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H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 15건

  1. [국내논문]   백석 시에 나타난 문화의 충돌과 습합 - 여행ㆍ음식ㆍ종교를 중심으로  

    이경수
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 7 - 33 , 2008 , 1229-1943 ,

    초록

    This study set out to investigate the ways Baekseok"s poems would meet the world and operate with it in his poems about traveling, food and religion and thus to find out the origin of his persistent tendency of presenting heterogeneous things at the same time in his poems. It was apparent that his poems had a variety of cultures making an appearance simultaneously. Heterogeneous and even sometimes contrasting cultures, whose examples would include Buddhism, shamanist practice, and Christianity, things that were folk and things that were modern, hometowns and strange towns, folklore and science, and dialects and the standard language, coexisted in the poetic world of Baekseok. First his poems about traveling were investigated to understand how his poetry met the world and operated with it. Then the focus moved to his poems in which food appeared. In those poems, food functioned as the means of awakening his acquisition with a strange world and his memory of his childhood and home. Thirdly, a focus was also placed on a cultural phenomena caused by various religions. In his poems, many different religions coexisted together instead of conflicting one another, melting into each other. Folk religions like the shamanist practice naturally coexisted with other religions like Buddhism, Christianity, and Taoism, which is one of the characteristics of Korea"s religious culture. Finally, it was examined that the simultaneous coexistence and integration of diverse cultural phenomena in his poems was related to his strategy of anthropomorphism, which was also observed in many of his poems. In his poems, he would refer to inanimate objects as well as creatures that were not human as "you" and choose the word "we" to refer to his relationships with them. In the study, it"s maintained that his strategy of anthropomorphism had something to do with his ways of meeting with the world.

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

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  2. [국내논문]   일제말기 만주체험 시인들과 '기억'의 계보학적 탐색  

    조은주
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 35 - 65 , 2008 , 1229-1943 ,

    초록

    This essay worked with literature of poets who lived in Manchuria at the end of Japanese imperialism. Manchuria was a very special area to korean at that time because historical events had happened in there. So korean have multiple images of geography about Manchuria. For example Japanese imperialism made the historical view of colonization that centered their attention on Korea"s ancient history. They devoted their energies to deny Dan-gun that symbolizing korea"s history dating from time immemorial. The memorial politics of Japanese imperialism was centered Manchuria where Dan-gun played an active part in. It was why a important movement occurred to restore Dan-gun. Shin Chea-ho, Choi Nam-sun and so on had taken part in the movement. Japanese imperialism"s policy intervened korea"s origin that organizing korean identity. Many poets in Manchuria experienced the confused identity. Therefore we could find a theme about looking for identity in literature of poets who lived in Manchuria at the end of japanese imperialism. A way searching identity got accomplished through recollecting of cultural memory. Poets in Manchuria created new images about the wandering and sorrow. They hoped to be the subject of the wandering and sorrow. In order to be the subject of the wandering and sorrow they had recollected and played back a story and a legend about memory of community. Finally they set their face to compose culture memory and establish their new identity.

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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]   신경림 문학의 서사성 재고(再考)  

    강정구
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 69 - 92 , 2008 , 1229-1943 ,

    초록

    Shin Kyeong-Rim"s literature is narratively. This narrativity shows minjung"s life story in his literature. Nowadays Many researchers say his poem has narratively element. Recently I found his novel Lonely Mountain. For this introduction, It is possible to re-thinking narrativity of Shin Kyeong-Rim"s literature. At result narrativity of Shin Kyeong-Rim"s literature is which is mixing genre, having lyrisch, episch, or dramatisch element. His novel is narrative, by the way it show lyrisch emotion like in poem Kal-dae. And the poem in 〈Nong-mu〉 is lyric in that expression of lyric emotion and subjectivity, but they show narrative conflict in ego and world. Also his epic 〈Namhan-river〉 shows narrative conflict and it is narrative, as well as it possess lyric emotion and subjectivity, and dramatic thing. I conclude Shin Kyeong-Rim"s literature is mixing genre. This dessert explains the logic of mixing genre, and the change process of Shin Kyeong-Rim"s literature in choice on genre.

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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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  4. [국내논문]   1920년대 초기『每日申報』의 근대시 게재 양상과 의미  

    권유성
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 93 - 121 , 2008 , 1229-1943 ,

    초록

    This study would explain the poetry of〈Maeil-Sinbo〉(每日申報) in Early 1920"s. For the poetry of〈Maeil-Sinbo〉carry an important meaning in the process for Korean modern poetry. A newspaper differ from literary coterie magazine, because it makes possible the commucation between an intellectual and the public. Consequently, the poetry of Maeil-Sinbo was subdivided in the term of "Maesin-Mundan"(每新文壇) and the latter term. In the term of "Maesin-Mundan", major stream of poetry was consisted of "Sinchesi"(新體詩) like a tone of 7.5 and free verse. By the way in the latter term, a free verse almost monopolized the space of a newspaper. And then poets were made distinction between a professional literary man and the public, which the latter took up larger portions. Nevertheless, a professional literary man have had an serious effect on the public. In this sense, Maeil-Sinbo served the learning place to the public. It was very important that infleunced on the formation of Korean modern poetry in Early 1920"s. Especially the notion of "Sinsi"(新詩) played an important role[part] in the formation of Korean modern poetry. This notion demonstrated that free verse must be the starting point of that. Nevertheless, This notion also kept the critical point that could not take a step forward "national poetry". Consequently, "Sinsi"(新詩) encountered strong criticism during 1922-1923.

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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]   전후 시의 언술 특성 : 애도의 언어와 우울증의 언어 - 박인환ㆍ고은의 초기시를 중심으로  

    김승희
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 123 - 152 , 2008 , 1229-1943 ,

    초록

    This paper attempts to propose a new reading of postwar Korean poetry in terms of the "discourse of mourning," focussing on the poems of Bak In-hwan and the early poems of Ko Un. The 1950s, the postwar period, were a time of "enormous slaughter and loss" at the levels of history, nation, and family. Confronted with such an experience of loss, young poets responded to the horrors and mental impact of war using a language of mourning and a language of depression. Mourning is a rhetorical response of sorrow on the loss of a loved one. And mourning is a structured psychological state experienced as a repeated pattern. Mourning displaces the lost other, so that a transfer of the libido onto another results, or having a rhetorical effect seen as an "esthetic sublimation to an eternal imaginary world." But if the transfer of the libido fails, the death of the loved one is not acknowledged, leading in the direction of necrophilia (see Bak In-hwan"s "Night`s Un-Burial) or the libido that had been invested in the lost one concentrates on another, heading toward such forms of depression as self-destruction, self-abolition, a death wish. Mourning and depression cannot be clearly distinguished and mourning is mixed with depression, depression is mixed with mourning, so that it is not easy to distinguish two specific forms of discourse. Gweon Taek-yeong writes, "If depression originates in narcissism and death instinct, mourning is a life-instinct and is obliged to repeat itself. Therefore the mourning subject is the subject of desire. Freud"s mourning is Lacan"s desire and depression is an urge," clarifying the viewpoints of Freud and Lacan. We studied the language of mourning and depression in postwar poetry with reference to the poems of the major postwar poet Bak In-hwan and the early poems of Ko Un. Bak"s poetic language manifests the what Derrida calls the "fundamental discourse act of exclamation, the vocative," the characteristic rhetorical discourse of mourning, uttering repeatedly the insistent conversational voice of the poetic speaker demanding a listening ear. As De Man said, mourning uses personation a great deal, and there is plentiful use of personification and vocatives in Bak In-hwan"s "If Something Remains Alive," "Night"s Un-Burial" etc. Especially in the latter poem, the loss of the beloved is denied, while manifesting necrophilia by identification with the deceased other and narcissistic desire as well as depressive forms of language such as contradictions and paradoxes. Refusing to turn death into a symbol is likewise found in the poet"s most famed work, "Wooden Horse and Lady." Between affirmation / denial of the loss of the beloved, rupture of memory / return of memory, a sorrowful rhythm is repeated, the poetic subject fluctuates endlessly between death-wish and life-wish, narcissism and lust. In Bak"s texts, we find a strong interplay of the languages of mourning and depression. In the texts by Ko Un, the destructive effects of war are confronted while a desire for self-destruction is more strongly present; rather than tending toward modernism, they are sublimated into a desire for mourning in traditional lyric poetry. In his early poems, a depressive monotony of tone, a dullness of tone appear but certain poems arouse by their symbolist poetic qualities an inclination toward extinction, a praise of nihility. Here the lost one is replaced by "sister," and the poet"s sense of original sin is expressed by his claim to have communicated a fatal disease to this (fictional) sister. In later poems the "dead sister" is replaced by "nature" while the departed person is sublimated into the limitlessness of an everlasting esthetic appreciation of the order of the imagination. The sister is enshrined in the esthetic world of t..

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

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  6. [국내논문]   임화 시에 나타난 근대 풍경과 이념적 시선의 변모과정 - 식민지적 근대와 시선의 계보학(3)  

    남기혁
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 153 - 191 , 2008 , 1229-1943 ,

    초록

    In order to perform a fundamental examination of the modernity of Korean poetry, it is necessary to take note of the characteristics and methods of linguistic representation of the gaze that beholds the modern landscape. This paper, as part of an attempt to follow the genealogy of colonial modernity and this gaze, inquired into the issues of this gaze and the aspects of change in the modern landscape represented in the poetry of Im Hwa. The landscapes of Seoul in the mid-to-late 1920s had the most fundamental influence on Im Hwa"s later understanding of the world and its implementation. Yet, the city landscape in Im Hwa"s early avant garde poetry failed to achieve historicity and concreteness. His poetic subject views the landscape of the disturbed city of colonial modernism with perspective, but it fails to capture the details of this landscape with a subtle sensibility and gaze, focusing on the allegorical meaning of the city landscape. Instead, Im Hwa wandered the streets, searching for self-identity and attempting to gain "eyes"(a gaze) that can properly understand the world. In this process, Im Hwa gained the gaze of authority that intersects the colonial city and the gaze that stands in opposition to this gaze of authority, discovering the class-based others who are exposed to the arrangement of visibility of colonial authority. On the other hand, the poetic subject in the "short narrative poems"(단편서사시)Im Hwa began to publish in 1929 comes face to face with the landscape of the streets of Seoul. Now the streets are represented as a space where the struggle between colonial authority and the working class has been made ordinary, a space where the working class seeks solidarity, and at the same time a space of growth where the poetic subject is reborn as an avant garde class subject. In particular, it is noteworthy that Im Hwa narrates the streets of Seoul as an historical, realistic space that holds an optimistic outlook on the future. Whenever he was confronted with a political turning point, Im Hwa returned to the Jongno intersection, reminisced about the past, looked out on the present, and looked into the future. This is because the landscape of the streets of Seoul provided Im Hwa with an original image that decided his political thought, his understanding of the world, and his literary imagination. After the dissolution of KAPF, Im Hwa introduced a new poetic space known as the Korea Strait(현해탄). Yet the ocean landscape in the poems that followed the tradition of his Korea Strait, as well as the landscape of Japan and Busan, are Im Hwa"s memories of the landscape that he saw when he went to Japan as a foreign student in order to grow as an avant garde class subject. The reason why Im Hwa had to write poetry about the Korea Strait of his memories is because he believed that the dreams and ideals cherished by the youth who crossed the Korea Strait would allow him to recover the "reflexive gaze" that looked back upon his self in the present. Through this reflexive gaze, Im Hwa looked back on the positive opportunity contained in the ideology of modernity and sought to reconstruct an ideological subject that would face the progressively worsening political condition. For this reason, Im Hwa represented the Korea Strait not merely as a homogeneous and empty space, but as a space filled with enlightened ideology capable of creating a new history. In this process of historicizing and temporalizing landscape, Im Hwa looked back on the fate of Korea and the Korean people and succumbed to self-destructive tendencies as a colonized subject, but he showed himself to be a modernist who accepting the landscape transformed by colonial modernization as a representation of progress.

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  7. [국내논문]   백석 시의 숭고(崇高)와 그 의미  

    박민규
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 193 - 218 , 2008 , 1229-1943 ,

    초록

    After the early poems「a deer」of Baek Seok, the latter poems of him expressed experiences of the sublime. This paper found and analyzed that Baek Seok"s poems(「北方에서(in the northern sects)」(1940),「南新義州柳洞朴時逢方」(1948)) had expressed the sublime experience. For helpful information, this paper used Longinus and Kant"s discussions about the sublime. Baek Seok, in「北方에서」, had a movement to a vast expanse of plain Manchu(the origin of Korean race-history) from the limited and vanished world("앞대") of Korean Peninsula. But he can"t discovered the sacred values of the origin in huge plain. In addition, he was placed in extreme environments in「南新義州柳洞朴時逢方」. He felt negative sentiments about himself in overwhelming difficulties, and couldn"t hold a candle to those"s power. But he thought derivatives from overwhelming circumstances and sentiments, and turned negative feelings to inner tranquillity by thinking the enormous fate. These kind of things shows typical mechanism of the sublime experience. Because, the sublime is accompanied by movement to the infinite or original world from the limited world(Longinus), by negatively shrinking feelings in some overwhelming state(Kant), by consciousness about power of thinking reason ability(Kant). Besides, this paper judged what his the sublime experiences had meanings in connection with his the early poems and Korean poetry of the latter age of 1930"s.

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  8. [국내논문]   이상화 시의 장소와 장소상실  

    송명희
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 219 - 242 , 2008 , 1229-1943 ,

    초록

    In this article I researched Lee Sang-wha"s poems, 'To my Bedroom', 'Spring on the Deprived Land', 'In Tokyo', 'Ode to Mt. Keum-Gang', centering on space theory of phnomenological geographers, Yi-Fu Tuan and Edward Relph. In 'To my Bedroom', the bedroom protects the ego from the hostile world and means the private refuge which can have an escape. But it becomes only abstract unexperienced space because the Madonna, the salvational woman, doesn"t come. That is, it can not function as the concrete shelter which Tuan told. In 'Spring on the Deprived Land', the perosna presents the charming and happy sense of place through the spring field. But the field was deprived and is now others" land, so the charming feeling in the field turns into placelessness. Though the poem grieves over placelessness on the surface, it awakens the strong resistance to recover the territory, the ownership, and sense of place in the depth. 'In Tokyo' sings nostalgia about the hometown and country in Tokyo, the capital of Japan. The nostalgia means a sense of alienation which a Korean colonist feels as an outsider in the capital of an aggressor, Japan. The separation of the place and the sense of place happens as a necessity as long as the writer has the national identity as a Korean. In 'Ode to Mt. Keum-Gang', Mt. Keum-Gang is recognized as a complex with various values and historical consciousness beyond the nature with immortality and eternity. The peak the writer feels in the Mt. Keum-Gang is a sense of place and comes from the discovery of the national reality which the identity of nation accords with the identity of place. This can be the topophilia that Tuan said. The writer presents the eternal circulation of the nature and the attitude to gain the immortality beyond the age of death. Like this Lee Sang-Hwa pursued various meanings about the place as the space of experience. The bedroom which is considered as an abstract space, the field which represents the resistance about the recovery of the place through the crisis which even the sens of the place could be deprived because ownership of the place was deprived, Tokyo which represents the sense of national alienation the Korean colonist feels in the capital of aggressor through the separation of the place and the sense of place, Mt. Keum-Gang which expresses the perfect harmony between identity of the place and the sense of place. Though the analysis about the place I researched the inner world of the poet, consciousness about the world, and the meaning of the works. We cannot but notice the importance of the place to understand the poem in that the place is the original root of human existence, the human take root in the place, see the world through it, and relate with the world.

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  9. [국내논문]   김소월의「진달래꽃」에 대한 재인식  

    이상호
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 243 - 269 , 2008 , 1229-1943 ,

    초록

    This Study purposes to re-illuminate on the essence of Kim So-Wol"s the Azalea Flower through a text-critique. As this poetic work differs with the shape published in a magazine for the first time in 1922, and the other shape printed in an anthology in 1925, in order to understand the essence of this Work in proper order, this Writer judged that the difference between the said two texts and the relevant reason should be known, thence conducted the text-critique. The result is as follows: First, Considering sufficiently the poet"s literary creative intention, as the result of contrast the fixed text with the shape which quoted to various kinds of literatures, the Azalea Flower that amended by the current modern orthography has been appeared the deviation very terribly. Especially, in case of the punctuation marks, despite all of those were expurgated in the text what the Poet had ever corrected with the consideration of rhythmical effect, many quoters have damaged the essence of text by putting the period thereto. Second, As the result of analysis on the characteristics of the structure and rhythm of the Work, the formal side and the sense were mutually harmonized well. In other words, since the altering figure of the deictic speaker"s mental state was exposed through change of its structure and rhythm, it could be known that this Work was organized very delicately. This is backing up the intense poetic consciousness of So-Wol who has ever kept a great concern about the timbre-charm. Lastly, through this Study, this Writer confirmed that there is partially some error in the existing interpretation about the Azalea Flower . And, it was also known that some working action let them recognize the importance of text is seriously required. Therefore, this result deduced through the text-criticism process let to understand the original significance of the Azalea Flower, and besides it should break from the excessively idealized explanation, and strengthen the real sense of the Work, and it is believing that this could arrange the broadening opportunity of the sympathetic zone.

    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.

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  10. [국내논문]   조지훈의 민족문화 인식 방법과 그 내용  

    이선이
    한국시학연구 = Korean poetics studies 2008 no.23 = no.23 ,pp. 271 - 289 , 2008 , 1229-1943 ,

    초록

    For a long time, Korean Culture as a National Culture has based on the perception which clarities Korean Culture identity. But from the point of view that modernity invent the tradition, the blind obedience of national culture needs to recognize anew. Actually the perception of Korean Culture starts to ask not what is Korean Culture but why and how invent it. A new understanding of Korean Culture is located to expend this critical mind. Cho ji Hun totally had surveyed Korean Culture as the point of view, that is National Culture, and he has become a representative scholar who systematize korean studies. With the premise of this critical mind, this paper tries to firstly analyze Cho Ji Hon"s Korean Culture studies and secondly examine the meaning and limitation of his achievement in Research critically. Based on these analysis and consideration, this paper has the ultimate goal which is tries to critical recognize his method of study that recognize Korean Culture as a National culture.

    원문보기

    원문보기
    무료다운로드 유료다운로드

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

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

    이미지

    Fig. 1 이미지

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