본문 바로가기
HOME> 저널/프로시딩 > 저널/프로시딩 검색상세

저널/프로시딩 상세정보

권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 13건

  1. [국내논문]   한국 현대시에 나타난 '서정'의 본질과 의미  

    김현자
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 7 - 23 , 2006 , 1229-1943 ,

    초록

    Considering the birth of Korean modern poetry which spurred by denying the traditional concept of "lyricism", lyrical verses seem to be one of the oldest and the most commonplace genre of all kinds of poems. But still, it should not be neglected that the very old power of "lyricism" which has kept us to feel, to be touched by, to communicate with and to compromise with the world around us is also the origin of the poetry itself. The purpose of this paper is to investigate the potential and the future of the Korean poetry by examining the growth of the concept "lyricism" understood in each phase of the modern history of poems in Korea. No matter what approach or ideology they may pursue, almost all of the literary theorists agree with the fact that lyrical poetry is the literature of the first-person perspective, expressing the poets" individuality, and in essence falling in the domain of subjectivity. However, looking into the historical development of the Korean poems, we realize that the world of lyricism has not been limited in the realm of subjectivity. In other words, first-person perspective, uniqueness, and a highbrow sense of beauty which were pointed out by the traditional tripartite approach of lyrical poems are now variously reflected in the modern poems. Lyricism, in short, exists in competing forces of various fields like the essential human sentiment and the phases of the times when the poems are written. It is the conflicts among the diverse forces which renew the older concept of lyricism, separate lyricism from non-lyricism, and finally make history together. Inevitably, identifying what kinds of meanings lyricism has follows specifying the range of lyricism. At this point, we should remind ourselves of the fact that lyricism is not only concerned with the emotion but also with the human spirit. Additionally the key phrases like "emotions without wickedness" or "sensibilities" which describe lyricism, ultimately indicate metaphysical high integrity, spiritual tastes toward purity, subconscious inclination for the balanced world where reconciliation and coexistence are possible. Therefore, the spectrum of the lyricism ranges from the realm of rhythm which is primitive and musical in nature to the world of pure transcendency which is essentially ideal and mandatory. Besides the rhythm and the ideality, there exists a third axis consisting of the lyricism: recognition of the realities. This third factor is important because lyricism which only pursues ideality and shuns the realities fails to convey the universality of emotions in the contemporary lives. Since the end of the ideological era, there have been various movements of returning to lyrics in the Korean poetry. Although lyrical poems become more popular than the past, it remains still in doubt whether the Korean modern lyrics are balancing the tensions arouse from the aspects of rhythm, reality, and ideality mentioned above. Here I"d like to suggest considering the zen poems as a possibility that lyricism can achieve a higher spiritual goal, not going too far, for examples, to radical idealism or transcendentalism. The tradition of zen poems proves that the spiritualism in the Korean history of poems has its deep roots and solid foundation. Accordingly, it is worth while to pay attention to the succession of the tradition of zen poems. This kind of trend which is, in general, called "spiritualism", speaks for the practical needs to overcome the moral crisis in the modern society, and ultimately indicates the fulfillment of the lyrical demands to pore into the origin and to try to unify the disruptive world. Therefore, we need to see in the tradition of zen poems the positive power of lyrics which returns to the source of life, rebutting the criticism on the zen poems like the mystical transcendence to escape from the real..

    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
  2. [국내논문]   1950년대 모더니즘시의 서정성 - 김수영, 박인환 시를 중심으로  

    한명희
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 25 - 47 , 2006 , 1229-1943 ,

    초록

    In th 50"th - especially after Korean war, there was a high demand for new lyric in our poetry world compared with other times. Modernism poets responded to such demands more than traditional lyric poets. I, in this paper, studied a new lyricism showing in Kim Sooyoung"s poems & Park Inhwan"s poems who were leading modernists in the 50"th. We have been able to discuss the lyricism without taking rhythm and meter in mind as the concept of lyricism experienced new changes after 20"th century. Especially, image replaces rhythm in modernism poetry. Poetry-reaching to the level of prose which excluded rhythm and meter and breaked old custom of lyric that should be short- took root in lyric area. Narrative trends of Park Inhwan"s poems and Kim Sooyoung"s poems could be understood in such a viewpoint. In part, social and political situations with current problems were shown in traditional lyric. However, recognizing on severe social problems was not a typical trend of traditional lyric. The participating function of poem in social problems were strengthened in a modernism poetry in the 50"th. Park Inhwan"s poems and Kim Sooyoung"s poems were the ones that related with the demand of expanding lyricism. Modernist in the 50"th created a new kind of lyricism which was a poetry showing city life as it repelled to the traditional lyricism and maintained urban sensibility. Park Inhwan"s poems and Kim Sooyoung"s poems digested urban lyricism in a creative poetic technique. As the urban has gone into be complicated and it created with a great deal of forms and techniques, in special, new techniques tried by Kim Sooyoung has influenced many poets.

    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
  3. [국내논문]   한국 현대시에서 서정성의 확대가 일어나기까지  

    정명교
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 49 - 80 , 2006 , 1229-1943 ,

    초록

    This article aims at elucidating the formative process of Korean lyricism of 1920s. First of all, I set forth as premises the following propositions. (1) The lyricism, as we understand these days, is a set of particular affects and attitudes about the world including peculiar aesthetic and linguistic points of view that had been constructed by the romanticism of 18-19th century of Europe. Especially, it is distinguished by the literary genre triad: the epic, the lyric and the dramatic. (2) Like all the cultural materials entered from the Outside, the lyricism was also strange to Koreans in the early 20th century. Therefore, it was very difficult to be received as it was by Koreans. The Korean poets in the early 20th century had the earnest desire for establishing new modern poetry in Korea based on the model of the Western literary forms. That is, they tried to recreate the Western poems with Korean language. But they met the resistance of the traditional emotions, attitudes and aesthetic points of view. This situation came in effect to formation of singular forms of Korean poetry different from Western lyric poetry in two directions. Judging from my analysis, I conclude: (1) Manhae(Yong Woon HAN)"s poetry joined the Western poetry in a sense that it included the 'consciousness of the self.' But this coincidence is only that of outward appearance. In fact, his poems were created through other process different from the transplantation of Western poetry. I presume that his poetry was a result of the overdetermination of three sources at least: First, the fact that Korea was, in the cultural dimension, the colony of the colony; Second, the Buddhism as moral philosophy; Lastly, the Koreans" unique world view of which we can understand the basic concepts('innaecheon', i.e. 'man and god are same') from the 'Donghak Sasang(Eastern Philosophy).' (2) So Weol KIM saw through the essence of Western lyric poetry: 'disaccord with or alienation from the world.' But He also felt keenly the resistance of the traditional aesthetic emotions. His poetry was not created through the mechanic application of Western poetry with Korean language. Korean traditonal forms of culture were utilized to make possible the settlement of Modern lyricism. The result was that he built an exceptional aesthetic feeling about parting, i.e, 'Zeuryeoparbko Kasiopsoseo(Leave over leaves).'

    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
  4. [국내논문]   1980년대 민중시의 서정 연구  

    노철
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 81 - 103 , 2006 , 1229-1943 ,

    초록

    Minjung poetry in the 1980s has up to now been grouped with social movements or ideologies. Such a classification barred Minjung poetry from being fully received as lyric poetry. For this reason, this writing focuses on demonstrating general features of lyrics in Minjung poetry. The lyricism of Minjung poetry is distinguished according to the nature and the versing of the poetic subjects, and their effects on the readers" reception of the Minjung poetry. In the Minjung poetry of the 1980s, when the poetic subjects are grounded upon acts, the directing or guiding function of the verse is predominant and thereby has the effect of urging the awareness and movements of the reader. On the other hand, when the poetic subjects are based on existence, lyrical function of the verse becomes dominant creating sympathy of the reader. In addition, when the activism of the poetic subjects is instilled in existence, the imagination of the poetic subjects become activated, leading to the predominance of the lyrical function of the verse which creates the reader"s sympathy. To begin with, the existence-laden Minjung poetry perceives lyricism as infectious effects created on the reader by representing in poetic figures one"s responses toward experiences. On the other hand, the activistic Minjung poetry perceives lyricism as a voice that urges acts thinking much of the reality of the day. Also, the class consciousness of the laboring class begins to be received as a new lyricism, while passion toward revolution of the revolutionary romanticism come to be perceived as lyricism. Lastly, Minjung poetry in which activism is instilled on existence, perceives lyricism as modernizing the society and its history through imagination.

    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
  5. [국내논문]   한국 근대시의 자연 형상과 전통적 성격  

    김문주
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 107 - 133 , 2006 , 1229-1943 ,

    초록

    This paper aims to investigate how natural images have been changed in Korean modern poetry in order to understand the nature of traditional natural images. Nature is a product of thinking and interpretation, perceived differently by worldview. In this paper, changes of natural images and traditional nature are discussed, focusing on poems and songs during the Chosun Dynasty which are assessed as effectively showing traditional natural image and Korean modern poems of Kim So Wall, Chung Ji Yong, and Choi Ji Hun directly describing natural images. Nature in the poems and songs of the Chosun Dynasty flatly reflecting so-called traditional view of nature is based on the perception of "nature as necessity" to which attributes of natural objects and nature of human beings belong. This view has stemmed from the idea that nature is the origin of human spirit. Meanwhile, Sanyoowha(산유화) of Kim So Wall shows independent nature different from such a traditional view of nature. Nature in Sanyoowha(산유화) is visualized as a physical space where life phenomena develop, while the poet turns his eyes on the object with emotional pity for a lonely being. Universal pity visualized in this poem is based on the idea that although nature has nothing to do with human spirit, methods of existence of natural objects and human life are regarded as identical. Universal awareness of life perceiving natural objects and human life as identical is a key feature covering traditional view of nature in the Korean modern poetry. Poems of Chung Ji Yong which minimize projection of human feelings or spirit into natural images and visualize the nature consisting of objects "naturalizing" the plain naturalness or "what-is-so-of-itself" contained in traditional Oriental natural images with linguistic images. Natural images composed of objects free from human characteristics can be seen not only as the discovery of language to achieve "naturalization" of image itself, but also creation by the modern self perceiving nature as an object. These natural images continue to appear in the poems of Cho Ji Hun, who redefines the characteristics of nature as a place to thinking about problems of human beings and reality, by internalizing the nature embedded in traditional natural images. As discussed earlier, the idea that human beings and natural objects are basically an identical universal life is constantly found in natural images, which is the basis for perception to project human feelings into the nature, despite modern thinking to see the nature as isolated from human spirit. This type of life awareness is considered a key feature of natural images characteristics of Korea.

    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
  6. [국내논문]   김기림의 『詩論』 연구  

    배호남
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 135 - 160 , 2006 , 1229-1943 ,

    초록

    Kim Gi-rym published 『Poetics』, his first critics, in November, 1947. A study on Kim Gi-rym"s 『Poetics』 must have understanding about literature history in that time. The reason of this understanding is the specific property of 『Poetics』 itself. 『Poetics』 is composed of several articles from 1931, when Kim Gi-rym"s first debut, till 1947 after Liberation. During 16 years, those articles had published mainly newspapers and magazines. In that reason, 『Poetics』 has critical disadvantage as literature theory. This book"s position is between journals and critics. This study focuses on this specific property of Kim Gi-rym"s 『Poetics』. In chapter 2, this study reconstructs 『Poetics』 in chronological order. Changes of Kim Gi-rym"s poetic theory will be discovered in this way. the Specificities of Kim Gi-rym"s poetic theory are "total poetics" and "poetics as science". In chapter 3, this study focuses on "total poetics" which mainly wrote in 1935, and reviews about "debate on technicalism". In chapter 4, this study reviews "poetics as science" which mainly wrote in 1940. In chapter 5, this study focuses on how Kim Gi-rym took "nation" as new universality instead of "science", and what is the limit of his new universality, "nation". "Total poetics", "poetics as science", and "nation" as new universality, all of Kim Gi-rym"s poetic theory in 『Poetics』 is about establishing new universality. Kim Gi-rym was the first real cosmopolitan in Korean modern history. In that reason he"d constantly tried to find the new universality every historical phase. That was Kim Gi-rym"s specificity, and limit also.

    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
  7. [국내논문]   시의 4유형 고(考)  

    신진
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 161 - 181 , 2006 , 1229-1943 ,

    초록

    Almost every poetry in these days is lyric poetry. It subjectifies and internalizes the external world. Poetic lyricism is formed in the process of subjectifying and internalizing poetic objects. Poetry categorization still exists. However, few theories and discussions on poetry classification focus on the essence of the lyric poetry, lyricism. Such theories as I.A.Richards" "Poetry of exclusion", "Poetry of inclusion", Ezra Pound"s "Melopoeia", "Phanopoeia", "Logopoeia", John Ccrowe Ransom"s "Platonic poetry", "Physical poetry", "Metaphysical poetry", Robert penn Warren"s "pure poetry", "impure poetry" etc, are necessary to analyze poetry and construe its characteristics. But these are so simple that remain superficial. Poetry can be distinguished into six patterns on the basis of Roman Jokobson" "Six Communication Functions" - emotional lyric, information lyric, directive lyric, phatic lyric, meta-linguistic lyric, esthetic lyric. This tool is useful in grasping linguistic characteristics and the category of symbolic meanings by text analysis. However, it is required to the essential and concrete categorization of lyric poetry that focusing on the lyric self"s attitude toward the world. Besides this is the capable way that the gap between theory and practice get narrow. In this article, hinted at Wolfgang Kaiser"s three lyricism theories, the lyric attitude to the world could be divided into 4 patterns-opposition, adaptation, assimilation, rejection. Lyric poetry also could be categorized in accordance with these patterns as follows: First, "Poetry of opposition" features conflict between the world and the self. Lyric self, who fails in adapting him/herself mentally to the conditions or things in real world, assumes a confrontative attitude against it or despairs of it. Within his/her internalized lyric dicourse, lyric self resists the real world by criticizing, satirizing, struggling against it. Second, "Poetry of adaptation" is characterized by interacting with the real world and the lyric self rather than opposing each other. To adjust him/herself to the real world, he/she seeks for the objects for identification, rationalization and scapegoating. It is the poetry of boundary in which a lyric self is eager to overcome conflict by compromising with the world but fail to integrate into tionit. It also describes the solace or awakening he/she takes from relations with the world. Third, "Poetry of assimilation" expresses absolute integration and internalization between the world and the lyric self. Subjectification of the world, that is, "internalization of the world" is made up in the narrowest meaning in this pattern. There is no antagonism between the world and the self, therefore no adaptation process. It describes the experience of perfect unity of them beyond conflict. Fourth, "Poetry of Rejection" is the poetry that never gives meanings on the real world and the physical objects. It denies or neglects the established logic and authority. Denial of realistic meaning and convention makes its language dispense the practical function of meaning transfer. A lyric self cites the language of meaning destruction or suffers from the illusion isolated from reality in this pattern. The four patterns above in this article not only focus on the essence of lyric poetry but also could be applied to all forms of poetry.

    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
  8. [국내논문]   한국전쟁기의 북한시 연구  

    오성호
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 183 - 218 , 2006 , 1229-1943 ,

    초록

    During the Korean War, North Korean Poems contributed to justify the cause of the war and to manipulate people"s emotion toward it. They tried to persuade the readers that the war was to set free the people in South Korea, who were "suffering under the American Imperialism" as well as to fight against "the brutal violence caused by the imperialism." For them, it was out of question that who would win the war because, thoughout the history of human being, it was proven that "the good" will beat 'the bad" at the end. They believed that their people armed with "decent patriotism" will gain the victory by defeating "the evil, or beast-like American imperialist." North Korean poems on this period show a view of manichaeism, with which they considered the war was the "unavoidable conflict between the good and the evil. They also show melodramatic imagination by saying the ultimate victory of the good. But, what North Korean poems finally tried to say was the need of people"s endless sacrifice and devotion. In order to fight against their enemy, who had overwhelming military power, it was necessary for them to mobilize all avaliable resources. To justify this total mobilization, the nation should be hold sacred. This sacred nation could overcome the 'hardship" only through its peoples' spontaneous attribution and dedication. The heroes in the poems are those who are willing to sacrifice and dedicate themselves most voluntarily. It was for the total mobilization that the image of heroes were put on emphasis. They need to emphasize that the heros are not a totally different human beings, but used to be one of the ordinary people among them. Their popular heroism just meant that all people could be mobilized no matter what their jobs are, how old they are, and whether they are men or women. The total war system accomplished by total mobilization could only be possible on the basis of people"s decent patriotism, so, a hero means a person who responded voluntarily, who internalize the public responsibility. By keep calling the people, poems deprived them of their tranquility of individuals" private lives, and as a result, there they gave a birth to a hero who has no more personal expression and voice. This was why the encapsulation of a hero cannot be free from materialization. Another important element to win a war was the existence of a strong leadership. Kim Il-Sung acquired the one and only leader"s position during the war. He became respected as their father, who embraces his people suffering from the war, and was considered a strong military leader, winning every battle. He won the political power game that happened during the same period. But, even before then, North Korean poems began praising him as future leader, who will bring the victory of the war to them. They especially emphasized on his experience fighting against Japanese, so that it could be compared with his fight against "American Imperialists." Kim Il-Sung"s instructions and photos included in every soldier"s wallets and journals were more like a Panopticon, observing their every day life and behavior. The melodramatic imagination finally led the North Korean poems to a too simple view about the world, extreme emotionalism, and self-pity. They repeated that the war is a great incident, sort of a revelation, and that the country is the value that have to pay to keep. Loyalty and dedication to the nation and to its people were undoubtfully the highest priorities, and worship to the heroes and the martyrs killed in the war was more than important. North Korea become one community under comradeship though the war. And all these resulted as sacralization of politics and absoluteness of the leader. The war forced North Korea to internalize the endless fear and hatred towards the outer world and made North Kore..

    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
  9. [국내논문]   『님의 침묵』에 나타난 기독교적 상징과 성서적 구조 - 『신약성서』와 『아가(雅歌)』를 중심으로  

    이경희
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 219 - 245 , 2006 , 1229-1943 ,

    초록

    『Love Silence』(님의 침묵) has multi-vocal implicatures more than another poetical works. This thesis investigates Biblical structure on Manhae Han Yong-won"s 『Love Silence』 as one of multi-vocal interpretations. And then it intends to compare contents and structures of 『Love Silence』with Song of Songs which is one chapter of Christian Bible. Manhae didn"t only dip into the works of Buddhism, but also various and wide thought, and he was also interested in Occidental philosophy and Occidental religions. It reveals on all sides of his works. He mentioned, "everything, which is the most magnificent philosophies in all ages and countries, can be explanatory notes of Buddhist scriptures." So Manhae extensively discussed Occidental philosophy and Buddhism in 『Joseon Buddhist Theism』, and he treated Christianity in 『Religions of Modern America』, 『Buddhist Meditation and Life』etc. Established researchers have made comparative studies of Han Yong-won with Devendranath Tagore and Walter Whitman. We have to pay attention to Christian influence which penetrates these poets" spirits to transcend the East and the West. There are a lot of Christian Symbols in 『Love Silence』: "a lost lamb", "heaven", "the palace of heaven", "hell", "love in heaven", "a watchman and a lamp", "the imperial crown", "devil", "wine", "confession", "baptism by a holy angel" etc. This thesis examines poems which reveal Christian Symbols, and especially investigates 「The Glorification」 with imagines of heaven. He expressed the glorification for 'Love'(님), the confession for "Love"s nature, and his desire to "Love" as a prayer in 「The Glorification」. 『Love Silence』is composed of 88 poems and constructs one story through each poems. It brings up the image of Song of Songs which accomplishes a poem sequence of strong love. There is another similarity in which "Love" can be interpreted variously between 『Love Silence』 and Song of Songs; "Love" can be a subject of love, god, and a nation. It is a sensual expression of love. Also it has an identical context in the end. It conclude by giving readers advance notice of a fateful encounter with Love, even if Love isn"t there. This thesis doesn"t deny that Han Yong-won"s works are under the influence of Buddhism, but intends to enlarge range of understanding about his poems through looking into Christian effect as the internalized others.

    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]   장르 해체 현상을 활용한 시교육 방법 연구 - 오규원의 시를 중심으로  

    이연승
    한국시학연구 = Korean poetics studies 2006 no.16 = no.16 ,pp. 247 - 275 , 2006 , 1229-1943 ,

    초록

    This study points on the possibility of utilizing dissolution of genre as a method of poetry education. For that purpose, this study subjected O Kyu Won"s Poetry. As the parody and pastiche of O kyu Won are based on contemporary poetry, the titles are familiar to student. Therefore, it will help learners focus on keeping a critical distance from the original works. O kyu Won looked straight at the fact that the world cannot be right understood any more through the poetic norm of genre in the actual where languages are degraded, and suggested a question of poetry genre on a full scale. His poetry accepts popular art reflecting the contemporary cultural phenomenon and indications as well as the past literary works. He actively reflected and criticized life of the distorted fetish society through poetry writing with genre disintegration, and expressed reaction to the 1980"s oppression. Such poetry means of aesthetic embodiment against crisis of expressoin and pursues "hybrid form". These reading could be linked to poetry writing learned. In this case, through producing several parody texts in a class, students could reflect their self reading on the hybrid form.

    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

논문관련 이미지