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저널/프로시딩 상세정보

권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 12건

  1. [국내논문]   한국근대시와 불교적 상상력의 양면성  

    구모룡
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 7 - 30 , 2003 , 1229-1943 ,

    초록

    Buddhism attracts less attention than Confucianism because the religion is associated with unworldliness. The principle of escape from the mundane world and rejection of family ideology are two main bases for transcendence pursued by Buddhism. Such transcendence becomes a factor which contributes to incompatibility between Buddhist speculation or imagination and modernity. For this reason, Buddhism couldm"t be an alternative to Confucianism in modern society characterized by the dissolution of order based on philosophy of the Chinese Song. Buddhist speculations reflected in Han Yong Woon"s poems may be defined as demonstrations of resistance. In his works, the poet created a self who sought to achieve modernity through resistance in the form of tradition. However, the self was not realized, but just wished to be as suggested in the existence of "the beloved" as a character. The poet couldn"t find a medium between modernity and Buddha. The source of poems by Seo Jeong Joo was his own culture. Therefore, his earlier works were not based on Buddhist imagination. In earlier days of writing poems, Seo Jeong Joo oriented towards the Western idea of modernity - deconstruction, introduced through Japan, rather than seeking towards tradition. His adaptation of Nitsche"s aesthetic primitivism in writing poems tended to be superficial rather than be associated with reality. This led to the result that the poet accepted Asianism as the idea of colonialism without big conflict. In using Shilla(新羅) and Buddhism as poetic themes, the poet stood on a principle that aesthetic primitivism, the Western idea of modernity-deconstruction and orientalism were all equal. Traditional aspects found in his works written during the late period of Japanese colonial rule were regarded consistently corresponding to lay mysticism. For Seo Jeong Joo, Buddhist imagination was a system characterized by irresponsibility, transcendence and aesthetics that nullified worldly values and order. Cho Ji Hoon employed Buddhism from his own methodological view. Seeking both prosody and the discipline of meditation in his works, the poet tried to achieve peace by way of removing troubles on one hand and realize his own virtue on the other hand. Thus Cho Ji Hoon used Buddhism according to Confucianism-based idea of Eunil(隱逸). Buddhist imagination presented in Korean modern poems had various aspects of ambivalence. This was closely related to such aspects of social conditions based on which the modern poems were formed. In colonial modern society where colonialism and modernity coexisted, tradition couldn"t avoid bringing out various contexts of discourse. Han Yong Woon, Seo Jeong Joo and Cho Ji Hoon were different among them in ways of reforming the ambivalence of tradition in colonial modern society. Such ways become bases for understanding different relationships between aesthetics and world view.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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  2. [국내논문]   김일엽 시의 자의식과 求道의 글쓰기  

    김현자
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 31 - 58 , 2003 , 1229-1943 ,

    초록

    Kim, Il-lyeop, together with Na, Hye-seok, and Kim, Myeong-soon, is one of the first modern women writers in Korea, who opened a way for women at that time to participate in the literary circles and to have their own jobs, breaking the shackles of deep-rooted, closed norms of the society. However, in spite of her leading role as a woman writer, Kim, Il-lyeop"s works have not been paid serious attention to. Therefore, the purpose of this paper is to investigate her poetic world that has not been fully examined. What is noticed here is that we explore various poetic features and peculiar methodological development patterns she used in her poems, with respect to ontological awareness of femininity, to imagery orientation, and to optimistic point of view discovered in her works. First, her ontological realization of femininity is reflected only suggestively in her works. Looking at her early poems in the magazine "Shinyeoja"(new women), we can perceive her sense of the times only in a comparatively abstract, somewhat vague manner, i.e. through her linking the advent of new era with an image of spring. Nevertheless, it is worth mentioning that those poems in the magazine "Shinyeoja" represent the sense of the times and the consciousness of social involvement as a woman which were absolutely pioneering at that time of the day. Since the discontinuance of issuing the magazine "Shinyeoja," Kim"s works which sing praise of a new era with the rhythm of 7.5, or 4.4, faced both substantial and formal changes. Especially in the substantial part, distinguished from the earlier works to convey something enlightening, her later verses concentrate on individual emotions such as solitude, agony, re?orse, and yearning, as well as the passion and energy of the youth. Maintaining a single poetic voice of inner monologue, her works in this period can be phrased into the following: "the rhetoric of spring flowers." Next, the image of fire in the poems of Kim, Il-lyeop displays a kind of variation: it sometimes symbolizes a hearty laughter, fire burning allover the earth, or the torch which the Budda himself lit to incite ordinary people to pursue the truth. This kind of alternation of images of fire is in close accordance with the transformation of the poet"s consciousness, that is, the progress from the emphasis on social enlightenment, to immerging into the individual emotion and passion, and finally to attaining the stage of unfathomable insight and spiritual awakening through the discovery of the absolute The Other, "Nim." Lastly, the poems written after her determination to be a monk, constantly reveal her ascetic attitude in seeking for the truth, though embracing the troubles in this world. They vividly show what a person will be like after burning her youth to the ashes, and eventually realizing the essence of life, and how optimistic her point of view can be. To sum up, Kim, Il-lyeop strived to live an independent life in such a period when women were considered to be subordinate to men in their private and social lives, and also persisted to sing the praises of liberty through the construction of her own literary world. Those efforts for liberty meant an attempt to free from the oppression of Japanese colonialism, a liberal expression of woman"s desires and emotions curbed under the patriarch ideology, and sometimes a search for the ontological freedom toward the eternity and the universe. Conclusively, her writings as well as her life display the poet"s endeavor to persue the freedom of body and spirit in the closed society, which are expressed as a cry for enlightenment, as a clamor against the discrimination of sex, as a remorse and a monologue resulting from the disappointing reality, and finally as so hearty a laughter as to seemingly burn out all over the earth.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  3. [국내논문]   잊혀진 시인, 김병호(金炳昊)의 시 세계  

    박경수
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 59 - 107 , 2003 , 1229-1943 ,

    초록

    This paper aims to disclose and clarify Kim, Byung Ho"s life and his literature for the first time, and then prove characteristics of his poems. the results so far achieved is as follows. 1. Kim, Byung Ho was born on 1906, and was frozen to death in 1961. His birthplace is Mokdori, Hadong-gun, Kyungsangnamdo. He graduated from Kyungnam Public College of Education(Jinju University of Education at present) in March, 1925. From this time he changed frequently his place of employment as a teacher of the elementary school, and from 1945 to 1954 worked as a headmaster in several elementary schools. 2. Kim, Byung Ho published many poems(as many as 80 works) after graduation in 1925. Especially he was at work as one of the proletarian poets in relation to KAPF, direct and indirect. 3. I could divide his poems into four categories; works which reveal the self-identity of the working class and the critical consciousness about actual life, works which expose the consciousness of national identity, works which narrate the tragedy of his personal life, and works which express the consciousness of escapism and contemplation.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  4. [국내논문]   「기상도」 연구 - 화자의 변화 양상을 중심으로  

    박순원
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 109 - 137 , 2003 , 1229-1943 ,

    초록

    「Gisangdo(Weather Chart)」, is the long poem of 7 parts, 422 lines and the masterpiece of Kim, Kirim, completed with his ambitious plan. Kim clarified that he planned 「Gisangdo」 to capture "the complicated and much crooked modern civilization" and to write "a long poem in which the dramatic development is possible." By analysing the composition of 「Gisangdo」 and by examining the poetic consciousness represented differently in each part and the relation between each part and other poems before and after 「Gisangdo」 in the process of his poems, this study has made clear the following three facts. First, 「Gisangdo」 is divided into first half from part 1~5 and second half from part 6~7 by the location of the speaker. In the first half, the speaker located in the meteorological observatory looks out with global view and have the clear epic composition of beginning, development, crisis, climax and conclusion. The second half is similar in the point that the speaker is located on the ground, but is different in the point that the speaker in part 6 regrets his situation and position, the speaker in part 7 reveals his will and aspiration. Secondly, the speaker in part 1~5 has an aspect of cosmopolitan accusing the absurdity and contradiction of the modern civilization. His cosmopolitanism is based on the desire to leap from colonials to universal citizen of the world. The speaker of part 6 shows internal reflection but it is not originated from practical experience but from intellectual manipulation and the speaker maintain the attitude of the universal modern intellectual firmly by not revealing the self - consciousness of his being the citizen of underdeveloped country. The speaker of part 7 shows the one - sided will of the self in single - lined and monologue tone Thirdly, The attitude of internal reflection represented in part 6 is developed into the direction to express the reality of colony or the limit of intellectuals in the colonial period in 「The Sea and The Butterfly」, 「A Public Cemetery」, 「A Convalescent Hospital」, 「The Travel to Northside」 series because Kim faced with unconquerable limits as an intellectual in the colonial period. Single - lined and monologue voice of the speaker in part 7 repeated in early and later period poems and this shows that utopian imagination based on romantic dichotomy acts as one axis throughout Kim"s writing his poems. Kim reveals intention towards universal world citizen in 「Gisangdo」, Satire, internal reflection and aspiration towards the new world represented in 「Gisangdo」 is represented in a global level. But Kim himself exists as a colonial, a citizen of the underdeveloped country. In spite of Kim"s ambitious plan to capture "the complicated and much crooked modern civilization", 「Gisangdo」 reveals the limit of lacking insight into his own condition of being.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  5. [국내논문]   『학지광』에 나타난 국혼주의와 민족형식론  

    여지선
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 139 - 180 , 2003 , 1229-1943 ,

    초록

    As a journal of every second month planned by the Korean overseas students in Japan, Hakjikwang is an omnibus magazine carrying various gentes such as thesis, fiction, play(comedy), criticism, travel sketches, miscellaneous writings, poem( including Chinese poem) and articles of fraternity. Due to its mainstay as a bulletin among overseas students in Japan, Hakjiwang could have been presupposed as having Western air and styles in appearance, but in reality, internally it reflects inner conflicts of intelligentsia at the time of whose nationality sovereignty is fading out. That inner conflicts is epitomized of patriotism as one of reactive methods to the colonizing policy in order to maintain our culture, history, language and literature. Their findings in the crucible of patriotic passion are listed like a study of Korean language, reassessment of history, excavation of cultural properties, and a literature study of Choseon dynasty. These facts can be said that the Korean overseas students in Japan did deeply recognize their own historical responsibility as an intelligential class prior to doing their own academical researches and disciplines. Until now, any discussion and evaluation of these areas or directions are mainly comprised of just focusing on the perspective of Western-oriented viewpoints that had become a primal pivot on establishing a modern literary formation. However, my study shows that the associates concerned in Hakjikwang are rooted on a mental foundation for encouraging national spirit and restoring ethnic identity to fight the situation of losing their national sovereignty. These evidences can be reflected in various areas such as language, history and over-all cultural phenomenal concerns and discussions. In addition, these intellectual patriotism is embodied in our traditional poetic styles, viz ethnic styles like Sijo, Gasa, Hansi, and Taryeungjo. Therefore, in the matter of creative writing free verse, the foot rhythm and line format are forced to be used as the elements of traditional genre. The fact that being published not in domestic, but in broad, by those overseas students who have Western atmosphere and experience in Japan speaks volumes for the students" overflowing concern and attention over our traditional styles. These phenomena also mirror that their creative inner hearts are flamed with unspeakable patriotism. Surveying the past in the stream of the history of new literature, the broad expansion of negative recognition to the tradition-severance and literature-planting theory has been existed somewhat strong, but the clue of impersonal literary recognition is derived from an improper or incorrect analysis of progression in creative writing aspects of early new literary period. For example, on the study of enlightenment Siga, the fact that so far, Changga, Shinchesi, free verse etc. have been studied within the limitation of foreign genres is one of the mistakes. Enlightenment era had been practically considered as a bloomed period of not only foreign genres but also our traditional"s such as Sijo, Gasa, Ballads and Hansi. It can be said that as the time ran, under the deep sea, the stream of our genres also ran slow and steady abreast with the foreign styles that flew on the top of the surface. Therefore it can be egregious to say that there exists only western impact derived from foreign genres. Considered just only on the angles of creative writing styles, to say tradition-severance and literature-planting theory is nothing but a useless argument because we can catch some clues from those who are staying Japan and those associates involved in Hakkjikwang which was published in Japan. They had been kept trying to solve these problems by making every efforts to maintain their national spirits and ethnic forms, even though the overseas students had been deeply imbued with western atmosphere and experience in Japan. Therefore, the value and ..

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  6. [국내논문]   〈네거리의 순이〉의 영화적 요소에 관한 연구  

    윤수하
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 181 - 205 , 2003 , 1229-1943 ,

    초록

    It has been a main current to debating short epic style in case that they commented on the poems by Im, hwa who was a central force of KAPF. But I don"t think that we can understand his poetic cognition only by applying the frame of short epic poetry when we comment on Im, hwa"s poems including "Soon-bee in crossroads" Poetry conveys images by linguistic sensation. Images transmit imaging cognition coming to mind but not mere decipherment. In Im, hwa"s poems, imaging cognition is not applied to panorama in screen just. Im, hwa gave weight to narration through character of Soon-hee who had already been engraved in the public by screening before. Although, as known well, Im-hwa was much interested in films, commenting on the movie and starred as a hero, the fact is that it was overlooked that he tried to apply his interest to his poems. As we consider ideological category of realism and modernism, it may be inconsistent that it is a kind of modernistic element for him to combine the modern elements of movie with the poems. Realism or modernism is a matter of ideology, so it is not entirely related to technique. In that respect, it was extremely natural that he tried to configurate the thorough displacement of a woman who had absolute maternity, pure chastity of lady in Joseon, and thought, etc. KAPF required literary works keeping both literary culture and propagandism alike, and Im, hwa seemed to infer that the configuration of Soon-bee"s displacement could be formed not by radical and absolute propaganda, but by persuasive methods. Im, hwa who fostered development at literature and movie cannot have missed a sort of character-configurating technique. In this essay, I tried to scrutinize how he employed filming technique in his poem "Soon-hee in crossroads"

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  7. [국내논문]   정지용 시에 나타난 시간성의 수사학적 의미  

    윤의섭
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 207 - 242 , 2003 , 1229-1943 ,

    초록

    The poem written by Jung Ji Yong shows change of time attribute in process transformed to poem revealing scenery and pictures through the early and middle of religious poetry world. In the change, a metaphorical change of recognition become motive. His early works reconstructed the past by metaphorically cognizance. That is to say, the past and present came to continuous time systematically, and formed through metaphorically cognizance. Sensuous description , one of the early poetry characteristic is realized by attempt reconstructed continuous time to the present. In the basis of these figure, an attitude that understanding metaphor comes into motive. In middle poetry, it shows eternity rising above the past or present. The time of eternity means timeless situation above past, present and future. Eternity becomes to recognition about speaker"s world filled faith. so, it can express through a simple symbol. Accordingly, a metaphorical recognition that is different from the early poetry stands in the base. But, the reality of Japanese imperialism age is realized that reconstruction having in the early poetry is impossible. Also, the middle poetry seems to be in a transition. Finally, Jung Ji Yong creates another world about real world. That is, in the latter half of the year, changing time attribute, it comes to metonymy recognition looked timeless situation. In the under the rule of Japanese imperialism, another world indicated scenery forms a part of the realization of a positive and subjective self and is the world of metonymy figure made by will of seclusion. Jung Ji Yong appreciates another world having timeless through metonymy yielding principle of contiguity. In the poetry of the latter term, however, timeless and metonymy recognition exhibit the limitation coexisting with metaphorical recognition. This is confirmed that Jung Ji Yong intended the real time lastingly. A metonymy recognition of the time attribute assumes an aspect that doesn"t make deeper poetic figure.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  8. [국내논문]   백석의 시와 거주 공간의 관련 양상  

    이숭원
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 243 - 275 , 2003 , 1229-1943 ,

    초록

    This thesis aimed to look into the transfiguration of Paek Seuk"s change in residential environment into poetry. Paek Seuk published his anthology "Deer" during his stay in Seoul after his return from Tokyo. Thereafter, he left Seoul to live in Hamheung from April 1936 to December 1938 and came back to Seoul to stay in January December 1940 before settling in the Manchurian area since January 1940. His published works during these periods show some considerable differences depending on his residential environments. The works he produced during his stay in Hamheung describe the living environments in the Hamkyung do province in terms of the aesthetics of sensibility that is inherent to Paek Seuk. He attempted to depict living customs and their flashes of consciousness by employing his rich sensibility. He was interested not only in customs but also in Hamkyung do Province"s historical truth. Moreover, the estrangement between a narrator and the public as well as his air of adverse demeanor to the society are intensified in the poems during this period. One of his works during this period, 〈Sansook〉 A Night on The Mountain, differs from the other poems because it pursues soul searching. Realizing the expansion of the soul leads to the transfiguration of consciousness. Note how Paek Seuk"s consciousness was transfigured from individual expansion into a certain degree of communal horizon. Likewise, his pursuit of expansion of the soul, i.e., inside the surface of life, was being expanded. He wrote no more than a few works during his stay in Seoul when he came back to work for the Chosun Daily Newspaper. One common feature of these poems is that they harbor a longing for folklore in a hometown, which is interpreted as Kyungsung"s (formerly Seoul) resistance to modernization during the colonial reign. Therefore, the longing depicted in these works shows morbid intensity. Paek Seuk"s pursuit of ethnic identity as reflected in these poems carries significance in the course of soul searching under the environmental pressure of the time, showing the transition of his consciousness settling into historical conviction. The realization of such conviction made him sick of the suffocating domestic situations, thereby probably prompting him to defect to Manchuria. His poems during the post Manchurian era consistently deal with the inner world of human beings and seem to be struggling pointedly to overcome the tragedy of the environment in the realm of soul searching. On the other hand, his other work deals with the extreme feeling of loss caused by the devastation of the life of human beings, the society that enabled life, and the span of nature. The others tackle the comfort of inner resources with the pastoral background of resuscitation. As such, his poems during this period alternate between frustration in reality and longing in his inner world.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

    이미지

    Fig. 1 이미지
  9. [국내논문]   한국 현대시에 나타난 '달마' - 최동호ㆍ이정우의 시를 중심으로  

    이승하
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 277 - 307 , 2003 , 1229-1943 ,

    초록

    Dharma is a monk from India who lived his life in China. He is a well-known figure in north-east Asia who was respected as the first founder of Chinese Zen. It is true that some are doubtful of whether he is real, but the Buddhist tradition of Chinese Zen could not be established without his coming to China. The fact that Dharma"s Zen could widely bloom in China shows that his thoughts and discipline were second to none and agreeable to the Chinese at that time. The Chinese were greatly stimulated by the coming of Zen which seemed exotic to them, so Dharma"s Zen Thought was not influenced by the change of age and could keep maintaining its discipline. Two Korean poets wrote consecutive poetry with a kind of topic about Dharma.! Choi, Dong-he talked about the significance of life Buddhism and practical philosophy by means of a series of poems with a subtitle "Why did Dharma come east?" Lee, Jung-woo saw Dharma not as a mysterious Zen master in the field of Buddhism, but as a real being, and he explored himself as Dharma who tried to seek for Buddhist laws through the act of writing poetry. Dharma, in this way, is a living figure in our life.

    원문보기

    원문보기
    무료다운로드 유료다운로드

    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

    이미지

    Fig. 1 이미지
  10. [국내논문]   현대시에 나타난 시적 구조로서의 병렬법  

    정끝별
    한국시학연구 = Korean poetics studies 2003 no.9 = no.9 ,pp. 309 - 338 , 2003 , 1229-1943 ,

    초록

    The parallelism in modern poetry has been connected with parallel statement system in traditional poems and songs like shijos and ballads. But the parallel model of traditional poems and songs that "tow lines of them had coupled into an element of sense facing each other" have been transformed and deconstructed into modern poetry in structural dimension of the whole. Then the parallel in modern poetry has developed with expanding, deconstructing, and rebuilding the parallel structure of traditional poems and songs. This study has separated deploying patterns of the parallel in modern poetry into three types of repetitive parallel structure, expansive parallel structure, and deconstructive parallel structure, and has illuminated poetic functions and effects in the parallel structure of each poem. The parallel, with the repetition, in modern poetry has functioned as a structure of poetic statement that has integrated a poetic text into a poem through the repetition of certain voice, word, common phrase, line, and paragraph as a principle of poetic form. And, diverse and abundant variations of poetic functions have used to be issued from transformations of the parallel and patterns of the deconstruction. These poetic functions have brought poetic senses and emotions to cohesion, destruction, or refreshment, have constructed and de-constructed vidual and audial poetic rhythm, and have contributed to forming poetic structures and producing aesthetic effects with emphasis and revealing a poet"s emotions, inwards, poetic troubles, and his objects. Consequently, the parallel in modern poetry has turned Out to be an important poetic device in order that equality and repetitiveness of common phrasal structure has formed so called "rules of sense" with expanding into qualities of poetic rules.

    원문보기

    원문보기
    무료다운로드 유료다운로드

    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

    이미지

    Fig. 1 이미지

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