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- 저자 : 임찬수 ( Chan Soo Lim ) (검색결과 23 건)
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임찬수 ( Chan Soo Lim ) 한국일어일문학회 2007 日語日文學硏究 Vol.62 No.1
世阿彌の能樂論書では序破急について觸れている。一日の曲目の構成原理として用いたり、曲目の時間的配列として取り入れたりしている。元元、序破急は音樂の用語であり、現代の樂章に當たるものである。そこからだんだん意味が廣くなって、舞踊や連歌 · 能などさまざまな芸術において指導原理として用いられた。能においての序破急は一切の事に適用されるものと認識された。が、一日の番組の演出的區分、一曲の脚本構成上の區分として、その槪念が定着した。『拾玉得花』に至っては、成就という觀点からその意味を追求しており、それに「妙=花=面白き」などにも通じるものとして受け入れられた結果、哲學的 · 芸術的な用語になった。序破急の槪念を能に取り入れるようになったのは、まず連歌の影響であろう。歌論書や連歌論書には、樣樣な歌體を序破急という言葉をもって說明したり、百韻構成に序破急という配列方法を當てたりした。二番目の影響は秘傳からである。世阿彌は序破急の成就は言葉だけではなく、情趣をも伴っていないと成り立たないと言っている。又、序破急以外の槪念、例えば、皮肉骨の場合にも、父親からの秘傳が無かったら彼自身さえも知れなかったと述べていることから、書籍からの情報收集ではなく、自分の流派から傳えてくるものを賴りにしていることが明らかになった。
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임찬수(Lim Chan Soo) 동아시아일본학회 2015 일본문화연구 Vol.0 No.55
고보리 엔슈(小堀遠州)는 392회에 이르는 다회(茶?)를 개최하였는데, 다실이나 부속공간에 중국의 다도구나 문방구, 선승(?僧)의 그림, 묵적(墨蹟), 일본의 고전작품, 와카(和歌)등을 전시하였다. 특히 일본의 고전작품이 62회에 걸쳐 전시되었다. 특별히 다회를 주최한 엔슈는 중세시인인 데이카(定家)의 필적인 와카 그리고 그의 후손에 의해 필사된 고전작품들을 장식하곤 하였으며 『고킨슈(古今集)』나 『이세모노가타리(伊勢物語)』 가론서(歌論書)등을 들 수 있다. 나아가 데이카의 글씨체를 모방하기도 하고, 다도구에 이름을 붙일 때도 와카의 일부분의 구를 차용하여 짓기도 하였다. 이와 같은 행동은 데이카에 대한 숭배나 존경에 의한 결과이며, 데이카 가론의 영향이라고 할 수 있다. 엔슈가 중국의 도구나 선승 그림 이외에도 일본의 고전작품을 다실에 장식한 것은 차(茶)에 대한 미의식의 변화를 보여준 대표적이 예이다. 이것은 일본 것과 중국 것의 융합이라는 의미도 있지만, 와비(侘び) 사비(寂び)라는 사상의 발로라는 측면이 있다. 데이카의 미의식으로부터 파생된 미적 개념을 나름대로 다시 발전 변용시킨 것이다. Enshu Kobori held tea ceremonies 392times and displayed Chinese equipment for tea, office materials, pictures or writings of Zen priests, Japanese classical literature, and waka in either tea rooms or attached spaces. Works of Japanese classical literature were displayed 62 times. As a host, Enshu used to decorate Teika’s original and transcribed waka, which were copied by the medieval poet’s descendants. Deika’s essay on waka poems by Kokinshu or Isemonogatari is a representative work. Besides, Teika’s calligraphic styles were copied and tea sets were named after specific phrases of the waka poems. One can interpret this behavior as a result of worshiping or respecting Teika and his prevailing influence over the intellectual mainstream. Enshu’s display of Chinese tea-things, pictures of Zen priests and Japanese classical works implies a changed sense of the beauty of tea. Shifts in decorating behavior from Chinese tea-things to Japanese ones, and from Chinese Zen priests’ pictures to Japanese writings and waka, indicate not only a harmonization of thetwosides but also a manifestation of the Wabi ideology, which is a concept derived from Teika’s sense of beauty. Key words:Enshu Kobori, Teika, tea ceremony, waka, WABI.
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임찬수(Lim, Chan Soo) 동아시아일본학회 2016 일본문화연구 Vol.0 No.59
젠치쿠의 노 이론서에는 와카의 여러 형식을 연기자의 마음가짐과 연계시키려는 노력이 나타나 있다. 대표적으로 『가부주이노키(歌舞髄脳記)』『고온산쿄쿠슈(五音三曲集)』『로쿠린이치로히추(六輪一露秘注)』등의 이론서는 스승인 제아미의 이론을 바탕으로 하면서 와카나 한시를 대입하여 연기의 본 뜻과 마음가짐을 시적 정서에 빗대어 설명하고 있다. 그가 와카나 한시등 운문을 노 곡목과 연계한 이유는 속(俗)을 벗어나 유현한 연기를 추구하려는 마음에 나온 것이다. 그래서 『고킨슈(古今集)』나『겐지모노가타리(源氏物語)』에 등장하는 와카를 자신이 작곡한 곡목에서 인용하고, 나아가 이론서에도 유현이라는 미의식을 설명하는 부분에 등장시키고 있다. 또한 데이카(定家)의 위서(僞書)인 『산고키(三五記)』의 와카십체(和歌十体)를 각 이론서에 대입하여, 가체의 이미지와 정취를 규명하고 이를 노연기에 적용하려고 했다는 점도 오로지 비속함을 벗어나 품격과 유현의 미적 감각을 갖추기 위한 방책에서 나온 것이라고 할 수 있다. Theoretical evaluations have attempted to relate different types of Waka poetry with the interpretations of Zenchiku’s Noh plays by actors. Representative theoretical books describing Noh plays include Kabunozuinoki, Goonsangtokushu, and Rokurinichirohinchu, which are based on the theories of Zeami, who was a mentor to Zenchiku. In addition, these books describe poetic sentiments as a metaphor for certain interpretations and aim to evaluate the true intention of plays employing Waka and Chinese poetry. These aimed to avoid vulgarity, as described by UhYun. Wakas from Kokinshu or Genjimonogatari in were quote in written songs. In theoretical books, Uhyun was described to mean aesthetic consciousness. Furthermore, he tried to use the 10 types of Waka in Sangoki, Teika’s pseudograph, and explain the images and moods of the verse to highlight their refinement and aesthetics.
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임찬수(Lim Chan-soo) 한국외국어대학교 외국문학연구소 2003 외국문학연구 Vol.- No.15
It was the preface of Kokinshu where the word 'yuheon' appeared in the essay on waka poems. Yuheon meant 'uncertain' as it was. Thereafter, it was used to deliver a concept of aesthetic sense and often appear in essays on waka poems or as waka comments. As being evolved, the meaning of yuh eon took diverse forms such as 'containing deep implication", 'connotation beyond words', and 'having sentiment'. In Japanese traditional drama, Noh accepts yuh eon as a concept of aesthetic sense but it is not the same as in waka poems Zeami divided yuheon into two different aspects: internal and external aspects, and defined it as elegant, gentle body or the performance as the latter. The latter was regarded as temporary and were distant from genuine beauty. On the contrary, internal aspect of yuheon is to describe objects with accuracy and to manifest the essence with performance on the stage. To do this, it was advised to learn songs, dance and to faithfully learn the performance. These were thought to be the basis for manifesting yuheon. Giving priority to yuheon, a book named 'Kakvo' divided it as 'linguistic yuheon . 'musical yuheon' and 'dancing yuheon' in which each element became to pursue an ultimate objectives. Other books referred yuheon as the basis of masters' performance, and commented that each pattern of the performance that was not the same, did not necessarily meant to deviate from the characteristic of yuheon. In this way. yuheon was the basis of performance as well as the essence of performance subjects. So masters in the performance must have acquired the characteristic of yuhcon s performance. Linguistic yuheon could be defined as poetic charms. Feelings shown in waka poems especially must be appropriately expressed and heroes must speak of those important words. Also, famous poems or expressions were quoted to gain responses from the audience. It was the preface of Kokinshu where the word 'yuheon' appeared in the essay on waka poems. Yuheon meant 'uncertain' as it was. Thereafter, it was used to deliver a concept of aesthetic sense and often appear in essays on waka poems or as waka comments. As being evolved, the meaning of yuh eon took diverse forms such as 'containing deep implication", 'connotation beyond words', and 'having sentiment'. In Japanese traditional drama, Noh accepts yuh eon as a concept of aesthetic sense but it is not the same as in waka poems Zeami divided yuheon into two different aspects: internal and external aspects, and defined it as elegant, gentle body or the performance as the latter. The latter was regarded as temporary and were distant from genuine beauty. On the contrary, internal aspect of yuheon is to describe objects with accuracy and to manifest the essence with performance on the stage. To do this, it was advised to learn songs, dance and to faithfully learn the performance. These were thought to be the basis for manifesting yuheon. Giving priority to yuheon, a book named 'Kakvo' divided it as 'linguistic yuheon . 'musical yuheon' and 'dancing yuheon' in which each element became to pursue an ultimate objectives. Other books referred yuheon as the basis of masters' performance, and commented that each pattern of the performance that was not the same, did not necessarily meant to deviate from the characteristic of yuheon. In this way. yuheon was the basis of performance as well as the essence of performance subjects. So masters in the performance must have acquired the characteristic of yuhcon s performance. Linguistic yuheon could be defined as poetic charms. Feelings shown in waka poems especially must be appropriately expressed and heroes must speak of those important words. Also, famous poems or expressions were quoted to gain responses from the audience.
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임찬수(Lim, Chan Soo),이송희(Lee, Song Hee) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.42
일본의 요괴는 오랜 역사와 전통을 지니고 다양한 형태로 유지 계승되고 있으며 동시에 새로운 요괴형태와 콘텐츠, 그리고 怪異談으로 변형 발전되고 있다. 특히 일본요괴는 이미지나 형태로 계승된다는 점이 특징인데, 이것은 오랜 시간에 걸쳐 완성된 일본인의 상상적 창작물이기도 하다. 따라서 이 연구에서는 요괴를 하나의 창작물이라는 개념 하에 『요괴도감 妖怪図巻』에 묘사된 공통된 요괴 30 종류를 세계적인 발명이론인 트리즈 TRIZ의 40가지 발명원리를 이용, 각각의 요괴 형태를 분류하였다. 이는 일본 요괴의 모습을 고정화 또는 변용되는 원리를 파악하기 위함이다. 그 결과 다음과 같은 원리를 발견하였다. 첫째는, 요괴를 표현할 때에는 대칭과 비대칭의 차이를 중시한다. 둘째, 요괴를 표현할 때 추출(빼내기, 회수, 제거)과 복합재료를 통하여 요괴의 형태를 표현한다. 셋째, 요괴는 속성의 변화를 거쳐 완성시킨다. 이상의 3가지 원리이외에도 색깔변경, 포개기, 폐기 및 재생 등이 다수의 요괴에 적용된다. 이와 같은 과정으로 요괴는 다양화 되면서도 일관된 특징을 유지할 수 있었다. 따라서 공포의 대상이면서도 친숙하고 정감이 있는 존재로 일본인의 호기심과 상상력을 자극하는 요소가 되었다고 본다. 에도시대에 나타난 다양한 요괴뿐만 아니라 오늘날의 요괴의 유형 및 형태에도 중요한 시사점이 된다. Japanese Yokai descend in a variety of forms image with tradition and simultaneously they are transformed and developed into new forms or image of Yokai, contents and mistery sotry. It is particular that Japanese Yokai descend by images or forms and it is the symbolic creature of Japanese. Therefore, in this research, 30 different types of Yokai described in Yokaizukan are individually classified under 40 principles of TRIZ which is an invention theory are used world-wide. In results, it is possible to figure out the principles how the Japanese fix and transform Yokai. Firstly, describing a Yokai, the difference between asymmetry and symmetry is important. Secondly, describing a Yokai, its form is described through extraction and complex materials. Thirdly, a Yokai is created through the change of its attribute. Except for 3 principles above, Changing colors, Nesting, Rejecting and Regenerating and etc. are applied to a variety of Yokai. In spite of being objects of fear, those reactions shows that Yokai stimulate imagnation and curiosity of the Japanese as familiar and close creatures. After all, the study hereafter is what the forms and types of today’s Yokai represent in mass culture is fairly researchable, in addition to Yokai shown in Edo era.
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