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임찬수(林瓚洙),이윤지(李玧知) 중앙대학교 일본연구소 2013 日本 硏究 Vol.0 No.34
In Japan, Otaku means those who have enthusiasm for subculture like manga, anime, game, pc, sf, and etc. In Korea, it has same meaning but has negative nuance. Usually, in Korea, Otaku is explained as a specific culture of Japan. However, as 40 years passes by since Japanese Otaku culture starts, we can"t be sure it"s only Japanese"s. In Korea, we can confirm Korea also has Otaku through 1995"s comic market. That time, many people don"t know about Otaku but now, people know who they are. However, compare to its exposure, study about them is short. There are many studies about Japanese Otaku, but not about Korean"s. Korean Otaku culture has short history but it spreads quickly through online community. So now, we need to consider Otaku"s meaning in Korea. When Otaku was used in Korea first time, it was used as a expert. However, now it means those who have enthusiasm for japanese culture, especially anime. In Korea, Pye-In, ~Ppa, ~Deok, O-Deok-Hoo have same meaning with Otaku. Pye-In means those who are obsessed by their interest and stay home at all time. Also, they don"t criticize their interest. At this aspects, Pye-In and ~Ppa have something in common. ~Deok, similar with Japanese mania, means those who have more attention for their hobby more than usual people. At last, O-Deok-Hoo is which pronounce Otaku as Korean and has same meaning. However, O-Deok-Hoo has narrower interest than Japanese Otaku. Korean Otaku means not just having enthusiasm for subculture but having enthusiasm for Japanese contents. This research considers what is Korean Otaku approximately but it would contribute other researches about Korean Otaku in future.
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임찬수(Lim Chan Soo) 동아시아일본학회 2015 일본문화연구 Vol.0 No.55
고보리 엔슈(小堀遠州)는 392회에 이르는 다회(茶?)를 개최하였는데, 다실이나 부속공간에 중국의 다도구나 문방구, 선승(?僧)의 그림, 묵적(墨蹟), 일본의 고전작품, 와카(和歌)등을 전시하였다. 특히 일본의 고전작품이 62회에 걸쳐 전시되었다. 특별히 다회를 주최한 엔슈는 중세시인인 데이카(定家)의 필적인 와카 그리고 그의 후손에 의해 필사된 고전작품들을 장식하곤 하였으며 『고킨슈(古今集)』나 『이세모노가타리(伊勢物語)』 가론서(歌論書)등을 들 수 있다. 나아가 데이카의 글씨체를 모방하기도 하고, 다도구에 이름을 붙일 때도 와카의 일부분의 구를 차용하여 짓기도 하였다. 이와 같은 행동은 데이카에 대한 숭배나 존경에 의한 결과이며, 데이카 가론의 영향이라고 할 수 있다. 엔슈가 중국의 도구나 선승 그림 이외에도 일본의 고전작품을 다실에 장식한 것은 차(茶)에 대한 미의식의 변화를 보여준 대표적이 예이다. 이것은 일본 것과 중국 것의 융합이라는 의미도 있지만, 와비(侘び) 사비(寂び)라는 사상의 발로라는 측면이 있다. 데이카의 미의식으로부터 파생된 미적 개념을 나름대로 다시 발전 변용시킨 것이다. Enshu Kobori held tea ceremonies 392times and displayed Chinese equipment for tea, office materials, pictures or writings of Zen priests, Japanese classical literature, and waka in either tea rooms or attached spaces. Works of Japanese classical literature were displayed 62 times. As a host, Enshu used to decorate Teika’s original and transcribed waka, which were copied by the medieval poet’s descendants. Deika’s essay on waka poems by Kokinshu or Isemonogatari is a representative work. Besides, Teika’s calligraphic styles were copied and tea sets were named after specific phrases of the waka poems. One can interpret this behavior as a result of worshiping or respecting Teika and his prevailing influence over the intellectual mainstream. Enshu’s display of Chinese tea-things, pictures of Zen priests and Japanese classical works implies a changed sense of the beauty of tea. Shifts in decorating behavior from Chinese tea-things to Japanese ones, and from Chinese Zen priests’ pictures to Japanese writings and waka, indicate not only a harmonization of thetwosides but also a manifestation of the Wabi ideology, which is a concept derived from Teika’s sense of beauty. Key words:Enshu Kobori, Teika, tea ceremony, waka, WABI.
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임찬수(Lim, ChanSoo) 중앙대학교 일본연구소 2021 日本 硏究 Vol.- No.55
While Koborienshu was the greatest architect and interior designer of his time, he was also extremely passionate about Waka. He worshiped the medieval poet, Teika and after learning from one of his descendants, Tameyori, himself wrote Waka, Kyoka, and Haikai, together with other poets with whom he had tea meetings. Koborienshu also recited Waka to mourn a dead friend; imitated 47 classical pieces of Kyoka on a trip to Kyoto; and wrote Haikai and Renku, interacting with cultured men. In addition, in 48 of the 148 letters, he poured out his feelings through Waka, Haikai, and others. The Waka in his letters followed the classical pattern, which represented his attitude of reciting the phrases of classical pieces as they were. Many of the songs were rooted in Kokinshu. It was also characterized by the use of homonyms to investigate the multiplicity of meanings. In his travel books, the overall composition followed the form of Tosanikki, but the written songs were markedly influenced by Isemonogatari. Besides, one can find his deep passion for classical Waka from his act of borrowing Waka phrases on tea ceremony tools and the use of the place name of Utamakura.
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임찬수 ( Chan Soo Lim ) 한국일어일문학회 2007 日語日文學硏究 Vol.62 No.1
世阿彌の能樂論書では序破急について觸れている。一日の曲目の構成原理として用いたり、曲目の時間的配列として取り入れたりしている。元元、序破急は音樂の用語であり、現代の樂章に當たるものである。そこからだんだん意味が廣くなって、舞踊や連歌 · 能などさまざまな芸術において指導原理として用いられた。能においての序破急は一切の事に適用されるものと認識された。が、一日の番組の演出的區分、一曲の脚本構成上の區分として、その槪念が定着した。『拾玉得花』に至っては、成就という觀点からその意味を追求しており、それに「妙=花=面白き」などにも通じるものとして受け入れられた結果、哲學的 · 芸術的な用語になった。序破急の槪念を能に取り入れるようになったのは、まず連歌の影響であろう。歌論書や連歌論書には、樣樣な歌體を序破急という言葉をもって說明したり、百韻構成に序破急という配列方法を當てたりした。二番目の影響は秘傳からである。世阿彌は序破急の成就は言葉だけではなく、情趣をも伴っていないと成り立たないと言っている。又、序破急以外の槪念、例えば、皮肉骨の場合にも、父親からの秘傳が無かったら彼自身さえも知れなかったと述べていることから、書籍からの情報收集ではなく、自分の流派から傳えてくるものを賴りにしていることが明らかになった。
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