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金俊淵 한국중국어문학회 2000 中國文學 Vol.33 No.-
李商隱是晩唐成就最高的詩人. 他衆體兼備, 而尤在七言律詩方函取得獨創的咸果. 他七言律誇的特徵如下: 第一, 運用飛躍和象徵手法, 擴大誇歌約意境, 且豊當詩歌的內容. 例如(宿晉昌亭聞駑禽). (無題四首 其二, (嶽楓東風)等作品, 基本上依據逃承轉縱拘章法, 但各辯完全依照誇人內心的自由聯想連繫, 不但構思嚴密, 而且情味無窮 第二, 爲了表達鮮明的主題, 在中間兩聯往往用强烈的對比手法. 例如(馬嵬二首 其二). (諱筆騷). (澤嘗)等作品在中間兩瑞拉意呈琨反復一樣的形態, 洪橋出全詩的主題. 第三, 援用騈文寫作技法, 連用許多典故, 使其詩構思更加豊富, 誇旨更加分明. 例如(淚). (牡丹). (茂陵)等作品, 運用典故極爲精彩, 不露痕迹, 大大增加了其誇含蓄典雅的特色. 但是過於追求締婉雇朧, 用典過多, 也會造成誇意晦澁難解, 我們要照嚴密的標準評價. 歷代評者對於李商隱這樣的詩, 常不滿在不還逸承轎經詢章法. 這種看法不免有-定的片面性. 本文認爲評價誇作最重要的是看其運用的章法能否充分表琨誇作的內容和主題.
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김준연 한국중국어문학회 2004 中國文學 Vol.41 No.-
離合是人生之常事, 惜別是社會之常情, 故送別詩, 在中國古詩裏, 占有?大的比例. 一般認爲, 代表送別的意象是“柳”與“酒”. 我們不能否認, 在古代送別時喜折取柳條贈與離人以寓托別情, 餞別時以酒爲不可或缺之物. 但是, 如限制送別詩的形式在七律的範圍, “柳”與“酒”仍是顯得最常見的意象?? 筆者以在689首詩篇使用的2,783個詞爲對象, 探究了唐代七律送別詩裏出現頻率最高的詩語, 而按頻率位次排列頭一百個. 2,783個詞的平均出現頻率是14次, 而頭一百個詞的平均出現頻率是131次, 幾乎達到平均頻率的十倍. 這些常用詩語, 按功能可以分爲七個種類. 一是送別的主體或對象, 例如“人”、“君”、“客”; 二是時間詞, 例如“日”、“年”、“春”; 三是空間詞(或景物), 例如“山”、“雲”、“風”; 四是名詞, 例如“馬”、“書”、“家”; 五是動詞, 例如“去”、“歸”、“行”; 六是形容詞, 例如“一”、“多”、“白”; 七是其他詞語, 例如“不”、“應”、“上”. 我們値得注意, 以上的詩語當中, “君”、“別”、“去”、“行”、“歸”、“應”、“山”、“路”、“江”、“到”等一些字, 比其在一般的唐代七律使用頻率更高. 每一個字都有一定的理由, 例看“山”、“路”這兩個詞語. 唐人出門, 多行陸路, 陸路又不少是傍山, 這就是“山”和“路”在送別詩里較多出現的客觀原因. 如果說七律的四個聯成爲“起承轉合”的結構, 那?這些常用詩語的使用頻率, 在七律的布局上顯出什?樣的特徵? 大致如下: 首聯起到點題的作用, 故“東”、“南”等指示方向的詞語較多出現. 承聯是接着起聯寫下去的, 在送別七律裏主要提及具體的情況, 整個種類的詞語都廣範地使用. 轉聯是筆鋒一轉的地方, 在送別七律裏, 大體由敍事轉到寫景, 故“樹”、“草”、“雪”、“雨”等空間(或景物)詞語出現得?多. 送別七律的結聯主要表現向對象的安慰或囑附, 故“莫”、“應”等其他詞語的比重相當高. 總之, 唐代送別七律的常用詩語, 只看?被“常用”這一點, 容易想到一種消極的方面. 就是說, ?可以使詩篇陳舊而平淡無奇. 但分析實際作品, 可見這些常用詩語, 對詩篇具有形象性, 而獲得送別詩應有的情感, 起了更大的作用.
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호응린(胡應麟) 당대(唐代) 근체시론(近體詩論) 연구(硏究) ― ≪시수(詩藪)- 내편(內編)≫을 중심으로 ―
김준연 한국중국어문학회 2003 中國文學 Vol.39 No.-
詩話是中國古代詩歌批評的-種特有的形式, 不但流傳至今的?多, 而且內容也相當豊富. 一般的詩話主要提出兩個方面的詩學主張; 一個是詩歌理論, ?一個是詩歌批評. 在本文, 筆者要通過分析明代胡應麟的詩話著作 《詩藪》, 考察他對唐代近體詩提出的見解, 而了解這兩個方面??相連結起來. 衆所周知, 胡應麟是屬於明代復古派的詩論家, 他對前后七子所提倡的“格調說”, 大有補充和發展, 將“格調”擴充爲“體格聲調”, 進一步提出“興象風神”這個槪念, 把?作爲最重要的批評標準胡應麟根據這樣的基本理論, 分別討論了唐代的各個詩歌體裁. 他認爲, 爲了有效率地師法唐代的近體詩, 首先一定要?淸楚學習的階段和選定學習的對象. 第一個階段是“法”, 就是說“體格聲調”; 第二個階段是“悟”, 就是說“興象風神”, 也就是說“神韻”. 比例說, 在五言律詩方面, 他的看法是這樣的. 卽學習者先要從初唐詩人師法五言律詩的“體格聲調”, 然后要從王維、孟浩然等等的盛唐詩人體會“興象風神”. 特別是在律詩方面有?一個更重要的階段, 就是杜甫的“變幻”. 如果按照這樣的詩學主張, 那?胡應麟把杜甫的一首五言律詩《登岳陽樓》選爲盛唐最高的詩篇, 也是理所當然的. 從這個例子, 我們不難看出胡應麟把詩歌理論和詩歌批評的兩個方面如何結合起來. 總的來說, 筆者認爲胡應麟的唐代近體詩論是對?樣學習唐代近體詩的問題提出的一種具體的理論和方法.
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김준연,조진현 대한구강악안면임플란트학회 2021 대한구강악안면임프란트학회지 Vol.25 No.4
When partially edentulous patients are treated using removable partial dentures, the teeth used as abutments are critical for prosthesis success. However, for patients with few remaining teeth, the prognosis of such abutment teeth supporting the clasp of removable partial dentures is of concern. In contrast, several studies have reported the success of treatments using double-crown prostheses for patients with few remaining teeth as periodontally compromised teeth can be used as abutments for double-crown dentures even when their prognosis is doubtful for removable partial dentures with clasps. This provides more options for treatment planning for partially edentulous patients with few remaining teeth. In this study, the patient was treated using a conus double-crown denture, where the inner and outer crowns were fabricated using a gold alloy. After 12 years, a new prosthesis was planned due to loss of denture retention and extraction of an abutment tooth. For the new prosthesis, three additional implants were placed and the original abutment teeth with gold inner crowns, except for the one that was extracted, were maintained and were used as abutments for the new hybrid telescopic double crown denture using a friction pin method. Although the opposing arch had natural teeth and fixed prostheses, the patient adapted well after denture delivery and was overall satisfied.
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이상은(李商隱) 칠언율시(七言律詩)에 쓰인 동물(動物)이미지 연구
김준연 한국중국어문학회 2010 中國文學 Vol.62 No.-
人類的發展過程中, 動物一直是和人類關係最密切的自然物之一. ?們走進了人類的生活圈子, 成爲人類生活的一部分. 所以, 我們在中國古代詩歌裏, 不難發現, 每個詩人都經常運用各種多彩的動物形象, 得到一定的修辭效果. 晩唐李商隱的詩也不例外. 他在 創作七律詩篇的過程中, 進一步發揮運用這些動物形象的手法, 展開了一個令人注目的象徵世界. 李商隱的117首七律中, 運用的動物形象, 一共是143個. 也就是說, 每一首詩使用了1.22個左右. 這個數字表明, 李商隱活用動物形象的頻率比較高. 動物形象, 可以分爲五個種類: 想像類,鳥類,獸類,蟲類,魚類. 李商隱七律, 愛用想像類和蟲類動物的形象, 是一個明顯的特徵. 本文從多層的角度上, 對在李商隱七律裏所見的動物形象的含意, 進行了一些具體的分析. 結論如下: 第一,想像類的動物, 往往成爲有性別的形象, 帶着比較强烈的神秘色彩. 尤其, 鳳凰經常女性化了以後, ?馬,牛等象徵男性的動物合用, 表現男女之間的愛情. 第二,蟲類動物中, 應該注意蝶子和蜂, 這兩種動物形象. ?們的形象, 充滿悲劇性的象征意味, 充分地表現出來不能實現理想和願望的哀怨. 第三,鳥類和獸類的動物中, 也有我們値得欣賞其巧妙的運用. 例如, “無題詩”中的 “靈犀”,“春蠶”,“金蟾”等等動物形象的創新, 可以說這些無題詩能勾取得輝煌成就的一個非常重要的原因. 李商隱七律中的動物形象, 不但在一定的比喩,象徵的系統裏形成了深長的意味, 而且起了喚起情緖,强化主題等等一些修辭作用. 比如說, <正月崇讓宅>裏的??和老鼠, 有效地描寫一所荒凉寂靜的廢家, 强烈地喚起讀者的悲哀情緖. 再比如說, <馬嵬二首>其二這首詩, 在中間兩聯裏, 集中運用了虎,鷄,馬,牛等四個動物形象, 得到了諷刺唐玄宗愚昧的良好的效果.
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김준연 고려대학교 중국학연구소 2022 中國學論叢 Vol.- No.76
In this study, the problem-based learning(PBL) instructional model of Chinese classical poetry was reviewed. PBL is a teaching and learning method designed so that students no longer focus on finding answers. Therefore, it emphasizes the process of solving unstructured problems that reflect the realistic context. The "ubiquity of knowledge" is the most changed educational environment in the era of digital transformation. The transfer of fixed knowledge can no longer be seen as a mastery of university education. Along with the change in the educational paradigm, the instructor's mission is now moving toward cultivating the ability of learners to construct knowledge on their own. However, as with all methodologies, theory alone does not solve all practical problems. It is necessary to improve the practical educational effect by examining all three elements of the class: instructor, learner, and educational content. The educational goal of "Chinese Classical Poetry 1" was placed on the general point of view of literary education such as cultivation of creativity, imagination, and expression. In order to find out which class model would be good when applying PBL, I meta-analyzed my own class site over three semesters. Four types of unstructured 'problems' to be presented to learners were selected: presentation of appreciation of the work, writing a book report, group discussion, and group performance. And we looked at the learner's results for this type. Overall, it is evaluated that the PBL instructional model has led to significant development in terms of motivation and achievement improvement in learning "Chinese Classical Poetry 1". The instructor's subjective impression of the effect of the instructional model is not enough. Therefore, a questionnaire consisting of 18 questions was distributed to 99 students and the results were analyzed. The learner's satisfaction with the PBL questionnaire model was generally excellent, so the possibility of this model could be highly evaluated. The "professionality," "difficulty level," and "group composition," which had somewhat low scores, were reviewed how to supplement the problems. Through the analysis of the results of the 4 multiple choice, it was possible to confirm the preference for group performance and group discussion. However, I still think the importance of personal learning should not be overlooked. In the analysis of the results of the descriptive question, the factors that students had difficulty or needed more support in the PBL class model were identified. Students asked for more attention to "time arrangement," "difficulty adjustment," and "providing examples and feedback." In addition, it was found that 'preparing objective evaluation standards' is also important. Referring to the analysis results as described above, it is expected that a better PBL class model can be designed. In short, I think PBL can be an attempt to establish the status of literary education more actively. What abilities should the 'human resources with humanities' that our era needs along with the right personality? Through the development of a teaching model using PBL, I hope that the class of Chinese classical poetry will be an example of how education performs such humanities' responsibilities.
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김준연 한국중국어문학회 2016 中國文學 Vol.89 No.-
This paper focused on Li Shangyin(李商隱) as a typical writer served with General's office. He had served with Zizhou(梓州) General's office for more than 4 years in his forties. Especially in this period, he lived alone apart from his young children ever since he lost his wife. These particular situations can be a rich source of inspiration for composing plentiful seventy poems which are of great importance in his whole collection. The contents of this period's poems showed their various writing material from the feeling of intense love and longing for his family to the experiences and thoughs arised from the exausting work of General's office. Consequently he composed many poems that revealed his inevitable bouts of homesickness. As a result of this paper, I can get a conclusion that the poems of this period have significant literary achievements. They show not only masterful skills of metaphor and analogy, but outstanding accomplishments through the study of poems of Du Fu(杜甫) who also had lived in Zizhou for about two years. Furthermore, they can hold an important place among the ‘literature of the underappreciated', for revealing tragic fate of poet served with General's office. 본 논문은 晩唐의 시인 李商隱이 梓州의 劍南東川節度使 막부에서 지내며 창작한 시 71수를 ‘재주막부 시기 시’로 묶고, 이 시들의 주요 제재와 특징을 고찰한 것이다. 이상은이 일생 동안 거친 아홉 군데의 막부 가운데 재주막부는 그가 인생의 만년에 4년을 넘겨 가장 오랜 기간 머물렀던 중요한 곳이다. 본 논문에서는 黨爭의 틈바구니 속에서 喪妻의 아픔까지 겪은 시기에 대표적인 ‘막부 문인’으로 일컬어지는 이상은의 시가 재주막부에서 보다 성숙해지는 과정과 결과를 살폈다.
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