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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Modem japan, which began to accept the variety of western civilization Though the Meiji Restoration made the trial of a new development by accepting the ways of western realism which is described in literature as well. In case of novel, writers came to express the human psychology without reserve, and unlike the western, naturalist in the Meiji period made efforts to reveal the human instinct.
The influence extended widely in japanese traditional poetry, whose method was to obtain nature by human feeling, but not the expression of concept or recognition compiled from the frame of community. It was resulted from the reformation of the eye of looking at nature thereafter.
In poetry, the basic rules are to regulate the poem metrically and to include word expressing one of the four seasons in the frame of a fixed form of verse. However, the writing material, unlike pre-modem period, anything else in nature was to be the object. Although the landscape of four seasons was recited, whatever recited was to be considered as the expression of feeling of poet by himself via furthermore detailed observation.
Love for flowering plant of Shiki Masaoka[正岡子規], who advocated a portray, which is a realistic representation of nature, was superior to the others. And in Haiku[俳句], a short poem of seventeen syllables in 5-7-5 meter, came to succeed in the field of making the life of both nature and man alive. Mokichi Saito[齊藤茂吉], with the nature changing along with the change of time, described mental picture of human in tanka-japanese poem which is composed of thirty-one syllables in 5-7-5-7-7 meter. The tanka of Takuboku Ishikawa[石川啄木J was the world of being consoled as a natural man in cosmos being pious, missing home town just like a child standing before his parents in the season of autumn. Despite the fact that the appearance of nature expressed in literatures was different from each other through one's experience and condition, each autumn landscape was playing a symbol of pity and idea.
Nature, which is a living life-unity, was unified as an object to be consoled and to console for them as well. Unlike writers, the excellent Japanese poets acquired nature with sensitive sensibility and perceived the dignity and balance of nature from what is small and tiny Especially, autumn in poe따T was the way to find out one's ego of oneself but not of others in nature. In autumn, they were reaching a stage of the objects of objects and self, where feelings and landscape would be unified.
The influence extended widely in japanese traditional poetry, whose method was to obtain nature by human feeling, but not the expression of concept or recognition compiled from the frame of community. It was resulted from the reformation of the eye of looking at nature thereafter.
In poetry, the basic rules are to regulate the poem metrically and to include word expressing one of the four seasons in the frame of a fixed form of verse. However, the writing material, unlike pre-modem period, anything else in nature was to be the object. Although the landscape of four seasons was recited, whatever recited was to be considered as the expression of feeling of poet by himself via furthermore detailed observation.
Love for flowering plant of Shiki Masaoka[正岡子規], who advocated a portray, which is a realistic representation of nature, was superior to the others. And in Haiku[俳句], a short poem of seventeen syllables in 5-7-5 meter, came to succeed in the field of making the life of both nature and man alive. Mokichi Saito[齊藤茂吉], with the nature changing along with the change of time, described mental picture of human in tanka-japanese poem which is composed of thirty-one syllables in 5-7-5-7-7 meter. The tanka of Takuboku Ishikawa[石川啄木J was the world of being consoled as a natural man in cosmos being pious, missing home town just like a child standing before his parents in the season of autumn. Despite the fact that the appearance of nature expressed in literatures was different from each other through one's experience and condition, each autumn landscape was playing a symbol of pity and idea.
Nature, which is a living life-unity, was unified as an object to be consoled and to console for them as well. Unlike writers, the excellent Japanese poets acquired nature with sensitive sensibility and perceived the dignity and balance of nature from what is small and tiny Especially, autumn in poe따T was the way to find out one's ego of oneself but not of others in nature. In autumn, they were reaching a stage of the objects of objects and self, where feelings and landscape would be unified.
목차
Ⅰ. 머리말
Ⅱ. 시키[子規]의 하이쿠에 나타난 생명의 풀꽃
Ⅲ. 모키치 「茂吉」단가에서의 시간적 추이속의 풍경
Ⅳ. 다쿠보쿠 「啄木」단가에서의 망향(望鄕)의 가을 바람
Ⅴ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2012-705-003611722