http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
孟澤永 청주대학교 1981 論文集 Vol.14 No.1
If we are to judge the true nature of a literary work and clarify the subject of it, we should examine the historical and social environment where the author was born and has grown up. It is true of the case of Yoon sun Do(Ko San) because he was greatly influenced by the circumstances of the time through which the forms of his poetical works 'Sijo' was developed. This thesis is an attempt to analyze and consider how much the the polticalviolence which sent him into exile influenced and contributed to from his poetry. The poems of Ko San dealt here, with great deal of connotation in both instruction and function, fail in keeping pureness in their nature but aim at government use by means of satire and teaching. However, the other poetry of his for idleness and pleasure not only shows the refined tasto or gusto of the poet but makes one aware of its true value, which results from purposelessness.
孟澤永 淸州大學校 1983 論文集 Vol.16 No.1
For the bases of the novel Ku-un-mong, two hypotheses are possible. First, the auther Kim Man-Chung, So-po, had a correct understanding of Korean script with which he valued Sa-mi-in-gck as On-so(諺騷), a masterpiece in Korean letters comparable to that of Kul-won. Second, Kim held in his writing the conviction that the good of popular novels could not be denied. In a psychoanalytical interpretation of Ku-un-mong we should keep these in mind; otherwise we are apt to miss the characteristics of the novel. This paper picks out Mother-complex as a motif of the novel and makes it clear that Don-Juanismis is contained in the motif but feminism or homosexuality is not, becaue which was widely present in the writings of the Cho-son dynasty pericd. At the bottom of Kuun-mong lies Don-Juanism which brings the main theme-wealth, rank and fame are in this world found to be but an empty dream-and which conditions the atmosphere of the novel as a fantastic one. The novel, like other fantastic fictions, is interpersed with superhuman actions in an unreal fairly land, which are proved to be a dream. Thus dream is identified with actuality in the classical work. Ku-un-mong seems to be motivated partly by the anxieties of the authors highly respected mother who was a woman of wide knowledge and partly by the bitterness that be had experienced during the exile to a remote island. From the latter would the fantastic narrative have resulted of the structure 'real-fantastic-real' or 'The upper world-this world-the upper world'. It may fairly be presumed that the fictional mode of dreaminess or sleepwalking, apparently most adoptable to SO-po was fit for the narratives in the hard times of Cho-son dynasty. The mode had been a stereotype in the in the early novels written in classical Chinese.