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권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 15건

  1. [국내논문]   한국 현대시와 종교적 상상  

    최동호
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 9 - 26 , 2004 , 1229-1943 ,

    초록

    One of the most crucial problems of the world that human beings face in the early 21st century is the collision of civilizations. The religious struggle lies in the background of the collision of civilization. The war between the US and Iraq represents the confrontation between the Christian and Islamic civilizations. The struggle between Christianity and Islam is considered one of the controversial issues in the world since the Crusade in the 13th century. The struggle between the two seems to go to extremes with-out any clue to the solution. In this context, modern Korean poetry of the 20th century shows a good example in that it successfully surmounted the ordeals and adversities by accepting its traditional Confucianism, Buddhism and Taoism, while receiving the newly introduced Christianity. It would be a hopeful message that in this age of the collision of civilizations a variety of religious consciousness deeply rooted in the mind of the Koreans has explored the road to in-ter-survival based on the recognition of co-existence and reconciliation. Whang Dong Ghu's poetic quest which is developed around Buddha, Jesus and Wonhwo(元曉) is worthy of mention in that it strives to enhance the religious struggle toward dialectic synthesis without being absorbed in any particular religion. T. S. Eliot said that Dante was a poet of depth and height, while Shakespeare was a poet of variety. Eliot's ultimate poetic theme was that of religious salvation and eternity like Dante's. The examples of human va-riety can be found in the poetry of Suh Jung Ju and Go Eun. When it comes to the depth of religious theme in relation to the poetic depth and height, it is rather hard to deepen the width of discussion even though it includes Kim Ji Ha and Whang Dong Ghu.

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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]   시적 상상력과 종교다원주의 - 고진하의 시를 중심으로  

    나희덕
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 27 - 49 , 2004 , 1229-1943 ,

    초록

    The poetry and religion is frequently understood to be in opposition de-spite of the original resemblance. In particular, Korean modern poetry and Christian in Korea was divided each other just as they did not get over the dichotomy between the belief and common customs. The religious pluralism furnish the opportunity on conversation between another religion and cultural discourse. The aim of this essay is to grope for the desirable combination by means of looking into the relation between the poetic imagination and religious pluralism. The subject of analysis is the poems of Ko, Jin-Ha to try deliberating more definitely this theme. As the minister and poet, Ko, Jin-Ha has endeavored to combine the poetry and the religion in a wholesale way. His works did not lead the traditional doctrine and had dismantled the view of God and Universe of Christianity, and have so profound in meaning on Korean Christian poetry. On this study, I divided the poems of Ko, Jin-Ha into the former term and latter term and observed the procedure of change of his poems. He had chiefly criticized the absence of God and the sterility of reality with his poems of the former term. And he had sung the omnipresent sanctity with his poems of the latter term full filled with ecological imagination. The 'widely held religious property' of the former term was scattered to the open-hearted and pluralistic standpoint. Therefore I had confirmed the sense of intimacy and the possibility of combination between the poetic imagination and religious pluralism.

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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]   김현승의 기독교 시 연구  

    박몽구
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 51 - 88 , 2004 , 1229-1943 ,

    초록

    This study aims to research Kim, Hyeon-Seung's poetry based on christian spirit. He used to act as a modernist breaking away from the tides of the times and adhering to Christian intelligence, and as a poet of lofty spirit, having an important influence on the history of modern poetry. During the long time, christian poetry has been considered that it is based on christian belief. Therefore, most think that a view of life and world would be realized through christian poetry. But Kim, Hyeon-Seung has rejected those inner christian view of world, has affirmed that christian poetry must be not based on a subject matter. It is his originality. On this paper, I have researched his christian poetry, dividing into the dogmatic poetics, the critical poetics and the poetics of transcendence. As a result, loneliness, death and so on are involved christian spirit. They are not christian subject, in Kim, Hyeon-Seung's poetic world, but they are changed to good theme of christian poetry. Conclusionally, his poetry has ne w significance that christian poetry has been enlarged to outside of belief.

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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]   육사의 시와 유교적 전통  

    유병관
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 89 - 111 , 2004 , 1229-1943 ,

    초록

    Compared to the poems of other contemporary poets, those of Yuksa show very peculiar sphere. The poem of Yuksa is based on the spirit of scholar, the Confucian tradition. Especially the spirit of scholar is derived from the atmosphere of hometown, Andong, where his pedigree and Confucian tradition generates strong magnetic field. Unlike the then general custom, Yuksa was proud of this tradition. In the poem of Yuksa, the spirit of scholar is described by abstinence of form and content, namely the spirit of “Keeping justice by abandoning life.” In addition, it is characterized by belief in the present and immortality of historic life. On the basis of spirit of scholar as Confucian tradition, Yuksa shows the great imagination that transcends the bonds of severe era. Thus, it can be said that the poem of Yuksa shows the right accommodation of past tradition and standard of creative succession in our suggestion.

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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]   현대시에 나타난 동학 - 김지하 시를 중심으로  

    윤석산
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 113 - 136 , 2004 , 1229-1943 ,

    초록

    This study aims to trace Dong Hak as described in the modern poetry on the basis of Kim Ji Ha's poems. In the extremely critical situation he got awakened to the precious value of life and realized that teachings on the value of life could be found in Dong Hak. This marks his first encounter with Dong Hak. His encounter with Dong Hak is meaningful in two respects. First, he contemplated Dong Hak from cosmic standpoint of view and expanded it into a philosophical domain, by which he brought to the present the Dong Hak ideas that were hidden in the history at that time. Second, while Dong Hak had been expressed only in such literary works as the novels or epic poems on the subject of Dong Hak Revolution or General Jun Bong Joon, he tried to describe essential aspects of Dong Hak in his lyric poems focus-ing on the core value of its ideology. For him Dong Hak was not simply a subject of literary works, but a principle through which he could under-stand the world, and so he applied this principle to his literary works. In Kim Ji Ha's poems Dong Hak is expressed on the basis of “Si-Chun Joo”, one of the essential thoughts of Dong Hak. This is an awakening on the precious life or birth, which signifies that noble life is burgeoning out and is put into practice on the earth, eventually creating a cosmic harmony and balance. Now modern society is at a critical point where we have to get out of oppression and mastery structure caused by confrontational situation and advance into balanced and harmonized world. In this critical era Kim Ji Ha studied Dong Hak and expressed it in his poetic world. This can be interpreted as his earnest desire to lead the inharmonious modern society to the state of harmony and balance. The genuine value of his poems can be seen in this respect. On the other hand, from the point of history of literature his poetic works wrote a new history and rose on a new horizon in that philosophical thesis and literary imagination are lyrically combined in them. In other words, poetical, philosophical and practical values coexist in his poems. Therefore his poems sometimes sound like eloquent speech and sometimes are felt as real life itself. His poems have further risen to the different level upon his encounter with Dong Hak. The true meaning of Dong Hak implied in his poems can be found from this point of 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.

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

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  6. [국내논문]   萬海의 불교근대화운동과 시집『님의 침묵』의 창작 동기  

    이선이
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 137 - 159 , 2004 , 1229-1943 ,

    초록

    The purpose of this thesis is to make clear the motive of creating Man-Hae's poetical works 「Nim? ch'immuk」. ManHae is the behaviorist advocating importance of reformation on Korean Buddhism. So, he constantly exerts all possible efforts to modernize Korean Buddhism. For the sake of reforming to our Buddhism, he went to Japan for learning Japan Buddhism, after that, he publish two book -〈The theory of Korean Buddhism restoration〉, 〈Buddhist Bible〉. For Man-Hae, The movement for modernization of Buddhism means Buddhism Upbringing Society or Movement for popularization of Buddhism. This is the motive of creating Man-hae's poetical works 〈Nim? ch'immuk〉. He perceives the need for renewing from buddhist language to popular language. For renewing from buddhist language to popular language. Man-Hae chooses the exclusive use of hangul by throwing away the fashionable chinese Writing while he wrote sijo and novel. And he actively received fashionable contemporary discussion abut love and romance in his poem. That is to say, Man-Hae has acquired popular language through his poem and received contemporary new cultural trend. So, Man-Hae's poetical works 「Nim? ch'immuk」can be called the literary crystal of korean modern poetry, produce form the movement for popularization of Buddhism which had been pursued constantly from his early writing.

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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]   은폐성의 정서와 시학 - 김종삼론  

    권명옥
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 163 - 190 , 2004 , 1229-1943 ,

    초록

    This treatise is the second part of the 3 serial studies on Kim Jong-Sam's poetry after 'A Study on Kim Jong-sam's 3 Short Poems'. These serial studies begin to examine two possibilities with 3 main poems, 〈Let's Walk〉, 〈Seong Ha (The sacred river)〉, 〈Rasanska〉. At first, his poetic emotions can be divided by 3 categories that the 3 poems become strongholds of. At second, the main poetic emotion is sup-pressive emotion that are extremely abstract, distorted to hide true nature of his emotion. The 3 categories of emotions are as below. 〈Let's Walk〉: the symbol of wildness or wandering - wandering the wildness unavoidably. 〈Seong Ha (The sacred river)〉: the symbol of galaxy - gazing at the nubula which consist of obscure memories ( or stars) 〈Rasanska〉: the symbol of Rasanska - fantasizing that the soul reaches Rasanska at last. These emotional categories are expected to be a frame of reference to understand and approach Kim Jong-sam's poetry from now on. These three categories are based on 3 main keywords of the 3 short poems. 3 keywords (the symbol of wildness or wandering, the symbol of galaxy and the symbol of Rasanska) are the symbols(coinages) that Kim created after endless abstract process. It shows well the poet's emotion of life that he could not help feeling in the strange country or south Korea. The 3 categories of symbols stand for as below. The symbol of wildness or wandering: The presence - experiential and realistic emotions in south Korea. The symbol of galaxy: The past - emotions of his childhood in north Korea. The symbol of Rasanska: The future - a refuge in heaven after death The characteristic of poetic emotion on Kim Jong-sam's poetry is the extreme suppression. Because his real emotion in life is too dishonorable or humiliating to disclose. To conceal the emotion, he used the poetics of the abstract, short-length, the fantastic and so on. The abstract functions to distort or transform the real poetic emotion. The short-length is a way of silence to reduce or abridge his emotion. The fantastic replaces his painful and humiliating emotion to sweet and fantastic(beautiful) atmosphere. This second treatise of 3 serial studies focuses on the possibility that the 3 main symbols can be the strongholds of his 3 emotional categories (chapter II) and the characteristics of his representative poetics are the abstract and the fantastic that conceal poet's real emotion (chapter Ⅲ).

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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]   김소월 시 「왕십리」의 의미 구조  

    김점용
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 191 - 217 , 2004 , 1229-1943 ,

    초록

    This paper aims at revealing the meaning of 'Wangshimni,' one of Kim Sowol's famous poems. Explication of this poem, 'Wangshimni' has been a controversial issue because of its ambiguity and unintelligibility. The most unintelligible part of the poem is line one through three of the second stanza. Only when this indirect narrative part is explicated correctly, we can make our way through the ambiguity and unintelligibility of the poem. Among the existing points of view are a position which describes those lines as a short period of time seeing a sweetheart('Nim'), a position as a rainy season, a view as the wax and wane of the moon, and a view as a relation between the ebb and flow of the tide. The present writer thinks the last opinion is most adequate. By the way to my judgement, the subject going and coming means not only “the rain” but also “a person”. Only if then explained, this poem can be understood properly. If so, the subject of “going and going” also covers both 'na(I)' and 'nim(the sweetheart)'. 'Cheonan Samgori(three forked road)' which appears abruptly at the third stanza should be reinterpreted. It is understood as extended space of Wangshimni or as the realm of the fatherland in colonial situation. But it should be pointed out that Wangshimni at that time also as well as Cheonan Samgori was a place of great importance for traffic, leading to three southern provinces. Thus spatial meaning of Wangshimni in this work refers to a mental space where separation from the sweetheart are grieved at. In conclusion, Wangshimni is understood as lamenting the separation from the sweetheart on the one hand and at the same time as entreating falling rain earnestly to prevent the sweetheart from leaving on the other.

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

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  9. [국내논문]   김소월 시의 근대와 반근대 의식  

    남기혁
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 219 - 261 , 2004 , 1229-1943 ,

    초록

    In this paper, I attempted to illuminate how traditionalism was formed and what connotation Chosunjueui(조선주의) as ideology has in Kim So-wol's poetry. Especially I analyzed works intensively which were neglected in previous studies, in other words, the works which were not collected in Kim So-Wol's two anthologies but collected in literary magazines, and the unpublished manuscripts which were discovered and collected in the literary magazine “Munhaksasang” in 1976. Kim So-Wol lived in the time of the colonial modern. He was a colonial intellectual who continued thinking on the horizon where the tradition and the modern crossed. His return to traditionalism came from the critical cognition of the colonial modern. Giving attention to the change of temporal and spatial landscapes arosed by the colonial modernization, he recalled the people's anguish and thought about the nation and Chosun(조선). Imagining the nation and Chosun which the modern educational institute had invented caused the split of internal consciousness and identity of colonial intellectuals who refused to be assimilated himself to the colonial modern. So identifying himself as a colonial intellectual needed to use a dialect of both deconstructing subject and reconstructing subject. The dialect Kim So-Wol selected shows two directions that the poets in colonial period had to go through. On the one hand, Kim So-Wol attempted to in-ternal-dialogue with the discourse of modernity by expressing the voice of tradition. In this case he used the mystical- ritual language in Korea folk songs, legends, and rituals that could destruct the linear and representative order of modern rational language. On the other hand, he attempted to ex-press the voice of modernity in other poetic discourse, especially that of Chunbiron(준비론). In these ways, Kim So-Wol met ancestors' records and led the oppressed that were concealed in past remembrance to the horizon of history. This gives us the vision for the “Illud tempus” that exposes the repression and violence of Modernity-Discourse, and that enable us to overcome the emptiness of the modern times. But Kim So-Wol did not consider the “Illud tempus” as the absolute. And he did not dreamed a futile dream that there would be Utopia somewhere. He knew the fact well that the colonial modern deprived people of the hometown. But in the late works such as sub-mission(忍從), the poetic “I” in Kim So-Wol's poetry created the negative discourse against the colonial discourse through the aggressive and directive vioce. In this respect, we must re-evaluate Kim So-Wol's traditionalism as an modern poetic discourse negating modernity for the tradition.

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

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  10. [국내논문]   시 감상교육에서 운율의 활용 연구  

    노철
    한국시학연구 = Korean poetics studies 2004 no.11 = no.11 ,pp. 263 - 289 , 2004 , 1229-1943 ,

    초록

    In the instruction of appreciating poems, studies on rhythm should be focused on familiarizing students with phonetic structures of each poem, rather than standardized patterns of metrical performance or metrical competence. To this day, metrics, the abstract metrical patterns, far detached from individual poetic works, has been the subject of education on rhythm. Similarly, some fixed metric rules have been applied to individual poems, marring possibilities of diverse perceptions, due to the lack of understanding that rhythm in free verse incorporates not only linguistic but psychological aspects as well. In this situation, it is necessary that instructions on rhythm start from a proposition that individual poetic works can possibly be perceived as different rhythms among their readers, each of those conceived rhythms creating its own esthetic values. Here, one must take into account some factors and special qualities constituting rhythm. First, the qualities of rhythm refer to constant repetitions and pauses of quantity of sound; phases, long sounds, pith, loudness and energy according to the changes in the number of sound. Second, rhythm is the constituent whole of the poem. Third, rhythm is waves created through utterances and has close relationship with speech. Fourth, rhythm can go through modifications within poems by way of shifts and repetitions. In this framework, instruction on rhythm in free verse can be connected to appreciation of poetic works. This is a process in which readers are re-quired first to read silently and then aloud; second, to connect the reading of the poem with various elements of rhythm; third, to understand meter and to correct his/her reading of the poem; fourth, to find various rhythms in individual poems and to decide their poetic effects; fifth, to rebuild the reader's own phonetic structure and to make a teaching plan for reading aloud.

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