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剧作≪永團圓≫传下来的有两部作品：李玉的≪永團圓≫與馮夢龍的≪墨憨齋重定永團圓≫.馮夢龍的≪墨憨齋重定永團圓≫是根据李玉的≪永團圓≫而改正的.在原作與更定本做比较时,其結構大體上更定本優越于原作.虽然如此,通过这两部作品的互相比较,我们可以更深入地了解李玉的≪永團圓≫. 本论文在結構與内容·賓白與地文·曲牌三个方面进行了研究.从結構與内容的比较,我们可以知道李玉的≪永團圓≫具有总体的结构问题. 大团圆是一部剧作的紧要处.但李玉≪永團圓≫的大团圆来得太仓促,没有引致观众响应的说服力.从賓白與地文的比较,我们可以看到李玉的≪永團圓≫没有衬托人物的性格特色,并且各個细节之间的結構不够严密等缺點,因此馮夢龍看破而弥补了这些问题. 我们在探讨古典戏曲中,使我们最为难的是音乐问题.只根据纸面上的资料而进行音乐方面的研究,是难免一定的限度.从曲牌比较,我们也不难发现有適當的改正,然而也有找不到改正根据.针对这些问题,我们需要进一步讨论.

『Yue Fu Zhi Mi(樂府指迷)』which was witten by Shen Yi Fu(沈義父) in Southern Song Dynasty(南宋) is a Ci(詞) works, it is overall representative of Ci works in Song dynasty with 『Ci Yuan』by Zhang Yan(張炎). The inner motives to produce 『Yue Fu Zhi Mi』are Ci’s refinement since mid-Southern Song Dynasty and Ci style’s decline caused by unmusical trend. The Ci Theory of Shen Yi Fu(沈義父) is elegant has something to do with the patrician’s escapism in political attitude. They regarded regular rhythm and skills of importance but they disregarded its contents. In addition to that, Ci’s vocabulary was differ from common people’s words. Shen Yi Fu also mentioned he had studied Meng Chuang(夢窓)’s Ci style and he had put it to rights and supplement it. We can see Meng Chuang(夢窓) showed his logical manner to create Ci. The four standards to produce Ci mentioned in 『Yue Fu Zhi Mi』still maintain its pureness in Ci’s style. Shen Yi Fu describe ‘XieLu(協律)’, ‘YaYun(押韻)’, ‘XiaZi(下字)’, ‘YongShi(用事)’, ‘FaYi(發意)’ in creation of Ci. He strictly divides Ci, poem and chanling. Even if it is brief introductioin of Ci, it contains the important topics to produce Ci in fields of content, making rule, art and style. It is a essential work to involve the theory and method to create Ci in Southern Song Dynasty. Wu Wen Ying would avoid the separation between temperament and four sentences. He tried to stick to traditional beautiful Ci handed down since Zhou Bang Yan(周邦彦). But he excessively stressed people had to learn senior people’s works and adhere to traditional Ci. Even he was caught to keep the every single character in work.

作者簡介 : 白豐碩 (Feng-Shuo PAI), 1979年生，臺灣臺中人。現為中央大學中文系助理及自由譯者，曾任中研院近史所助理。英國新堡大學筆譯碩士，中山大學外文系學士。大學時曾聆聽余光中老師講授英美詩歌，詩作曾獲校內文學獎。碩士論文Poetry Translation and Poetry Creation：The Expressive Modes and Translation Strategies of Three Taiwanese Poet/Translators，以臺灣詩人譯者為主題，探索詩歌創作與翻譯之間的交揉滲透。 內容題要 : 《蓮的聯想》為余光中的新古典主義詩歌代表作，江萌先生 (本名熊秉明, 1922-2002) 於1966年首次討論其中的「三聯句」。本文爬梳現代主義與新古典主義的音韻觀點，舉出中國古典詩詞中若干典型的「三聯句」為佐證，以說唱藝術再思「三聯句」的定義與特性，期能管窺余光中新古典主義詩歌的美學高度。

Associations of the Lotus is a significant collection of Yu Kwang-chung’s neoclassical poems, wherein Jiang Meng (Xiong Bing-ming, 1922-2002) in 1966 heralded the discussion of Yu’s “tercet”. This paper reconsiders the definition and characteristics of “tercet” in Yu Kwang-chung’s neoclassical poetry with the framework of speech-song artistry by reviewing the modernist and neoclassical perspectives of music in poetry, and raising several archetypal “tercerts” in Chinese classical poems as evidence, in the hope of throwing new light on the studies of Yu’s neoclassical poetics.

이 글은 일제말기 유진오 문학의 특성을 조선주의와 근대주의에 초점을 두어 분석하였다. 일제말기 유진오의 소설에는 조선적 전통과 문화의 아름다움이나 독자성에 대한 언급이 산재한다. 이것이 단순히 소재적인 차원에 그치는 것이 아니라, 일제말기 유진오 문학의 핵심 논리로 연결된다는 사실에 주목하였다. ‘조선’ 혹은 ‘조선적인 것’의 발견으로 특징되는 조선주의는 탈이념화 이후 유진오 문학의 새로운 경향의 하나라 할 수 있다. 문학의 타율적인 강제와 억압이 정점에 달한 일제말기의 상황에서, 유진오는 현실에 대한 굴종과 은둔의 방식을 모두 비켜가면서 ‘견딤과 희망의 사상’이라는 나름의 대응 논리와 방식을 모색하고 있다. 이는 조선의 전통 문화에 대한 재인식과, 조선적 근대화의 추구라는 두 가지 방향으로 표출된다고 할 수 있다. 한편으로 일제말기 유진오의 문학이 ‘조선적인 것’에 주목한다 해도, 이것은 반근대적인 문맥에서의 상고주의나 고전 회귀의 경향과는 다른 차원에서 진행된다. 요컨대, 일제말기 유진오의 소설에서 조선적 전통은 근대와 맞서는 개념이 아니라, 근대라는 틀 안에서 재정립되고 수용되어야 할 가치로서 제시된 것이라 할 수 있다. 근대와 조선적 전통, 이 양자 사이에서 어느 하나로 달려가지 않고 적절한 균형을 유지하는 일이야 말로, 일제말기 유진오 문학이 의도한 가장 현실적인 지점이었다 할 것이다. 달리 말해 유진오 문학의 근대 지향은 무조건적인 서구 추수나 동화의 차원이 아니라, ‘조선’이라는 민족적 주체를 자각하고 강조하는 지점에서 시작된다. 실력 양성을 통한 조선적 근대화의 지향, 이것이 일제말기 유진오 문학의 핵심적 논리였다고 할 수 있다.

The subject of this article is the novel of Yu Jin-Oh in the last period of Japanese Imperialism. In this article I took note of the ideas of Choson and modernism shown in his novel in particular. His novels was changed since the latter part of the 1930s. The point of transfiguration is that interest in tradition and culture of Choson increased and it is connected his understanding or consciousness about national identity. oppression on Korean literature by Japanese reached a peak at that time. Change of his novel was a reaction to the oppressive times. His literature did not agree to way of submission and the retirement for actuality entirely. Instead, his novel insisted that have to endure that times with hopes on the future. It can be said that this is impressed at the two direction as pursuit of new understanding to Korean traditional culture and Korean modernization. The core of his literature is the pursuit of modern. But modern oriented of literature of Yu Jin-Oh does not mean following or assimilating Western modern unconditionally. Yu aimed at modernization based on national identity of 'Choson'. The pursuit of Choson modernization which passes through capability training, this was core logic of Yu Jin-oh`s literature in the last period of Japanese Imperialism.

作者簡介 : 吳東晟 (Tung-cheng WU), 1977年生，臺灣南投人。現為成功大學中文所博士生，成功大學中文系、實踐大學高雄校區博雅學部兼任講師,《藍星詩學季刊》執行編輯，瀛社社員。創作領域兼賅新舊文學。著有現代詩集《上帝的香煙》、古典詩集《愛悔集》、現代詩讀本《織錦入春闈》(合著)、編有《臺灣詩道─府城詩選》(合編)。 內容題要 : 余光中是臺灣當代首屈一指的重要詩人，其詩歌創作取材豐富多元，其中地理書寫更是其一貫關心之主題。這個主題在余光中遷居高雄以後，表現得特別明顯。余光中的地理書寫，有以詩傳地之企圖，他透過大量詩歌的浸染、以及生活於斯地的實踐，將詩人的光輝銘刻於土地之上。本文以余光中的詩歌為觀察對象，探討其詩歌地理書寫的具體內容及文化意涵。

Yu Kwang-chung is contemporary Taiwan’s most eminent poet. The subject matter of his poems is rich and varied, with geography being a priority among his themes which became ever more distinct after he moved to Kaohsiung. Yu’s geography intends to imbue the land with poetry；through immersion in an abundance of verse, and his physical presence and living in the locality, he inscribes the poet’s radiance on the land. Using Yu’s anthologies as the subject matter, and making references to the two volumes of Selected Poems of Yu Kwang-chung, this article explores the content and cultural meaning of the geography in his poems.

作者簡介 : 龔敏(Man KUNG)，祖籍安徽，現居香港，文學博士，現任香港大學饒宗頤學術館助理研究主任。已出版學術專著《黃人及其〈小說小話〉之研究》，並發表論文十餘篇。鄭煒明(Peter Wai-Ming CHENG)，祖籍寧波，現居澳門，文學博士，詩人，常用筆名葦鳴。現任香港大學饒宗頤學術館研究主任、助理教授(研究)。已出版《非有意的詮釋》、《澳門文學史稿》、《氹仔路環歷史論集》、《況周頤先生年譜稿》等學術專著，並發表論文一百餘篇。出版詩集《黑色的沙與等待》、《無心眼集》、《傳說》等六種。 內容題要 : 近十餘年來，兩岸三地不斷有學者、詩人參與編著新詩選，其中尤以《新詩三百詩》(台灣)、《香港近五十年新詩創作選》(香港)、《中國現代文學經典1917-2000(四)》(大陸)等三部詩選，編輯體例嚴謹完備，選擇詩作廣博精細，為學界所稱道。恰巧的是，余光中的詩作同時入選三部「詩選」，可見其重要性。論文乃據此三部「詩選」，從「詩選」的體例、觀念等結合余氏入選之詩作，撰文論述之

For more than a decade, academics and poets in mainland China, Hong Kong and Taiwan have made continual efforts to create editions of free verse. Of these works, three in particular have received critical acclaim from academia for their editorial rigour and discipline as well as depth and extent in selection：Three Hundred Works of Free Verse (Taiwan), Selected Free Verse Written in the Last Fifty Years in Hong Kong (Hong Kong), and Classics of Contemporary Chinese Literature 1917-2000 (IV) (Mainland China). It is no coincidence that Yu Kwang-chung’s poems have been selected in all three anthologies- the significance of his works is evident. This thesis discusses the selected poems of Yu in the three “Selected Poems” in the context of their form and concepts.

이 글은 <풍림>과 <조광>이 기획한 잡지의 설문을 중심으로 김유정의 문학적 사유들을 정리하고 문학적 전기의 자료로 삼고자 작성되었다. 분석을 위해 설문을 네 영역으로 나누어 살폈고 그것은 병고, 경제, 인생, 문학 등이다. 첫째, 병고와 관련된 작가의 생각은 치명적인 질병 앞에서도 그것을 견뎌내려는 정신적인 건강성과 초월적 평정심을 보여주었다. 둘째, 경제와 관련된 김유정의 생각은 양가적이고 이중적이었다. 돈에 대한 현실적 필요와 그것을 위한 행동이 한 축이고 무망한 바램에 대한 포기의 심리가 다른 한 축이다. 이는 동전의 양면처럼 모순스러우면서도 보완적인 심리의 표상으로 이해되었다. 작가에게 돈은 신분상승과 부를 축적하기 위한 수단이 아니었고 생존차원의 자구책이 이와같은 심리를 지원했다고 보여진다. 셋째, 인생과 관련된 김유정의 생각은 현실성과 비현실성의 대칭으로 드러났다. 현실성은 지상적인 삶에 관한 것이고, 비현실성은 고난스런 지상적 삶으로부터 벗어나려는 염원이 투영된 생각이었다. 또 자신의 처지를 캄캄한 어둠 속에 등불을 들고 산보하는 형국으로 상징하고 있다는 점도 눈길을 끌었다. 넷째, 문학과 관련된 김유정의 생각은 조선적 요소에 집중되어 있었고, 조선적인 요소의 본체는 도금식 허세를 버리고 풍상과 혈맥으로 강조되는 당대적 요소와 전통적 요소를 강조하는 생각이었다. 아울러 영화에 대해서도 높은 안목을 가지고 있었는데 이러한 생각은 그의 소설에도 수용되었을 것으로 보여진다.

clear in 김강사와 T교수, that ideal man is not socialist. So, it is not exact to say that his convert is the the convert of idea. I think that to say sociation is more close to truth. Also we can say that those are not a novel of convert.The core of Yu, Jin-oh's literature is the modern orientation. It aimed to confront to the western modernity with the western modernity, ant to surpass the western modernity. Yu thought that it was possible in the pure science as botany and in the pure art as music. We can know it especially through 화상보.Yu yield to japanese fascism, but Yu, Jin-oh's literature didn't. It was connected to that confrontation spirit.Yu wrote some novels in japanese. In those works, we can see the spirit of confrontation to the violent power. It was absolute spirit of angry.

A Study on Yu, Jin-ohJung, Ho-UngOn this study I wanted to make clear the characteristics of the Yu, Jin-oh's literature. In Yu, Jin-oh's novels we can notice that the point is the process of socialization of ideal man who was oriented for comunism. Also we can notice the sadness in any sentence of any work.

A study of Yu-sin-ri Ma-Ae-Bull style fromthe Bo-sung area of South Korea inthe context of 9th century history

The medium-length story 'Yu Maeng' is the most important work of Yheon Gyeong Jun. But this work is not entirely-worked novel. This work is the beginning of The Returned Life. The most contents of 'Yu Maeng' and Gold Braid of Heart are involved in that of The Returned Life. Yheon Gyeong Jun describes the roamers' life, namely the Chinese-Koreans that lose their country and wander in other country. Especially The Returned Life is that. In this sense The Returned Life is the entirely-worked novel. Therefore the essays on 'Yu Maeng' from this focus merely on the beginning of The Returned Life. 'Yu Maeng' is the work that focuses the fanciless conflicts of educators. The head 'Myeong-U' reveals the strongly national consciousness and devoted humanitarianism of the intelligence chief. When the Chinese-Koreans in 'Man-Ju' are putted on the severely bad situation after the construction of 'Man-Ju' country, this work expresses the direction that the intellectuals must go. In this sense this work is the most important work of Yheon Gyeong Jun. We must read The Returned Life in order to understand correctly 'Yu Maeng'. The intelligence chief stresses the national re-construction.

유길준은 사회사상가로서 19세기 후반에 한국 사람으로서는 처음으로 일본과 미국에 유학하여 西遊見聞이라는 서양 기행록을 남겨 한국의 근대화에 기여하였다. 이와 동시에 한국 사람으로서는 처음으로 문법을 연구하여 大韓文典이라는 한국어 문법서를 저술하였다. 유길준은 한국어와 한국문자, 특히 한국문자의 우수성을 선양하여 語文民族主義의 기반을 닦았다. 유길준은 한국문자를 재발견하되 한자와 섞어쓰는 이른바 국한문혼용론을 주장하였으며 일본과 같이 그 나름의 훈독법을 창안하였다. 그의 訓讀法은 勞動夜學讀本에 적용되고 있는데, 그의 훈독법은 ① 體言, 動詞, 冠形詞, 副詞의 훈독, ② 체언, 동사, 부사의 음독, ③ 한국한자어로의 음독, ④ 訓讀과 音讀의 절충 등 네 가지 정도의 유형으로 나누어진다. 이러한 어문민족주의에 바탕을 둔 그의 사회사상은 그 뒤의 주시경, 최현배 등의 어문학자들에게 영향을 주어 한국어문의 표준화에 기여하였다.