Korean | English

pISSN : 2466-1759

2020 KCI Impact Factor : 0.36
Home > Explore Content > All Issues > Article List

2011, Vol., No.27

  • 1.

    韓國古詩歌文學會의 硏究活動과 그 成果 - 학회 창립 20주년을 즈음하여

    Park,Joon-Kyu | 2011, (27) | pp.5~36 | number of Cited : 1
    Abstract PDF
    한국고시가문학회에서는 그 동안 매년에 걸쳐 학술연구 발표대회를 가졌고, 학회지로서 『古詩歌硏究』를 발간하는 등 고시가 연구의 활발한 연구를 꾸준히 계속하여 왔다. 학술 발표대회는 금년까지 23회를 개최하였는데, 그 동안 수행되었던 연구발표의 안건은 총 102건이요, 대회에 임한 학술연구 발표자 수는 56명에 이른다. 또한 회원들의 꾸준한 학문연구로서 추진한 학회지 『고시가연구』는 제27집의 발간을 예정하고 있다. 제25집까지 게재된 논문의 수는 총 316편이요, 그 집필자 수를 헤아리면 112명에 이른다. 이는 학계 절대 다수의 연구진이 참여한 방대한 논문집의 출간이라 하겠다. 한편 학술발표에는 주요 과제를 공동연구의 특별 주제로 내세워 전국대회를 8차에 걸쳐 개최하기도 했다. 특히 송강 정철의 생애와 문학, 사대부가사의 전통과 미학, 고시가의 정체성과 미학, 고시가 연구 방법론의 검토와 모색 등 흥미 있는 주제 논의는 큰 성과를 거둔 것으로 판단된다. 또한 학회지에 발표된 316편의 논문은 고전시가 전반에 걸쳐 심층적으로 연구된 결과이다. 이를 시가 유형별 비중으로 보면 가사와 시조 그리고 한시 등에 대한 논총이 우위를 차지하고 있는 셈이다. 그중에서도 가사문학 연구의 업적이 대단하였음을 지적할 수 있다. 특히 송강문학에 대해서는 본격적인 작가론 또는 문학론의 탐색이 다양하게 모색되었다고 하겠는데, 본 학회지에 발표된 정철관계의 다양한 연구들은 ‘송강문학 재인식’의 한국고시가문학회에서는 그 동안 매년에 걸쳐 학술연구 발표대회를 가졌고, 학회지로서 『古詩歌硏究』를 발간하는 등 고시가 연구의 활발한 연구를 꾸준히 계속하여 왔다. 학술 발표대회는 금년까지 23회를 개최하였는데, 그 동안 수행되었던 연구발표의 안건은 총 102건이요, 대회에 임한 학술연구 발표자 수는 56명에 이른다. 또한 회원들의 꾸준한 학문연구로서 추진한 학회지 『고시가연구』는 제27집의 발간을 예정하고 있다. 제25집까지 게재된 논문의 수는 총 316편이요, 그 집필자 수를 헤아리면 112명에 이른다. 이는 학계 절대 다수의 연구진이 참여한 방대한 논문집의 출간이라 하겠다. 한편 학술발표에는 주요 과제를 공동연구의 특별 주제로 내세워 전국대회를 8차에 걸쳐 개최하기도 했다. 특히 송강 정철의 생애와 문학, 사대부가사의 전통과 미학, 고시가의 정체성과 미학, 고시가 연구 방법론의 검토와 모색 등 흥미 있는 주제 논의는 큰 성과를 거둔 것으로 판단된다. 또한 학회지에 발표된 316편의 논문은 고전시가 전반에 걸쳐 심층적으로 연구된 결과이다. 이를 시가 유형별 비중으로 보면 가사와 시조 그리고 한시 등에 대한 논총이 우위를 차지하고 있는 셈이다. 그중에서도 가사문학 연구의 업적이 대단하였음을 지적할 수 있다. 특히 송강문학에 대해서는 본격적인 작가론 또는 문학론의 탐색이 다양하게 모색되었다고 하겠는데, 본 학회지에 발표된 정철관계의 다양한 연구들은 ‘송강문학 재인식’의 괄목할 성과로 평가된다. 괄목할 성과로 평가된다.
  • 2.

    Research on Poetry Literature at Manchuria Exile during the Japanese Colonial Rule - Centering on the Class in charge-Innovative Confucian Scholars

    ko, Soon-Hee | 2011, (27) | pp.37~68 | number of Cited : 12
    Abstract PDF
    Manchuria exile poetry consists of 7 pieces in total. The only male work "Buntongga" was created by an independence activist and innovative Confucian scholar-Kim, Dae-rak. And the rest 6 pieces of the poetry were created by the females from the innovative Confucian families. Therefore, it's essential to have a discussion about the innovative Confucian scholars in order to understand the class in charge of the Manchuria exile poetry and the foundation of its production. Thus, this thesis is on the study into background of Manchuria exile poetry, aiming at discussing the concept of the innovative Confucian scholars, philosophical idea of the innovative Confucian scholars, analysis of the work <Buntongga> written by one of the innovative Confucian scholars. First, In Chapter 2, this thess took a look at the overview of the work and concept of the innovative Confucian scholars. In Chapter 2.1, this thesis arranged the overviews of the 7 pieces of Manchuria exile poetry. In Chapter 2.2, this thesis investigated and revealed the fact that the writers of Manchuria exile poetry were the innovative Confucian scholars and women from their families. In Chapter 3, this thesis took a look at the ideological basis of innovative Confucian scholars. In Chapter 3.1, this thesis had a discussion on their ideological basis from the aspect of 'Confucian Noblesse Oblige idea', and from the aspect of 'Community and family-oriented consciousness' in Chapter 3.2, with a focus on what grounds their consciousness of independence movement, which induced them even including women to be involved in the actual ground of struggle at the sacrifice of everything, was based on. In Chapter 4, this thesis made an analysis of the world of the work, <Buntongga>, the only one written by an innovative Confucian scholar. As a result, this thesis could perceive the concrete aspects of Confucian Noblesse Oblige idea be realized in the work. Lastly, in Chapter 5, this thesis inquired into the significance as poetry literature. This research had a discussion with a focus on what meanings it assumes that innovative Confucian scholars and women from their families created Manchuria exile poetry.
  • 3.

    The Genealogic Status of Akbu(Nason version)

    Kwon Soonhoi | 2011, (27) | pp.69~98 | number of Cited : 8
    Abstract PDF
    In this thesis, I rethought Akbu(Nason version)’s character through genealogical research. Akbu(Nason version) is an anthology that was recompiled of anthologies which are performed at the official banquet around Tongyoung in the 19th century. Akbu is composed of Geon(乾) and Gon(坤). Akbu(Geon) is a different version of the anthology, Heungbibu(興比賦) at the beginning of the 19th century. After I compared the organization and the characteristics of songs, I revealed the pieces in Gakjoeum(各調音) were significantly different. In this thesis, I found the reason from the different interpretations of Gakjoeum. Unlike Heungbibu, the compiler of Akbu(Nason version) reinterpreted Gakjoeum including Sijo besides Gagok. We could not grasp the inflow of Heungbibu into Tongyoung. However, it is obvious that Heungbibu was interesting to the compiler who was familiar with the banquet in Tongyoung. It was sufficient for them to draw interest because the anthology was well organized and big scale and had the new melodies. That is why the compiler transcribe Heungbibu, and then made Akbu(Geon). While the compiler was at it, he or she made Akbu(Gon) with anthologies in his or her possessions and his or her own songs at the banquet or performance. Akbu(Gon) includes 3 anthologies and dancing score(舞譜). These were compiler's possessions or performing at the official banquet or performance in Tongyoung. More than all, it is noticeable that Akbu(Gon) has the characteristics from the mid or late 18th century to the beginning 19th century. It is interesting thing that Akbu(Gon) includes sijoes which are the compiler and the putative giseangs exchanged. From this, we could grasp the compiler's personality and the aspects of communicating anthology in Tongyoung. While Akbu(Geon) has shown an universal substance and interest, Akbu(Gon) is a history of gagok's communication and performance in Tongyoung. Thus, Akbu(Nason version) included the interest in gagok of the time and the history of communicating gagok in Tongyoung.
  • 4.

    A study of sisa kim seon's life and poetry

    Kim Kui-Suck | 2011, (27) | pp.99~118 | number of Cited : 1
    Abstract PDF
    This a paper has been considered about sisa. Kim seon(1568~1642) life ane poetry. he is Naju birth the middle of the Josen Dynasty. he is scholar and writer. he is not government post. The Kwanghe bestowed. Kuny Won Sewon Because he's ohynsewon with draw an appeal. he was an distinguished confucianism scholar and poets. he's fond of poetry, about make produce 1200 poetry His poetry was characterized and a patriotic spirit. He is a patriot who always concerns himself with the nation future. the poetry are eloguent of his expression. his to give up the gwageo exaim in 1615 at the age of 48. live in hometown. he's enjoyed on brother and wife and children and poem. and alcohol. and a hill of food and poverty that Nojang's greelless.
  • 5.

    The features and significances of Jang-heung Gasa - Focused on statue of work and studies in present

    김신중 | 2011, (27) | pp.119~140 | number of Cited : 6
    Abstract PDF
    Jang-heung Gasa is one of the Gasa written by Jang-heung people or setting Jang-heung. The purpose on this article is to say the features and significances about Jang-heung Gasa. Therefore, I limited research topic to traditional Jang-heung Gasa and came at it focused on the analysis of statue of work and trends of studies. Major discussions are as below. First, I focused on status of works. I classfied Jang-heung Gasa in nine pieces by examining works both regarded as Jang-heung Gasa up to now and found newly. Those are <Gwan-seo-byeol-gok>, <Cheon-pung-ga>, <Geum-dang-byeol-gok>, <Im-gye-tan>, <Ja-hoe-ga>, <Gwon-hak-ga>, <Cho-dang-gok>, <In-il-ga>, <Jang-han-ga>. Also I considered on trends of studies in two aspects of individual and local approaches on works. I found out that each type of works has literal importance because the Travel Gasa, Didactic Gasa and Reality-critism Gasa became main stream in the late Joseon Dynasty.
  • 6.

    The study of the cherished Chinese poetry on seven loyal soldiers

    김영붕 | 2011, (27) | pp.141~170 | number of Cited : 0
    Abstract PDF
    Seven-martyrs(七義士) were killed Jung-Yu Jae Ran(丁酉再亂) in 1597 Seok-Ju Kwan(石柱關) in KuRae(求禮). This article analyzed about 50 poems on the poem plate which were engraved in Jae-Myong Kak(齊明閣) of Seok-Ju Kwan(石柱關) in KuRae(求禮). Writings on the poem plate engraved in Jae-Myong Kak(齊明閣) had been written during many generations. Poets were written and engraved on poem plate by Seven-martyrs(七義士)'s descendants, writers and officials of KuRae(求禮), doing performance. All of writings were ChilEun-YulSi(七言律詩) in style. Among them there were more writings of GaeSung Wang family(開城王氏) of Wang Deuk Een(王得仁), one of seven martyrs descendants than any other men. There were too much MaeCheon Whang Hyun(梅泉 黃玹)'s writings if not descendants. The writings of people were leading role surrounding MaeCheon(梅泉). This was because MaeCheon(梅泉), the descendants of seven-martyrs, Yu-JaeYang(柳濟陽), people beside MaeCheon(梅泉), they built Chil-Eui Kak(七義閣) wrinting poems and engraving them. This was reflected by leading KuRae(求禮) society of GaeSung Wang family(開城王氏) and MaeCheon(梅泉) at that time and by prospering poem circumstances. The theme of all writings were praising serving loyalty of seven martyrs. and mentioning the history of Seok-Ju kwan(石柱關) and it was enough to inspire us with the spirit of patriotism.
  • 7.

    On the new works of Changga(唱歌), <Korea-sa-ga(高麗寺歌)>

    Kim, Jong-Jin | 2011, (27) | pp.171~208 | number of Cited : 0
    Abstract PDF
    This paper aims to introduce a new poetic work, titled <Korea-sa-ga(高麗寺歌)>(a song of Korea temple) written by Kim, Mun-Se(金文世. 1894~1926). The Korea-sa(temple) had located at Hangzou in China since the Song(宋) dynasty up to now. This work was published at monthly magazine titled 『Buddhism(佛敎)』 on January of 1925. The form of this work is a kind of Korean song, named 'Changga(唱歌)' which was composed by 7 and 5 syllables in one sentence in order. It was said that the first work of Changga is <Song of Kyung-Bu railroad(京釜鐵道歌)>(1908) created by Choi, Nam-Sun(崔南善), a great poet at the period of enlightenment of Korea. But it was said that this work has revealed a naive cognition about the period of the Japanese colonial period, and has an affirmative attitude to Japanese Empire. On the contrary to this, <Korea-sa-ga> has a characteristic as a resistance literature, because of the writer Kim, Mun-se had been acted as a resister in 1919~1926. So it can be certainly said that <Korea-sa-ga> can be called as a new works which had significant meaning in the history of the literature and resistance movement in the Japanese colonial period in Korea.
  • 8.

    The Creative Intension and the Rhetorical Views in Dosansipigok(도산십이곡) and Eobusasisa(어부사시사)

    RYOO HAE CHOON | 2011, (27) | pp.209~232 | number of Cited : 4
    Abstract PDF
    The purpose of this thesis is to illuminate literary characteristics on Dosansipigok(도산십이곡) and Eobusasisa(어부사시사) in Choson Dynasty through the Creative Intension and the Rhetorical View. The signifiance on Dosansipigok(도산십이곡) and Eobusasisa(어부사시사) is that it has a lot of rheoric used to contain compressed meanings in simple rhythm and stanzas. This has a great inflence upon the development of poetic rhetoric. Nowdays the rhetoric is perceived in the indicative tool of the worldview of writer. Then the Language that man's thinking is established by is must be rhetorical, the rhetorics of poetry are two the metaphor and the metonymy, that these are the two aspects of man's thinking. Metaphor is the rhetoric of identity and it aims for the totality of the subject and object. It is the essential rhetoric on Dosansipigok(도산십이곡). In the case of Dosansipigok(도산십이곡), the subject and nature is identified in the point of emotion. On the other hands, Metonymy is the rhetoric of contiguity. It denies the identity of subject and the world. Eobusasisa(어부사시사) is founded with the rhetoric of metonymy. In the case of Eobusasisa(어부사시사), the deconstruction of images and the arrange of numerous unidentified images are the feature of metonymy and Si-Jos(시조문학). This sort of discussion needs to be popularized and continuous effort spent to elucidate the poetic principles related to the reform or change of work in Si-Jos(시조문학).
  • 9.

    A Study on Characteristics of Shim Eon-gwang's Poetry

    Park, Young Ju | 2011, (27) | pp.233~258 | number of Cited : 5
    Abstract PDF
    This paper studies Eochon Shim Eon-kwang's body of poetry in a general way. He is one of the poets who represent the 16th century in Korea's history of poetry. However, so far there has not been any study on his body of poetry. This paper examined the number of his existing chinese poems, their types, and gathered criticisms of his works in historical literature and discussed their characteristics. The result is briefed as follows. First, the number of his poems amounts to 580 and Chinese verse styles account for an overwhelming majority. In content, they are mostly aspirations he has in mind and experiences of excursions. Second, as for the characteristics of his body of poetry, its traits are magnificent, splendid, and beautiful, and its sincerity excluding embellishment and technical skills is outstanding. This paper's meaning lies in the fact that it can be used as a standard for judging the characteristics and performances of his body of poetry.
  • 10.

    A Comparative Study of Sokyo and Manyoshu in the Discussion of Themes

    Seo, Cheolwon | 2011, (27) | pp.259~286 | number of Cited : 2
    Abstract PDF
    The purpose of this paper is to grasp the origin of Sokyo as text of Paekjae Cultural Area for attaining a clue to the history of Paekjae Literature. It also arranges the relationship between Paekjae Literaure and Manyoshu(萬葉集). Sokyo has some different factors which cannot originate in the cultural space of Hyangga. Especially the rhetoric and the lyric point. We try to find their origin from the 'Repetition' and the 'Refraction' of Paekjae Poetry, not from the 'Series' and the 'Bisymmetry' of Shilla Hyangga. Not only Jeongeupsa will be a clue to this, but many poems of Manyoshu in Japan can be good instances. We can compare Sokyo and Manyoshu by the three themes : 1) the separation, longing, waiting emotion between the subject and the object 2) the subject and its surroundings make up a dramatic situation or set the direction of an extreme situation, 3) the previous interpretation of networks with a focus on value.
  • 11.

    錦南 崔溥의 <耽羅詩 三十五絶> 硏究

    Lim Jun Sung | 2011, (27) | pp.287~320 | number of Cited : 1
    Abstract PDF
    이 글은 조선 전기 때의 인물 錦南 崔溥(1454-1504)의 <耽羅詩三十五絶>를 조명한 것이다. 崔溥는 佔畢齋 金宗直의 문인으로 士林의 맥을 이은 호남의 士林의 윗자리를 차지하는 분으로 어려서부터 기질이 남다르고 강직하고 올곧은 성품을 지녔다. 당시 燕山君의 폭정과 勳舊派의 專橫을 좌시하지 않았으며, 선비로서 비판의 칼을 늦추지 않았던 실천적 지식인이었다. 그러나 잇다른 士禍에 연루되어 甲子士禍 때 결국 51세의 나이로 희생되고 말았다. 崔溥의 문집『錦南集』에는 <耽羅詩三十五絶>이 전하지 않는다. 다행히 淸陰 金尙憲이 지은 『南槎錄』에 <耽羅詩三十五絶>과 序이가 전하고 있어 崔溥의 詩的인 면모를 살필 수 있게 되었다. 이 작품은 1487년 11월 推刷敬差官이라는 직무를 수행하기 위해 제주땅에 처음으로 발을 내딛어 그곳에 머무른 석달 남짓한 동안에 제주의 역사와 풍물을 압축하여 한 편의 대서사시로 엮어낸 것이다. 이는 崔溥의 박물학적인 지식이 총동원된 결과라 하지 않을 수 없다. 이토록 짧은 기간 내에 가능했던 이유는 그가 『東國輿地勝覽』을 增補하는 작업을 맡았을 때 제주의 물산과 풍속을 소문과 문헌자료에만 의존하여 기록할 수밖에 없는 현실을 안타까워하다가 때마침 추쇄경차관이라는 제주를 경험할 수 있는 절호의 기회였기 때문이다. 崔溥의 <耽羅詩三十五絶>은 서사시적 구조를 띠고 있다. 일반적으로 개인적인 감정을 토로하기 보다는 제주의 자연풍경과 탄생전설, 그리고 역사와 풍물 등을 객관적 사실을 토대로 하여 제주 전반에 걸친 일종의 장편서사시로 분류할 수 있다. 崔溥의 서사적 경향은 그가 과거에 1485년에 『東國通鑑』을, 1486년 『新增東國輿地勝覽』을 편찬했던 경험에서 밀접한 관련이 있지 않을까 싶다. 역사서와 지리지는 사실관계를 밝혀내는 것이 중요한 작업이다. 갖가지 사실을 검토하고 확인하는 과정을 통해 崔溥는 객관적이고 분석적인 능력을 키워나갔을 것이다. 이는 經世濟民에 강한 포부와 의지를 가졌기에 가능하다고 본다.
  • 12.

    A study on the Buddhist Gasa style of going to Nirvana[往生歌類 佛敎歌辭]

    전재강 | 2011, (27) | pp.321~348 | number of Cited : 8
    Abstract PDF
    This dissertation is written in order to research for the way of the expression and the characteristics of cognition in Buddhist Gasa style of going to Nirvana[往生歌類 佛敎歌辭]. Firstly, in the aspect of the way of the expression, I debated the sentence and the rhetoric which being used in the Buddhist Gasa style of going to Nirvana. Five kinds of sentence - a declarative sentence․interrogative sentence․exclamatory sentence․imperative sentence․ propositive sentence - all were used in the Buddhist Gasa of going to Nirvana style. A declarative sentence․interrogative sentence․exclamatory sentence among them were functioning to confirm, emphasize, empress readers it true each other, the facts that the Buddhist Gasa style of going to Nirvana expressed. Imperative sentence․propositive sentence among them were functioning to order the readers to practice the Buddhist precepts or to produce the readers to go to Nirvana altogether. In the rhetoric, there were used three kinds of tools mainly in the Buddhist Gasa style of going to Nirvana: the way of contrast and enumeration, the metaphor. The way of contrast and enumeration were used for emphasizing the bad face and good face of Sava and Nirvana world each other. On the other hand the metaphor were used for emphasizing the changeability of Sava world. Secondly, I researched the writers recognition about the all-being in the Buddhist Gasa of going to Nirvana style. There were found two kinds of recognition about the all-being: The dualistic recognition and the unitary recognition. The dualistic recognition consists of three aspects-The Sava and Nirvana space, all living and Buddha, desire and chanting. But the basis of the dualistic recognition was the unitary recognition. According to the unitary recognition, the Sava and Nirvana space are one, all living and Buddha are one originally. So if all living chant eagerly, they can realize the facts that the Sava and Nirvana space are one, all living and Buddha are one originally ending up endless happiness. Conclusively, the way of the expression and the characteristics of cognition in Buddhist Gasa of going to Nirvana style were functioning to make people practice chanting and realize that the Sava space is Nirvana space, they are Buddha with feeling endless happiness. Even though I studied one of Buddhist Gasa styles in this research paper, there could be the other Buddhist Gasa styles. I might continue researching the other Buddhist Gasa styles next time in the near future.
  • 13.

    嶺湖南士林과 錦南 崔溥

    Choi Han Sun | 2011, (27) | pp.349~384 | number of Cited : 4
    Abstract PDF
    崔溥(1454-1504)는 耽津人으로 자는 淵淵 호는 錦南인데 進士 澤의 아들이다. 나면서부터 異質하여 剛毅精敏했다고 한다. 금남은 점필재의 문하로서 戊午士禍(1498) 시 그의 집안에 점필재집이 있다는 이유로 訊問을 받고 杖刑을 받은 뒤 端川에 유배되었다가 甲子士禍(1504) 때 處刑되었다. 금남은 호남인으로서 佔畢齋의 학문을 직접 받아들여 이 고장 士林의 발흥에 크게 기여한 첫 번째 세대로 평가받고 있다. 그 당시 점필재와 어깨를 나란히 한 호남 선비로는 竹林 曺秀文인데 그는 담양 竹林書院에서 배향되고 있거니와 그의 아들 雲谷 曺浩는 점필재의 문하로서 汝忠, 汝諶 등 문학으로 훌륭한 후손을 많이 배출했다. 安裕-權溥-李穀-鄭夢周-吉再-金淑滋-金宗直-崔溥로 이어지는 학맥은 安裕-權溥-李穀-鄭夢周-吉再-金淑滋-金宗直-金宏弼로 이어지는 학맥과 함께 호남 사림의 깊이와 폭을 더하는데 크게 기여하였다. 최부는 후생의 敎導에 亹亹不倦하였는데 해남의 邑을 밑아 있을 때 그 곳은 바다 모퉁이에 치우쳐 있어 文學이란 게 없고 禮儀 또한 荒陋했는데 금남은 正論으로써 陋俗을 변화시켰다고 한다. 이때 漁樵隱 尹孝貞과 林遇利 그리고 柳桂隣 등을 부지런히 가르쳤는바 이들을 보고 온 고을 사람들이 翕然하여 마침내 文獻之邦이 되게 했다고 한다. 호남의 사림은 크게 두 부류로 나눠 말 할 수 있겠다. 먼저 앞서 말한 바와 같이 王朝 交替期(1392)와 世祖의 王位 簒奪 事件(1455) 때 입향 또는 낙향해 온 세력과 다음으로는 安裕-權溥-李穀-鄭夢周-吉再-金淑滋-金宗直-崔溥로 이어지는 이른바 영남을 통하여 호남에 뿌리를 내린 계열을 들 수 있겠다. 호남 사림은 대체로 金宏弼, 崔溥, 宋欽, 朴祥, 李恒, 金安國 계열 등으로 나누는데 이를 자세히 들여다보면 朴祥을 제외한 모두가 金宗直 淵源임을 알 수 있다. 宋欽도 김굉필을 私淑했으니 송흠을 연원한 박상도 어떤 면에서는 같은 뿌리라고 말해도 무방하겠다. 최부 계열은 주로 海南과 羅州에서 활약한 인물들이다. 금남 학맥은 尹孝貞, 林遇利, 柳桂隣, 羅晊, 尹衢, 尹巷, 尹行, 尹復, 柳成春, 柳希春, 李仲虎, 鄭介淸, 羅士忱(錦南의 外孫子), 羅德明 등 6 兄弟, 羅緯素(羅德埈의 子) 등으로 이어진다. 최부의 호남 학맥은 安裕-權溥-李穀-鄭夢周-吉再-金淑滋-金宗直-崔溥(1454-1504)로 이어지는 사림의 正脈이었다. 그의 문하에서 배출된 사림들은 韓國 儒學史 上 또는 韓國文學史 上과 韓國 義兵史 등에서 뚜렷한 足跡을 남긴 인물들이 다수 배출되었음을 알 수 있었다. 그의 문하들이 이룬 호남학에서의 문학적 성과는 浪漫的 情緖라는 風流性과는 다른 차원의 세계를 열어보였다는 데서, 곧 溪山風流를 표방한 부류와는 시 세계를 달리 했다는 점에서 그 의의를 부여할 수 있겠다. 그의 史學, 文學, 經學 등 학문적 영향은 해남과 나주를 중심으로 湖南學의 정립에 큰 기여를 하였는데 특히 文學에서는 17세기 중반까지(羅緯素: 1582-1666) 약 2세기 동안 그 전통이 활발히 이어져 나왔고, 그 이후에도 羅景煥(性菴家藏), 鄭錫珍(蘭坡遺稿), 羅允煦(錦坡集), 羅燾圭 등으로 20세기까지 계승되면서 근현대 문학으로 移行되었다.
  • 14.