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유종목 영남중국어문학회 1987 중국어문학 Vol.13 No.1
熙寧四年(1071)到熙寧七年(1074), 蘇東坡離開了黨爭선渦的변京, 到杭州任通判. 在他的文學創作方面, 尤其在他的詞作方面, 這三年是具有深刻意味的期間, 因爲這期間中他才開始作詞. 因此我覺得考察一下這一時期的東坡詞是一件比較重要的事. 杭州時期的五十多首詞裏面, 又有抒述艶情和酒興·기旅和鄕愁的, 又有顯示自己的人生觀或者處世哲學的, 除了這些以外還有詠物詞和寫境詞. 但是多半的作品是以離別的悲哀和離別以後的懷念爲題材的. 離別這種題材竝不是新潁的題材. 不過, 他的離別不再是男女之間的離別而是朋友之間的. 這就是근晩唐五代詞不同的一面. 而且, 詠物·寫景·人生觀也是從前的詞作裏面非常罕見的題材. 尤其是$lt;河滿子$gt;-湖州寄南守馮當世-這一首詞部分反映着當時的社會面貌. 總而言之, 杭州時期的東坡詞雖然還不能說達到「無意不可入, 無事不可言」的境界, 但是題材已經在一定程度上多樣化了. 在風格方面, 這時期的東坡詞以婉約爲主, 大略三分之二的作品是屬於婉約風格的, 其他是屬於淸曠風格的. 這是근整體的東坡詞相反的情況. 整體的東坡詞中三分之二是淸曠的, 剩餘的作品中一半是屬於豪放風格, 一半是屬於婉約風格. 從這種情況看來, 我們可以知道初期的東坡詞竝不是用「以詩爲詞」的態度來作的, 而且竝不是豪放詞, 但是我們可以說其萌芽已經發了.
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龜何歌의 儀式構造內的 意味 : 歲時儀式과의 관련을 중심으로
柳鍾穆 東亞大學校 1992 東亞論叢 Vol.29 No.1
The Purpuse of this study was to analyze the internal meaning of 'KWIHAGA' in ceremonial struc-ture, which was compared with King Suro's enthronement seremony to 'CHISINPAPKI' (stepping the God of the earth). The findings in this study can be concluded as followes. 1. The procedure of CHISINPAPKI which werl composed of coming down the God, greeting the God, main ceremony, and the final ceremony was mached with descending egg, greeting egg, growth part, and the enthroement part of king Suro's enthronement ceremony. 2. The parts of descending egg in King Suro's enthronement ceremony were analyged by 4 parts. 'KUL BONG JEOUNG CHAL TO' was found as the establishment of ceremonial altar and 'KWI-HAGA' was also understood as the cleansing of ceremonial altar area. 3. In order to establish the afuthority of nation King Suro emphasized to use the religious servise with enthronement ceremony. 4. Owing to the script of letter in Munjong period, the content of King Suro's myths which were transmitted by oral methods was changed very much.
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柳種睦 한국중국어문학회 2001 中國文學 Vol.35 No.-
北宋神宗元三年到年的五年多期同, 蕭求城在賃州等地述了第一次貶滴生活; 北宋哲宗端里元年到元符三年的年期同, 池在惠州 ·證州等地述了業二次販滴生活. 我一般 値在第二次貶滴時期, 第一次貶淸財期年雜也更多了, 畿世恣度也更圖熟了, 因諦値的詞風可龍也更淸了 可是努耉素自考察的端果不太速辯. 雲者却可以 第二次貶滴時期的奈坡洞不第一次隆滴財期約洞淸迭, 而帶着更多的哀愁릇悲凉. 換言之, 第一次貶滴財期的求坡渦多半是淸脚格. 而第二次貶滴時期的奈坡減一半是淸風格一半是燒均脚格. 原因何在? 努者的看法如下: 不羅'仙而人者'的李白一辯, 努奈坡是一位'人而仙者'的人. 脊的 財候値星然好僚是一位桃人似的, 但値究竟是-位'多情多感仍多病'的富街人情味的凡人. 奈琨在第一次貶淸財期河的那些超說琨案的淸똔風格是他榥根努力的洶. 在票一次貶滴時期池運抱着奈山再起的希望和信心, 所以運龍淵有一定要克服危机的心恣, 而克服那神危机的唯一方法就是超朧璵案而自已的心柔游於物外. 在第一次貶滴財期, 積根努力的賠果, 池的心恣在相브程度上蒙得字諦沈潛, 池的河夙因此也能梁持淸述. 可是在第二次貶滴財期, 池不臺街奈山再起的希壟和信心, 因此再也不龍撫街要克服團准的心恣. 要是淡業一次貶滴財期的讀夙是秘根努力的物, 第二次貶滴財期的潟與是投有屈折的自然狀恣, 逑才算是努求坡的責面目.
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柳鐘穆 東亞大學校 文理科大學 附屬 韓國民俗文化硏究所 1978 民俗文化 Vol.1 No.1
Folk-Customs related to sea can be told as the folk-customs on fishing, and concentrate in study how to make the instruments, how to catch fish, and fishermens' faith. In August, 1977, I came across some areas near Busan, such as Dadae-don Namchon-dong, Wooil-dong and Dongsam-dong. In a result of the approach, I found that it would be important to research about the folk-customs concerned with fishermens' taboo and lucky signs when they first go fishing and make a boat and catch fish etc. Some of the important things of them are as follows. In making of a boat, they believe that it is lucky to have sexual intercourse between a bachelor and a virgin aboard and perhaps we can believe that it is eager to catch abundant fishing. In the beginning of fishing, some of the fishermen have a feast called "Sanghae" or "Bulgasi" which burns a bundle of straw on the boat and we can also understand that it is necessary to get away bad gods and ask the blessing. In the customs of fishing, it can be said that the folk-tales of bugbear prohibit the phosphorous light (a ghost) anti respects "the dragon god" and also dislikes to talk about dragon and snake on a boat. Those can be divided into two parts, from the primitive magics and from the background of folk-tale. In the result, I request earnestly that all the. materials concerned to the folk-customs about sea should collect and study throughout the country in the future.
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유종목(Jong Mok Liu) 영남중국어문학회 1985 중국어문학 Vol.10 No.1
東坡詞在文學史上的價値和意義却勝過他的詩文. 這一點是一般文學批評家不太注意到的. 나마, 東坡詞的나些特點使타這마重要니? 由于東坡不但學問淵博, 而且思想感情也深厚豊富, 所以東坡詞的色彩也多彩多姿. 因而, 這흔不容易以一兩句來槪括. 但, 爲了方便起見, 我們要把東坡詞的特色分成題材·風格·形式等三方面來探討一下. 1. 東坡詞的題材範圍非常廣博 : 유영물·言情·寫景·懷古·酬贈, 乃至處世態度·人生觀等, 他都昇華爲詞. 換句話說, 他以日常生活中的一切體驗作爲詞的題材. 這種特色促其擴大以言情爲主的狹小領域. 2. 東坡詞略有豪放·淸曠·婉麗三種風格, 此中淸曠的作品居多, 但豪放的作品與婉麗的作品一樣不多. 豪放風格的作品, 雖然不多, 但是在文學史上却흔値得重視, 因爲這種風格就是東坡所初創的. 3. 在形式方面最重要的特色有兩種. (1) 缺乏音樂美 ; (2) 詞題或詞序之幷記. 東坡詞缺乏音樂美是衆所周知的. 但, 其原因竝不在於他沒有音樂的造詣或不喜歡音樂, 而在於他的作品中卽興之作不少, 以及他흔注重詞的內容, 不甘心雕字琢句來合樂, 這就是他的性格豪放傑出的緣故. 東坡繼承張先的手法來廣範使用了詞題和詞序, 他的作品多半帶有詞題或詞序. 詞題或詞序是用以表明寫作背景和作者立場的, 所以能縮短作者和讀者間的距離. 這種方法能增加傳達思想感情的效果. 總而言之, 我們可以說東坡$quot;以詩爲詞$quot;. 但是, 東坡詞的性格不근他的詩一樣. 他的詩具有理知的·哲學的性格, 相反地, 他的詞却有풍富的抒情性. 這樣看來, 我們可以說這種韻文形式是爲了吐露他的感情而採取的一種補助手段. 東坡詞的各種特點就是來自這種觀念的. 詞本來是樂曲的歌詞, 而樂曲以大衆性爲前提. 這就意味着詞須要爲一般大衆所容易理解和愛好, 所以初期的詞多以閨怨·別離·鄕愁等大衆性題材爲主要題材是自有道理的. 因此, 筆者認爲具有前面所述各種獨到處的, 與其他詞不同的東坡詞難免爲詞的別格. 雖然如此, 筆者又想從文學方面來看, 東坡詞的些特點却把詞從小道末藝的地位提高到一種主要韻文的貢獻非常宏大.
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柳鍾穆 東亞大學校 國語國文學科 1976 국어국문학 Vol.1 No.-
I investigated various folk phenomena in the Ullungdo Island on Aug, in 1975. And now, there are very various contents in the folk phenomena, but in this study, I investigated only Dong-je(cooperative service of village), traditional folk customs, popular entertainments, folk songs, folk tales and dialeckts. Followings are the results of the research: 1. Dong-je (cooperative service of village) is performed thoroughly, austerely by every village, and I consider it a kind of polytheism. Besides, every village holds Hesin-je (religious service to sea God) 2. The traditional folk customs and the popular entertainments are formed directly related to the living forms, and those actions are decreasing gradually. 3. I investigated the ceremony songs in the folk songs and found there are very various figure of speech, primary emotions. 4. Neary every folks tales are related to the reclamations of Ullungdo Island. 5. We can find the intention of the reclamation in the Sunghwangdang folk tale (a tale about tutelary deity). In this case, I consider the Sunghwangsin ( a tutelary deity) is a productive deity. 6. In the dialeckts, a research about names of winds, ship's fittings and places are shown.
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