Earticle

현 사회는 삶의 질을 높이기 위해 사회적으로나 문화적으로 인간 정서에 대한 연구가 기존보다 활발히 이루어지고 있다. 이러한 점에서 볼 때 삶의 모든 것이 담겨있는 텍스트 속 등장인물들을 통해 간접적으로 체험하고 문제점에 대처할 수 있는 힘을 기르는 것은 매우 좋은 방법이다. 본고에서 활용하고자 하는 작품 <금 따는 콩밭>의 내용에는 돈과 금에 얽힌 인물의 내면 심리가 나타난다. 주인공은 폭력적인 남편이다. 또한 어리석은 인간의 욕망과 충동성으로 인한 공격성이 표출된다. 문학치료는 상호 역동적인 치료로써 문학적 텍스트를 매개체로 하여 내담자 자신의 모습을 비추어보고 그 문제에 대하여 새로운 통찰을 얻고 카타르시스를 느낄 수 있도록 돕는다. 인간이 삶을 살아가는 데 있어서 행복하게만 살아가는 사람은 드물 것이다. 감정과 심리적 스트레스는 밀접한 관련이 있다. 심한 스트레스와 폭력은 괴로움에 묻히게 할 뿐만 아니라 가정도 해체시킨다. 특히 폭력은 피해자에게 불안을 각인시킨다. 그 고통과 불안은 고립감을 남기거나 삶의 위협을 느끼게도 한다. 위협은 심리적인 스트레스의 가장 일반적인 원인일 것이다. 본문 중 연구결과 부분에서 알 수 있듯이 작품 <금 따는 콩밭>은 매우 유용한 매개체로 활용된다. 이 작품은 환경요인에 의한 충동적 공격성 때문에 자신뿐만 아니라 배우자와 가정을 불행하게 만드는 원인이 됨을 보여주고 있다. 현 사회와 별반 다르지 않다. 이러한 점에서 볼 때 삶의 모든 것이 담겨있는 문학 속 등장인물들을 통해 간접적으로 체험하고 대처방안을 모색할 수 있다. 아울러 이겨낼 수 있는 힘을 기르는 것도 매우 좋은 방법이다. 또한 작품을 통해 자신을 비추어보고 정체성과 자아존중감에 변화를 줄 수 있도록 돕는 것도 삶의 질을 높여주는 것이며, 문학치료가 사회에 크게 도움이 되는 것임을 알 수 있다.

In modern society, studies of human emotions are actively conducted to improve the quality of life socially and culturally. In this regard, literary texts and their characters offer an indirect way to experience the full range of life and build the strength to deal with problems. The work “A Field of Beans for Gold” depicts the characters’ inner psychology around money and gold. The main character of the work is a violent husband. Also, aggression from foolish human desires and impulses is expressed. Literature therapy is an interactive treatment, which helps individuals reflect on themselves with literary text as a medium, gain new insight into their problems and feel cathartic. Few people can maintain a high degree of happiness, and emotions and psychological stress are closely related. Extreme stress and violence not only cause severe suffering but also break up families. Violence, in particular, imprints anxiety on the victim, and the ensuing pain creates a sense of isolation and makes them feel threatened. Feeling threatened by life may be the most common cause of psychological stress. “A Field of Beans for Gold” is a very useful literary medium in this context because the work shows that impulsive aggression caused by environmental factors make not only oneself but also one’s spouse and family members unhappy. This dynamic of unhappiness is not much different from what is happening in society today. In this respect, we might say that we can experience life indirectly and can find ways to cope with difficult problems through fictional characters. At the same time, we can build up our strength to overcome difficult problems. Literature therapy enables people to reflect on their lives. It also helps them change their sense of identity and self-respect in a positive way to improve the quality of their lives. Therefore, literature therapy can be said to greatly benefit society.

이 글은 擎雲元奇와 佛僧 및 儒家들의 교유 과정에서 생산된 交遊詩文을 경운원기 를 중심으로 살펴 그 의의를 밝힌 것이다. 19세기 후반에서 20세기 전반，선암사의 擎雲元奇(1852~1936)는 높은 학덕과 근실한 수행력을 갖춘 講伯, 高僧으로 칭송되었다. 경운은 화엄학과 선학을 회통하고, 또 불교와 유교를 회통하는 선암사의 학풍에서 성장한 강백이었다. 경운의 이러한 풍 모는 주변에 불승은 물론 유가들까지 다가오게 하여 그와의 교유를 꺼리지 않게 하 였다. 이 때 이들이 漢詩文으로 형상화한 교유시문은 당시 유불들 간의 교유의 정도 를 짐작케 한다. 경운의 交遊詩文에는 대개 慙愧[부끄러움]의 주제의식이 들어있다. 이러한 부끄러움 은 그가 자신을 돌아보는 수행 과정에서 일으킨 도덕적 심리의식이라 생각된다. 한 편 그는 가까운 불승들의 시에 화답하고, 제자들에게 서간을 보내 안부를 묻고 격려 하거나 불교의 요점을 전하기도 하였다. 그런 시문과 서간에는 상대에 대한 진정과 겸손이 짙게 배어 있다. 한편, 그와 교유한 불승과 유가들도 시문을 지어 고승다운 그의 학덕과 근실한 수행의 면모를 칭송하였다 이처럼 경운의 높은 학덕과 근실한 수행력은 아직 엄존해 있던 유가들의 班常의식을 얼마간 누그러뜨리고 그들을 불러들인 영향력이 있었다. 특히 경운의 전근대 전통의 한시문 능력은 그들과의 교유를 유지하는 중요한 수단의 하나였음을 알 수 있다.

This paper is written about the significance of Kyo-Yu-Simoon(the poems and novels about association) written by Kyoung-Un-Wonki, Confucianists and Buddhist monks. Kyoung-Un-Wonki(called Kyoung-Un) was praised as a great teacher and a high priest of Buddhism with learning and virtue in the late 19th and early 20th centuries. Also, he had a great asceticism. These his presences made a lot of people(like monks and Confucainists etc) come close to him. In this period, the poems and novels written by them show a affinity between Confucianism and Buddhism. Kyoung-Un’s poems and novels was written about shame. He stated about a moral and mental awareness occurred while he was practicing asceticism in his works. Meanwhile, he answered to the monks close to him through the message with his works, and he also sent a message what he had explained about Buddhism to his students. We can find his true heart and modesty in these messages. Moreover, the Confucianists and monks who had a friendship with him wrote about the poems and novels praising his learning and virtue. In this way, his great features made Confucianists weaken their class consciousness. Especially, his style of writing Chinese poems was a important measure what had kept a friendship between Confucianists and Buddhist monks.

This thesis is a study of historical evolvement and aesthetic feelings of parallel prose in Six Dynasties. The features in the Yu Xin’s letter in particular, lingering charm(音韻)ㆍliterary quotation(典故)ㆍantithetical parallelism(對偶), has important values. Yu Xin’s letter has been read as an erotic work, but I will do some reinterpretation on this letter. In conclusion, Yu Xin’s letter expresses the longing for his hometown, this has not yet been addressed, it is necessary to continue research on this subject.

Yu Gi-Hwan(俞箕煥; 1858~1902) began his career of the Korean public official as a member of retinue in Courtiers’ Observation Mission (Josa-Shichal-Dan; 朝士視察團) on Japan in 1881, accompanying the courtier(Josa; 朝士) Cho Byung-Jik(趙秉稷). After this, he served as the assistance(Bangpan; 幇辦) of the Superintendent Office(Gamriseo; 監理署) at the treaty ports, and was dispatched to the legation at Japan for diplomatic service later. On the strength of all the above experiences, he played a role as the secret diplomatic channel to Japan for King Gojong(高宗) who was trying to contact with Japan to avoid Russian interference in late 1890s. Performing this secret diplomatic service, he gained the positions of ministers for Korean Empire Government without passing state examination. And his career for Courtiers’ Observation Mission and the Superintendent Office shows these two groups were functioning as a farm team for modern diplomatic personnel of Korea in late 19th century.

李漁在≪窺詞管見≫從不同側面對詞體特性作了系統的理論, 李漁詞學論, 首先他闡明了 詞之體性, 一是詞介于詩曲之間, 二是介于雅俗之間, 卽爲雅俗相和之特性. 李漁要求詞作應該以‘求新’的方法吸引聽衆與讀者. 他爲了‘求新’, 要三個層次, ‘意新爲 上, 語新次之, 字句之新又次之.’ 所謂意新卽立意、情節要合情合理, 人們耳目見聞之物象, 經過詞人的加工創作, 有新的發見, 提出新的見解, 給人嶄新的審美感. 詞語字句之新就是言 語文字上的新潁獨特. 他又主張‘一氣如話’, 這不僅指文字的淺顯易懂, 更指詞人能了解讀者 之欣嘗品味, 表達他們的情感和意識. 李漁主張詞要協音合樂, 就是使詞可以演唱, 美聽動人. 他注重句中‘過文’和字聲之韻律. 李漁爲了朗誦和歌唱效果, 要注意一是關于用‘也’的句子, 二是拗句問題. 他解決拗句問題, 提 示當連用數仄者, 須以上聲間之, 則似可以代平. 三是避免合音, 合音時音韻則同, 讀之不和 聲. 他强調用韻, 提示‘首忌韻雜, 次忌韻連, 三忌字澁’, 使詞如鼓琴瑟, 鏗然有餘.

This paper analyzed the aspect of manifestation of ‘Persona’ and ‘Self’ expressed in Yu Chi-Hwan’s poetry with the view point of analytical psychology of Calr Custav Jung. The aspect of manifestation of ‘Persona’ and ‘Self’ is a framework to understand the inner world of Yu Chi-Hwan and a material to prove the unique characteristics of Yu Chi-Hwan’s poem world. The poetic resonance made by the aspect revealed by Persona, i.e. ‘obsession and psychological disorder/molting desire and healing’ and the aspect of self-manifestation using the union of opposites, i.e. ‘Shadow/Light’, and ‘Sound/Silence’ is a unique poetic domain that can be created by only those who are intensely immersed in their inner world. It could be known that Yu Chi-Hwan’s awareness of life is accord with the desire of self-realization. Also the contradictoriness of Yu Chi-Hwan’s poem is the main factor that arouse the poetic collision caused by the psychological opposite poles of ‘Persona/Self’. This has to be understood in the manner of the unique existing method of Yu Chi-Hwan’s poem which is directed by the structure of psychological opposite poles of ‘Persona/Self’. The aesthetics of paradox created by this process acts as a driving force forming the unique poem world of Yu Chi-Hwan. This paper found the source generating the aesthetics of paradox at the structure of opposite poles, namely the union of opposites contributing to self-embodiment. The union of opposites in Yu Chi-Hwan’s poetry is a poetic practice for penetrating into self and a poetic effort for self-realization. Therefore, the value of Yu Chi-Hwan’s poetry is on the point that he aesthetically embodied ontological questions and answers in his poetry in order to be wholly what he is without living imperfectly with being locked in Persona, This paper serves as a momentum to give a new proof for Yu Chi-Hwan’s poetry that have been analyzed with some unsophisticated flat structure so far. This work becomes a useful implication to understand the psychological structure of literary works and psychological conditions of authors.

이 논문은 김유정 소설에서 정동이 발생하는 맥락을 분석함으로써 작품 속 인물, 주요 갈등 양상, 배경적 공간, 주제 의식 등 서사 전반에 걸쳐 나타나는, 상충되는 정동의 효과가 서사적 교란을 자극하고 있다는 사실을 밝히고자 한다. 김유정의 소설에서 남녀 간의 사랑에 대한 기대는 매번 미완성이고, 왜곡되며 피해의식의 감정으로 귀결된다. 「산골」, 「봄․봄」에서 상대에 대한 신뢰와 욕망은 ‘잔혹한 낙관주의’로 유지되지만이러한 관계는 지극히 유한하고 불완전하다. 기대는 배반으로, 약속은 위협으로 변질되는 관계망 속에서 미래 지향적 가치를 추구하지 못하는 나약하고 가진 것 없는 존재들은 결국 부정적 세계, 비정(非情)한 세계의 질서에 순응하고 만다. 「동백꽃」, 「총각과 맹꽁이」의 경우, 현실적 상황과 경제적 지위 등에서 열등한 위치에 있는 인물들은 자신에게 주어진 연애의 메시지를 알아차리지 못하거나 결혼의 기회 자체를 박탈당하게 된다. 연애와 결혼 욕망의 좌절과 무기력한 실패는 비현실적 환상이나 기대 혹은 수치와 모멸의 감정으로 나타나며, 이는 당대 식민지 근대 사회의 청춘 남녀의 비참한 현실을 부각하는 데 기여하고 있다. ‘연애’와 ‘결혼’의 가능성을 문제 삼는 작품에 인물들의 성격은 우유부단하고 소심하며 무기력하다. 특히 원시적 생명성과 서정적 원초적 욕망의 서사가 전면적으로 부각되는 소설에서조차 수치와 모멸이라는 감정의 역학이 작동하고 있다. 이들 작품은 사랑의 감정과 아름다운 자연 경관 등의 서사적 요소와 달리, 미움과 원망, 증오와 혐오, 수치심과 모멸감, 폭력성 등 부정적 정동이 강하게 드러나고 있는 것이다. 요컨대 김유정 작품에서 나타나는, 상반된 정서로 인한 서사적 교란의 형식은 전(前)의식적 차원에서 발생하는 부정적 정동이 분출하는 데에서 비롯되는 것이다.

This paper aims at identifying a fact that conflicting effects of the affect are stimulating the narrative disturbance shown from the narrative including characters and backgrounds, main conflicts and the thematic consciousness by analyzing a context where the affect is occurring in Kim Yu-Jeong's novels. In his novels, expectation of love between male and female is unfinished and distorted and ends up with the feeling of the victimized. In 「Mountain Village」 and 「Spring, Spring)」, mutual trust and desire are maintained by 'cruel optimism' but such a relation is extremely limited and incomplete. Weak have-nots who fail in pursuing the future-oriented values in the network where expectation is transformed to betrayal and promise to threat come to conform to the negative and cruel order of the world. In 「 Camellia」 and 「A Bachelor and Narrow-mouthed Frog」, characters inferior in their real situation and economic status are not aware of a love message given to them, deprived of an opportunity for marriage. Helpless frustration and failure in love and marriage manifest themselves in unrealistic illusion or expectation, feeling of shame and contempt, contributing to emphasizing the miserable reality of those days' youth in the colonial modern society. In the work issuing a possibility of 'love' and 'marriage', characters are indecisive, timid and helpless. In particular, emotional dynamics of shame and contempt acts even in the novels emphasizing a narrative of the primitive vitality and basic desire. These works show the negative affect including hatred and resentment, enmity and disgust, shame, contempt and violence contrary to narrative elements like a feeling of love and beautiful scenery. In other words, narrative disturbance by conflicting feelings in Kim Yu-Jeong's works originates from explosion of the negative affect that occurs on a preconscious dimension.

본 연구는 유학생들의 한류문화체험에 관한 기제와 변용을 전통무용 등과 같은 문화예술분야에 대한 문화체험을 중심으로 탐구하는데 목적이 있다, 이를 위해 질적연구방법 중에서도 근거이론적 연구방법을 적용하여 국내에 거주하는 유학생을 대상으로 심층면담, 현장관찰 등을 통하여 자료를 수집하고 이를 분석하였다. 연구결과 71개의 개념, 23개의 하위범주, 14개의 범주가 도출되었다. 이를 바탕으로 유학생의 한류문화체험에 관한 기제와 변용에 대한 패러다임 모형을 제시하였다. 또한 시간의 흐름에 따른 한국문화예술체험 과정은 문화에 대한 관심, 문화와 문화 사이의 충돌, 극복을 위한 연결고리 찾기, 문화적응, 소통 속에서의 새로운 문화 창출이라는 5단계를 거치며 진행하는 것으로 나타났다. 유학생들은 고국과 타국의 문화적인 갈등을 극복하기 위해 다양한 한국문화체험을 하고 비슷한 사람들과 만남을 통해 소통하는 시간을 가짐으로써 한국문화예술을 이해하고 한류문화에 적응해 나가는 것으로 나타났다. 이러한 결과에 대한 시사점과 향후 연구방향에 대해 논의하였다.

This study aimed at exploring mechanism and transformation in connection with experience of Hallyu culture among nine foreign students studying in Korea, and conducted analysis using grounded theory methodology out of qualitative research methods. As a result of the research, the study drew 71 concepts, 12 subcategories and 14 categories. Looking at specific research findings, as the first phase, foreign students in Koreas started to be interested in new culture and art experience, motivated by curiosity and concern about it. And then there emerged a remarkable phenomenon of difficulties caused by cultural differences in the contexts of building positive characters, use of the support system, hardship of communication with the colleagues. Over the course, there occurred mediating conditions such as experience of mental conflicts, experience of other cultures than their own and continual efforts. Along the way, they began to find out good points of Korean culture and art by learning and experiencing it on one hand and became to find their own position ('myself') by dint of reactions of positive effect of K-pop dances and learning Korean language on the other. Furthermore, they could not only expand their scope of understanding of Korea through communication with their colleagues, but also create their own culture. The process of Korean culture and art experience in the course of time underwent five stages: Interest in culture, conflicts between each culture, finding the clue to overcome them, cultural adaptation and generation of new culture by interactions, while key category turned out as‘cultural adaptation through experiences and interactions, and generation of new culture.

19세기에 처음으로 漢譯된 이솝우언이자 20세기 초까지 가장 널리 전파 보급된 이솝우언 번역본 《意拾喻言》은 각별한 문화적 특색을 가지고 있다. 본 논문은 언어교수법과 문학연구의 두 가지 측면에서 《意拾喻言》에 나오는 英語註釋文의 非規範化된 直译方式과 通俗化된 번역문장, 中國土着化 라는 세 가지 번역 특색을 구체적으로 분석해 보았다. 역자 로버트 탐(Robert Thom)은 먼저 서방의 전통 민간문학 經典인 《이솝우언》을 중국에 소개하고 이 번역본을 외국인이 중국어를 배우는 중국어 학습교재로 사용하려는 中西文化의 쌍방향 교류를 진행하려는 번역목적을 가지고 있었다. 번역과정 중에서 당시 서구에서 유행하던 외국어학습법인 어휘번역법(词汇翻译法)을 사용하여 영어주석문을 작성하였지만 별다른 효과를 보지 못했고 도리어 작품집 전체의 수준을 저하시키고 말았다. 때문에 再版本에서는 영어주석문을 완전히 삭제해 버렸다. 번역과정 중에서 《이솝우언》의 英文原本, 역자 로버트탐의 언어관과 번역관이 번역책략에 직접적인 영향을 주었으니 《意拾喻言》은 통속화와 중국토착화의 번역특색을 가지게 되었다. 이런 특색을 보다 구체적으로 설명하면 통속적인 언어의 사용, 중국의 思維方式을 動物 配役의 擬人化手法으로 표현한 虛構的 內容, 심지어 “fable”이란 장르를 중국의 대중들에게 아주 익숙한 “喩言”이란 어휘로 命名한 것이다. 이런 번역특색은 “华夷”간의 文化交流를 촉진시키는 촉매제가 되었으니, 이는 中国文学의 大众化와 翻译文學의 中国土着化를 이룬 淸末의 兴盛期보다 근 50~60년이 빠른 편이다. 역자 로버트탐이 中西文化交流史에서 보여준 예리한 통찰력과 선구적인 노력은 대중전파매체인 宣敎士報刊(신문잡지)에서 인정을 받아 계승 발전되었으니 이들 신문잡지는 《意拾喻言》 작품을 전파하고 영향력을 확장시키는데 가장 큰 힘을 기울인 旗手가 되었다.

Yishi Yuyan is Aesop’s fables in Chinese of the earliest, most influential, and most penetrated in the 19th century. In the process of translation, the source of the text, the translator’s view of Chinese language and view of translation impact on translation strategies of Yi shi Yu Yan, which emerges the style of popularization and sinicization. The paper specifically discusses the characteristic of non-standardization literal translation in English Annotation, popularization and localization of Yi SHi Yu Yan from two aspects of language teaching (lexical translation method), literature, and the effect of the above characteristics on reprint and newspaper promotion.

양소유는 여덟 아내를 거느리고 욕망을 거리낌 없이 충족하며 영화로운 삶을 살았다. 이러한 삶에 현대 독자가 감정을 이입하기란 쉽지 않았다. 이 글은 양소유의 행적이 아닌, 심리 구조에 주목했다. 이러한 작업으로써 독자가 감정을 이입할 통로를 탐색했고 문학치료 자원으로서 〈구운몽〉이 지닌 또 다른 가치를 조명했다. 양소유의 심리 구조를 분석하기 위해 사용한 분석틀은 ‘자기복잡성’이다. 자기복잡성은 조절변인에 따라 스트레스 요인이 되거나 심리 자원으로 기능했다. 사회적 지지, 자기통제감, 자기구획화에 따라 양소유가 지닌 자기복잡성은 심리 자원이 되기도 했고 스트레스 요인이 되기도 했다. 양소유는 영화롭게 살았다. 그러나 진정으로 행복했는지 여부는 논의할 지점이 있다. 양소유는 자동적 사고로 부귀영화를 행복으로 귀결시켰다. 공사다망하며 영화로운 삶을 살던 양소유는 퇴사한 뒤 참선을 통해 사문이 될 결심을 했다. 그는 한 적없는 색다른 행위를 자발적으로 실천함으로써 자동적 사고를 돌아봤다. 자기통제감을 지니고 실천한 행위를 통해 자동적 사고를 끊고 진정으로 원했던 삶을 선택했다고하겠다.

Yang So-yu is living a glorious life of having eight wives. A wealthy life of keeping eight wives is unrealistic. Thus, it is hard for readers to feel empathetic. The purpose of this paper is to analyze the psychological structure of Yang So-yu and to create a passageway into which readers are able to bring their empathy. The analytical tool used to analyze Yang So-yu’s psychological structure in this paper is ‘self-complexity’. Yang So-yu is shifted from low self-complexity toward high self-complexity. Self-complexity features a buffering effect or a spillover effect on stress. Yang So-yu gets highly stressed out as ghost Gachunun leaves as low self-complexity elevates stress. Meanwhile, he was less stressed when he was adopted as a son-in-law of the king, which indicates high self-complexity buffers stress. Upon resignation, he decides to become a monk through Zen meditation. He voluntarily wrapped up his perceived knowledge of himself. Self-control based on the utility of self-complexity and spontaneity is considered to leaves significant implications for those who engage in literary therapy and readers of Guunmong. Key

There has been many studies on Yan Yu’s Canglang Poetry Talks, this book is the most typical poetics criticism of Song Dynasty and also is in a strong position on The history of Chinese classical literary criticism until now. Previous research is concentrated in few points such as Analyzing Poetics Metaphorically with Chan(以禪喻詩), Miaowu Theory(妙悟說) and Xingqu Theory(興趣說). That research was mainly based on <Poetic Differentiate(詩辨)>, and People didn't pay much attention to it or simply put <Poetic(詩法)> briefly. One of the most important features of Song Dynasty’s prosody was the study of the poetics. Yan Yu was very strong on poetics, deliberately he arranged <Poetic> in Canglang Poetry Talks and specifically discussed in poetics. The content of <Poetic> is quite extensive. It is mentioned about some precautions for people who want to write and learn poetry, dealt with poetics to many ways as writing method(篇法), syntax(句法), diction(字法), quotation(用事), rhyme(押韻) etc. In addition it presented the main rules and principles of expressions. However, he opposed the poetics unconditionally and opposed it. Yan Yu considered that desirable poetry had must express ‘Interest’ and proposed the poetics to express this ‘Interest’ well. Since Wei Jin and southern and Northern Dynasties, through Tang dynasty, ranging from Song Dynasty, the Poetic Theory of Yan Yu’s Canglang Poetry Talks was comprehensive and organized the various arguments about poetics which is raised by many poetic theories.

‘장소’는 개인의 의식과 경험이 반영되어 있다는 점에서 ‘공간’과 구별된다. ‘장소’는 디아스포라인 재일한인 유미리에게 있어서 매우 중요한 역할을 차지한다. 본 연구는 장소성 연구자인 이-푸 투안과 장소상실에 더 큰 의미를 두고 있는 에드워드 렐프의 이론에 의거하여 유미리의 소설을 통시적으로 분석하고자 한다. 또한 ‘장소’를 통해 전하고자 하는 작가의식과 그로 인해 구성되는 정체성의 양상과 그 의미를 분석할 것이다. 이 연구는 지금까지의 유미리 작품 연구에 있어서 다소 간과되어 온 소설의 ‘장소성’의 양상을 통시적으로 확인하면서 ‘비장소’에서 부유하던 디아스포라 주체가 ‘고향’이라는 ‘장소’에 도달하게 되는 과정을 살펴본다. 여러 장소들 중에서 ‘고향’ 장소 구축에 도달하는 것에 의미를 부여하는 이유는 2000년 이후 유미리가 ‘고향’을 서사화한 <8월의 저편>을 발표하였기 때문이다. 이 작품에서 유미리는 모국에 귀속되는 정체성 구축의 장소라 할 수 있는 ‘고향’을 자발적으로 찾아가는 작중인물로 작가 자신을 설정하고 있다. 이러한 귀향 과정에서 자신이 디아스포라로서 겪었던 한과 트라우마가 씻김굿이라는 제의와 겹쳐지면서 ‘고향’ 밀양은 치유하는 장소가 된다. 이 장소의 서사화 이후, 유미리 소설에서는 ‘비장소’가 아닌 ‘장소’에서 자신보다 더 소수적인 주체들에 대한 관심을 드러낸다. 유미리 작가는 다양한 ‘장소’를 모색하면서 탈경계공간 속의 새로운 디아스포라주체의 재현 창출에 힘쓰고 있다.

“place” is distinguished from “space” that it reflected the individual consciousness and experience. The interest on “place” and “space” in recent theories is connected with diasporian identity. “place” plays very important role to Diaspora korean Japanese writer Yu-Miri . In this paper, this study analyzes significant aspects of Yu-Miri’s novel historically in accordance with the theory of Edward Relph and Yi-Fu Tuan. Also, This reserch will analyze aspects of identity and its significance what author wanted to give through the “place”. This study reviews the theory on spots which are not regarded as the “placeness” of Yu-Miri novel’s. And so, this study has the significance observing how Yu-Miri’s ‘hometown’ is formed historically. The reason that deal with ‘hometown’ is that Yu-Miri has announced <the other side of August> since 2000. In this piece, Yu-Miri can heal by narrative possibilities as ‘ssitgimgut’ that seems to have found and eliminate ‘trauma’ of her diaspora. Since then, “place” is appeared rather than “non-place” in her novel, these changes brought about the interest of marginal person’s “trans-boundary”.

본 연구는 김유정 소설에서 가부장제하의 인물들이 겪는 폭력과 고립에 주목한다. 이를 통해 이 폭력과 고립이 가부장이 행사하는 처벌이자 가부장적 질서의 통제와 구속을 강화하는 지배기제임을 밝힌다. 이러한 가부장적 질서는 김유정 소설에서 인물·성격 사이의 대등한 다툼이나 아이러니한 장면으로 해소되면서 은폐되는 것처럼 보인다. 그러나 김유정 소설의 가부장제는 지배자의 경제적 편익을 최우선으로 하는 효율 위주의 지배체제라는 점에서 자본주의체제와 공통점을 갖고 있다. 김유정 소설의 부부서사에 등장하는 가부장적 지배기제와 처벌구조는 그의 금 삼부작과 자전적 서사 속에서도 발견되며, 본 연구는 이를 통해 가부장제에 대한 문제의식을 김유정 소설 전반으로 확장하고자 한다. 금 삼부작 등은 자본주의체제에 도전하게 된 노동자들에게 가해지는 처벌을, 자전적 서사는 실존하는 아버지에게 도전하는 자식에게 가해지는 징벌을 보여준다. 금 삼부작은 이 처벌을 개인의 욕망, 경쟁으로 변형시켰으나 자전적 서사는 이 징벌 구조를 원형 그대로 노출한다는 점에서 차이를 갖는다. 김유정 소설은 가부장적 질서의 전복 불가능성, 그 질서에 도전하는 것의 비극성, 그 질서에 적응하는 것의 일상성을 보여준다. 그리고 이 서사들에서는 지배질서의 견고함과 지속성이 전망된다. 김유정 소설은 이러한 현실 구조의 보편성을 폭넓게 담아내고 있음에도 불구하고 그 문제의식을 전면에 드러내지 않으며, 지배질서가 강력한 힘을 바탕으로 지속될 수밖에 없다고 전망하기에 어떠한 희망도 제시하지 못한다.

This study is focused on violence and isolation experienced by characters in Kim Yu-jung's novels. A very important assumption of this study is a fact that violence and isolation are punishments used by a patriarch and a governance mechanism for strengthening control and binding power for patriarchal order. The governance structure based on violence and isolation has common things with a capitalist system described in Kim's novels. The governance structure and the capitalist system are much similar in that they are governance systems centered on efficiency stressing rulers' economic profits. Such order, however, isn't revealed in the foreground of Kim's novels. Pressure of such a system is concealed in diversity of life in the middle of expressing struggles caused by different properties among characters, desire confrontations and trouble among family members. Kim's novels show the impossibility to overthrow patriarchal order, tragedy from challenging to such order and banality to adjust to that order. Kim's novels express impregnability of ruling order remarkably like this, but don't bring awareness of it up to the front and don't suggest any hope at the same time.

본고는 필사영인본 『黙好稿』와 규장각 소장 필사본 2종 및 국립중앙도서관 소장 필사본 1종 등 총 4종의 필사본을 문집총간본(목활자본) 『於于集』과 아울러 교감함으로서, 기왕의 『어우집』 판본에 누락된 작품들을 새로 추가하고 일부 각편의 창작시기와 수신자를 고증하는 한편, 중복 수록된 작품을 통해 일부 각편의 개작과정을 확인하고 나아가 이본의 선후관계 등을 종합적으로 검토한다. 이러한 작업은 추후 『어우집』 소재 각 텍스트의 정확한 창작정황과 개작과정 등을 파악하는데 보조 자료로서 활용될 수 있다는 점에서, 유몽인 문학론과 작품의 엄밀한 분석과 이해를 위한 예비적 기초 작업이라 할 수 있다.

이 논문은 조선중기 한학사대가의 한 사람인 谿谷 張維(1587～1638)의 「續天問」에 대한 연구이다. 한국 한문학에 있어서 굴원의 초사 「天問」에 대한 비평은 다방면에서 다양하게 이루어 졌으며 조선의 문학에 끼친 여향이 매우 컸다. 谿谷은 어려서부터 「離騷」를 비롯한 楚辭 작품들을 많이 탐독하였고 성장하면서는 楚辭를 바탕으로 詩賦를 짓기 시작한 초사의 애호가이자 전문가이다. 谿谷은 屈原의 楚辭 「天問」을 읽고 감동하여 그 내용과 형식을 모방하여 「續天問」을 지었다. 이 작품은 792자, 184구, 40장, 92운의 장편 詞賦 형식으로 구성된 것이다. 굴원의 「天問」은 초나라의 샤머니즘을 바탕으로 한 순박하고 기이한 초자연적인 초나라의 하늘 이야기로 傀隈美와 古澳美, 그리고 淳朴美가 넘치는 훌륭한 문학 작품 이다. 張維의 「續天問」은 굴원의 천문을 이어서 굴원이 물었던 질문을 배제하고 황당하고 기이한 요소들을 제거하여 유교적 입장에서 새롭게 탄생시킨 작품이다. 張維의 「續天問」은 우주의 원리를 「태극도설」과 『주역』에 기초하여 성리학과 양명학을 바탕으로 새로운 의문을 설정하고, 우리의 단군과 기자를 인용하고 유가적인 등장인물인 목은과 포은 같은 충신을 등장시켜 민족적 색채를 복선에 깔고 향토색 짙게 풀어내고 있다. 張維의 「續天問」은 약 2,000년 전의 굴원의 고결한 선비정신을 계승하고, 초사 「天問」을 재조명하여 새로운 작품으로 탄생시킨 것으로, 한국한문학상 한편의 이채로서 한문고전시가의 명품이다.

Yu Qiuyu's prose become the creation trend of 90's Chinese prose with its profound cultural background and the spirit and manner of cultural worker. Yu Qiuyu's prose used cultural connotation of natural and cultural landscape as the breakthrough point, sequentially it has realized the breakthrough and transcendence of the traditional prose in two aspects of historical and cultural connotation and style. This article attempts to discuss about the rational reflection of history and culture and literary style itself, and tries to grasp in the round the whole style and the deep meaning of Yu Qiuyu's prose creation, at the same time a strong sense of cultural reflection of the writer and exploring spirit always pass through the history. Paper is divided into four parts: 1. Yu Qiuyu and cultural journeyed and others. It discusses Yu Qiuyu's cultural prose and achievements, and classifies to summarize the 90s’ cultural prose. 2. Reflection of the history and culture. From the It analyzes the characteristics about the historical and cultural reflection of Yu Qiuyu's prose and excavates writer's deep-seated cultural attitude, cultural ideas and cultural interest from the cultural connotation. The first is a critique, introspection and reshaping of cultural personality. It criticizes the inferior personality of humiliated ignorance, reshapes the ideal personality of independent, open-minded and strong culture. The second is the pursuit and reflection on the history. It includes that it acts channel as history, sorts out the historical development; finally it looks for the root of history and culture, explores the ways of Chinese culture and national spirit civilization. The third is clean and reflection on the cultural implication. It includes the reflection for the nation that criticizes the han narrow nationalism as a result of the orthodox theory, and the pursuit of multiculturalism; and reflections on the urban and rural areas that thinking the civilized confrontation about the urban and rural areas and surround and counterattack of the rural civilization against urban civilization from the cultural differences between urban and rural; at the same time reflections on benighted that realized deep dialectics and cognition of obscurant, barbaric and civilized in the cultural origin. Finally is the regional insight into the history of national culture. The author emphasizes the uniqueness of the local culture, criticizes the national orthodox theory, reconstructs ethnic and cultural traditions, and pursues the pluralistic coexistence of national culture and the overall value of human history. 3. Style innovation: It analyzes breakthrough and innovation of the Yu Qiuyu's prose style from the stylistic. The first is free style temperament. Free and broadness thinking field emerges the personality spirit of freedom of Yu Qiuyu's prose. Second, the cultural image of poetic expression. The author poetic epitomizes and philosophical interprets humanistic image that contained deep cultural spirit and individual life value. Its poetic imagery profoundly expresses mutual consistency about the humanistic spirit, esthetic passion and living philosophy in the historical and cultural landscape. The third is passion and cool of ultimate concern. The author carries out the ultimate thinking and humanistic care of life and living in the romantic creative feelings and cold rational examination. Finally is the wind of aesthetic standard. The author pursues a kind of intellectual standard tradition and dignified beauty of the internal spirit through describing the humanities landscape and the literati image, and highlights his intellectual cultural grade and aesthetic tendency. 4. The value and limitation of Yu Qiuyu's prose. Yu Qiuyu pursue the great prose writing, with the consciousness of the subject of life, to pursue the cultural ideal of broad and deep, and move towards the freedom of the style of writing, it has realized the transc...

This study aims to discuss cognition and attitude of death in the poems of Wu Yushan (吳漁山, 1632-1718). Wu Yushan whose poems were related with his actual life and religious experience. Wu Yushan received a Catholic name called Simon Xaverius as he entered the Society of Jesus formally in 1682 and wrote many poems other than 80 poems of “Saint Study Poem” containing his understanding on doctrines for 3 years in Macau, while praising ancient sagas in the Society of Jesus. Through the “Saint Study Poem”, I looked about Wu Yu-shan cognition and attitude of death. Death is inevitable reality that can happen to anyone, anytime and anywhere so every society from the start of history created each aptitude and had social counter measure for the result of death. The attitude and cognition looking death is the core value of living, and it is definitely a key factor which determines the quality of spiritual life. In the end of the long period of wandering, Wu Yu-shan finally knew the reason of his birth and death. Namely, he noticed that his body came from God and he lives for only worshiping the god and practice the love to our neighbor so that he can gain the eternal happiness after death. Accordingly, he emphasized the death is process to prepare the eternal life.

Historically speaking, the Korean language and the Chinese language have had a long standing intercultural relationship and as such, it has affected and changed each other as much as the relationship between the two countries have become active. Therefore, a surprising amount of the remnants of ancient Chinese language formations can be found not only in various dialects of modern Chinese but within the Korean language itself. This paper aims to investigate into various special characteristics of speech sounds of translated words of Korean that appears in the book ‘Chaoxian Guan Yi Yu’ (Translated Words of the Joseon Dynasty) during the end of Koryeo Dynasty to the early Joseon Dynasty period. This was executed by referring to the Chinese dialects and the book ‘Ji Lin Lei Shi’(The Customs, System and Language of the Koryeo Dynasty). Ji Lin Lei Shi is a book that was written in Koryeo language using Chinese characters by a person named Sun Mu from China (Song Dynasty) when he visited Koryeo. The ‘Chaoxian Guan Yi Yu’ is basically a Joseon language vocabulary book that was written from 1408 to 1424 during the early Ming Dynasty. The capital of China during the Ming Dynasty was located in Nanjing and the official language was predominantly the ‘Jianghuai Guanhua’ (Lower Yangtze Mandarin). Even after the capital was moved, the official language cannot change overnight so this official language maintained its prestige as the prime language even in the Beijing region and can be said to have had vast influences in the Beijing language. Through the investigation for the purpose of this paper, a few problems that appeared in the Ji Lin Lei Shi and the Chaoxian Guan Yi Yu were compared with the Chinese rhyme sounds and its dialect and the following special characteristics were identified. First, the sounds of the Chinese characters in the Chaoxian Guan Yi Yu for the most part reflects the sound scale of the jianghuai guanhua system. In other words, the sounds of the Chinese characters used in the Chaoxian Guan Yi Yu could be said to be on the whole following the Chinese character sound system of the Hongwu Zheng Yun (The Rhyming System Book of the Emperor Hongwu in the Ming Dynasty) period but certain parts have been influenced by the jianghuai guanhua which was the official language during that time so some parts of the Chinese character sounds of the translated words actually belong to the jianghuai guanhua system. Second, the word ‘tian’ (sky or the heavens) that appears in the Ji Lin Lei Shi and the Chaoxian Guan Yi Yu has been historically verified through thorough research. In the Ji Lin Lei Shi the word ‘tian’ was translated into ‘han nal’ as the reading sounds of the Chinese characters in Korean. This term was probably changed later to ‘haneul’ due to the phenomena of consonant assimilation as the final consonant ‘n’ of the ‘han’ and the first consonant of ‘n’ of ‘nal’ has the same sounds. (*haneul in Korean means sky in modern Korean) Third, there is a regular pattern in terms of using the ‘er’ (meaning the number two) in the Chaoxian Guan Yi Yu. In other words, all intonation sounds in the jianghuai guanhua were read as implosive sounds (/-ʔ/) and ‘er’ was only used when it finished off as an intonation sound that reads as implosive sounds such as the ‘dé’，‘bié’, or ‘jí’. On the other hand, ancient Korean language did not have a clear awareness of grammar so when a postpositional particle such as the ‘哈嫩(ha neul eun)’ was used, it was confirmed that the ‘er’ was not used. Fourth, some vocabularies of the ancient Korean language that appeared in the Ji Lin Lei Shi and the Chaoxian Guan Yi Yu still exist in some regional dialects. For example, ‘tǔ(earth, pronounced as ‘heuk’ in modern Korean)’ does not have the ‘ㄱ’ sound in both the Ji Lin Lei Shi and the Chaoxian Guan Yi Yu and is used as ‘hol’ in the Kyeongsangd...

In this study, I report on the circulation of Shi Shuo Xin Yu in East Asia from comparative perspectives. Shi Shuo Xin Yu was originally published in Wei-Jin and North-South dynasties and gained popularity in literary world, followed by publication in various forms through generations. During the Ming dynasty, Wang Shi Zhen(王世貞) published an augmented version, Shi Shuo Xin Yu Bu which became even more popular than the original, reaching out to Joseon and Edo literary worlds. Since 17th century, it started to be published in Joseon and Edo, commonly based on Li Zhuo Wu Shi Shuo Xin Yu Bu(李卓吾批點世說新語補). Between the two countries, the versions contrast in many aspects including the format, publisher, and reader group. In Joseon, it was only published in metal types. There being almost no commercialization of books, it was accessible and circulated by limited class of writers. In Edo, two versions were published in late 17th century and many footnoted and commented versions bursted out from mid 18th century. Notably, they were all published in wood block for mass reproduction.