庾信〈哀江南賦〉“招魂”論 - 兼論同類寫作中的互文共振現象

徐寶余(徐?余) 한국중어중문학회 2020 한국중어중문학회 우수논문집 Vol.- No.-

The Historically, researchers have regarded Yu Xin’s(庾信) Ai Jiangnan Fu(哀江南賦) as a mourning work for the death of Liang. On this basis, this paper proposes that the theme of Ai Jiangnan Fu(哀江南賦) consists of two parts: mourning the death of Liang is the obvious part, the hidden part is evocation. This has long been a precedent in the Chu-ci(楚辭). The evocation theme of Yu Xin’s (庾信) Ai Jiangnan Fu(哀江南賦) has not been paid attention to by most researchers, because the theme of his mourning for the death of Liang is too obvious, thus overshadowing people’s thinking and research dimension. The theme of Ai Jiangnan Fu(哀江南賦) is not a single theme, but a compound one. Yu Xin’s(庾信) Ai Jiangnan fu(哀江南賦),Jiang Yan’s (江淹) Ai Qianli Fu (哀千里賦)、Sheng Jiong’s (沈炯) Hun Gui Fu(魂歸賦)、Yan Zhitui’s (顔之推) Guan Woshen Fu (觀我生賦) constitute a text system. All of them are closely related to Chuci-zhaohun (楚辭·招魂), and form a phenomenon of intertextuality resonance. Therefore, in the textual interpretation of them, each single text should be put under the system to be examined. Only in this way we cannot stray too far from the subject.

歷代文話賦話中的徐庾文評

Xu Bao Yu 중국학연구회 2017 중국학연구 Vol.- No.79

Xu Ling and Yu Xin were the most famous authors in the Six Dynasties since Zhao Ming-Wenxuan(昭明文選). No more research work has been carried out in the comments of their paralled prose(駢文). In this paper we just only discuss the comments in the theory of paralled prose and Fu(賦). In the theory of paralled prose, Wang Wenlu’s(王文祿) Wen-Mai(文脈), Lang Zhangju’s(梁章鉅) Tui-An’s Lunwen(退庵論文), Sun Mei’s(孫梅) SiLiu-Conghua(四六叢話) and Sun Deqian’s(孫德謙) Liucao-Lizhi(六朝儷指) were the important books. Among them, the two Sun’s was the master work. They basically hold positive attitude toward Xu-Yu’s(徐庾) paralled prose, which in accord with their views about paralled prose and essay. So they could break through the time, heap praise on Xu-Yu’s creation, not affected by ancient prose movement(古文運動), Song-Ming neo-confucianism(宋明理學) and the trend of classicism. In the theory of Fu(賦), there were some different judgements. The blame, such as Zhu Yao’s(祝堯) Gufu-Bianti(古賦辨體), objected the comic(俳體), modern(侓體) and Si-Liu style(四六體), defended the old form(古體). On the other side, the praise, such as Li Diaoyuan’s(李調元) Fuhua(賦話), broke away from traditional ideas and affirmed Xu-Yu’s contributions. On the whole, Qing Dynasty’s people could give the positive evaluations on Xu-Yu for their awareness of stylistic. It’s because they attached importance to it. However, since the last century new culture movement(新文化運動), the trend of criticism appeared again. They had an obvious inclination of the emphasis on content rather than on form, which still existed in the most histories of literature written by modern researchers.

庾信《哀江南賦》“招魂”主題論

서보여 중국인문학회 2019 中國人文科學 Vol.0 No.71

Historically, researchers have regarded Yu Xin's(庾信) Ai Jiangnan fu(哀江南賦) as a mourning work for the death of Liang. On this basis, this paper proposes that the theme of Ai Jiangnan fu(哀江南賦) consists of two parts: mourning the death of liang is the obvious part, the hidden part is evocation. This has long been a precedent in the Chu-ci(楚辭). The evocation theme of Yu Xin's (庾信) Ai Jiangnan fu(哀江南賦) has not been paid attention to by most researchers, because the theme of his mourning for the death of Liang is too obvious, thus overshadowing people's thinking and research dimension. The theme of Ai Jiangnan fu(哀江南賦) is not a single theme, but a compound one. Yu Xin's(庾信) Ai Jiangnan fu(哀江南賦),Jiang Yan’s (江淹) Ai Qianli Fu (哀千里賦)、Sheng Jiong’s (沈炯) Hun Gui Fu(魂歸賦)、Yan Zhitui’s (顔之推) Guan Woshen Fu (觀我生賦) constitute a text system. All of them are closely related to Chuci-zhaohun (楚辭·招魂), and form a phenomenon of intertextuality resonance. Therefore, in the textual interpretation of them, each single text should be put under the system to be examined. Only in this way we cannot stray too far from the subject.

一般評論中的徐庾文評

서보여 ( Xu Bao-yu ) 중국어문연구회 2017 中國語文論叢 Vol.0 No.79

Xu Ling(徐陵) and Yu Xin(庾信) are the most important authors in the Six Dynasties, who developed formal skills, rhetoric effects and phonetic beauty to the highest level. But the later evaluations were very difficult to balance in appraise. Some comments based on the ritual, music and political education, so they imputed the duty of national ruin to Xu Yu(徐庾). Some other based on the relationship between literary achievements and personality, debased their achievements since their some errors in the political integrity. In the Song Dynasty, with the emergence of Li Xue(理學), Xu Yu`s parallel prose got attacked once again as the sinner of literary. They despised the parallel prose just the style couldn`t accord with the principle named by Dao(道). Peoples in the Ming Dynasty liked returning to the ancient. So Xu Yu was to be discovered by the proofreading, note-offering, and annotating. The positive evaluations were increased more than before. To Qing Dynasty, the parallel prose was very flourishing. In the debating on parallel prose and prose, Xu Yu`s parallel prose was viewed as the orthodox form and taken unprecedented seriously. How to see the value of Xu Yu`s parallel prose, that formed a criticism history of Chinese literature. In some way, the level to praise or censure Xu Yu`s parallel prose reflects the level to recognize Chinese literature.

“淸新庾開府”小考 -庾信詩 風格論-

노경희 영남중국어문학회 2014 중국어문학 Vol.0 No.67

This paper is intended to reveal Yu xin`s literary style and his literary feature, through the analysis of Yu xin`s poetry on the base of understanding Du fu`s intention of poetic comment “qing xin yu kai fu”. The clear-fresh style evokes vivid and new impressions by euphonizing lines of verse, and by using a number of expressive techniques in his poetry. The splendid-sensuous style is the output of combination of his clearfresh style and romantic passion. The mature-with-age style is the result of union between his clear-fresh style and true feelings, like lamentation over the national ruin, anguish of defection and the thinking of fatherland in his later years. Therefore the clear-fresh style is the dominant literary style in his poetry and the core of his literature.

논문(論文) : 유신(庾信)에 대한 두보(杜甫)의 수용 소고(小考) -“감발(感發)”의 시각을 중심으로-

박유빈 영남중국어문학회 2014 중국어문학 Vol.0 No.67

In this study, an intrinsic category of Gambal was presented in a way that the common aspects inhering in both writer`s Gambal process and reader`s Gambal process were drawn, and the meaning of each process was understood and the relation of both was defined. In addition, Gambal-centric approach was taken toward two poetic figures, Du Fu and Yu Xin who were considered by the later criticism to have an intimate relationship of sharing the poetic and personal sympathy. The shared aesthetic experience between Du Fu and Yu Xin was that Du Fu discovered the potentiality that Yu Xin had put in his works, had anexperience of Gambal as a reader, and based on which, he had an experience of Gambal in turn as a writer, resulting in its embodiment in his own works. It is understood that “Xiangguan zhi si,” “Confucian influence,” and “Gambal-created image” that were shared by the two served as underlying bosom that enables Du Fu to discover the potentiality that Yu Xin had put in his works, to have an experience of Gambal as a reader and as a writer.