http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 劉玉姬 (검색결과 65 건)
- 무료
- 기관 내 무료
- 유료
-
-
-
-
-
근세 하이쿠에 나타난 ‘나비’의 정서 - 바쇼, 부송, 잇사에 이르기까지 -
유옥희 일본어문학회 2018 일본어문학 Vol.80 No.-
Butterflies, both the East and the West, appear as literary terms. In Japan, however, it rarely appears in waka, and it is actively dealt with in Edo haikus. There are two reasons why butterfly does not appear in waka. First, because butterfly comes out like a resurrection from the pupa, it has a mysterious image of death and soul, which does not match with the aesthetics of ‘elegance’. Second, the sound of the Chinese word ‘chō’ does not match with the rhyme of waka. In rare cases, butterflies appear in waka, used as a metaphor of Chuang-tzu’s ‘the dream of butterfly’ to express ‘vanity’. In Edo haikus, butterfly is actively recited as a seasonal word of spring and autumn. As a whole, ‘dream’ is the most related word of butterfly due to the influence of ‘the dream of butterfly’ in Chuang-tzu, but butterflies get more and more related to life sense. In Basho haikus, the image of ‘the dream of butterfly’ strongly appears at the beginning due to the influence of Chinese poetry, but ‘Basho’s wandering’ is projected on the ‘worn-out butterfly’ in his later years. In the case of Buson, almost all the works not only utilize the image of ‘the butterfly dream’, but they also use the nature of butterfly to sensuously describe the intersection of dream and reality. Issa wrote approximately 400 haikus. However, unlike Basho or Buson’s verse, butterflies are regarded as ‘familiar life forms’, breaking away from ‘the butterfly dream’ image. Therefore, butterfly is sometimes expressed as a companion of life, sometimes as an object of compassion, and sometimes as an object of envy.
-
요사 부송(与謝蕪村)의 그림과 하이쿠에 나타난 ‘집’ 의식
유옥희 한국일본어문학회 2021 日本語文學 Vol.91 No.-
若いときの彷徨を経て京都の町家で芸術の全盛期を送った蕪村は、好んで「家」を絵に描いたり、俳句として詠んでいる。本稿では「家」を素材とした代表的な絵3点と90句前後の俳句を分析し、蕪村が「家」という空間についてどのように認識していたかということを考察した。彼は人間の生き様を、島、町、村、家というふうに鳥瞰する空間意識を持っていた。彼は「家」を一つの構造物や単純な風景としてではなく、住む人の生活感情が息づく「家の表情」、「家のぬくもり」、「家の哀歓」を詠んでいることが分かった。蕪村が好んだ「雪の積もった民家」、「小家」、「家の㒵(顔)」、「隠家」、「小家がち」、「家路」、「冬ごもり」、「灯火」などのキーワードがそれを語ってくれる。托鉢が終に家に帰るという表現からも分かるように、蕪村によってもはや「家」は「俗なる」空間ではなく、人生の哀歓を象徴する詩語として蘇り、民衆の心に訴えかけたと言えよう。 This paper analyses Buson’s paintings and haikus focusing on the subject of house (home). This subject has not been dealt frequently in the traditional Japanese poetry for four seasons rich with sensory words which stunningly capture seasons. But Buson drew paintings and wrote approximately 90 haiku poems on houses. He drew human beings, human lives, human face expressions from houses rather than describing them as architectural structures and landscapes. Since his 50s Buson had spent many days in front of fireplace. His sense of space was closely related to human beings who inhabit in spaces of island, city, village, house which finally became the center of his world. Thus he read “its facial expression”, “its warmth”, “its sorrow” from the house brought to life by human breath. Key words such as “snow-covered cozy houses”, “a small house”, “the face of the house”, “the hidden house”, “clustered houses”, “a way to the house”, “a lamp light” reveal his perception of the house. He transformed the secular space of the house in the traditional poems of wandering and hermit poets into the nest of life in its own specific human colors. In his paintings and haikus “house” can be revived into one of the most beautiful poetic dictions.
-
하이쿠에 나타난 단오(端午) 수용 양상-한국과의 비교를 통하여
유옥희 한국일본어문학회 2020 日本語文學 Vol.84 No.-
端午は韓日両国とも中国から受け入れ、固有の風俗と習合されていった。端午は炎暑と長雨が始まろうとする時期に当り、除厄と豊作を祈願する二通りの習俗が共存した。古代日本では田植えの時期に合わさり、女性たちが菖蒲を葺いた家に籠もり斎戒をする物忌みの時期で、女性の節句の性格が強かった。江戸時代の庶民社会に入り、菖蒲の発音が尚武と同じであることから男児の節句へと移行するという独特な現象が現れる。女児の節句であるにせよ、男児の節句であるにせよ、俳句にも菖蒲を詠んだものがたくさん見られ、市井に漂う菖蒲の香りが賛美された。次は男児の武芸と関連した幟がたくさん見られ、これが後の鯉のぼりへと発展していく。韓国の端午の風習と比較してみた時、除厄の意味は共通するが、韓国の場合江陵端午祭のように豊作を祈る地域の祭りとして定着した点、また、野外での風流遊びを詩歌に詠む点などは日本の端午と大きな違いだと言える。 Dano (Tango no sekku) was embraced in both Korea and Japan from China and merged with their own customs. Dano is at the time when the heat wave begins, and so the custom of exorcism and custom wishing for a good harvest coexisted. In ancient times in Japan, it coincided with the rice planting-season, the time of contraindication when women rejoined the sweet flag (calamus) and had an aspect of being a predominantly girls’ festive season. With the transition to commoner’s society in the Edo era, the festival becomes a boys’ festival since the pronunciation of the calamus (“shōbu”) is the same as that of the warlike spirit of martial arts. The calamus had a significance for both girls and boys and thus the frequent appearance of calamus in Haiku, which praised the fragrance filling the town. Next, the banner related to the martial arts of boys appeared, which then developed into a carp streamer. Compared to the Korean customs of Dano, the meaning of the customs is shared in some aspects, but there are also quite significant distinctions with the Japanese calamus from the fact that it was developed in Korea as a local festival to pray for abundance and that it shows appreciation of the outdoor arts such as swings and iris liquor through poetry.
-
-
-
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
