지원사업
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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To access the distinctive aesthetic consciousness and literary achievements of Bai JuYi’s musical poems, this paper aims to analyze how he appreciated two domains of ‘sound’ and ‘feeling’, and how he caught several phenomena spinning off from the relationship between the two. He used novel onomatopoeic words to implement ‘melody’ and ‘rhythm’ of singing and musical instrument performance to the fullest. With this, he succeeded in accurately delivering auditive impressions about consonance to the readers. Also he stretched the imagination of the readers through metaphor and symbolism, not expressing ‘the sound feelings’ directly. He could show excellent placement sense in constructing some models on the various tones of the sound and dynamics of the sound. Furthermore, he induced the readers to have active imagination on the sound change through the movement of all the stages from the delicate movements of the natural objects to personification, artificial change, human body and person’s activity. He was more concerned with the perfect communion between the performer and the appreciator of music carried by ‘the sound feelings’, rather than time period or meaning of writing musical poems. All this shows why Bai JuYi is referred as the great Chinese musician and poet, who was very aware of the fact that music world is ultimately the inner world and reached the aesthetic zenith of ‘aesthetic of the unvoiced’.
목차
1. 들어가며
2. 樂詩와 ‘聲情’
3. 象徵化된 소리
4. ‘聲情’의 內面化 過程
5. 나가며
〈參考文獻〉
〈ABSTRACT〉
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