example of Ding Ling. It is this general context that the critique of Ding Ling can be placed, which started during the `Zheng feng movement` and continued till the anti-rightism battle. Ding Ling`s work during the Yenan period illustrates the development of the Chinese feminism, which was born after the modem age, in the midst of achieving an assignment of `classless society` and `liberation of people`.

한국전통색의 범위와 正間色 구조에 관한 연구

이선이(Syun-yi Lee),박연선(Yon-sun Park) 한국색채학회 2012 한국색채학회 논문집 Vol.26 No.4

한국전통색연구는 오방색을 연구대상으로 한다. 청황적백흑 5가지 오방색과 사이에 만들어지는 간색은 유교의 예서(禮書)를 중심으로 설명한다. 한국문화 중심에는 1700년의 불교가 있다. 그러나 불교사상과 문화로 전통색을 바라보지 않는다. 이러한 문제를 제기하며 오방과 간색의 개념을 설정할 수 있는 관계 문헌을 분석하였다. 한국에서 색을 논하는 《이수신편》과 《규합총서》, 중국 《구고록예설》의 간색설을 비교하였다. 《이수신편》에는 약 80여 가지 색명이 있으며, 병치혼합의 인식을 보인다. 《규합총서》는 상생간색의 색명을 언급하고 있다. 이 색명은 한국문헌에서만 등장하지만, 한글로된 자료를 한자로 번역하는 과정에서 신뢰하기 어려운 결과가 나타났다. 이를 그대로 인용하는 2차 연구에서도 동일한 오류가 발생한다. 相次의 개념으로 색이 공간적 확장을 한다. 《구고록예설》에서는 靑黑黃赤사행(四行)으로 모든 간색을 상생의 색으로 화합시킨다. 분석결과에 따라 오방, 상극간색, 상생간색 등의 개념을 적용하여, ‘한국전통색의 오방과 간색 구조’에 대하여 제안하였다. 그리고 향후 전통문화를 이어나갈 연구방향을 제시하였다. Researching subjects of the traditional color of Korea are mainly from Obangsak, literally colors from five directions. Obangsak ? blue, yellow, red, white, and black- along with the compatible neutral color and the complementary neutral color can be illustrated from the Classic of Rites in Confucianism. At the center of Korean culture lies 1700 years of Buddhist history. We do not see our traditional color from the perspectives of thought of Buddhism and culture. Addressing these premises, we have analyzed related literatures to build the concept of the Obang and the neutral color. We have also compared the theory of neutral color with reference to Korean texts such as 《ISUSINPEUN》 《GUHAPCHONGSE》 and a Chinese text, 《GUGOLOGYESEUL》. Around 80 categories of color were introduced and the awareness of juxtapositional mixing was found in the text of 《ISUSINPEUN》. The naming of the compatible neutral color was mentioned in the text of 《GUHAPCHONGSE》. These names of color were found in the Korean literature only and inevitable translating fallacies arise from the process of translating Korean into Chinese characters. Any secondary researches citing the translational fallacies were not free from the same error. The concept of the ideal spatial incorporation makes the spatial expansion of the color possible. Seen from the text 《GUGOLOGYESEUL》, the four elements - blue, black, yellow, and red ? harmonize every neutral color to compatible colors. Along this line of thought, we present the Obang and the structure of neutral color of Korean traditional color by employing the concepts of Obang, complementary neutral color and compatible neutral color, which are mainly from the analysis of the literature concerned. We also suggest some guidance on the prospective researches regarding traditional culture and its transmission.

초기 자유시 담당층의 정체성 모색과 그 의미 - 김억, 주요한을 중심으로-

이선이 ( Sun Yi Lee ) 국제어문학회 2002 국제어문 Vol.26 No.-