• 중국학논총
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• no.68
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• pp.95-114
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• 2020

《詩人玉屑》是南宋後期魏慶之所撰, 被評爲宋代三大詩話叢集之一. 此書收錄兩宋文人對詩格, 詩法的重要理論和見解. 尤其是宋代詩學的重要內容詩眼論, 《詩人玉屑》收錄很豐富的言論, 具有考察價值. 所謂詩眼指一首詩的眼目, 一句或一篇之內最精煉的字, 也是全詩主旨所在. 這概念從魏晉南北朝繪畫理論和禪宗理論發展來, 後來進入到宋代詩學領域. 詩眼的前提爲造語的創意性, 爲此需務去陳言而尋找新語. 宋人吸取經典語, 俗語, 方言, 禪語等, 以此爲創作的語言因子. 運用實字虛字是詩眼論的重要內容. 宋人認爲作詩眼時, 實字重於虛字, 動詞貴於名詞. 就位置而言, 宋人有"五字詩以第三字爲眼, 七字詩以第五字爲眼也"的共識, 同時强調活字, 響字, 拗字的活用. 但這不是要死守的固定原則, 而是相同於活法概念, 可以靈活運用.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.71-79
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• 2009

This research understands semantics-system in contemporary space design as a poetic form. It provides that the possibility of various interpretation of space and makes to escape from insipid formal logic of compulsion uniform meaning. In order to unfold this argument, poetic semantics system has to be revealed using conversion of articulation factors in text of space(semantics and syntax). First of all, after setting up the articulation system of space language, we have to understand the conversion of articulation factors that generate a new grammar breaking up the rule of old syntax. And the various expression of form in Contemporary Space design focuses on a poetic expression, that is, the abstraction system fused by space factors(conversion of articulation system). In this method of research to recognize the subject of space in architecture, the importance of interpretation has to be highlighted, as the importance of language is emphasized that intermediates between object and interpretation. The reason to recognize Contemporary space design as a text is that it is a gathering of symbol as a object of interpretation and a mediator. The important issue of this study is to research how and what to transmit by poetic semantics system in contemporary space design. It brings about a poetic problem what it intends to becomes(the problem of meaning operation) in a narrow sense and a interpretational problem what it intends to do(the problem of communication). When we define interpretation the technique of defining a text, it involves the premise of inevitableness of multiple understanding, or the possibility to Interpret variously. In the end the ambiguity of poetic language and the infinity of moaning process as the moaning expansion system in contemporary space design is the flexible measure to solve the self-criticism.

• Journal of architectural history
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• v.18 no.6
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• pp.127-144
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• 2009

This thesis aims to analyze the architectural form for the restoration of noogak(樓閣), Boje-roo(普濟樓) which was constructed at the central court of Beomeo-sa(梵魚寺). The results are as follow; 1. Boje-roo was established in 1700. By the constructional records and poetic essays of the times, the architectural of the establishment building was consisted fo two stories structure. The passage system for the approach to the court was the nuha-jinip(樓下進入), that is to say, one might walk between the columns of lower story of the building. And one could ascent the upper stairs and approach to the upper level, inner court. 2. By the remodelling in 1812, the building was varied to one story structure. Therefore the passage system for the approach to the inner court transformed from the nuha-jinip to the ugak-jinip(隅角進入), that is to say, one might ascent the atairs of the podium and could approach the inner court through the both sides of the building. 3. Under the Japanese imperialistic rule, the structure of it's roof and walls of Boje-roo were altered to the Japanese style. In 1965, the wooden columns were shifted to the concreted column, and the wooden wall-panels were shifted to the brick wall attached stone slates. 4. Conclusively speaking, for the restoration of Boje-roo, the establishment form in 1700 is the more proper than the remodelling form in 1812.

• Sijohaknonchong
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• v.23
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• pp.33-48
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• 2005

In my paper, the discussion focuses on the fact that sijo is distinguished from free verse as a separate Identity in that it has its own formal beauty, and the works that deviate from this poetic rule are guarded against. In the past ancient sijo, in terms of both music and literature, was a major genre in harmony with chang(songs) ; and in modern times, sijo been created irrelevantly with chug. But my point is that it will not futile if sijo is accompanied with chang, and, therefore, the latter should be adjusted to a modern taste and go together with the former ; and that, to attain this goal, Korean musicans should cooperate with sijo writers. With English-version sijo works, there are some that are put in accordance with the formality of Engish poetry. This paper indicates that, in this case, foreign readers can't feel the nuances the source text of sijo works could produce, so it is not proper to translate sijo works in accordance with the formality of English poetry. But there are other translations where the 3-jang(statements)-6-gu(phrases) form of the original sijo text is reproduced within the limits of English expressions, with each of the two gu(phrases) in a ing(statement) having an almost equal number of syllables, so that each phrase could be recited within the same length of time. The conclusion is that the Korean-English translations of sijo works should begin with the reproduction of its original formal beauty; but, to do this, sijo writers should create works in accordance with it original formality first. Therefore for good translations of sijo works there should be a mutual efforts between sijo scholars and English poetry scholars.

• Sijohaknonchong
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• v.21
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• pp.77-110
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• 2004

This study is an exploration of a Korean-American writer, Hong-Eun's Mong-yu siga. Hong-Eun immigrated to the United States during the colonial rule of the Japanese government. He was a publisher of The New Korea Times, and contributed various literary works to it. The purpose of this study is to analyze his two Mong-yu sigas published in 1935 and 1947 and elucidate their meanings. Using dream as a primary motif, the intention of Mong-yu mode is to achieve desire which is impossible to reach in reality. While his staying in the United States, Hong-Eun could not return his home country for two reasons, that is, political and financial ones. To return Korea desperately, he wrote sigas by adopting Mong-yu mode. His first attempt was reflected as eight pieces of consecutive poetries titled This Mountain In My Dream, I am Home. This Mountain was published on the 25th of April, 1935 and In My Dream, I am Home was contributed from May the 9th of 1935 to July the fourth of the same year. These works were published in the The New Korea Times' poetry column under the pen name of Donghae-soboo , Representing gasa of the enlightenment era, this poetry depicts historical identity of Chosun dynasty, especially focusing on before and after the 1900s. As a result of it, the poetry sketches the ideology of the Middle Ages. His second attempt was A Country and Hometown written as a form of prelude on the 25th of September, 1947. In addition, A Country in My Dream was published as a form of six pieces of consecutive poetry from October the second to November the sixth of 1947. He chose sijo as a major form of poetry, and the image of the poetry seemed to be the continuation of his first attempt. Confronting the reality of the his own country which is divided, the writer expresses his antagonism toward America and Russia. Although he could eventually return his country later, he rationalized himself by saying that his it is not the ideal place to go. Mong-yu mode is a traditional poetic technique which the intellectuals of the Middle Age used to use as one pattern of allegory. In addition to this, in the period of the enlightenment of Korea, Mong-yu was used to avoid the Japanese censorship and experiment on the diverse ways of writing. In terms of literary history, the significance of Hong-Eun's creation of Mong-yu sigas is that Hong-Eun shares the same intention with Korean intellectuals of the enlightenment period.