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        • 高麗歌謠의 硏究 : 益齊小樂府에 限하여 Special reference to the 'So-Ak-Bu'(小樂府) of Ig-Jae(益齊)

          徐首生 慶北大學校 1962 論文集 Vol.5 No.-

          I shared with the approbation of Kim-Chang Kang that Ig-Jae has been the father of poetry in Korea for three thousand years since. Especially he was unique in the field of the form of poetry of song(宋). He was rather a great than a politician who served as a courtier for five dynaties. He was a great worshipper to the classics but not a creator of new style and a proficient writer of a classical style comparing with Kim Boo-Sik for the five hundred years a Korea Dynasty. With such a great ability as a poet, he translated his contemporary popular songs into the delicate seven-word-form of Chinese Poetry which is the 'So-Ak-Bu' of Ig-Jae. The form of Ak-Bu is a genre of Chinese Literature, and it is a new formof Ak-Bu and it seems to me and oral song form rather than a witten song as a seven-word form of poetry. 'The So-Ak-Bu of Ig-Jae' is a Chinese translation of Korean popular songs which borrowed its form from the name of Ak-Bu of Chinese Literature: and its contents keep the proper element of korean song. I am very sorry to say that the original songs of it remain several pieces (we have only three pieces among eleven): and we have only the translation of the songs except three pieces. But it is very happy to have the songs of Korea Dynasty in the chinese poetic form. I treated in this essay the contents of the 'So-Ak-Bu' of Ig-Jae' as follow: the whole songs in it except Jong-Kwa-Jong(鄭瓜亭)was the ballads of lower class in his time expressed the seamy side of the mass. Especially the 'So-Ak-Bu' was almost the popular ballads among the people: and I would like to guess the period of the translation into Chinese of the 'So-Ak-Bu of Ig-Jae' belongs to his later period, about 56 of his age (A.D. 1432) or later. Here I would like to make a diagram of the contents of the 'So-Ak-Bu' as follows: 표 삽입. (원문을 참조 바랍니다.) I Would like to make several themes to illustrate the above-diagrams as follows: 1. Introductory 2. Life and the fashion of work of Ig-Je 3. Ak-bu(Song-Book of chinses) and 'So-Ak-Bu'(Song Book of korea) 4. The form of Poetry and Prosody of 'So-Ak-Bu'(小樂府) 5. The Period of the Chinese Translation of ASo-'K-Bu'(小樂府) 6. On the Contents of 'So-Ak-Bu'(小樂府) 7. Korean Translation of 'So-Ak-Bu'(小樂府) 8. Conclusion

        • 松江의 前後思美人曲의 硏究 : 特히 屈原의 楚辭와 比較해 가면서 Specially Comparative Reference to Kul-won's(屈原)Tcho-sa(楚辭)

          徐首生 慶北大學校 1962 論文集 Vol.6 No.-

          Among the Korea literary genre, there is a special song just like English ballads, Among the Korean songs, 1st and 2nd series of Song-kang's Sa-mi-in Kog is an eminent masterpiece. I would like to consider it a poetic work under the influence of Tcho-sa the highest peak of the southern Chineses Literature. But I do not mean it as an imitation of Tcho-sa. Therefore, in this essay, I would like to revaluate the intrinsic value of Sa-mi-ni, the representative work of Song-kang compared with Yso·Sa-mi-in and so forth contained in Tcho-sa. In the 1st and 2nd series of Song-kang's Sa-mi-in Song, it has many beautiful lyric refrain with his fidelity to the king under the days of troubles. This work resulted from the conflict of the confucian theory and the romantic ideals. This song completed at fifty three of his age (A.D. 1588), and contains rhyme and alliteration, especially the latter. The alliteration in this song prospered fairly due to the streesaccent of the first syllable of Korean vocalbulary in most cases. And the form of this song consists of dimetre, and of the rhythm of three words plus four. Comparing with Tcho-sa, we may call the 'Sa-mi-in Kog' as an Oriental Yso which is the best lyric song represented the typical Korean character. The beauty in this song refers to Sun-Jo, the King, Song-kang used the method of comparison; that is, the King and his courtiers are not always tied together like man and woman and they are apt to separate by fate or accident in spite of longing each other. Every letter, every word in Sa-mi-in contained his bitter emotion loging for his king.

        • KCI등재
        • 忠烈士 金宗武와 北川殉節錄

          徐首生 慶北大學校 東洋文化硏究所 1980 東洋文化硏究 Vol.7 No.-

          Kim Jong-moo was a loyal subject who sacrificed himself for our nation during the Japanese invasion of Korea in 1592. His record of performance and loyalty, and the state of those days are described in Book-Cheun-Soon-Jeul-Lok. The purpose of this paper is to revaluate his performance and patriotism according to the book.

        • 龍飛御天歌에 미친 詩經의 影響

          徐首生 慶北大學校 1965 論文集 Vol.9 No.-

          Yong-Bi-Eo-Chun-Ga is the first epic written in Han-Gul(한글) since its establishement in 15th century. This song is a psalm-styled Ak-Jang(樂章) praising the foundation of a country by Yi Dynasty. It is a kind of an epic influenced by the Shi-King of China. Though it is supposed that the Shi-King of China came to Korea after the Four Counties of Han Dynasty(前漢), written records show that it has been used as the textbooks of colleges through the Unification of Three counties of Silla Dynasty (新羅). Since then it excercised a great influence upon the intellectual as a book to enhance their culture through Koryea and Yi Dynasty Ak-Jang of Yi Dynasty has two kinds of styles: the Shi-King style and Chue-Sa style (楚辭體), but the style of the Shi King has more prominent influence and it was modelled after Pung(風), Ah(雅), and Song(頌) of the Shi-King when Yong-Bi-Eo-Chun-Ga was originated. Yong-Bi-Eo-Chun-Ga was mainly modelled after the epic in the Shi-King to sing the foundation of a country by Yi-Dynasty. Also the thoughts of Heaven's decree and reproving vice and rewarding virtue in Yong-Bi-Eo-Chun-Ga originated from the Shi-King were taken. An elaborate mimicry was made from the Shi-King in the poetic style, rhetoric, and diction. It is the poem of Court Literature that goes with music. The poem written in Han-Gul(한글) became a special type of a song which was neither Koryea Song style nor Ka-Sa(歌辭) style of Yi Dynasty, for it was a mixture of the Shi-King and Koryea Song in the sentence style and rhythm.

        • KCI등재
        • 松江文學硏究 : 특히 그이 漢詩賦에 대하여 Especially on his Chiness poetry and some pieces of his Fu(賦)

          徐首生 慶北大學校 1963 論文集 Vol.7 No.1

          Critics acknowledge that Song-Kang, a literary man in the age Myung (明宗) and Seon (宣祖) during Yi dynasty, not only ranks second to none in talc world of Chinese letters of the day bu thin Ka-Sa(歌辭) is one of the classics of Korean ancient literature. The Song-Kang library containes more than six hundred pieces of his Chinese poetry. Versed in both a Chinese quatrain arid a metrical poetry, he is more excellent in the former. The tendency of his early works (under fifty years of age) is heroic. refreshing, serene and romantic while that of his later works (over fifty years of age), pathetic, desolate, and exciting. He stemming from Li Bo(李白) and Du Fu(杜甫) poets of Sung Tang (盛唐) dynasties, grew more fascinated with Du Fu in his later yearn. His bacchanalian temper caused him to compose many improvisations, whose poetic diction represented his love for king with whom he was out of favor. The way of using similie "beauty" for king shaws his characteristics. This seems to indicate that he was influenced by Ky Yans Chuc (屈原楚辭) in Chinese classics. He wrote many poems on a crane and a cuckoo, meanwhile his love of a plum-flower, a chrysanthemun, and a bamboo led him to make these vegetations his poetical theme and expressed oriental flavour into 7hem. 33 Verses (66 pieces) dedicated to Lee Chung Myun is the longest piece of his poetry and is the best one among cia five-foot lires of old Chinese poem. Technique of expression is that of metaphor rather than similie. Since he began to write Si-Jo(時調) at 30 gears of age, his only four pieces of Fu laking his cue from Ky Yan are not high quality. Just as his thought tended to Taoistic romanticism, Confucianism from so his poetic style is. Considering the end of his forty years, bacchanalian days, him to have produced many imporvisations. I wish to emphasize that the real vague of his whole work rester on the Chinese poetry. The contents of the essay are: 1. Introduction 2. a. Poetic imagination in the contents of the works. b. Poetical form and the number of his works. c. Poetry of love for lord. d. Verse in immitation of Du Fu. c. Poetry of animal and vegetation. f. Poetry of friendship and respected master, g. Elegy h. Lyric (reminiscence, mutual love, sadness, impromptu etc.) i. Improvisation. j. Last poem. 3. Poetic Style anti critical evaluation of his poetry. 4. Conclusion.

        • 唐詩絶句의 形成·過程·韻律과 名絶解說鑑賞考

          徐首生 慶北大學校 1966 論文集 Vol.10 No.-

          Korean classical literature is greatly influenced by the Chinese literature. Especially Chinese poetry, essence of the Chinese literature was largely recited by many Koreans' from which they quoted in their writings such as Shi-Jo Korean original verse, (時調), Ka-Sa (歌辭), and novels and what not. These helped rich their emotion. In order to value them correctly, we feel the need of the correct understanding of Chinese poetry and sentences from which Korean literary men quoted. Above all the forming process, metre and the explanation and appreciation of the Famous Stanzas(名絶) of Tang poetry have been attempted in a different method. Against the theory that the style of Five-words poetry(五言詩) of Chinese poetry was formed at the period of the Emperor Mu, (武帝) I assist particulary that the style was completed at the beginning of Keun-An(建安) (Wei; 魏) through the growing period about ten decades after the historical poem Young-Sa(詠史) was created by Ban-Go(班固) (A.D. 32-92) of Eastern Han. But the seven-words poetry(七言詩) was formed a little later than the Five-words poetry(五言詩) Five-words Poetry(五言詩) is a style completed at the beginning of Tang Dynasty with the development of phonology(聲韻學). We can find that Five-words stanza was gestated in Ak-Bu(樂府) of Han Dynasty, and it was developed into Four-phrases short poetry(四句短詩) at the period of Je(齊) and Riang(梁) at the time of Six Dynasties(六朝). Subsquently Seven-words stanzas(七言絶) was completed. As the Soul of Chinese poetry lies on the metre and tone(平仄) I am going to distinguish the basic metre of Five and Seven-words stanza(五七言絶) and appreciated the metre of the following four poems throughly. I express my own opinion on the explanation and appreciation of four poems, And so I willingly expect your review and advice.

        • 伽倻山 海印寺 八萬大藏經 硏究

          徐首生 경북대학교 1968 論文集 Vol.12 No.-

          Hai-In Temple(海印寺), main temple of holy Buddhist Scripture, is located at 10 Chi-in-Ri Kaya-Myun Hapchun-Gun, Kyung-Nam Province. This temple was estanlished in August 802 A. D, three years after King Ai-Jang(哀莊王) - the 40th of the Shilla(新羅) dynasty - had been enthroned, monk Sun-Ung(順應). He was supported by the then King and Queen in his project to build Hai-In Temple, which stands at the same site today as it did then. This temple has enjoyed the consistant support of the royal families, the scenary around it is so beautiful that people have not hasitated to call it a small Kumgang Mountain. (金剛山) In this temple our national treasure, Phal Man Tai. Jang kyeng(八萬大藏經)(the wooden printing blocks on which is engraved the complete collection of the Buddhist Sutras, Laws, and Treaties) is well preserved. These engraving blocks are designated as National Treasure No. 32, and the house in which the wooden printing blocks are kept is No. 55. These wooden printing blocks can be classified according to the publisher into two groups. One is Koryo Tai Jang Kyung Pan(高麗大藏經板), published for 16 years (1236-1251) by the government at the order of then king, Kojong(高宗) of the Koryo dynasty(高麗朝). Another is those engraved in temples around this period. The amount of blocks published by government reached 81,258, and these cover 6,815 books of Sutras, 1,516 kinds of it. There are also about 5,000 printing blocks engraved in the temples and many others besides. Such vast engraving blocks are not only the treasure of our own country but they are a great wealth to all of human cultural history. Japanese scholars studied about these engraving blocks of Buddhist Scripture, but in their works there are many mistakes. Therefore, on this occassion, I would like to present the true facts about them. The motivation of engraving the whole Sutrar into wood, its meaning and history; the style of letter and the writer; the time these engraving blocks were moved into Hai-In Temple and printing history; the kinds of Buddhist Scripture, its number of books, of printing blocks, and the supplementary ones - all these presented in detail in this thesis. And I did not neglect to inquire about the name of the house in which these blocks are preserved conflagration and repairs concerning the house, as well as its present state and its position in architecture. Moreover, 1 state the index of Phal Wan Tai Jang Kyeng legend about them, the phrases of prayer they offered before they began to carve, and thought of annihilation of self - a backbone of Buddhism.

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