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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 동아인문학회 동아인문학 東亞人文學 第51輯
- 발행연도
- 2020.6
- 수록면
- 1 - 41 (41page)
- DOI
- 10.52639/JEAH.2020.06.51.1
이용수
초록· 키워드
오류제보하기
It is not satisfied that the study on Hyang-Ga based on Hyang-Chal shows certain limit in terms of its translation.
Given the circumstances, I want to address the issue in a different angle and context. Assuming that the creative writers of Hyang-Ga have their own writing methods, I’ve been tracking down the writing methods, which were seemingly applied to Samgukyusa Chapter 14. The first clue that I noticed was Hyang-Ga had been written in Chinese character. I presumed that Hyang-Ga had been recorded as ideogram instead of phonogram, established as familiar concept. Following methods have been come up with the result that I did in-depth analysis based on ideogram.
1. Character, or word written in Hyang-Ga functions as ideogram in most cases.
2. Most of Hyang-Ga texts are arranged in the word order of Korean language
3. Hyang-Ga forms a piece of work consisting of lyrics, cheong-eon(請言), bo-eon(報言). Each word plays one role out of three functions. Chinese characters functioning as lyrics in ideogram becomes story line after they are arranged in the word order of Korean language. Cheongeon is a word requesting ghosts of the earth and the sky to make a wish for group of writers. Bo-eon functions as a word which the writer needs to inform Hyang-Ga director of writer’s intention relating to direction. The contents of bo-eun are various such as dancing(舞), magic show(戱),performance of musical instrument(樂), etc
4. Writers believe that Hyang-Ga has the power of granting wishes
5. Writers increase word power by arranging special linguistic devices in Hyang-Ga. The devices are cheng-eon, bo-eon, group singing(衆口鑠金) and group dancing(集團群舞). They believe that ghosts of the earth and the sky can be touched by such devices.
In my judgment, the writing methods of Shilla Hyang-Ga verified by Samgukyusa Chapter 14 and Gyunyeojeon Chapter 11 can be used as a tool to study Hyang-Ga. Furthermore, the writing methods of Shilla Hyang-Ga were applied to some part of Manyosyu, which is similar to Hyang-Ga. As a result, it was confirmed that the works of Manyosyu had been written based on the writing methods of Shilla Hyang-Ga. The true nature of Hyang-Ga revealed by writing methods of Shilla Hyang-Ga was not lyric poetry. It was a piece of work including cheong-eon. In addition, it was a script of synthetic art consisting of songs, music, dancing and play. Manyosyu was the same.
Application result of writing methods of Shilla Hyang-Ga regarding [Wonwangsaeng-Ga] of Samgukyusa, [Chingchanyeorae-Ga] of Gyunyeojeon and [8beon-Ga] of Manyeopjip will be introduced in the main article.
Given the circumstances, I want to address the issue in a different angle and context. Assuming that the creative writers of Hyang-Ga have their own writing methods, I’ve been tracking down the writing methods, which were seemingly applied to Samgukyusa Chapter 14. The first clue that I noticed was Hyang-Ga had been written in Chinese character. I presumed that Hyang-Ga had been recorded as ideogram instead of phonogram, established as familiar concept. Following methods have been come up with the result that I did in-depth analysis based on ideogram.
1. Character, or word written in Hyang-Ga functions as ideogram in most cases.
2. Most of Hyang-Ga texts are arranged in the word order of Korean language
3. Hyang-Ga forms a piece of work consisting of lyrics, cheong-eon(請言), bo-eon(報言). Each word plays one role out of three functions. Chinese characters functioning as lyrics in ideogram becomes story line after they are arranged in the word order of Korean language. Cheongeon is a word requesting ghosts of the earth and the sky to make a wish for group of writers. Bo-eon functions as a word which the writer needs to inform Hyang-Ga director of writer’s intention relating to direction. The contents of bo-eun are various such as dancing(舞), magic show(戱),performance of musical instrument(樂), etc
4. Writers believe that Hyang-Ga has the power of granting wishes
5. Writers increase word power by arranging special linguistic devices in Hyang-Ga. The devices are cheng-eon, bo-eon, group singing(衆口鑠金) and group dancing(集團群舞). They believe that ghosts of the earth and the sky can be touched by such devices.
In my judgment, the writing methods of Shilla Hyang-Ga verified by Samgukyusa Chapter 14 and Gyunyeojeon Chapter 11 can be used as a tool to study Hyang-Ga. Furthermore, the writing methods of Shilla Hyang-Ga were applied to some part of Manyosyu, which is similar to Hyang-Ga. As a result, it was confirmed that the works of Manyosyu had been written based on the writing methods of Shilla Hyang-Ga. The true nature of Hyang-Ga revealed by writing methods of Shilla Hyang-Ga was not lyric poetry. It was a piece of work including cheong-eon. In addition, it was a script of synthetic art consisting of songs, music, dancing and play. Manyosyu was the same.
Application result of writing methods of Shilla Hyang-Ga regarding [Wonwangsaeng-Ga] of Samgukyusa, [Chingchanyeorae-Ga] of Gyunyeojeon and [8beon-Ga] of Manyeopjip will be introduced in the main article.
목차
〈국문초록〉
Ⅰ. 문제 제기
Ⅱ. 추출된 ‘신라 향가 창작법’ 내용
Ⅲ. ‘신라 향가 창작법’의 검증
Ⅳ. 만엽집에의 적용과 그 의미
Ⅴ. 맺음말
【參考文獻】
〈Abstract〉
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