풀벌레와 일본시가

유옥희(兪玉姬, You, Ok-Hee) 일본어문학회 2009 일본어문학 Vol.45 No.-

俳諧の季語の中でも日本人の‘あはれ’や‘寂び’の美意識を代弁する‘虫’に 焦点を合わせ、その脈絡を考察してみた。虫の音に秋の訪れを感じ、一人寝の夜、虫の音に怨みを仮託し、弱っていく虫の音に秋も深まり冬の訪れを予感する、というふうに季節の推移を感じる。韓国の時調にも恋には‘蟋蟀聲’がよく詠まれたものの、儒者たちの重要な関心事にはならなかったが、日本の場合『古今集』以来の感性的な文化に基づき、きりぎりす、鈴虫、松虫、轡虫、機織り、蟋蟀などの虫の声を区別して聞き、歌にはよくその名が個別的に捉えられて詠まれた。また、虫の音を愛でる虫選、虫合などの文化が発達していたことがわかる。 ただ、貴族文化の和歌においては虫の音は感傷的な詠み方が主流であっ たが、庶民文学である俳諧になるにつれて生活感覚のなかに溶け込んだ審美的な素材として楽しまれていたことが分かる。そこで、虫聞き、虫売りなどの風俗も現れたのである。 都市化が進むにつれ虫の音の情緒を理解することは実に難しいことであ るが、できる限りその音を鑑賞できる環境を備え、季節の推移を敏感に感じ取る詩心を育み、微細な生命に対する憐れみ合いと謙虚さを回復すべきだと思う。

와카에 나타난 사랑의 수사(修辭)와 그 미학

유옥희(Ok-Hee You) 계명대학교 여성학연구소 2011 젠더와 문화 Vol.4 No.1

일본의 전통시 와카(和歌)에서 가장 중요한 테마 중의 하나는 사랑 이다. 10세기를 전후하여 교육의 기회가 적었던 여성들도 쉽게 익힐 수 있었던 가나문자가 정착되었고, 남녀를 불문하고 내면을 자유롭게 표출할 수 있는 환경이 마련되어 있었기 때문이다. 그러나 사랑을 주제로 한 와카는 상당히 난해한 것이 많다. 그것은 상대의 마음을 움직이기 위해 화려한 수사법 을 동원하거나 숨기고 간직하는 마음을 우회적으로 표현한 것이 많기 때문이다. 사랑을 읊은 와카의 변화를 보면, 대륙과의 교류가 빈번했던 나라시대에는 수사법이나 우회적인 표현이 그다지 보이지 않고 직설적이며 열정적인 사랑을 노래한 것이 많다. 그러나 헤이안시대이후의 와카들을 보면 난해한 수사법이 빈번히 동원되며 드러내지 않고 감추고 간직하는 시노부코이(忍ぶ?)가 가장 미적인 것으로 읊어지고 있다. 그 요인으로 연애의 형태나 결혼제도와 같은 환경에서 비롯된 사랑 에 대한 미의식을 들 수가 있다. 결혼을 해도 함께 살지 않고 남자가 여자의 집을 다니는 방혼제가 일반적이었던 환경에서 사랑에 대한 미의식이 싹텄다고 볼 수 있다. 가론이나 렌가론 등의 문학론에도 비밀스런 사랑, 생각만 하는 사랑, 허무한 사랑에 대한 찬미가 주류를 이루며 신비주의 가 수많은 사랑의 와카의 수사법을 낳았음을 알 수 있었다. One of the most important themes of the Japanese traditional Waka poem is love. That is because Kana characters, a writing form so easy that a poorly-educated could learn it, were widely spread during the 10th century. This led to an atmosphere where every man and woman freely expressed one’s inner thoughts and feelings. However, there are many Wakas about love which are considerably difficult to interpret. This is due to the fact that indirect expressions of one’s heart were common and many fancy rhetorical devices were used as a means to move the beloved one’s heart. The Wakas about love in the Naraera(710-794), when Japan had frequent cultural exchanges with the Chines continent, feature direct expressions rather than fancy rhetorics or indirect expressions. On the other hand, the Wakas after Heianera(794-1185/1192) considered the ‘shinobukoi(忍ぶ?)’ style as the most aesthetic. ‘Shinobu koi’ is a poetic expression which uses lots of complex rhetorical devices and hides one’s inner side. ‘Shinobu koi’ is, so to speak, a secret or one-sided love. The main reason such poems arose is due to an aesthetic sense of love which emerges in the beginning of love or within the marriage institution. Especially in the Heian period, people began love with ‘kaimami(垣間見)’ : peeping, shared love at night, and parted at dawn. What is more, a man usually visited a woman’s house even after marriage. In this atmosphere, an aesthetic sense of love arises. The literary theories such as ‘karon(歌論)’ or rengaron (連歌論) assert that you should not just recite bald stories about couples sharing the joy of love. Rather, it was a secret or unrequited love that was mainly praised. It is this mysticism that brought about so many complex rhetorics in Wakas.

하이카이에 나타난 ‘고양이의 사랑(猫の恋)’과 그 정서

유옥희(You Ok Hee) 일본어문학회 2017 일본어문학 Vol.77 No.-

本稿では俳諧における主要季語の一つである猫の恋に焦点を合わせ、文化史および文学的背景を調べた後、俳諧において描かれる情緒について考察した。人類の歴史において農耕の始まりにより、‘穀物を害する鼠を捕る’という利点から猫は人間生活に深く関わるようになった。人間によって手なずけられるようになってから、猫の様々な習性が文学作品に登場することになる。ところで、日本の詩歌の伝統に照らしてみる時、猫は和歌や連歌においては殆んど登場しておらず、俳諧において頻繁に素材として扱われ、重要な季語として定着した。 俳諧において猫は平和な日常の象徴でもあったが、主に春に発情をして声を立てながら恋をする情景が春の季節感を表わす詩語として発達した。江戸の俳諧師たちは『源氏物語』の女三宮の密会の場面に登場する猫をモチーフに想像力を掻立てたり、田園の美しさを背景に気兼のない猫の恋の風景、また、結ばれず発情した猫の哀歓などを諧謔と叙情性を含ませて詠んでいる。芭蕉は手紙で越人の作品を讃えながら猫の恋について言及しており、いかに卑俗な動物の挙動であっても人間の心性の鏡になりうるということを示唆している。‘猫の恋’を詠んだ俳諧作品は和歌の場合のように単なる審美的な素材にだけ目を向けるのではなくあらゆる周辺の日常を対象にして‘含蓄と笑いを忘れない’俳諧の本質を示したと言える。 This article has looked into the main defining sentiments expressed in haikai, followed by close examination of the cultural history and literary background focusing on cats’s love, which is one of the most important season words in haikai. Since the beginning of agricultural life in human history, cats have been deeply involved in human life due to the advantage that they catch rodents which damage crops. The domestication of cats by humans has allowed the various habitual behaviors of felines to appear in the literary work. From the perspective of the tradition of Japanese poetry, cats had rarely appeared in waka and renga and yet by time when the era of haikai arrived, they have become a popular subject and have established themselves as a significant season word. Although ‘cats’ in haikai symbolize a peaceful daily life, ‘their lovemaking with a loud and piercing cry in estrus’ was developed into a poetic language embodying ‘seasonal feelings of spring.’ Cats appeared and were used as a motif, to the effect of stimulating people’s imagination, in the secret rendezvous scene of the Japanese classic literature, The Tale of Genji. With a beautiful pastoral view as its background, they were also illustrated humorously in cats’ carefree lovemaking scene and the agony of cats in estrus which failed to find a mate. Basho, who had praised the literary works of Etsujin in his letter, referred to the cats’s love, strongly emphasizing that however vulgar it may appear animals’s behaviors can act as a mirror to human nature. Haikai works which portrayed ‘cats’s love’ not only simply focused on aesthetic subjects like waka, but also captured the essence of haikai that ‘does not lose room for imagination and smile by appealing to the very poet in every human being’s heart’ using vulgar and earthy everyday life as its object.

와카와 하이쿠에 나타난 ‘여치’와 ‘귀뚜라미’ - 명칭의 혼동과 시상(詩想)의 혼란 -

유옥희 ( You Ok-hee ) 한국외국어대학교 일본연구소 2022 日本硏究 Vol.- No.92

季節感覚を基調とする日本の詩歌において一、二季節の間活動し続けてから消える昆虫は歌人や俳人たちの好む素材であった。しかし、名称の混同によって詩歌の創作と鑑賞において様々な問題が生じた。なかでも今のきりぎりす(螽斯、여치, 実物を‘A’と呼ぶ)とこおろぎ(蟋蟀、귀뚜라미, 実物を‘B’と呼ぶ)の混同が特に顕著であった。江戸時代末期からBの俗称である‘こおろぎ’がそれまでBの名称であるきりぎりすの代わりに、俳句によく詠まれてからである。『万葉集』の蟋蟀もこおろぎと詠むべきであるという国学者の研究が出てから、こおろぎは‘B’の標準語として辞書類に明記されるようになる。きりぎりすはAの俗称であるぎすと混同されつつAの標準語となった。しかし、今も小説家や詩人たちは和歌の伝統的詩想に従ってきりぎりすをBの名称として使っている場合が多い。 名称の混同によって夏の昆虫としての特性のあるAが‘もののあはれ’を誘うBの詩想に便乗する現象が現れた。これは田園の体験とは縁遠い文人たちが昆虫の実体が分からないまま享受したことと、詩歌を詠む時点で五音節の‘ki ri gi ri su’ と、四音節の‘ko o ro gi’とをその実体と関係なく使っていたことにも起因する。また、国学者たちの一方的な主張に従い辞書に明記されることによって、小学校の唱歌も歳時記も修正しなければならない事態を招いた。本稿の考察結果、中世まではっきりとBの名称として使ったきりぎりすをそのまま使い、こおろぎは異称として扱い、平安時代以来Aの名称として使っていたはたおり(機織)をそのまま使い、ぎすを異称として扱っていたら今のような混乱はなかっただろうと推定される。昆虫の実体に対する知識とともに詩歌も詠まれ、享受されるべきだという点において昆虫人文学的な視点が要求される。 Insects which disappear after one or two seasons of activity were preferred subject of waka poets or haiku poets in Japanese poetry literature based on the sense of the season. However, problems in the creation and appreciation of poetry frequently arose due to the confusion of the name. Especially, there was a lot of confusion between long-horned grasshopper and cricket among them, it is since the time at the end of the Edo period, ‘koorogi’ which is a popular name for cricket, has frequently appeared in haiku instead of ‘kirigirisu’ which the traditional meaning of cricket. ‘koorogi’’ was specified in the dictionary as the standard word for cricket as a result of study by the Japanese scholar which the ‘cricket’ in the Manyoshu also should be read as ‘koorogi’. ‘kirigirisu’ became the standard word of long-horned grasshopper confusing it with the so-called word, long-horned grasshopper, 'gisu'. However, there are many cases that novelists and poets still use kirigirisu as cricket according to the tradition of waka even in modern times. There was the phenomenon that long-horned grasshopper has strong summer insect characteristic was carried on the image of cricket due to the confusion of the names. The major reasons of this phenomenon were that writers, far from rural experience, only felt by sound without knowing the substance of insect, four syllables and five syllables of poetry properly used regardless of the substance depending on the rhythm, and in addition, the fact that it was specified in the dictionary according to the one-sided argument of Japanese scholars. The study on insect humanities is urgently necessary from the standpoint that the poetry should be created and appreciated along with the knowledge of the substance of insect.

하이쿠에 나타난 ‘스시’의 미학

유옥희(You, Ok Hee) 한국외국어대학교 외국문학연구소 2012 외국문학연구 Vol.- No.46

에도시대 이래 하이쿠에는 스시를 읊은 작품이 많이 등장한다. 하이쿠의 계어(季語)가 되는 스시는 요즈음 우리가 일반적으로 먹는 ‘니기리즈시 握り?’가 아니라 생선을 수일간 삭혀서 만든 ‘나레즈시 熟れ?, 馴れ?’이다. 본고에서는 우리의 ‘생선 식해’와 유사한 나레즈시를 문화사적으로 조망하고, 세시기의 기록을 살펴봄과 동시에 실제 하이쿠에 어떻게 읊어졌으며 그 정서는 무엇인지 고찰했다. 나레즈시는 헤이안시대부터 기록에 나타났으나, 16세기부터 하이쿠에 등장하기 시작했고, 세시기에는 17세기 무렵부터 기재되었음을 알 수 있었다. 또한 일반 가정에서 직접 돌로 눌러 삭혀서 먹었기 때문에 서민들의 가장 진실한 정서가 드러남을 알 수 있었다. 세시기에서 나레즈시는 여름을 상징하는 계어로 등장하며, 날생선이 아닌 ‘숙성’이라는 것이 강조되어 있었다. 하이쿠 에서는 ‘생선을 누르는 누름돌의 무게감’, ‘움직임이 멎은 적막감, ’숙성되기를 기다리는 마음’, ‘잘 삭았는지 뚜껑을 열어보는 기대감’을 담은 작품이 많았다. 실제의 맛은 구체적으로 드러내지 않고 여백처리 하고 있다. 와카, 렌가와 달리 하이쿠에서는 일상과 밀착된 ‘음식’ 소재들이 자주 다루어지는데, 특히 나레즈시는 집에서 시간을 들여 생선을 발효시키는 그 방식 때문에 서민생활 저변의 정서를 담아내는 시어(詩語)로 쓰였다. 때문에 마쓰오 바쇼 松尾芭蕉와 같은 방랑자보다는 실생활에 밀착해 살았던 요사부송 ?謝蕪村과 마사오카 시키 正岡子規와 같은 하이진 俳人들의 작품이 많았음을 알 수 있었다. Since Edo period, there have been numerous haikus dealing with sushi. The sushi used as a season word in haiku is not nigirizushi which people commonly eat nowadays, but rather is narezushi which is fish fermented for a few days. This paper surveys narezushi (similar to Korean fermented fish with grains) from the angle of cultural history, examines almanac records, and studies on how haikus were composed and emotions in those works. In almanacs, narezushi has been used as a season word symbolizing summer since the beginning of Edo period and was emphasized as being "fermented and mature", quite different from raw fish. There are various haikus featuring the heaviness of stones for pressing fish, silence and stillness in actionless situation, feeling of looking forward to fermentation, and feeling of expectancy when opening lid to check whether fermentation is finished. However, the real taste of narezushi was not described in detail but rather a space as left for further imagination. Unlike Waka and Renka, haiku often deals with foods closely related to everyday life. Especially since average households made their time to ferment fish and make narezushi by themselves, it was commonly used as a poetic word portraying ordinary people"s feeling and sentiment. These works show well an aspect of haiku which is to capture and describe the emotions of everyday life, and for that reason there are more haikus written by haiku poets like Yosa Buson and Masaoka Shiki who lived a life closely adhered to real life than works done by Basho who was a wandering haiku poet. 에도시대 이래 하이쿠에는 스시를 읊은 작품이 많이 등장한다. 하이쿠의 계어(季語)가 되는 스시는 요즈음 우리가 일반적으로 먹는 ‘니기리즈시 握り?’가 아니라 생선을 수일간 삭혀서 만든 ‘나레즈시 熟れ?, 馴れ?’이다. 본고에서는 우리의 ‘생선 식해’와 유사한 나레즈시를 문화사적으로 조망하고, 세시기의 기록을 살펴봄과 동시에 실제 하이쿠에 어떻게 읊어졌으며 그 정서는 무엇인지 고찰했다. 나레즈시는 헤이안시대부터 기록에 나타났으나, 16세기부터 하이쿠에 등장하기 시작했고, 세시기에는 17세기 무렵부터 기재되었음을 알 수 있었다. 또한 일반 가정에서 직접 돌로 눌러 삭혀서 먹었기 때문에 서민들의 가장 진실한 정서가 드러남을 알 수 있었다. 세시기에서 나레즈시는 여름을 상징하는 계어로 등장하며, 날생선이 아닌 ‘숙성’이라는 것이 강조되어 있었다. 하이쿠 에서는 ‘생선을 누르는 누름돌의 무게감’, ‘움직임이 멎은 적막감, ’숙성되기를 기다리는 마음’, ‘잘 삭았는지 뚜껑을 열어보는 기대감’을 담은 작품이 많았다. 실제의 맛은 구체적으로 드러내지 않고 여백처리 하고 있다. 와카, 렌가와 달리 하이쿠에서는 일상과 밀착된 ‘음식’ 소재들이 자주 다루어지는데, 특히 나레즈시는 집에서 시간을 들여 생선을 발효시키는 그 방식 때문에 서민생활 저변의 정서를 담아내는 시어(詩語)로 쓰였다. 때문에 마쓰오 바쇼 松尾芭蕉와 같은 방랑자보다는 실생활에 밀착해 살았던 요사부송 ?謝蕪村과 마사오카 시키 正岡子規와 같은 하이진 俳人들의 작품이 많았음을 알 수 있었다. Since Edo period, there have been numerous haikus dealing with sushi. The sushi used as a season word in haiku is not nigirizushi which people commonly eat nowadays, but rather is narezushi which is fish fermented for a few days. This paper surveys narezushi (similar to Korean fermented fish with grains) from the angle of cultural history, examines almanac records, and studies on how haikus were composed and emotions in those works. In almanacs, narezushi has been used as a season word symbolizing summer since the beginning of Edo period and was emphasized as being "fermented and mature", quite different from raw fish. There are various haikus featuring the heaviness of stones for pressing fish, silence and stillness in actionless situation, feeling of looking forward to fermentation, and feeling of expectancy when opening lid to check whether fermentation is finished. However, the real taste of narezushi was not described in detail but rather a space as left for further imagination. Unlike Waka and Renka, haiku often deals with foods closely related to everyday life. Especially since average households made their time to ferment fish and make narezushi by themselves, it was commonly used as a poetic word portraying ordinary people"s feeling and sentiment. These works show well an aspect of haiku which is to capture and describe the emotions of everyday life, and for that reason there are more haikus written by haiku poets like Yosa Buson and Masaoka Shiki who lived a life closely adhered to real life than works done by Basho who was a wandering haiku poet.

‘인간사’와 관련한 부송의 홋쿠 연구

유옥희(兪玉姬)(You, Ok-Hee) 일본어문학회 2011 일본어문학 Vol.53 No.-

与謝蕪村の俳諧には日常や人間像そのものを詠んだ作品が數多く見られる。季語においても‘人事’の季語が多い。本考ではまず、蕪村の全發句を調査し、市井の雜事や、樣々な部類の人間像、あるいは人間の身体を素材とした發句がどのように芸術化されているのかを分析した。また、總合的な作業として、發句における‘人事’の季語の分布を‘生活’と‘行事’とに分けて調査した。 考察の結果、身近な生活道具や好物の食べ物、衣服など、一見、詩歌の素材になりえないような事物も蕪村の目を通すと美的に昇華していることが分かった。蕪村は市井に籠もり安住しつつ、畵法の「去俗論」から學んだ「離俗論」の立場によって、俗な言葉を使い、俗な世界を取り上げながらも‘俗氣’を離れ、人間臭さを賞美したことが理解できた。

일제강점기의 하이쿠 연구-『朝鮮俳句一万集』을 중심으로-

유옥희(You Ok-Hee) 일본어문학회 2004 일본어문학 Vol.26 No.-

『하이카이 통속지(誹諧通俗志)』에 나타난 계어(季語)의 양상

유옥희(兪玉姬)(You, Ok-Hee) 일본어문학회 2012 일본어문학 Vol.57 No.-

18世紀初めに出た誹諧通俗志(以下、通俗志と呼ぶ)は俳諧作法書であるが、‘時令’の部分は季寄としての性格を持っている。‘時令’には12ヵ月に分けて季語が並べられており、その季語の数においても2千を越えている。なかでも人事の季語において特徴的なものが多く、季節の流れに従った当時の生活習俗を窺い知ることができる。 通俗志の季語の様相を調べた結果、まず、季節行事からなる季語が非常に細分化されていると同時に、地方の行事も膨大に収集され、その場所や日にちも記されており、月別、季節別の習俗の全体像を眺望することができる。また、人事の季語の多い‘冬の部’に焦点を当ててその傾向を分析してみると、はなひ草、毛吹草、俳諧初学抄などの俳書に比べ、町の市井の生活に密着した季語が非常に多いことが分かった。そして、同時代に市井に生きた与謝蕪村の作品に読まれた季語と照らし合わせてみると、‘冬’の生活道具、衣服、食、娯楽などからなる季語は通俗志と殆んど一致を見せていた。 ‘通俗の誌’という通俗志の題の意味、また、序文で他の俳書を指して‘温故の理を籍といへとも知新の益見えず’と過去にだけ拘っていると批判している言葉にも出ているように、常に当代の生活に密着した人間の‘志’を捉えるべきだという趣旨が実現されていると言えよう。通俗志に出ている季語はもっとも‘通俗な志’が詩になる根拠を見せてくれる。

하이쿠적 시선과 생태 -풀꽃과 풀벌레를 중심으로

유옥희 ( You Ok Hee ) 한국문예창작학회 2011 한국문예창작 Vol.10 No.1

paraquat 투여로 손상된 백서폐에서의 Superoxide dismutase 활성도에 관한 연구

오현관 ( Hyun Kwan Oh ),송현곤 ( Hyun Kon Song ),이근배 ( Keun Bae Lee ),유옥희 ( Ok Hee You ) 대한내과학회 1984 대한내과학회지 Vol.27 No.4