『玉臺新詠』에 수록된 여성작가의 情恨詩 고찰

윤혜지 중앙대학교 외국학연구소 2021 외국학연구 Vol.- No.58

Even though there are only 13 female poets and 38 works in Yu Tai Xin Yong, which is just 6% of whole works, it is meaningful that it contains works of female poets whose real names mentioned for the first time, and they are original poems(源詩) of future female poets. Yu Tai Xin Yong plays a role as a model for poems of future female poets in that it contains historic poems(詠史詩) that covers historic figures or incidents, poems modeled after ancient works(擬古詩) and Yongwu poems(詠物詩) that covers objects. In the aspect of forms, it tries various methods such as conversation poems(贈答詩) and palindrome poems(回文詩). The main contents of these poems is love and sorrows of women’s life, and this study classifies these into love and sorrows of abandoned women, those of women who parted their spouses, and those of women who were sacrificed by diplomatic policy. Female poets’ poems in Yu Tai Xin Yong mostly contains which are sorrows, sadness and the beauty of grief brought by the difficulties of changing situations, rather than characteristics of delicacy, elaboration and beauty so called Yu Tai Ti(玉臺體).

『詩經⋅鄭風』의 女性話者詩 淺析

윤혜지 중국학연구회 2019 중국학연구 Vol.- No.89

‘Female narration poems’ of Shijing, which are the basis of female literature, are very important resources in reviewing the lifestyle and female consciousness of women during pre-Qin dynasty. These works are also important in that they indicate the aspect of collective creation before individual creation in female literature of China. Among 305 pieces of poems in Shijing, female narration poems are 54 pieces(feng shi-風詩 49 pieces, court poem-雅詩 5 pieces), among which 「Zheng Feng」is the majority. Nevertheless, 「Zheng Feng」was ignored by later researchers by being considered as erotic poetry. However, this indicates that these poems are the first female literature created by women. In this study, the characteristics of contents and forms in ‘female narration poems’ of 「Zheng Feng」 are reviewed, along with the influence of these works on later female literature. The results are as follows. First, female narrators in 「Zheng Feng」show leading and active attitudes in the characteristics of contents. Second, in the characteristics of forms, female narration poems frequently use rhyming words of fine tone, and the artistic accomplishments are made by the structural methods of rhetorical question and arrange in order. Third, the image, poetic mood and versification have a direct and indirect influence on later female literature. For example, the female narrator images described as the symbol of resentment and blaming appear in Shijing⋅Zheng Feng, and the poetic mood of bitterness hidden in the heart and grief also appear in Shijing⋅Zheng Feng. The versification of ‘自然之聲(Touching readers’ heart by heartfelt creation)’ and the versification of enhancing artistic value by rhythmical charm are also found in Shijing⋅Zheng Feng. 詩經의 ‘여성화자시’는 여성문학의 원류가 되는 작품들로 선진시기 여성의 생활상과 여성의식 등을 고찰하는데 중요한 자료들이다. 또한 이들 작품은 중국 여성문학에 있어 개인 창작 이전의 집체창작의 양상을 고찰할수 있어 더욱 중요하다. 詩經 305수의 시 중 ‘여성화자시’는 54수(風詩 49首, 雅詩 5首) 정도가 있는데 그중에서도 「鄭風」이 가장 많다. 그럼에도 「鄭風」의 시는 오랫동안 淫詩라 하여 후대 연구가들이 경시해 왔다. 그러나 이는 오히려 이시들이 여성들에 의해 지어진 최초의 여성문학작품임을 시사하기도 한다. 본 논문에서는 「鄭風」중 ‘여성화자시’를 대상으로 내용과 형식상의 특징을 고찰하고, 이 작품들이 후대 여성문학에 미친 영향에 대해서도 알아보았다. 그 내용을 정리해 보면 첫째, 내용상 「鄭風」속 여성화자는 솔직하고 대담한 태도를 드러낸다. 둘째, 형식상 「鄭風」의 ‘여성화자시’는 細音의 押韻字를 빈번히 사용하고 있고, 反問式과 排比式의 구법을 운용해 예술적 성취를 이루고 있다. 셋째, 여성화자의 이미지, 시적 분위기, 작시법 등은 후대 여성문학에 직⋅간접적으로 영향을 미쳤다. 예를 들면 불행과 한의 표상으로 그려진 여성화자의 이미지라든가 원망하는 여성화자의 이미지 등은 시경⋅정풍에 이미 사용되고 있으며, 후대 여성작가의 작품에서 늘 등장하는 幽怨과 哀傷의 시적분위기 또한 시경⋅정풍에서 그 면모를 찾아볼 수 있다. 중국여성문학에서 즐겨 사용하는 ‘自然之聲(가슴에서 우러러 나온 창작으로 독자의 심금을 울리는)’의 작시법과 음악미를 살려 예술성을 끌어올리는 작시법 또한 『시경⋅정풍』에서 그 원류를 찾을 수 있다.

王國維境界類型來看宋代女性詞人詞作品之境界

윤혜지 한국외국어대학교 중국연구소 2015 中國硏究 Vol.63 No.-

Wang Guowei combined the essence of Chinese literature with that of Western literature and put forward a complete theory of literature and art, with the“theory of realm”as its core. The theory of realm, as the core of Wang Guowei's aesthetic concepts, Jing jie(境界) has often been translated and highlighted as ― spiritual realm. During the Song Dynasty, it was common for the women poet’s work, which often has little or nothing to do with the topics of their poems. However, many of its works had been linked to Wang Guowei’s theory. It is because of the style of women writing expressed rendering the beauty of the natural and truths. The study reported in this paper examines the women poet’s work of Song Dynasty based on Wang Guowei's theory of realm. Most of women poet’s work of Song Dynasty has been fundamentally devoted to Ego-involved Realm of Wang Guowei, also related to‘Genuine’ from his theory. Writing Realm(寫境) is more than Creating Realm(造境) outstanding, Also Many more work will be written as Small Realm(小境). 王國維詞論上一直強調的「境界」是作家真心的表現,所以對於在創作上沒有任何外在利害關係的女性詞人的作品中,與「境界」具有更緊密的內在連結。因爲在中國文學史上給宋代女性作家詞作品的價值是,它們切切實實地體現着自然美與真實美。本文將王國維的三种境界類型來看宋代女性作者詞作品中的創作表現,它們在創作上多有與王國維「境界説」中的「真」相應和之處,而其作品的表現以「有我之境」爲主,「寫景」比「造境」突出,用「小境」創作的比「大境」較爲多。

한·중 고대여성작가 시사(詩詞) 작품의 ‘우울정서’ 비교연구-허난설헌, 왕봉한을 중심으로

윤혜지 중앙대학교 외국학연구소 2017 외국학연구 Vol.- No.39

This paper compares expressions of depression in poetry by the ancient Korean writer Huh-Nanseolhun (許蘭雪軒) and the ancient Chinese writer Wang-Fengxian (王鳳嫺), based on the psychology of ancient times. First, these female poets’ works are interpreted based on their formative histories, including family culture, living environment, and personal experiences. Next, the cultural differences between ancient Korea and ancient China and the effect of these differences on female poets are considered. Some similarities and differences in the contents and methods of the two poets’ expressions of depression are identified. Finally, the significance and value of expressions of depression in the poetry of Huh-Nanseolhun and Wang-Fengxian are considered.

中國 山東지역 여성작가시 고찰

윤혜지 한국외국어대학교 중국연구소 2022 中國硏究 Vol.92 No.-

이 논문은 李淸照를 제외한 중국 산동지역의 여성작가와 시작품의 주요 주제를 고찰해본 것으로, 유교적 가족주의를 기반으로 하는 산동지역의 여성작가시에서는 전체적으로 ‘가족관계’와 관련된 시 창작이 두드러짐을 확인할 수 있었다. 서진시기 궁에 들어가 창작활동을 했던 여성문학가 左棻은 시를 통해 가족을 그리워하고 자신을 성찰했으며, 당대 林氏와 청대 徐氏는 시를 통해 아들의 억울함을 대언하고 또 아들에게 당부의 말을 전해 현모로서의 여성성을 보여주었다. 또 孫氏는 남편을 대신해 쓴 축복과 감사의 시를 통해 交友詩의 백미를 보여주었고, 명대의 邢慈靜은 가족을 생각하는 思親詩를 비롯해 서예와 회화 등 다양한 예술적 스펙트럼을 보여주었다. 다음으로 청대의 모녀작가 李長霞와 柯劭慧는 고아한 격률과 심오한 표현으로 청대 여성 문학의 성숙을 보여주고, 孔麗貞과 孔璐華는 시를 통해 고대 여성이 삶의 부조리를 이겨내는 도정을 목도하게 한다. 이 작품들의 가치는 여성 삶의 실제적 현실을 구체적으로 드러내고, 정서의 표현이나 외경의 반영을 넘어 시를 통해 天性과 情緖를 조정하고 인간관계를 발전시키려 했다는 데 있다.

중국 고대 여성작가 詠史詩 試探

윤혜지 한국외국어대학교 중국연구소 2022 中國硏究 Vol.90 No.-

Ancient Chinese female writers revealed their opinions about historical facts, awakened politicians’ wrongdoing and criticized tyranny of past kings. They also projected suppressed masculinity, which is their other shadow, by enhancing values of loyalty and hermits. However, a unique point discovered in historical poems of female writers is that they focused on ancient events or historic figures related to female, their own gender. Female writers empathized female figures’ minds in history and contemplated their own lives through their records to reveal new opinions, which male writers couldn’t grasp. This is a different aspect that male writers embodied historic events in poems through historical poems, and eventually tried to convey moral to people. Comprehensively, historical poems of female writers had high literary value as they contained writers’ insight about past history and current lives, together with sentiment as writers. In a formal aspect, 5·7 word Jueju(絶句) and Lushi(律詩) were mostly used, and some of Pailushi(排律詩) was also used.

금·원대 여성작가 詩詞작품 연구

윤혜지 중앙대학교 외국학연구소 2021 외국학연구 Vol.- No.55

The contents of this study are largely divided into three stages. Firstly, To conduct poetic analysis I discovered female writers in the Jin and Yuan dynasties as much as possible from the Yuan shi xuan, Quan Jin-Yuan Ci and various women literature sources. Secondly, the subject, expression skills, personality and the authors’ current affairs were analyzed from the perspective of the times. Thirdly, I reviewed the value of the female writers works in the Jin and Yuan dynasties from the Chinese Literature History and Women's Literature History. From a feminine perspective, women's persona (social gender role) in their works during this period have revealed in a more passive way than the previous times. In addition, some of the writers showed affirmation of their identity as a writer. And others expressed their social opinions in a confused era. Conclusionally, female writers during the Jin and Yuan Dynasties took the literature to the next level and impact on the feminine literary.

동아시아 고대여성한시에 사용된 전고(典故)비교연구

윤혜지 중앙대학교 외국학연구소 2018 외국학연구 Vol.- No.43

Korea, China, and Japan are located in East Asia; in historical and cultural contexts, the three countries have influenced each other and share much in common, which brought Confucianism to these countries. This paper explores the challenges that ancient women writers faced in the three countries, their position in ancient history, and their performance; based on this exploration, this paper discovers similarities and differences in the women writers from these three countries. Most remarkably, women writers of the ancient East Asia adopted a comprehensive anthology of literary texts, which were considered to be wisdom and knowledge from the past. The texts came from a wide range of ancient sources, and this is known as “literary quotations.” Using literary quotations, women writers in the three countries tried to push the envelope on sexual boundaries and demonstrate their savvy. Through this, there was a tendency to equate them with their male contemporaries. This study suggests that literary quotations from ancient sources reveal three literary values. First, using literary quotations, women writers were able to express themselves and avoid typical feminine narrative conventions. Second, it reflected women writers’ intellectual abilities. Third, it was a way of enhancing their creativity and literary imaginations. However, there were some differences between the three countries. Women writers in Korea focused on character portrayals. In China, however, they improved artistic expressions for visual effects. Women writers in Japan adapted images inspired by historical figures and focused on personal stories.

원대 기녀 작가의 詩와 散曲 주제 고찰

윤혜지,김영미 한국중국언어문화연구회 2021 한중언어문화연구 Vol.- No.62

원대의 기녀 중에는 문학적 재주가 있는 藝人들이 매우 많았는데, 이들 중에는 직접 문학작품을 창작하는 기녀들도 있었다. 이 작품들은 원대 기녀들의 삶의 애환을 담고 있어 문화사적으로 중요한 자료일 뿐 아니라, 여기저기 산재되어 그동안 중국문학에서 소외되어 왔다는 점에서 연구자들의 관심이 요구된다. 특히 원대는 재주 있는 기녀들이 문인사대부들과 교류할 기회가 많았고, 민간문학의 발전과 함께 통속적 표현이 허용되어 기녀들도 다양한 장르에서 문학의 창작자로 나설 수 있었다. 본 논문에서는 우선 흩어져 있는 원대 기녀들의 시와 산곡을 찾아 작품의 내용과 주제에 대해 간단히 알아보았다. 이들 작품은 기녀들의 삶의 애환과 이로 인한 절망과 한탄의 심정을 주요 주제로 하며, 통속적이고 직설적 어휘로 창작의 목적성이 분명히 드러난다는 특징을 지닌다.

元代 文言筆記小說『春夢錄』속 唱和詩詞 시탐

윤혜지 국민대학교 중국인문사회연구소 2020 중국지식네트워크 Vol.16 No.-

『Chun meng lu』 is an ancient written novel by Zhengxi from Aojiang, Pingyang in the Yuan Dynasty. While staying as a guest of Hongfu in youth, Zhengxi shared heart with Ms. Oh living in the west of Wenzhou through poetry, and then compiled an ancient written novel by organizing the works in 1318 during the regime of King Renzong. Currently, this work has not been introduce d in Korea at all. Instead of the general ancient written novel-style, this is based on the structure of letter-style ancient written novel in which the author writes own preface based on direct experiences, and then inserts the poetry works with Ms. Oh in the novel through the frame narrative. The postscript by surrounding people in the end of the work shows the social evaluation of the main characters’ love in the work of the time. Especially, the work reveals the view of love in the Yuan Dynasty such as free love and love as the first priority, which shows the change in man-woman relationship in the Yuan feudal society, and also contains the sad man-woman sentiments and narratives of broken heart in the Yuan Dynasty as the characteristics of synthetic art. Also, 『Chun meng lu』 is literarily meaningful as the first case of complexly applying the narratives to the overall novel. Fully showing the characteristics of synthetic art such as popularized words and narrative poetic image in the genre perspective of poetry literature, this is valuable enough to research. This thesis understood the literary value of the works and the view of love in the Yuan society reflected into them, targeting total 27 poetry works contained in an ancient written novel 『Chun meng lu』 in the Yuan Dynasty. 본 『春夢錄』은 원대 鄭禧가 쓴 문언필기소설로 정희는 젊은 시절 洪府의 객으로 머무르며 永嘉(지금의 溫州)성 서쪽에 살았던 吳氏와 詩詞로 마음을 주고받았는데 1318년에 그 작품들을 정리하여 문언필기소설로 엮었다. 이 작품은 일반적인 문언필기소설의 형태가 아니라 작가 자신이 직접 경험한 일을 바탕으로 自序를 쓰고, 오씨와 주고받은 시사작품을 액자식 구성으로 소설 속에 끼워 넣은 서신체 문언필기소설이다. 작품 말미에는 주변 사람들의 後序를 수록하여 작품 속 주인공들의 戀情에 대한 당시 사회의 평가도 엿볼 수 있다. 무엇보다 작품속에서 자유연애와 애정지상의 원대사회의 애정관이 드러나고, 좌절된 사랑에 대한 원대 남녀의 애절한 정서와 서사가 담겨 있어 예술성이 높다. 본 논문에서는 원대 문언필기소설『춘몽록』에 수록된 27수의 시사작품을 대상으로 이들 작품의 문학적 가치와 여기에 반영된 원대 사회의 애정관에 대해서 알아 보았다.