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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The purpose of this paper is to describe the historical continuance and transformation of the old Shilla & Korea Hyangga : the old korean poetry.
For this, we pay attention to the narrations of the Hyangga text and find out the relationship between the text and the context. Some works concentrate on effect to the reality ; While others put up lyricism of the text itself. Effect and lyricism are not the opposing notions, but the planes of symmetry. So we can arrange Hyangga by the dynamics of them.
The lyricism of Hyangga comes to the front by Changiparangga(讚耆婆郞歌) and Jemangmaega(祭亡妹歌) in the 8th century. They describe the time and the space meant by the lyric subject of the text. The former has achieved it by the interactions between the figure and the materials. The latter by the metaphor of tree and branches, and the harmony between abstraction and form. The receivers sympathized the lyric subject of the text by this, deepened desire to the aesthetic object.
Based on the Lyric outcome, In the 9th century, Woojukga(遇賊歌) and Chuyongga(處容歌) have showed a trend that valued the comprehension to the receiver. It has named humor or tolerance. By this, the lyric subject can understand the view of the receiver and deepen the lyricism of the text.
Bohyunsiwonga(普賢十願歌) in the 10th century accomplished the harmony between the Lyricism and the effect. We can make certain it by Hangsoonjungsaengga(恒順衆生歌) and Chungjunbumnyunga(請轉法輪歌). They are the texts about the harmony between the subject and receiver consist of metaphors.
So we can consider Bohyunsiwonga(普賢十願歌) as the extreme point of Hyangga history and can make a point of Hyangga in the coordinate system of the history of literature.
For this, we pay attention to the narrations of the Hyangga text and find out the relationship between the text and the context. Some works concentrate on effect to the reality ; While others put up lyricism of the text itself. Effect and lyricism are not the opposing notions, but the planes of symmetry. So we can arrange Hyangga by the dynamics of them.
The lyricism of Hyangga comes to the front by Changiparangga(讚耆婆郞歌) and Jemangmaega(祭亡妹歌) in the 8th century. They describe the time and the space meant by the lyric subject of the text. The former has achieved it by the interactions between the figure and the materials. The latter by the metaphor of tree and branches, and the harmony between abstraction and form. The receivers sympathized the lyric subject of the text by this, deepened desire to the aesthetic object.
Based on the Lyric outcome, In the 9th century, Woojukga(遇賊歌) and Chuyongga(處容歌) have showed a trend that valued the comprehension to the receiver. It has named humor or tolerance. By this, the lyric subject can understand the view of the receiver and deepen the lyricism of the text.
Bohyunsiwonga(普賢十願歌) in the 10th century accomplished the harmony between the Lyricism and the effect. We can make certain it by Hangsoonjungsaengga(恒順衆生歌) and Chungjunbumnyunga(請轉法輪歌). They are the texts about the harmony between the subject and receiver consist of metaphors.
So we can consider Bohyunsiwonga(普賢十願歌) as the extreme point of Hyangga history and can make a point of Hyangga in the coordinate system of the history of literature.
목차
Ⅰ. 문제의 소재
Ⅱ. 8세기 景德王代 鄕歌의 서정적 성취
Ⅲ. 9세기 鄕歌의 효용성 지향
Ⅳ. 10세기 〈普賢十願歌〉와 서정성ㆍ효용성의 공존
Ⅴ. 맺음말
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