향가 창작 동인으로서의 ‘아름다움’과 신라인의 미의식
Beauty and an aesthetic consciousness of Sil-La as Hyangga creative motivation
0
조회
0
다운로드
8
인용
0
참고문헌
키워드
초록
In this writing, issued beauty as Hyangga(향가) creative motivation into the focus, its expression modality is discussed and then an aesthetic sense of Sil-la is considered. For its research, in 『Samkukyusa』(『삼국유사』) some Hyangga - <Sudongyo(서동요)>, <Hunhwaga(헌화가)>, <Mojoockjirangga(모죽지랑가)>, <Chuyongga(처용가)> - that have phraseologies for beauty meaning are choose for the discuss. First, beauty as Hyangga(향가) creative motivation were expressed by above methods. 1. Beauty as desires for acquisition and confirmation in <Sudongyo(서동요)> 2. Beauty that the subject (the writer) looked upon in <Hunhwaga(헌화가)> 3. Beauty that felt pathetic for declining in <Mojoockjirangga(모죽지랑가)> 4. Beauty that arouse from disillusion in <Chuyongga(처용가)> Second, an aesthetic sense of Sil-La in 『Samkukyusa』(『삼국유사』) showed as the above. 1. Physical beauty that Sil-La were attracted by 2. Beauty as the glorified object that Sil-La were attracted by 3. Beauty as the virtue notion that Sil- La were attracted by In consequence, it is discussed that Sil-La had an aesthetic sense as the perfect virtue united the transcendence and the real
Abstract
In this writing, issued beauty as Hyangga(향가) creative motivation into the focus, its expression modality is discussed and then an aesthetic sense of Sil-la is considered. For its research, in 『Samkukyusa』(『삼국유사』) some Hyangga - <Sudongyo(서동요)>, <Hunhwaga(헌화가)>, <Mojoockjirangga(모죽지랑가)>, <Chuyongga(처용가)> - that have phraseologies for beauty meaning are choose for the discuss. First, beauty as Hyangga(향가) creative motivation were expressed by above methods. 1. Beauty as desires for acquisition and confirmation in <Sudongyo(서동요)> 2. Beauty that the subject (the writer) looked upon in <Hunhwaga(헌화가)> 3. Beauty that felt pathetic for declining in <Mojoockjirangga(모죽지랑가)> 4. Beauty that arouse from disillusion in <Chuyongga(처용가)> Second, an aesthetic sense of Sil-La in 『Samkukyusa』(『삼국유사』) showed as the above. 1. Physical beauty that Sil-La were attracted by 2. Beauty as the glorified object that Sil-La were attracted by 3. Beauty as the virtue notion that Sil- La were attracted by In consequence, it is discussed that Sil-La had an aesthetic sense as the perfect virtue united the transcendence and the real
참고문헌 (17)
- 김부식, "삼국사기" (1973), 민족문화추진회 영인
- 김대문, "화랑세기" (1999), 소나무
- 민주면, "동경잡기" (1972), 대양서적
- 일연, "삼국유사, 한국불교전서 제6책" (1989), 동국대 출판부
- 권영필, "신라 공예의 대외외교, 신라 미술의 대외외교" (2000), 예경
- 김원룡, "한국미의 탐구" (1998), 열화당
- 김유범, "모죽지랑가 ‘阿冬音’의 해독 재고", 한국어학, 7 (1998), 한국어학회
- 민주식, "아름다움,그 사고와 논리" (2002), 영남대학교 출판부
- 성기옥, "<헌화가>와 신라인의 미의식, 한국고전시가작품론 1" (1992), 집문당
- 신라사학회, "신라속의 사랑 사랑속의 신라" (2006), 경인문화사
- 신재홍, "향가의 해석" (2000), 집문당
- 신재홍, "향가의 사랑 주제", 한국고전여성문학연구, 8 (2004), 한국고전여성문학연구회
- 신재홍, "향가의 미학" (2006), 집문당
- 이순자, "신라조각의 미의식", 불교미술연구, 1 (1994)
- 이한상, "황금의 나라 신라" (2005), 김영사
- 지순임, "한국예술의 해석 가능성", 미학예술학 연구, 11 (2000), 한국미학예술학회
- 한국생활사박물관 편찬위원회, "한국생활사박물관 05 신라생활관" (2003), 사계절