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“满城风雨近重阳”句在韩国的接受研究
Study on the acceptance of “Mancheng Fengyu Jin Chongyang” in Korea
‘만성풍우근중양(滿城風雨近重陽)’, 한국에서의 수용 연구
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- 발행기관
- 동북아시아문화학회 바로가기
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- 간행물
- 동북아 문화연구 KCI 등재 바로가기
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- 통권
- 제67집 (2021.06)바로가기
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- 페이지
- pp.141-156
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- 저자
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- 언어
- 중국어(CHI)
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- URL
- https://www.earticle.net/Article/A396275
※ 원문제공기관과의 협약기간이 종료되어 열람이 제한될 수 있습니다.
원문정보
초록
- 영어
- Lee Inro, a famous poet of the Goryeo Dynasty, in the first Poetry in Korean history, Pahanjip recounted the poem “Mancheng Fengyu Jin Chongyang” and related stories in the Lengzhai Yehua by Huihong of the Song Dynasty in China. Lee Inro also took this poem as the first sentence of the poem, and composed a seven-character quatrain poem. Since then, ancient Korean poets have begun a literary acceptance process using this poem as a material for poetry creation. In the Joseon Dynasty, due to the influence of Su Shi, Huang Tingjian and the Jiangxi Poetry School of China, more and more Korean poets used “Mancheng…” for poetry creation. There are two main types of textual expressions of this type of poetry: one type is to put the entire sentence into the newly created poem, the position of the whole sentence can be at the title, the first sentence, the middle sentence or the last sentence; the other type it uses the seven characters in the poem or a few of them as the rhyme of the newly created poem. This type of poems inherited the imagery of the “Mancheng…” and Xie Wuyi's poems, but they also have their own innovations. Among them, the image of chrysanthemum has expanded from the original representative plant that expresses solar terms to show Tao Yuanming's chrysanthemum and Tao Yuanming's life pursuit, showing more life insights. This kind of mourning poems written by ancient Korean poets, on the one hand, they often use prefaces or notes to reinforce the image of mourning，on the other hand they often use the method of expressing their confession and express their feelings of mourning and sadness without concealment. In the pursuit of aesthetics, this type of poem showed a “sorrowful and sad” aesthetic style as a whole. This became the motivation and purpose of the “Mancheng…” being accepted by ancient Korean poets, and it was also the purpose of Korean poets to do this aesthetic guidelines for the creation of similar poems.
목차
Ⅰ. 引言
Ⅱ. “满城风雨近重阳”句入诗的文本形式
Ⅲ. “滿城風雨近重陽”句入诗的意象解构
Ⅳ. “滿城風雨近重陽”句入诗的美学追求
Ⅴ. 结语
参考文献
논문초록
키워드
“만성풍우근중양” 한국 한시 강서시파 시가 창작 수용미학 “Mancheng Fengyu Jin Chongyang”，Korean chinese poetry，Jiangxi Poetry School，Poetry creation，Receptive Aesthetics “满城风雨近重阳”，韩国汉诗，江西诗派，诗歌创作，接受美学저자
간행물 정보
발행기관
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- 발행기관명
- 동북아시아문화학회 [The Association of North-east Asian Cultures]
- 설립연도
- 2000
- 분야
- 복합학>학제간연구
- 소개
- 동북아시아 문화의 다양성과 정체성을 연구 토론하고, 지역내 문화 교류의 다양한 모습을 연구하고 문화변동의 큰 틀을 집적함으로써 우리 민족 문화 및 상대 민족의 문화적 터전을 이해하여 문화공동체적 특성을 계발하고 상호 관련성의 강화를 유도하는 학술활동을 통해 동북아시아의 문화발전에 이바지함.
간행물
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- 간행물명
- 동북아 문화연구 [Journal of North-east Asian Cultures]
- 간기
- 계간
- pISSN
- 1598-3692
- 수록기간
- 2001~2026
- 등재여부
- KCI 등재
- 십진분류
- KDC 910 DDC 950
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