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허문기 충남대학교 인문과학연구소 2008 인문학연구 Vol.35 No.3
普通、啄木の短歌を生活短歌という。これはそれまでの日本の短歌の特徴である観念性と花鳥風月などの写生的ものから抜け出て、生活と密接な素材を日常語で歌ったことを意味する。 本稿で考察を試みた短歌から分かるように、啄木の短歌は平凡な日常の素材が作品のモチーフであり、観念を離れた生活感情を比較的易しい言語をもって表すことで、独特な比喩を通じて自分だけの領域を構築していたと言える。 31字という短い形式の中に独立した一つの主題を詠むことはたやすいことではないといったそれまでの観念を破り、日常のことを詠むことによって、日本の短歌史に新風を巻き起こし、多くの日本人をして短歌に親しませた彼の功績は過小評価されてはならない。
朔太郞詩에 나타난 文體의 考察 : 그의 詩集「月に 吠ぇる」를 中心으로 Chiefly on His "TSU KI NI HOERU"
許文基 단국대학교 1985 論文集 Vol.19 No.-
The first collection of poems of HAGIWARA SAKUTAROU (1886-1942) was published in February, 1917. The title of the poetry was the TSUKI NI HOERU. Some years later he wrote an essay, the title of which is "Let the poetry of MIKIROFU faction be expelled, in the May issue of "The World of Literature." I realized that the characteristic of his style in light of the sentences was due to antinaturalism. The category of the beauty in the poetry which was written in TSUKI NI HOERU distinguished the grotesque from the existential. I introduced the formative will of "TSUKI NI HOERU" to materials, and researched the inner structure. After the MeiJi Restoration both HAKUSYU and MIKI RO FU led the world of Japanesepoetry, respectively, in their forties. The aim of SAKUTAROU, who belonged to HAKUSYU school, was to abolish the symbolic poetry of the ROFU school. Under these circumstances, he wrote an essay, "Let the poetry of "MIKI RO FU" school be driven out." I've come to understand why he evoked the mysticism, symbolism, and strong will of renovation. As a result of publishing "TSUKI NI HOERU", it caused the old generation to collapse. "SAKU TAROU" forecasted the collapse of the old generation. I think the formative will trying to abolish the other part of "SAKUTAROU" became one of the characteristics in TSUKI NI HOERU style. SAKUTAROU didn't approve of naturalism. According to his Aphorism "ATARASIKI YOKUZYO", naturalism in Japan was deeply rooted in nationalism and he blamed the naturalism. This is the focus of his thought on naturalism. Such thought was well reflected in his poetics. His fundamental perspectives about SAKUTAROU'S poetry was distinctively theorized by his poetics that was called "The principle of poetry. I could understand his agony, efforts, and formative will in his poetics. He insisted on the anti-naturalism against "TSUKI NI HOERU". He eliminated naturalistic elements from TSUKI NI HOERU'S poetic idea, and tried to expound anti-naturalism. This is the one of the characteristics of his style. Among the "TSUKI NI HOERU'S poetry, I adapted existential things to the category of beauty from the point of the literature. Among SAKUTAROU'S poetry, there are many grotesque figures in his literary works which belong to the existential genre. "NISIWAKI ZYUN ZABUROU" said "The poetry of SAKUTAROU is art of the grotesque. At that time, it was very difficult for the contemporary poets to express their owr emotion, thoughts, feelings that include much complexity, such as using colloquialisms. Nevertheless, he used colloquialisms. As a result, his poetry was rhythemic and he took a leading role in the world of poetry. The base structure in the poetry of "SAKUTAROU" is emotion shich is liquidized and added to the rhythmic. It is not analytics. It is the charater to get something felt directly. Only, I took the secondary elements even if I tried to get the meaning of the shadow or "Nitlol". Nevertheless, his poetry is very charming in itself. That's because his thought and intellect was easily conveyed through his poetry. Similar to the poetic form and topic of SAKUTAROU, he became a lyric poet. In summary, I adapted existential things to the beauty of characteristics. On the basis of two formative wills, I researched the characteristic of his style. What I want to say is that the characteristic of his style against material elements in the sentences belong to language.