溫庭筠 詞의 장면구성 기법에 나타난 영상미학적 특징
Wen Tingyun’s Scene Composition Technique and Image Aesthetics of Ci Poetry
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
As one of the greatest lyricists of Ci, which was the song-verse style of poetry in the late Tang Dynasty, Wen Tingyun is evaluated to have fully reflected the intrinsic style of Ci. When we read his works of Ci, it is clear that their themes are mostly limited to women’s beautiful figures, love, longing, parting and resentment. Besides, such limited themes of his are still evaluated as beautiful and fine along with his delicate description and splendid colors. However, saw that such an evaluation is attributed to his works ‘Showing images’ to readers (audience) or ‘Tuning the language of Ci into scenes’. In his works, the connection between scenes is quite dense like the art of cinema with elaborate settings of structural devices, very similar to those used for visual arts. As a result of examining his works, we could find spacial image techniques such as close up and extreme close up, point-of view shot, voice-over and montage in his Ci. And Wen Tingyun create constitutes decadence by using like that image techniques.
Abstract
As one of the greatest lyricists of Ci, which was the song-verse style of poetry in the late Tang Dynasty, Wen Tingyun is evaluated to have fully reflected the intrinsic style of Ci. When we read his works of Ci, it is clear that their themes are mostly limited to women’s beautiful figures, love, longing, parting and resentment. Besides, such limited themes of his are still evaluated as beautiful and fine along with his delicate description and splendid colors. However, saw that such an evaluation is attributed to his works ‘Showing images’ to readers (audience) or ‘Tuning the language of Ci into scenes’. In his works, the connection between scenes is quite dense like the art of cinema with elaborate settings of structural devices, very similar to those used for visual arts. As a result of examining his works, we could find spacial image techniques such as close up and extreme close up, point-of view shot, voice-over and montage in his Ci. And Wen Tingyun create constitutes decadence by using like that image techniques.
참고문헌 (42)
- 김용수, "영화에서의 몽타주 이론" (1996), 열화당
- 오양진, "데카당스" (2008), 연세대학교 출판부
- 이지운, "온정균 사선" (2009), 지만지
- 최상식, "영상으로 말하기-셔레이드 ⋅몽타주 ‧미장센의 해부" (2001), 시각과언어
- 최동호, "영화 속의 혹은 영화 곁의 문학" (2003), 모아드림
- 로뜨만, "영화, 형식과 기호" (1995), 열린책들
- 로버트 리처더슨, "영화와 문학" (2000), 동문선
- 마테이 칼리니스쿠, "모더니티의 다섯얼굴" (1998), 시각과언어
- 뱅상 아미엘, "몽타주의 미학" (2009), 동문선
- 샤오춘레이, "욕망과 지혜의 문화사전 몸" (2006), 푸른숲
- 楊海明, "당송사사" (2007), 신아사
- 요하임 페이, "영화와 문학에 대하여" (1997), 민음사
- 제레미 바인야드, "샷의 기법" (2010), 비즈앤비즈
- 조셉 보그스, "영화 보기와 영화 읽기" (1991), 제3문학사
- 크리스토퍼 켄웨디, "마스터숏" (2011), 커뮤니케이션북스
- 鄧喬彬, "詞學二十論" (2005), 上海古籍出版社
- 劉熙載, "藝槪" (1978), 上海古籍出版社
- 劉學鍇, "溫庭筠全集校注" (2007), 中華書局
- 劉揚忠, "唐宋名篇" (2003), 山東敎育出版社
- 陆侃如, "中國詩史" (2009), 山東大學出版社
- 桑紹龍, "唐宋名家詞選讀" (2011), 山東人民出版社
- 王國維, "人間詞話" (2000), 上海古籍出版社
- 楊海明, "唐宋詞風格論" (1986), 上海社會科學院出版社
- 張紅, "溫庭筠詞新釋輯評" (2003), 中國書店
- Pudovkin Vsevolod Illarionovich, "Film technique and Filmacting" (2007), Sims Press
- 홍병혜, "溫庭筠詞 硏究", 박사, pp.1997
- 김선, "溫庭筠詞中的夢", 중국어문학지, (11), pp.5~90 (2002), 중국어문학회
- 김의정, "시는 어떻게 광고가 되는가? — 중국 고전시의 문학 콘텐츠 활용방안 —", 중국어문학지, (42), pp.69~101 (2013), 중국어문학회
- 김의정, "영상 미학을 통해 본 중국 고전시의 재해석", 중국학보, (75), pp.199~219 (2016), 한국중국학회
- 김일영, "‘미장센’ 원리의 소설적 적용", 현대소설연구, (22), pp.17~34 (2004), 한국현대소설학회
- 김현주, "溫庭筠 「菩薩蠻」詞 14首에 대한 詞語 연구", 중국학연구, (72), pp.3~28 (2015), 중국학연구회
- 김현주, "南唐詞의 婉約性과 그 表現 考察 - 馮延巳, 李璟, 李煜의 小詞 중심으로", 중어중문학, (43), pp.175~204 (2008), 한국중어중문학회
- 김홍섭, "데카당스 문학과 토마스 만", 獨逸文學, (50) (1993), 한국독어독문학회
- 이지영, "몽타주 개념의 현대적 확장 －들뢰즈의 논의를 중심으로－", 시대와 철학, 22(4), pp.219~253 (2011), 한국철학사상연구회
- 최병근, "미장센 요소들의 창의적 기능에 대한 연구", 영화연구, (29), pp.347~374 (2006), 한국영화학회
- 한성철, "이탈리아 데카당스의 기원과 1920년대 한국 현대문학에 끼친 영향 관계", 이어이문학, (2) (1995), 이어이문학회
- 홍병혜, "溫庭筠의 自由와 詞-溫庭筠의 愛情詞를 中心으로-", 외국문학연구, (17), pp.351~374 (2004), 외국문학연구소
- 홍은빈, "李白과 杜甫의 蜀道行 기행산수시 감상법 ― ‘아이맥스-영화’와 ‘로드무비’를 통하여", 중국학논총, (26), pp.119~152 (2009), 중국학연구소
- 陳慷玲, "溫庭筠十四首 ≪菩薩蠻 ≫之空間蒙太奇", 吳中文學報 (2009)
- 顧農, "古代詩詞里的電影鏡頭", 名作賞析 (2013)
- 謝桃坊, "詞爲艶科辨", 文學遺産 (1996)
- 周勇, "論溫庭筠詞的動靜和虛實關系", 長江學術 (2011)