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권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 17건

  1. [국내논문]   시의 혁명과 시적 혁명 : 심미적 아방가르드와 '온몸의 시'로서의 아방가르드  

    김승희
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 7 - 39 , 2007 , 1229-1943 ,

    초록

    Avant-garde art brought the energy of a full transformation to Korean poetry, which was bogged down in traditional lyrical conventions. The impulse provided by the avant-garde, violating the standard artistic norms, produced many experimental texts in a quest for constant renewal. Studies of the avant-garde in Korean poetry have so far mainly been conducted in terms of Modernism. Taking the tendency toward Dadaism found in the early poems of Im Hwa or Jeong Ji-Yong in the 1920s, the influence of Futurism and Cubism in the concrete or visual and numerical poems by Yi Sang in the 1930s, surrealist texts expressing in prose the flow of the unconscious by free association and the absence of spacing between words, or the surrealist poetry of Jo Hyang in the 1950s, etc. the specific avant-garde artistic quality is defined. However, although the texts and poetic theories of the poet Kim Su-Yeong in the 1960s are clearly avant-garde, they present slight differences from the previous forms of avant-garde poetry. In his "full-bodied poetics" or his "anti-poetics," Kim Su-Yeong rejected the forms of literature that were Modernist only in technique, advocating at the same time a text into which physicality had been integrated and a revolution of society. Kim Su-Yeong"s antipoetics is very similar to the poetics of negation of Julia Kristeva. She linked the conflict between the symbolic and the semiotic and the physical to the production of text as she explicated the nature of avant-garde poetry. She stipulated that avant-garde texts do not simply violate the standards of previous aesthetics, they rather express a challenge to the symbolic structures governing society as a whole, as a revolutionary dream. Invoking the theoretical positions of Julia Kristeva, it is proposed to express this distinction by terming the avant-garde poetry that simply violates aesthetic norms "a revolution in poetry" and the poetry that calls for a radical transformation of society as a whole, as Kim Su-Yeong"s "full-bodied poetry" does, "a poetic revolution." In his "Full-bodied Poetics," Kim Su-Yeong wrote "Poetry is not written with the head, nor with the heart, but with the whole body." He went on the say, "Modernity in poetry should not be pursued by poetic techniques but with the whole body." That is to say that the advanced poetry dreamed of by Kim Su-Yeong demands the integration into the text of the physicality that had been eliminated by the symbolic. That (the physicality of the pre-oedipal conflict) endows the text with a vigorous conflictual rhythm or libidinal energy and, although paradox and irony produce a confusion of meaning, at the same time they also introduce the dream of a revolution attacking and rejecting previous systems. A subject that disturbs and threatens a subject that has been secure in the order of previous systems, producing a divided subject, gives rise to dreams of a new world, one that does not as yet exist. Therefore Kim Su-Yeong came to assert that: "all advanced poetry is subversive poetry." It is also possible to affirm that this is very close to a practice of what Kristeva called "poetic revolution." Seen in this way, it becomes possible to include the ballads of Kim Ji-Ha, such as Ojeok (Five Thieves), or the calls for anti-capitalistic detachment or bohemian freedom of a Kim Jong-Sam or Cheon Sang-Byeong, and the feminist confessional poems of the 1980s, among earlier examples of avant-garde poetry.

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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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  2. [국내논문]   1930년대 한국시의 아방가르드와 데카당스 - 김기림 「기상도」의 현재적 의미를 중심으로  

    전봉관
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 41 - 61 , 2007 , 1229-1943 ,

    초록

    This study aims to reveal the destiny of avant-garde through Kim Girim"s Poetry Gisangdo. Avant-garde presupposes temporality in creating and experiencing arts. Avant-garde means successive attempts of exploring new artistic forms and ideologies against old conventions and traditions. So avant-garde implies dichotomy of "Old and New". When the term first emerged during the first world war, avant-garde which includes dadaism, surrealism, cubism, futurism etc. was new and progressive forms of arts, but nowadays avant-garde works in that period are no longer new and progressive. As time passes on avant-garde declines to decadence. Kim Girim known as modernist poet not avant-garde poet. But his several poets follows avant-garde style. His poem Gisangdo inspected contemporary world civilization in 1930s. He used diverse proper nouns; foreign names and places. When he first published Gisangdo, proper nouns were not so difficult to understand, but nowaday these look like cryptograms. He investigated realities in 1930s not in 2000s. Gisangdo was the newest style of poem when it was published but nowaday it is just out of fashioned poem and almost impassible to read. To interpret Gisangdo, we can understand the value of "old avant-garde as well as it"s real meaning.

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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]   후반기 동인과 전위의 의미  

    송기한
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 63 - 85 , 2007 , 1229-1943 ,

    초록

    This paper studies the features of avant-garde and modernism of hubanki-group and analyzes the poetry world of Park in-hwan etc. It is times pointed out that their modernism, surrealism, exoticism of features of Park in-hwan etc was features of the first poetry. Their modernism, surrealism, exoticism of features of hubanki-group has been involved features the first stage poetry. That is common community in modernity period. Especially it restarted experience of their native place with that period. And that was resisted the modernity system . The modernity investigation of hubanki-group, as we pointed out in their text, embodies a summit of Modern Korean poetry. That is to say, his orientation in his native place, have the opportunity to understand in his first poetry. The modernism, surrealism, exoticism and modernity are the important concept the first stage poetry. This work is the first stage departing from their modernity reception.

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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]   1970년대 이후 한국 현대시에서 전위의 맥락  

    권혁웅
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 87 - 113 , 2007 , 1229-1943 ,

    초록

    This study is concerned with the context of avant-garde poetry from 1970"s to 2000"s. There are three types of Korean avant-garde poetry. Each type has it"s own techniques. First, there is the social avant-garde type of poetry. It"s based on un-poetic points as like montage-technique which put the various discourse together. Second, there is the self-conscious avant-garde type of poetry. It"s founded on the nonsense poetry-as it called- or nonsense poetics which are introduced by Kim Chun-su (김춘수). Third, there is the lyric avant-garde type of poetry. It is based on the disharmony and allegory instead of harmony and symbol. The avant-garde means the destruction of the contemporary norm and style. As time goes by, the contemporary meaning of avant-garde is completed done. And the poetry of 'the late' avant-garde is posted into the history of literature. The examination of the historical context of avant-garde poetry would be the study of the vicissitude of poetic norm and style.

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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]   서정시 이론의 성찰과 모색 - '서정' 개념의 이중성과 '정(情)'의 개념을 중심으로  

    고봉준
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 117 - 139 , 2007 , 1229-1943 ,

    초록

    This paper looks into the relativity of "Lyric" to "Emotion". For a long time many studies on lyric poetry had been applied to subjectivity of the German Romanticism. However, it is fashionable these days to see lyric as a relative concept of the East. Perhaps one of its change is due to a strong criticism for emphasizing "identity" of philosophy. But these lyric studies according to old-fashioned genre raise several problems. The concept of "Emotion" has two different meaning whether it is used in the East or not. It requires another approach to explain this dualism. I try to consider that lyric is an exhibition of emotion. Emotion is not ideology but historical concept. In other words, expression of emotion is changed with time and space. To look upon lyric with the concept of emotion, we can include all lyrics of the East and the West.

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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]   시에 있어서의 제유의 수사학  

    구모룡
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 141 - 163 , 2007 , 1229-1943 ,

    초록

    Synecdoche is an organic reasoning of wholeness. It is a form of thinking that defines the idea of central vitality or the wholeness of circulatory order as the very principle of universe. With a metaphysical paradigm which is explained as correlations between microcosm and macrocosm or between individuality and wholeness, synecdoche is truly based on a principle that all forms of beings are connected among them in organic and continuous ways. Underlying poetics are ideas about comprehensive nature the process of life, which is developed in itself, and the continuous development of creativity. Here, no distinction is made between material and spirit. The very material of universe is not either spirit or material, but vitality that integrates both of them. In this sense, synecdoche is clearly distinct from reasoning of the modern West which is based on dichotomy between spirit and material. Poetry is an expression of universal life. The world of poetry consists of individual lives. Because the individuality of life is a synecdochical expression of universal life, the wholeness of life is naturally immanent in the individuality of life. This suggests that poet, poetry and universal life are connected on a continuum. The life nature of the poet and the universal life of universe are internally related into wholeness. Under such synecdochical association, poetry has its own internal continuity that allows it to move from individuality to universality and from partiality to wholeness, finally reaching the embodiment of the natural principle of universe. The movement starts from creating a microcosm. This means going beyond a chaotic experiential world and creating a new world of harmony and order. A piece of poem is in itself a reproduction of the harmony and order of universe. Synecdochical rhetoric does not criticize modernity as it is. From the aesthetic view, what was intended to be drawn out from negating modernity is not aesthetic modernity. In fact, the poetics of life has not developed any substantial scheme. But rather it has intended to endure the disorder and chaos of the modern times by using nature as a means. The poetic possibility of synecdoche is related with an alternative view of modernity. Synecdochical perceptions of nature and universe are now becoming an alternative to the metonymic view of world based on modern mechanism. This can be explained as eco-poetry, or the post-modern perspective of synedochical rhetoric.

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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]   '먼 나라/전원'의 상상의 지리학 - 신석정의 초기시에 형상화된 '자연'의 의미와 미학적 특성  

    김수이
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 165 - 186 , 2007 , 1229-1943 ,

    초록

    This paper 1) finds out modern character in scenery of Shin"s early poetry, 2) considers "distant country/fields" as sensuous and aesthetic spacefor self-preservation of dissociate modern ego. Representation of "nature" in Shin"s early poetry is under the influence of Eastern and Western view of nature in poetry of Do Yeon-myung and Tagore etc. In this basis, his "nature" has reborn as characteristic-aesthetic space. Negative reality and desperate inner-state has neutralized to the "nature" called "distant country" or "fields" imaginarily and aesthetically. That is, it is the imaginary-geographical space as a "reversed form of repression". This space, as an imaginary opponent of dissociate modern ego"s inner scenery, is divided into opposite form of realty. Yet, it doesn"t have any individual self-regulation. Thus, it is hard to interpret the "Mother" of his early poetry symbols Mother Earth"s maturnity and redemption. The "Mother" only functions as mere listener who receives unilateral solicitation and confession of poetic narrator. In conclusion, it is reasonable to have a hermeneutics point of view, which put a matter of monotonous, plane scenery and aesthetic itself, rather than a reflective point of view, which criticizes lack of reality-recognition, in reviewing "nature" of his poetry.

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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]   1950년대 김용호 시 연구 - 전쟁 체험의 형상화 방식을 중심으로  

    김신정
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 187 - 214 , 2007 , 1229-1943 ,

    초록

    Kim Yong Ho"s poetry in 1950s characteristically shows the ways of encapsulating war experiences expressed in modern Korean poetry. Poetic self in Kim"s collected poems is characterized by the speaker of personal experiences. In Pureun Byul 『푸른 별』, the speaker of personal experiences reflects anguish of human who is in an extreme situation of war. These collected poems prominently encapsulate the inner world which is devastated from war and the personal side of war experiences. In Nalgue 『날개』, Kim tries to objectify his subjective emotion by the aesthetic apparatus of an objective-speaker. In these collected poems, the speaker recognize the universality of war experiences through the specificity of personal experiences. Namhaechan-ga 『남해찬가』, a historical epic is focused on the representation of collective experiences of war and commemoration. In this epic, inner experiences of individual self asssumes an aspect of being absorbed into collective experiences: local community, ethnic community, and national community.

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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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  9. [국내논문]   현대시에 나타난 나비심상의 지수비평적 연구  

    김영철
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 215 - 247 , 2007 , 1229-1943 ,

    초록

    This study aims at the meaningful system of butterfly image in modern Korean poetry through the exponential criticism. The meaningful category of butterfly image is divided into the ontological research, the intermediation of transcendence and the representation of reality cognition. The Butterfly imagery of Jeong Ji-yong, Jo Ji-hun, Kim Gi-rim"s poetry heads toward the ontological research, and Hwang Gum-chan, Yun Gon-gang toward the mutability of life. No Cheon-myong, Lee Sang toward to death consciousness. The intermediation of transcendence is visualized into the presentation of free will and existence transcendence. Free will is expressed by the archetypal image of ascension which the butterfly has. Jeong Han-mo"s baby image, Kim Gwan-sik"s butterfly"s dreaming, Choi Seung-gu"s article sublimation are representative examples. Lee Seong-son has a dream about butterfly"s ascension by universal imagination based on the pantheism. The representation of reality cognition is divided into division"s situation and criticism of culture. Butterfly image of Pak Bong-u"s poetry heads toward the inconsistency of division"s situation with the imagery of hedgehog. Jo Hyang and Mun Deog-su visualize the butterfly image as culture"s injury. They find the shadow of culture from the butterfly in war and street.

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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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  10. [국내논문]   한국 자연시에 나타난 은유 연구 - 박목월ㆍ박용래 시를 중심으로  

    김현자
    한국시학연구 = Korean poetics studies 2007 no.20 = no.20 ,pp. 249 - 279 , 2007 , 1229-1943 ,

    초록

    Nature in Korean poetry from traditional poems to Modern ones is the most important subject for poets to speculate on. In traditional poems, Nature is the place where to live in seclusion and to train oneself mentally and morally, and also is shown as realization of its "naturalness" standing above life and death. In Modern period, it represents the image of home, and as a cure for the violence of industrialization and urbanization, it reveals itself as various theses that are romantic, erotic, and even of anti-civilization. Notably, the poets from Chungnokpa (Chungnok school) to recent ecological poetry explore the questions about human existence, such as the limitation of human being, the feeling of emptiness, life and death, which are all compared with the eternity of Nature or Universe in poems. To these poets, Nature is a multi-faceted being, on one hand, to conform to the circulation of time, and on the other, to regenerate itself constantly. This kind of circular view of Nature is deeply related to the traditional, eastern way of thinking, and even to the poetic tradition that regards Nature as a sort of framework to investigate inner states of mind upon, as well as an ideal, spiritual space. Attaining the stage of poetic prominence, based on the traditional eastern viewpoint of Nature, Park, Mok-wol and Park, Yong-rae are poets from whose poems we can define some features of the Korean way of poetic awareness of Nature. To Park, Mok-wol, Nature is an object of speculation and the source of understanding. He contemplates Nature from a distance, which leads him to turn his thought inward and to long for "over-there" as a lonely observer. "Over-there" orientation is an attitude to show respect for Nature, although the poet does not converge with Nature nor intend to be identified with it, differently from the traditional Nature poets. Confronting "over-there" Nature in solitude, poetic-self dwells on the law of Nature, accepting it as an essence of life and transforming himself into a part of Nature. It is the role of metaphor that at this moment is played to connect the discontinuity of the natural world and the human world, to mediate heterogeneous semantic categories, mapping them newly constructed semantic domains. In other words, Mokwol"s "following the law of Nature" lies in metamorphosing oneself freely, and it is the metaphor of transforming which enables poetic-self to step into a novel semantic world. Among other things, "water" is the main image to transform itself and to make a journey following the law of Nature. Meanwhile, Park, Yong-rae composes poems about positive and joyful sentiments living in Nature, and intends to absorb himself into Nature, achieving the total identification with it. He uses some idiosyncratic words to picture a humble and simple life where people and Nature are in harmony. The comfort and composure which are brought by the harmony shows his positive way of life. It is also his positive attitude toward human life and Nature that brings the individuals to experience the process of decay or dissolution, to overcome their loneliness, and finally to advance into the unification with Nature. In his poems, there appear a lot of lonely and desolate places, which are later transformed into the beautiful and fantastic ones by his typical ritual of dissolution and by its basis, the metaphor of dreaming. And light and flowers are the central imagery motivating the metaphor. In sum, the attitudes of the two poets toward Nature are contrasting: "confrontation in solitude" of Mo-kwol and "positive dissolution" of Yong-rae. However, both of them are incessantly interested in Nature, ultimately aiming at making a compromise between the human solitary existence and the ideal nature. In this respect, their efforts can be regarded to be profoundly linked with the tr..

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