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저널/프로시딩 상세정보

권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 14건

  1. [국내논문]   한국의 근ㆍ현대시와 정치  

    오세영
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 8 - 31 , 2008 , 1229-1943 ,

    초록

    Modern Korean poetry intrinsically has had close relations with politics, active and passive, including both positive and negative meaning, for the past hundred years. Not only activist poetry, which is a direct intervention into politics, but also pure poetry, which excluded political agendas from its text, was not entirely free from politics. Thus to understand modern Korean poetry, it is essential that we examine the relationship between poetry and politics. As a result of the close relationship between poetry and politics, modern Korean poetry has come to bear the following characteristics: the spread of the idea that poetry is a political instrument or a reflection of political awareness, the idea that a model poet should be a patriot, critical discourse that emphasizes mainly the content and subject matter of poetry, schematic understanding of poetry, rationalization of politically needed poets and poetry, the division of the literary world into different factions, and popularity of prose-like poetry. The two main reasons for such closeness between politics and modern Korean poetry are as follows. First, it was due to the continuation of past tradition. During the Chosun Dynasty of five hundred years, Korean literature was essentially a political instrument, and such attitude toward literature can be said to have been inherited to modern Korean literature. Second, the hundred years of modern Korean history was a time of political turmoil, and intellectuals were always called upon to take a political stand. As a result, modern Korean poetry either actively took part in politics or rejected politics altogether, and either way, literature could not be entirely free from politics. In that aspect, whichever stand or attitude the poet took, his/her poetry was thus, political.

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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]   한국시 전통의 계승과 확장  

    김현자
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 32 - 53 , 2008 , 1229-1943 ,

    초록

    This paper aims at exploring the archetypical identification and the tradition of Korean poetry through its sense of space and time, its sense of poetic distance and the point of views in it. The orientation toward dissolution of time frame and spacial boundaries has become a typical Korean way of thinking, or a typical framework of the Koreans. And the breaking-up of spacial thresholds is closely connected with the disruption of the boundaries between self and others in Korean literature and makes the discourse complicated in which self can be others and vice versa. This kind of spacial consciousness has been a poetic tradition in Korean poetry, expressed in call and response songs and by some literary parallelism. And these two poetic structures in turn take the readers to the poetic context, display multiple point of views in poems. form so-called "Dialigizitat" and let the readers have extended experiences. This sort of poetic tradition has been maintained by the poets from Kim, So-Wol, Han, Yong-Woon, Yoon, Dong-Ju, and Yu, Chi-Whan through the poets like Park, Mok-Wol, Park, Doo-lin, Cho, Ji-Hoon, Kim, Kwang-Sub, and recently to Oh, Kyu-Won. The circular view of time which has been typical in Eastern culture contrasting to the linear view of time in Western culture, is also pervasive in Korean poems. Alongside with the circular view originated from the philosophical concepts like karma and regeneration, eternity of time. too, is one of the general characteristics consisting Korean poetic beauty and is embodied in a large number of poems written by Lee, Yuk-Sa, Seo, Jeong-Ju, Shin, Suk-Jeong, Park, Yong-Rae, Park, Jae-Sam, Kim, Kwang-Rim, Hwang, Dong-Kyu and Cheong, Hyun-Jong etc. Besides, various "integrated" versions of time consciousness can be found in the poems of Lee, Sang where the linear time consciousness of Western culture has been modified in a Korean manner and in the works of some female poets such as Kim, Hye-Soon and Koh, Jeong-Hee who pursue a feminist solidarity through the images of mother, home and body. The sense of time the women poets have sometimes appears in forms of time trips to seek the archetypical attachment objects like mother, home or hometown and during the trips they delve into the essence of existence and life, speculating death. Korean poems extend the present by means of juxtaposing the present, the past and the future, with connecting some moments to others, and linking unrelated things together. Therefore the poets overcome fragmentation of time, leading it into the eternity, recreating and spiritualizing it. Korean poems do not simply deal with some universal conflicts among the contrasting orientations and dimensions but harmonize them from a poetic distance of beauty. So, it is this aesthetic distance in which Kim, So-wol sings songs about the time and space existing between life and death and Seo, Jeong-ju symbolizes the threshold space between the heaven and the earth, and it is also through this poetic distance which they lessen the conflicts between self and others, beyond the threshold spaces and the fragments of time. The poets have finally attained the balanced. positive sense of poetic distance between self and others, here and there, bright and dark side of life, in the result of their endeavor to ultimately go beyond the thresholds and limitations, which can be referred to as "Mu-ae" (that means "no limitations" or "free from impedition") and their efforts to absorb all the thresholds or boundaries and dissolve them into a new unity, which may be referred to as "Wonyung." These two concepts are regarded as the archetype of Korean ways of thinking. These classes of manners of speculation extend the Korean tradition of poetry, supplying an energy to dream of harmony among discordances and of reconciliation among separations.

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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]   시와 시론의 문학적ㆍ사회적 가치 - 1960년대 김수영과 김춘수 시론의 상호관계  

    최동호
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 54 - 75 , 2008 , 1229-1943 ,

    초록

    Along with the modern Korean poetry marking its history of one hundred years, the theory of poetry, which attempts at the theoretical foundation of poetry, also marks its history of one hundred years. It is hard to say that modern Korean literary circles of the early twentieth century established any distinctive theory of their own. Yet modern Korean poetry has become more unique and more systematically established in its theory in the latter half of the century. Kim Soo Young"s and Kim Choon Soo"s 1960s" theories of poetry play two significant roles in bridging the former and the latter halves of the twentieth century. It is also remarkable that they are not only well known as poets, but also unique in their own theories of poetry. The 1960s was the period filled with poetic energy, in the sense that the period beginning with the 4.19 Revolution was the one of the strong desire for a pro-democracy and also the one of its frustration. The social momentum to build the democratic civil society transformed the agricultural society into the industrial society, stimulating the expression of diverse individuality. The expression of two different individualities shown by Kim Soo Young and Kim Choon Soo also reflects the social atmosphere of the 1960s. The theories of poetry of Kim Soo Young and Kim Choon Soo might be defined as developed from their own consciousness of each other. It means that their theory of poetry acquired from the tension which was formed between the two contemporaries served as a driving force for their poetic creativity. It is a great contribution they made to the literary history as poets as well as theorists that they opened up a new poetic field in modern Korean poetry by combining poetry and its theory. In this sense, it is significant to cite such poems as Kim Soo Young"s "Variations of Love (sarangeui byunjoogok)" and "Grass (pool)," or Kim Choon Soo"s "A Short Poem of Chuyong (chuyongdanjang)" and "The Tone in Taryong (taryongjo)" as good examples closely related with their theory of poetry. Needless to say, the fact that their theories have become the creative foundation for the poems, and that their poems the theoretical foundation for the theories demonstrates that they established a new literary milestone amid the intellectual chaos of the 1960s. Generally speaking, the two theories of poetry maintained by Kim Soo Young and Kim Choon Soo are different in that Kim Soo Young"s "Theory of the Whole Body" represents monism that does not differentiate poetry and poet, while Kim Choon Soo"s "Theory of Meaninglessness" designates dualism that distinguishes poetry and poet. Kim Choon Soo"s theory of poetry presupposes poetry as fiction and poetry as existence; Kim Soo Young"s theory of poetry pursues classical perfectionism that does not differentiate poetic authenticity and ethics from 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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  4. [국내논문]   현대시 운율 연구의 방법과 방향  

    조창환
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 76 - 101 , 2008 , 1229-1943 ,

    초록

    The new-style poetry written by Choi, Nam-sun(최남선) in the Enlightenment Period was influenced by metrical system of Japanese poetry. The main metrical device of his poems is 7ㆍ5 syllable rhythm which imitated Japanese one. The style soon prevailed and was popularized in Korean poetry, since its substructure, trimetre, originating from traditional Korean folklore, met public favor in the period. Kim, So-wol(김소월), the outstanding poet in 1920"s, made the most of it. Many of his excellent poems described typical Korean lyricism and sentiment, and his poems had artistic quality resulting from this metrical scheme, which variated and modernized 7.5 syllable rhythm. The methodology of metrical analysis in that period was pure-syllabic metre theory and Cho, Yoon-je(조윤제) explained the metrical scheme of Sijo(시조) by means of it, which generalized the prosody of its fixed form. Later, the theory was criticized in that it is not appropriate to analyze Korean verse, since the metric units are not fixed in terms of the syllabic number and hard to count. Instead, the concept of foot was adopted in the methodology, where trimetre and tetrametre are dominant. However, I claim that the theory is not sufficient either to explain Korean verse because it has complicated metrical devices such as 7ㆍ5 syllable rhythm, which could be divided by uneven three or four metrical units. I suggest adopting a new concept, "Yoolmadi"(율마디, metrical joint), which can comprise this unique metrical scheme. The terminology is similar to "colon", closely connected group of words, proposed by J. Lotz. Kim, Young-rang(김영랑), Seo, Jung-ju(서정주), and Park, Mok-wol(박목월) developed aesthetic sense of poetry by means of their characteristic metrical variations and exceptions. The rhythmical sense of trimetre is mixed with the stability of tetrametre in the poem "Until peonies bloom"(모란이 피기까지는) by Kim, Young-rang. This double structure of metrical scheme was realized in natural reading intonation of the poem "The secret word"(밀어) by Seo, Jung-ju. In addition, symmetrical arrangement of lines and counterbalanced metrical form make unique beauty in formalism in the poem "Mountain peach blossoms(산도화)" by Park, Mok-wol. In their free verse, the regularity of metre is abandoned. Instead, cadences approximating the flow of speech are employed.

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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]   김기림의 『태양의 풍속』에 나타난 '우울'의 양상  

    이미순
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 102 - 126 , 2008 , 1229-1943 ,

    초록

    In this thesis I tried to examine the signs of melancholy in The Sun"s Custom and to disclose Kim Ki-Rim"s inner senses and relation with his poetry. The concept of melancholy was expressed of disillusion of the modernity and today this phenomenon was extended to the fields of modern literature. The melancholy was the main mood of his poetry in his poem and constituted one of fundamental elements in The Sun"s Custom. He dealt with modern lives and apparently reflected modern civilization. Because he objected to the past and oriented to the new, he objected to sentimental romanticism and pursued the image of the cheerful, fresh, healthy in the poetry. But in The Sun"s Custom, he used the synonyms and methods of melancholy. The modern city in 1930"s, Geungsung experience was often reflected on his writing through the melancholy. His melancholy was constructed as his methodology with which responded to reality and survived in the modern society. It was a discursive formation named cultural modernity, which was more concerned with the sadness, atony and vanity. It was occurred from a wide gap between the ideal and the reality. It necessarily originated in the urban life and often was accompanied with allegorical expression.

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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]   청마 유치환의 '고독'과 '生命'에의 熱愛  

    임수만
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 128 - 151 , 2008 , 1229-1943 ,

    초록

    In this paper, I established the axis of coordinates by keywords like as "society", "solitude", "nature", and "life" in order to consider systematically of Yoo Chi Hwan"s speculation on human and nature, individuals and the community. And I scrutinized each concept"s meaning and inner relation. First of all, as it were examined in items of "society" and "solitude", the attitude of masochism in Yoo Chi Hwan"s poems is an indirect(ironic) expression of self accomplishment and an ardent wish for completion of an ideal community. The meanings of his "writing poetry" and devoting himself to the "nature" are quite clear when we study them by this method of negation. Secondly, the items of "nature" and "life" point to direction which Yoo Chi Hwan intended to reach. In his poem, the nature was described as a place of epiphany. In the nature, he found out some views which all of beings are enjoying each feeling of full existing. Such feeling of self-sufficiency is not isolated but in perfect harmony with each other like as "the world of the Avatamska Sutra(華嚴). In conclusion, Yoo Chi Hwan made a ceaseless effort to overcome the frame of small "self and reach at the "a bigger self, All of those traces were put in his poems. We can feel a tention and heated atmosphere emitted from them. Therefore we call him a representative poet of life in Korea.

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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]   시의 화자와 거리에 관한 연구 - 서정주 시를 중심으로  

    김현수
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 154 - 179 , 2008 , 1229-1943 ,

    초록

    This study is to focus on the "distance," which determines the success or failure of creation and appreciation in poems. Also, this study is to focus on linguistic representation of the speaker and the degree of closeness between the speaker and the object in the perspective that the distance in the representation determines the distance in the acceptance. In order to develop such discussion, this study is to classify speakers into 〈omniscient, neutral and complex speaker〉 and is to identify characteristics of poetic speakers with such classification. And then, this study is to look about aesthetic distance which is represented by three speakers" types in poems of Seo Jung Joo. Types of the speaker such as omniscient speaker, neutral speaker and complex speaker are classified depending on the degree that the speaker intervenes in the work. Such degree is identified by the attitude of speaker, interested object, the way of linguistic representation and etc. Therefore, the poet gives salience to strengths of each speaker and adjusts the distance between the speaker and the object using linguistic representation as the strategy of minimizing the weaknesses of each speaker. In the poem, aesthetic distance is an important element, which is involved in both creative process of the poet and appreciating process of the reader, and it becomes the link which leads natural meeting and exchange between the poet and readers. Poems of Seo Jung Joo make readers give up private interests and intuit works so that they allow readers to enjoy their aesthetic values. In this point, poems of Seo Jung Joo are evaluated as poems which achieve aesthetic distance.

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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]   일제 말기 전시체제와 임화의 「찬가」연작  

    박정선
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 180 - 208 , 2008 , 1229-1943 ,

    초록

    The purpose of this thesis is to analyze the creative intension, structuralized principle, literary historical meaning of Im Hwa"s Hymn series, and shed light on Im Hwa"s poetry of the 1930s through it. He recognized Japanese fascism in terms of a life, but rejected it mentally at the wartime regime of the end of Japanese imperialism. His tragic world view has been expressed as immanent transcendence. When Sino-Japanese War happened before and after, Im Hwa wrote Hymn of sea(1937), Hymn of love(1938), Hymn of night(1939) in order. It was his creature of immanent transcendence. On the one hand the mental overcome of pain appears in Hymn series, it is similar to Nietzsche"s thought of dionysian affirmation(Dionysische bejahung). The poetic subject that overcome a pain also resembles Nietzsche"s overhuman(?ermensch). And on the other hand the dialectic of subject and object operate powerfully upon Hymn series as a control principle of poetry. The endless struggle between subject and object is described in these poems. Im Hwa"s antagonism against the wartime regime of the end of Japanese imperialism is creative of the world of Hymn series. In this world, he could struggle against an enemy on even ground and be restored to a sense of poetic subject of KAPF period. On that point, Hymn series is a good example of poetic resistance to fascism. But It has a problem that tensible force between poetry and reality is weakened because of ideal transcendence to reality.

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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]   김소월과 이시카와 다쿠보구(石川啄木)의 시 세계 - 한일 현대시 비교 연구  

    송희복
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 210 - 243 , 2008 , 1229-1943 ,

    초록

    The korean poet, Kim So-weol and Japanese Ishikawa is good to compare. Both of them are famous as "National Poet". A study like this has tried by people to major in Japanese literacy not Korean. First of all, I analysis these works of them. 「Crossroad」 written by Ishikawa in 1907 and 「The street of Seoul」 of Kim So-weol in 1920 are proper to understand that mood at that time. The former is active and the latter is calm. And this is a satire about Japanese imperialism and the other is showing up the sorrow for a colony. And I am viewing this matter from three different standpoint. The first is a love and yearning, the second is a living and poverty and the last thing is wandering and homesick. Anti-imperialist sentiment is reflected in their realm of poetry. And both of them criticize on colonialism. But they had a difference that Ishikawa had the trendness like socialism and anarchism and Kim So-weol had somewhat moderate nationalism I want you to keep an eye on the comparison between Ishikawa"s 「Your flower」 and Kim So-weol"s 「The azalea」. lastly I lay my finger on that they was in succession to traditional pattern. This ia the reason why they are loved by all people as "National Poet" in their country.

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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 현대시의 '전위의 맥락' 검토  

    신진
    한국시학연구 = Korean poetics studies 2008 no.22 = no.22 ,pp. 244 - 272 , 2008 , 1229-1943 ,

    초록

    There is general agreement about the avant-garde context in modern Korean poetry that its central avant-gardes are Yi Sang of the 1930s, Kim Su-yeong and Kim Chun-su of the 1950s and some poets later. But this is a rather extreme look at only artistic and expressional methods. When participative literature was severely suppressed by the past authoritative regimes of Korea, a majority of poets had to be hooked on unrealistic word play and an avant-garde theory on the aesthetic level appeared to justify itself desperately. Avant-garde artists are valuable beings living ahead of time and preparing new expressive types for a great majority of other artists to use. The positive function of avant-gardism is that it determines the depth of artistic openness and creativity. In this sense, the researcher suggests the issue of Korean avant-garde poems be discussed more actively and more fairly. Yi Sang was an avant-garde poet who was not only approved as such by his society but also regarded himself as one. He was every inch an avant-gardist thanks to his spirit and methods based on dadaism and surrealism. But his avant-gardism was rather exotic and escapist. Kim Chun-su"s nonsense verses were very close to the ideas and methods of surrealism. His theory was logical and he was outstanding in word play, free preconscious association, and montage connection. In practice, however, his experiments did not surpass the levels already experimented by such figures as Yi Sang and Jo Hyang. Another representative avant-garde example is Kim Su-yeong. He introduced several non-poetic elements and activated some everyday words to candidly portray the reality of his age. That"s why he is usually considered a political avant-garde. But his basic principle of montage techniques was just one of the elementary principles in experimental poetry. The poetic use of everyday life and living words to back up his political avant-gardism was, strictly speaking, not unique to his poems. At present, the avant-garde context in contemporary Korean poetry is not so much historically or realistically as artistically or exotically inclined. Therefore, our avant-garde consciousness needs to extend its territory to history and tradition, the enemy of avant-gardism, as well as our own lives, the food of avant-gardism. In other words, our poetic history needs its own suitable pole, I believe.

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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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