震澤 申光河의 <四郡紀行>硏究

朴禹勳(Park, Woo-Hoon) 동아인문학회 2011 동아인문학 Vol.20 No.-

This piece of writing examined Four-Districts Travelogue, which is a travel essay written by Jin Taek Gwang-ha Shin after he had looked around Jecheon(堤川), Cheongpung(淸風), Danyang(丹陽), Youngchun(永春). The itinerary and content of Four-Districts Travelogue is as follows. 1) The travel of Gwang-ha Shin, which lasted for 11 days (Aug. 12-Aug. 22) and covered approximately 400 ri (400里), was done thanks in large part to the help of the older brother, Gwang-soo Shin(申光洙), who was Youngwol Busa (寧越府使,top government officer), and its itinerary covers ‘Youngwol(寧越)→Jecheon(堤川)→Chungju(忠州)→Cheongpung(淸風)→Danyang(丹陽)→Youngchun(永春)→Youngwol(寧越)’. Four-Districts Travelogue is recorded in order of date, and at the beginning of description, the starting point and the destination as well as the distance are indicated in the form of headword. Similes and enumerations appear often. 2) ① The purpose of travel for Gwang-ha Shin, whose life was in needy circumstances, was to enjoy the ‘realm of freedom without any restriction’, that is to say ‘Cheon-yoo (天游; celestial joy)’, which is revealed through the conversation between him and the old couple whom he met during his travel. ② Gwang-ha Shin believes that there are numerous capable scholars who are not in government positions because they have not been noticed by authorities just as the beauty spots of Danyang won a reputation only after Toigye(退溪) recognized its value. ③ It is unordinary that he met 2 buddhist monks everyday since he had met them by chance during his travel and that he described these 2 buddhist monks favorably and in detail. ④ Four-Districts Travelogue depicts the trip of Southern cave(南窟) in Youngchun with great detail and it is interesting to read unbelievably odd stories in relation to the southern cave. ⑤ Gwang-ha Shin treats the mysterious scenery of four districts as well as the richness and peace of villages with affectionate glances by using Chinese place names or ancient incidents. In addition, he compares and evaluates the scenery of four districts as well as the districts themselves. 3) Four-Districts Travelogue needs to be compared with other travel essays written about the four districts in order to reveal its characteristics. This is held over for the next task.

雲皐 徐有英의《玲瓏詩集》硏究

朴禹勳(Park Woo-Hoon) 동아인문학회 2008 동아인문학 Vol.14 No.-

This paper examines Ungo, Seo Uyoung's (1801-1874?) Yangrong Poem Collection that has been recently issued. It is summarized as follows: Ⅰ. Bibliography of the Yangrong Poem Collection: The Yangrong Poem Collection includes a total seventy three poems, with pictures of colorful flowers and fish inserted from the first page to the last. Except for the two pages in the front cover, it consists of a total of seventy four partially damaged pages of length 22㎝ and width 14.5㎝. Before the preface, there is a picture drawn by Seo Uyoung and it is assumed that all the handwriting is written by him as well. Ⅱ. Motives of the Yangrong Poem Collection and a summary of poems: 1. When his brother, Seo Ucheon, is appointed as a county head of Mujang in Jeollado, Seo Uyoung accompanies him and meets Jinju, who is a courtesan there. Because he worries about returning to Seoul and becomes very emotional, he writes seventy poems about Jinju. After he adds songs of South China to them, he completes the Yangrong Poem Collection. Therefore, love and attachment to Jinju become the motif of this collection. 2. Sixty one poems are in quatrain with seven word lines ten poems inYulsi with seven word lines and two poems are mixed with long and short lines. The Yangrong Poem Collection portrays courtesans’ lives, ordinary folks' lives, and the local customs of the Mujang area. Specifically, the Yangrong Poem Collection includes many poems related to Jinju. Ⅲ. The Poetic World of Yangrong Poem Collection: 1. Seo Uyoung falls in love with Jinju at first sight because he has heard about her. He wishes they could join together forever while they live in the village school. After they are separated from each other, their love does not change. After Seo Uyoung leaves Mujang, he misses her for a long time. 2. The poems describe courtesans’ lament over getting old and their desire for lasting love. They are saddened by their life because they have to entertain new government officers regardless of their will. 3. The poems also describe the corruption of officials who are only interested in their own prosperity as well as the toil of ordinary people and their strong will to live and work diligently. Ⅳ. The meaning of the Yangrong Poem Collection: 1. It helps to shed light on Seo Uyoung's life and his poems in a broad sense. 2. It provides abundant information on courtesans during the Josan Dynasty. 3. It is very important material for studying the local history of Gochang. 4. It is used as a basic document for the development of tourist products for the Gochang area.

晴蓑 沈相喬의 〈海東八狂歌〉 硏究

朴禹勳(Park Woo-Hoon) 동아인문학회 2007 동아인문학 Vol.12 No.-

This study investigates Hedongpalkwangga to review the literary world of Cheongsa Shim Sang Kyo(1837-1918), which has not been studied much so far. Below is the summery of this study: 1. Structure: This text repeats each character's discourse and rhymed songs, and is divided into two parts: the first part includes seven people with disabilities and the latter part, normal people. In terms of quantity, Shim emphasized the latter more and than the singing part. The latter part is also divided into two parts. Each part connects organically to show Shim's literal intention. 2. 1)Characters: In the first part of this text, there are seven disabled persons (① a hearing impaired person ② a visually handicapped person ③ an unwalkable person ④ a person who cannot speak ⑤ a hunchback person ⑥ a person who has a protruding chest like a bird, and ⑦ a dwarfish person). In the latter part, one normal person appears. The author expresses that a normal person is higher than that of the other seven disabled persons in terms of spiritual levels. 2) Themes: The normal person teaches the seven resigned, self-torturing disabled men, righteous attitudes and they accept them. The seven disabled men symbolize the author's inner-psychology in his early life, and the normal person symbolizes the author's mentality in his later life. 3. Literal achievement: Hedongpalkwangga has different characters and rhetorical methods and opens a new world to "Kwangga (unrhythmical howling song)." To emphasize the theme, many disabled men appear and it embodies the unique ways in which the gentry class thought about life in the late nineteenth century.

석북(石北) 신광수의 산문세계

박우훈 ( Woo Hoon Park ) 충남대학교 인문과학연구소 2006 인문학연구 Vol.33 No.3

『騎驢隨筆』에 나타난 여성의 모습

박우훈(Park, Woo-hoon) 충남대학교 충청문화연구소 2012 충청문화연구 Vol.9 No.-

This paper take a rough look at the women appearing in Giryeosupil with focus on the book published by the National Institute of Korean History. Thus, this paper mentioned Kim, Maria, Ahn, Kyung-shin, and Yang, Aae-shim as the women who joined in the Independence Movement, and also mentioned Mrs. Kim Mrs. Joh, Mrs, Lee, and Ms. Song(wife of Hong, Sa-gu) as the mistress who stood against the times with death, and a resourceful wise wife. The former were Christians whereas the latter were the women who adhered to traditional values. A righteous female servant who scolded her master, and Gongim as a female servant who followed her master to the grave were in a status of servant, but the attitude toward their master was contradictory with each according to a master’s behavior. As the mothers who showed a resolute attitude toward their son’s death, Mrs. Hwang(mother of Hong, Jae-hak) and mother of Ahn, Jung-keun could be pointed out. Case of the japanese woman who took part in the attempt of the japanese king’s assassination is peculiar. I had a feeling that the author, Song, Sang-do might have urged the dishonorable men’s awakening and exertion as he described women’s deed. It is thought that this writing described only the facts without more detailed discussion, so it might be necessary to have more deepening discussion in the future.

騈儷文 硏究의 現況

박우훈(Park Woo-hoon) 대동한문학회 2008 大東漢文學 Vol.28 No.-

  본고는 지금까지 이루어진 변려문에 대한 연구 성과를 살펴보고 이후의 연구 방향을 제시해보고자 하는 의도에서 집필되었다. 변려문의 名稱에 대해 필자는 변려문이란 명칭이 타당하다 했고, 要件과 特性을 구별할 필요성을 제기했다. 변려문과 韻ㆍ散文과의 관계에 대해선 두 견해가 있는데 필자는 이러한 견해에 동의하지 않는 관점에서, 변려문을 변려체로 씌어진 글이라고 보고, ‘변려체’를 대부분의 갈래와 관련되고 그들의 형식적 또는 수사적 성격을 규정짓는 방식으로 이해하고자 했다. 作家와 作品에 대해선 여러 업적 중, 조선조 변려문 전체를 검토대상으로 한 이영휘 그리고 임숙영의 변려문을 살펴본 장명순의 연구가 두드러졌다. 비교적 많이 거론된 작가는 崔致遠ㆍ黃愼ㆍ任叔英ㆍ李植, 작품은 〈激黃巢書〉, 〈誓海文〉, 〈統軍亭序〉와 〈練光亭序〉 그리고 〈甲申討逆後頒赦中外敎書〉ㆍ〈昭顯世子諡冊文〉ㆍ〈王世子冊封後頒赦中外敎書〉였다. 변려문에 대해서는 韓ㆍ中 모두 부정적으로 보았으나, 중국의 변려문에 대한 부정적 인식과 태도가 한국의 그것보다 강도의 면에서 훨씬 강했고 중국의 경우 변려문 전체를 염두에 두고 부정적으로 보았으나 한국의 경우 館閣體보다 徐庾體를 염두에 두고 형성되었다고 보았다. 儷評은 이수광의 『芝峯類說』과 남용익의 『壺谷漫筆(三)』을 바탕으로 주로 검토되었다. 변려문을 모은 騈儷文集에 대해서도 崔瀣의 『東人之文四六』, 趙仁奎의 『儷語編類』, 李植의 『儷文程選』, 洪奭周의 『象藝?粹』 등을 대상으로 編者의 면모 그리고 편찬과정과 의도 등이 살펴졌다. 이후의 변려문 연구에서는 변려문의 근원적인 문제ㆍ작품 연구의 방법론 탐색 등에 대한 관심이 필요하리라 본다.   In this paper, the current status of Pianliwen studies is reviewed. I will summarize this academic field and suggest some directions for further studies.<BR>  1) Names, Requirements & Characteristics: Pianliwen is referred to by many names, including ‘Pianwen(騈文)’, ‘Foursix(四六)’ and ‘Piantiwen(騈體文)’. I believe that ‘Pianliwen’ is the most appropriate of these. The requirements and characteristics of ‘Pianliwen’ include ‘pianou(騈偶)’, ‘foursix(四六)’, ‘pingzexiangdui(平仄相對)’, ‘yongdian(用典)’, and ‘xiuci(修辭)’. I argue that only ‘pianou(騈偶)’ and ‘pingze-xiangdui(平仄相對)’ should be considered as important requirements and that the others should be understood as characteristics.<BR>  2) Pianliwen’s Relationship with Verse and Prose: With regard to its relationship of with verse and prose, ① Pianliwen is regarded as ‘a branch of prose’ or ② it is treated as both verse and prose or considered as a sort of literature that is between verse and prose. I don’t agree with either of these classifications. I hold that Pianliwen is a type of literature written in ‘Style of Pianli’, and that ‘Style of Pianli’ should be understood not as a factor that defines a certain branch of literature but as a form that is related to most branches and defines their formal or rhetorical characteristics.<BR>  3) Writers & Works: Reviews have been conducted of several writers and works. The most remarkable are Lee Young-hyui’s extensive review of all Pianliwen of the Chosun Dynasty and Jang Myeong-soon’s insightful study of Lim Sook-young’s Pianliwen. Relatively frequently cited writers and works are Choi Chi-won, Hwang Shin, Lim Sook-young, and Lee Sik, and 〈Kyuk-hwangsoseo(檄黃巢書)〉, 〈Seohaemoon (誓海文)〉, 〈Tonggoonjung-seo(統軍亭序)〉, 〈Yeonkwangjun-gseo (練光亭序)〉, 〈Kapshin-toyeokhoo-bansajoongoi-gyoseo(甲申討逆後頒赦中外敎書)〉, 〈Sohyunseja-sichaekmoon(昭顯世子諡冊文)〉, and 〈Wangseja-chaekbonghoobansa-joongoi-gyoseo(王世子冊封後頒赦中外敎書)〉, respectively. These writers and works should be highly evaluated in the Korean history of Pianliwen.<BR>  4) View of Pianliwen(騈儷文觀) and Comment of Liwen(儷評): Pianliwen was received negatively both in Korea and China, but there were specific differences between the two countries. Those differences are likely to be have been derived from the fact that Korea’s diplomatic documents sent to China were written in Kwangakche(館閣體). Comment of Liwen(儷評) were written mainly in Lee Soo-Kwang’s 『Jibong-yuseol(芝峯類說)』 and Nam Yong-ik’s 『Hogok-manpil(壺谷漫筆)』.<BR>  5) The collection of Pianliwen(騈儷文集) : 『Sahryeuk-jeonseo(四六全書)』, which was compiled by Lee Chun-lin of the Ming period, and Korea’s collection of Pianliwen, including Choi Hae’s 『Dongin-jimoon-sahr-yeuk(東人之文四六)』, Cho In-gyu’s 『Yeoer-phyunryu(儷語編類)』, Lee Sik’s 『Yeomoon-jungsun(儷文程選)』, and Hong Suk-ju’s 『Sangae-hoisoo(象藝?粹)』 were closely examined to determine the intentions of the compilers, the systems used, and the distinguishing characteristics.<BR>  6) Further Pianliwen studies should be directed toward examining the fundamental problems with Pianliwen, exploring the methodology for the study of Pianliwen works, understanding the trends in the Korean Pianliwen, and detecting subtle changes in View of Pianliwen. The findings from China may be used critically to further Korean research.

雨村 南尙敎의 淸 文人과의 交遊

朴禹勳(Woo-hoon Park) 동아인문학회 2014 동아인문학 Vol.29 No.-

Wuchon, San-kyo Nam(1784∼1866) is a significant figure in Korean literature history in the nineteenth century. However, most of his particular personal history still remains unknown. This paper attempts to take an in-depth study of his social intercourses with literati in Beijing during Qing dynasty through his poetical works, Wui Shin’s poems and Il Chae’s literature works from Qing dynasty. During the eighteenth and nineteenth century, there was a typical custom that the social intercourse was broadened by the previous literati from Chosun and Qing dynasty. San-kyo Nam was told exotic experience in Qing from Wui Shin and was introduced literati from Qing. In October 1825, San-kyo Nam went on a trip to Beijing with an officer, (Donggisa rank) Myeon-seung Lee. He had a chance to meet literati like Sak-won Oh, Il Chae, Dal Ju and Ju Do in Beijing. During their social intercourse, Chungrangganseok which had a significant meaning in their companionship appeared. Especially, San-kyo Nam had a more intimate relation with Sak-won Oh and Il Chae than any other literati from Qing. Poems are written by San-kyo Nam and other poems exchanged with other literati from Qing described their friendship, faith, regrettable farewells, resentments for the current reality, recognition of personalities and literature competence for each other. After his return from Qing, Sak-won Oh and Il Chae sent him poems in the 10th year of his homecoming. This is elaborated in the poem written by Wui Shin. San-kyo Nam also wrote back to Sak-won Oh and Il Chae and had his poems delivered by a group of an envoy heading to Beijing. His poems described his mind full of regret from not being able to meet his loved ones and at the same time he showed his thankful heart for them. I hope this paper which deals with his certain period of life not his whole lifetime can provide a better understanding on San-kyo Nam’s life and the literary intercourse between Korean and Chinese literati in the nineteenth century.

韓國 狂歌의 考察

朴禹勳(Park Woo Hoon) 동아인문학회 2016 동아인문학 Vol.37 No.-

본고는 한국의 狂歌 16편을 대상으로 하여 서정적 자아의 의식세계를 살피고 한국 광가의 특성을 제시해 보았다. 한국 광가의 첫 작가는 李穡(1328~1396)인데 19세기에 많이 창작되었다. 18세기 이전을 前半部, 19세기 이후를 後半部로 나눈다면 前半部의 광가들은 형식상으로 대략 古詩로 되어있음에 비해 後半部의 작품들은 近體詩가 多數이다. 또한 後半部 작품들은 거의 다 서정적 자아의 飮酒가 나타난다. 광가의 서정적 자아는 자신에 자부가 강하나 자신의 능력을 인정해 주지 않는 현실을 아쉬워한다. 아울러 행동이 자유로우며 세속의 가치에 超然하려 하며 한편으로 현실을 개탄하기도 하고 울분을 토로하기도 한다. 또 한편으로 한국 광가의 서정적 자아는 孔孟의 가르침을 존중하는 유학자의 모습을 가지고 있다. 그들은 ‘安貧樂道’를 염두에 두며 聖人이 되기를 노력하라고 하고 處世 방법으로 ‘窮則獨善其身 達則兼善天下’를 강조한다. 韓國 狂歌의 特徵은 크게 狀況設定의 측면과 儒學에 대한 태도의 측면에서 살펴볼 수 있다. 한국의 광가는 현실적 狀況을 設定하고 있다. 이에 비해 중국의 광가에는 비현실적인 상황이 설정되어있다. 한국의 광가의 서정적 자아는 聖人을 이상으로 삼고 있고 孔・孟을 지극히 존숭하고 있다. 이러한 유학의 이념에 대한 뚜렷한 지향이 중국의 광가에서는 별로 보이지 않는다. 이와 같은 한국 광가의 특징은 우리나라 유학자들의 학문적 偏狹性에 緣由한다고 보았다. 한국 광가의 이러한 특징을 염두에 둔다면 한국의 광가의 ‘狂’은 일종의 逸脫이지만, 유학적 이념을 벗어나지 않는 한에서의 일탈이 허용된, 제한된 일탈이라고 말할 수 있다. This study aims to look into the inner consciousness of the lyrical self in 16 Frantic Verses and to present the characteristics of them. The essay can be summarized as follows: The first author of Frantic Verses was Yee Sack. Two Frantic Verses were created in the 14th century, about four verses in the 17th century, one verse in the 18th century, six verses in the 19th century and three verses in the 20th century. Frantic Verses in the first half before the 18th century were ancient types of poems, and those in the latter half were recent types of poems since the 19th century. In the verses in the first half, we cannot generally see scenes of the lyrical self’s drinking, whereas there were drinking scenes in almost all verses in the latter half. ① The lyrical self in Frantic Verses has a strong sense of pride with a feeling of regret as his ability was not recognized in real life. ② The lyrical self with self-respect acts freely and keeps aloof from the values of the mundane world. ③ The lyrical self deplores reality and lets out frustration, which seems to be relevant to historical events or situations. ④ The lyrical self appears to be a Confucian scholar who respects doctrines of Confucius and Mencius. They urge to keep in mind that you should ‘be comfortable with poverty and enjoy truth’ and to try to be a saint. The characteristics of Frantic Verses are as follows: ① They set up realistic situations, whereas Chinese verses set up non-realistic situations. ② The lyrical self in Frantic Verses regards saints as his ideal and greatly respects Confucius and Mencius, which we cannot see in Chinese verses. ③ This characteristic stems from the academic narrow-mindedness of Korean Confucian scholars. ‘Frantic’ is a kind of limited deviation which stays within the bounds of Confucian doctrines.

기획논문 : 지역학으로서의 한문학 ; 충남지역의 한문학 연구

박우훈 ( Woo Hoon Park ) 동방한문학회 2004 東方漢文學 Vol.0 No.26

현산(玄山) 이현규(李玄圭)의 생애와 교유(交遊)

박우훈 ( Woo Hoon Park ) 충남대학교 인문과학연구소 2003 인문학연구 Vol.30 No.2