http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : 윤호병 ( Ho Byeong Yoon ) (검색결과 11 건)
- 무료
- 기관 내 무료
- 유료
-
-
한국 현대시에 반영된 폴 베를렌의 영향과 수용 -베를렌의 시세계의 영향,수용,전용,변용을 중심으로-
윤호병 ( Ho Byeong Yoon ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2007 世界文學比較硏究 Vol.20 No.-
In the fields of comparative literature are included comparison literature with literature, literature with arts, and literature with literary theory. These are the basic fields of comparative literature emphasized by the international comparative literary societies such as, among others, International Comparative Literature Association(ICLA), Federation Internationale des Langues et Literatures Modernes(FILLM), and Knowledge, Creativity and Transformations of Societies(KCTOS). In comparing and investigating the relationship between French Symbolism(not symbolism) and Modern Korean Poetry, Taeseomunyesinbo (Western Literature and Arts) informs us various sources and examples in relation to the subject matter on Paul Verlaine`s "Chanson d`automne," which Eok Kim translated into Korean for the first time and retranslated it several times. Through his various translations of Verlaine`s "Chanson d`automne," Kim understood the importance of poetic musicality rather than poetic meaning, and he emphasized "De la musique avant toute chose" which is the first line of Verlaine`s "L`Art poetique." Verlainean poetic musicality leads Kim juxtapose French Symbolist cadences with those of Korean and he transforms traditional Korean cadences into modern styles. Kim`s efforts in recreating truly modern cadences can be found not only in his creative poems but also in the poetry of Sowol Kim, who is now generally accepted as one of the national poets. Hence it naturally follows that Eok Kim`s enthusiastic pursuits of Verlainean poetic musicality are inherited to the poetic language and rhythm of Sowel Kim during the 1920s. Another line of Verlaine`s influence on the modern Korean poetry is found in the poetry of Youngnang Kim, who is well known for his using the vernacular language of the southern part of Korea. With his statement that he was infatuated with Verlaine`s poetry, Kim made it clear that he was addicted to the Verlainean poetic musicality and he transformed it into his own poetic cadences. For the influence of Verlaine, I have compared one of Kim`s poems with Velaine`s "Il pleure dans mon coeur"; for the poetic musicality and rhythm I have analyzed Kim`s "Ecstatic Moonlight" in relation to Verlaine`s "Clair de lune." Kim`s enthusiasm of poetic musicality led him to realize the importance of traditional Korean music as well as the "Chokgi"(Spirit of Candlelight), not to lose the pure Korean mind during the period of foreign suppressions. Besides these three poets, there are various modern Korean poets whose trances tell us the footsepts of Verlaine`s poetic world: Seokwoo Hwang, Chongwha Park, Tongmyeong Kim, Mokwol Park, etc. With these discussions, I can tentatively conclude that the impact of Verlaine`s poetic musicality made those of modern Korean poets recognize not only the importance of recreating traditional Korean cadence in their poetry but also the necessity of developing truly Korean national language as well as vernacular for the poetic cadences.
-
-
-
-
-
-
윤호병 한국비교문학회 2004 比較文學 Vol.32 No.-
As one of the persuasive fields of comparative literary studies, Henry H. H. Remark has emphasized us to compare literature with other art. Understanding the importance of such a cornpanson, I have focused on the contemporary Korean poets who have transferred Cheong-Hui Kim's painting into their poems. Cheong-Hui Kim(1786-1856) is one of the most important Korean painters in the history of Korean paintings. Not only as a well-known politician but also a leading painter of his day, Kim was interested in the genre including painting itself, Chinese writings known as Chusache, studies in the field of monumental inscriptions. In my study, I have compared Kim's painting entitled "Sehando" (Painting in the Period of Cold Weather)with contemporary Korean poems from such poets as the 1950s to the 1990s. Having compared Kim's painting with the various twenty-five contemporary Korean poets and their thirty-one poems, I have found out that cultural memory has been the main stream of their spiritual factor in their world of art and poetry: confirmation of identity as a Korean ancient and modem, emphasis on the indomitable life-style in the period of oppression, understanding the vision of everlasting honest attitude, and recognition of the important Korean cultural heritage. Through their poetic attitudes toward Kim's painting, the world of contemporary Korean poets can be divided into four categories: they are the poems mainly related to the postscript of Kim s painting, the poems of recognizing the reality of the painting itself, poems of reflecting individual emotions, and the poems of visiting the place where Kim was exiled to the Cheju Island. To follow up the needs of international flows of comparative literary studies, the importance of comparing poetry with painting should be understood in our comparative literary society.
-
윤호병 한국비교문학회 2003 比較文學 Vol.31 No.-
The possibility of translating literary work lies in the large scope of its pertinence, its basic concern with cultural environment and its disparate levels, from the original meaning within the context of a full consideration for the original work to be translated to the meaning within another context of the work translated into foreign language. In the matter of translation theory, cultural environment is one of the most important elements in the age of globalism in which national identity is apt to be lost rather than to be kept. In this study is considered the importance of cultural environment, the translation of foreign poem s into Korean, and the translation of Korean poem s into English. For the first case, to understand its special significance in its socio-historical background, it is necessary to consider both the personal usage with its incidental, half-conscious commitment and the national identity with its systematized, unified contribution. With these aspects, the special word N‘im ,’ which is usually translated into English as L‘ove/love’ or ‘You/you,' has been discussed in connection with Yongun Han’ poem entitled “Silence of Love”by Jaihiun J. Kim ’s translation and “Your Silence”by Sammy E. Solberg’s translation. The second material is included in this paper chiefly because of the light which it has thrown in the retrospect on the views of earlier influences on the formation of modern Korean poems: the powerful influence of Paul Verlaine’s “Chancon d'automne” by Ok Kim's translation with the help of Japanese translation by U¨eda Bin on the formation of modern Korean poetry, the similarities and differences between Kim’s translation and Bin’s translation of Verlaine’s poem, Kim's recreation of the poem for his ow n titled “Great Musician,” and his commitment of poetic musicality which is affected Sowol Kim's poetic world. The most and stimulating and suggestive translation, indeed, has com e from the comparison of the different English translations of Chiyong Chung’s “Window I” by Peter H. Lee, Jaihiun J. K im, and Daniel A. Kister. though each of them seems to have done his best in his translation of Chung’s poem, Kister’s English translation is close to its original poem in its poetic form as w ell as its meaning. While the m ore cautious translator has ever been doubtful of the quality of his language abilities, fearful of the introduction of Korean words, idiom s, and cultural heritage, to the men who have cared most about the destinies of the vernacular, Peter H. Lee’s English translation of Hun Sim’s “W hen That Day Comes”has appeared not an enemy to the m other tongue, but a means of enlarging and clarifying it and to make the Sim ’s poem known to the world literary circles. Lee’s contribution through his translation of Sim’s poem has been highly evaluated by Sir Cecil Maurice B ow ra in his Poetry and Politics, 1900-1960, how ever, I have urged upon the translator’s literary understandings both due regard for the original and due regard for E ng lish literary standards. Thus regarded it becomes a vital part of literary translation that a translator should consider the cultural environment of his vernacular literary works, because it is not only a necessary source which suggests the hidden meaning s of a work but also a decisive element which form s the national identity in the so called global age.
-
윤호병 韓國比較文學會 2002 比較文學 Vol.29 No.-
Edvard Munch(1863-1944) is one of the most important Norwegian painters in the history of world paintings. As a leading painter of his day, Munch was interested in all of the genre including landscape and portrait. He studied in Christiania (now Oslo) and in Paris under Bonat and traveled in Germany and Italy. Though he spent much of his life in abroad, from 1909 he returned to his country and stayed there until his death. Under the influence of neo-impressionism and expressionism, Much's work is highly original, daring in color and design, and full of psychological implications. Among others, Munch's "The Scream" (1893) and "Melancholy" (1891-92) reflect most effectively those characteristics of his paintings. In our study, we have compared "The Scream" with Seungha Yi's poem entitled "With the Painter Munch" and "Melancholy" with Young Ok Han's poem titled "From Munch 2." In Yi's poem, 'stammering voice' is used to emphasize the front female figure's face-in Munch's "The Scream"-shocked by the feeling of isolation from the world; such a feeling can be found in the daring color and design of the painting itself. In Han's poem, 'psychological analysis' is used to explain the front male figure's face-in Munch's "Melancholy"-which shows us his despairing mood aroused from his lover's sudden separation; such a feeling can be read from the seascape calm and silent. Through their poetic attitudes toward Munch's works, Yi and Han significantly have transformed them into 'tragic vision of modern man, 'not only in individual life but also in ideological world.
KCI연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
