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권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 14건

  1. [국내논문]   이상 시의 시공간 의식과 현대디자인적 가상공간  

    김민수
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 7 - 37 , 2009 , 1229-1943 ,

    초록

    The purpose of this study is to analyze the nature of Yi Sang"s time-space consciousness by means of tracing the manifestation and the nature of his major poems and to investigate how the time-space consciousness is connected to contemporary art and design as well as mediascape. Here the researcher focuses on the overall flow of Yi Sang"s time-space consciousness beyond the partial speculation done by author"s previous researches. For this inquiry, Yi Sang"s major 50 poems have been reviewed by classifying the existence and nonexistence of time-space consciousness along with the moment of writing and publishing sequences. As an analytic method, the researcher has categorized the following three types: (1) strongly expressed, (2) partially related, (3) unrelated or ungraspable. It is found that total 31 cases out of 50 major poems are made up of the time-space consciousness. Such a consciousness was manifested from the earliest poem published in 1931 and culm inated in a series of 「Sam chagaksulgaedo, 三次角設計圖」 and unfolded up to a series of 「Ogamdo, 烏瞰圖」. Finally it was burning dimly in 「Myoungkyoung, 明 鏡」 and faded out. A series of 「Samchagaksulgaedo, 三次角設計圖」 was a turning point in the context of this discussion because it is consisted of a kind of manifesto expressing a birth of new type of human existence followed by new time-space conception. Based on the various notions that he expressed, it is ascertained that Yi Sang deeply recognized modern physics like quantum mechanics and the theory of relativity as well as the theory of expanding universe too. It seems that he considered such a new time-space conception as a liberated area where he could run fast at full speed and escape from his existential life which originated in some trauma. Therefore this kind of thought was directly unfolded up to his consciousness of virtual space, which was expressed in the poetry language such as 'a ray of light' and 'mirror'.

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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]   미장아빔, 근대와 탈근대의 미로 - 이상 시의 대칭구조를 중심으로  

    윤지영
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 39 - 63 , 2009 , 1229-1943 ,

    초록

    This study discussed "modernity" in Lee Sang"s poetry focusing on the symmetry in his poetry. There is a lot of the symmetry made by letter to letter, syntax to syntax, stanza to stanza, and work to work. From these symmetry we can infer the axis of symmetry which is similar to the vanishing point of perspective. They have something in common with each other. In spite of their virtuality deduced from real experience, both of them function the center to arrange the world and value like the cogito subject. From the idea that the perspective is the starting point of generation of the modern thought, the axis of symmetry in Lee sang"s poetry is the symptom of modernity, as the vanishing point in perspective. Also it is important that he is a highly skilled perspective subject to see the outer circumstance. In other words, he is involved to the modern scopic regime. However, when he tried to observe the inner of himself, he was placed in a difficult situation. In stead of getting a accuracy and certain understanding of his internal world, he faced mise en abyme, the abyss and infinity like an vanishing point. The symmetry in his poetry symbolize the dual character of modernity, the modern reason and its loopholes.

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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]   이상 시의 상호텍스트성 연구 - 「오감도 시제1호」의 시적 계보를 중심으로  

    정끝별
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 65 - 92 , 2009 , 1229-1943 ,

    초록

    This paper has considered how the poetry of Yi Sang as the most "problematic" poet in Korean modern poetic history has operated as a poetic matter on the poets after him. Generally speaking, the inter-textuality among poetic texts has revealed itself as diverse and massive patterns. By focusing a discussion on Yi Sang"s "A Crow"s-eye-view Poem Number One" which has been a typical poem to show intensively features of his poetry, this paper has illuminated patterns of its inter-textuality to make a historical genealogy of his poetry. This method has allowed to trace a poetic genealogy from Youn Dong-joo in 1940s, Kim Soo-young, Kim Chun-soo in 1950~60s, and Hwang Chi-woo, O Gyu-won, Kim Hye-soon, Haam Min-bock, Yi Seung-hoon, Kim Seung-hee in 1970~80s to Park Sang-soon, Yi Soo-myong, Yi Won, Haam Ki-seock, Seong Kwi-soo in and after 1990s. These poets have been surely the avant-garde as pioneers who have scudded tremendously for the modern poetic freshness, openness, and originality to be condensed into the "experimentation" and "deconstruction." Consequently, this paper has acquired a meaning of poetic examination of the possibilities that the poetry of Yi Sang will also have its inter-textuality in 21th century.

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

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  4. [국내논문]   이상(李箱)의 시쓰기와 "조선어"라는 사상 - 이상 시의 한자 사용에 관하여  

    하재연
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 93 - 114 , 2009 , 1229-1943 ,

    초록

    Lee Sang varied the method and frequency of Chinese characters in his poetry. His some sentences shows over-using Chinese characters and Chinese writing style. These were (re)placed sentences correspond to 'pure' Korean sentences. Chosun scholars and writers tried to standardize and purify Chosun language in 1930s. Lee Sang did not think Chinese Characters as an antithesis for modernization of Chosun Literature not like many other writers. He pursued to think language universal and tried to experiment some materials for example Chinese characters in his writing poetry. The complexes of Chinese character in various layers in his poetry break the fantasy of inherency of Chosun language. The imagination about modernization of literal language composed by 'pure' Chosun language might be break easily. Lee sang's poetry and his using Chinese characters shows the unclear boundary of Chosun language which was in unstable progress.

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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]   김춘수의 시와 산문에 출현하는 "천사"의 양상 - 릴케의 영향론 재고(再考)의 관점에서  

    권온
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 117 - 150 , 2009 , 1229-1943 ,

    초록

    This thesis tries to show that Kim Chun-soo did not merely adopt the concept of "angel" from the West as what is called "Rilke"s angel", but developed his own orignal one. In precedent studies, the subject among his poems seems to be limited and biased. This thesis analyzes 36 poems which contain "angel" in text or title and tries to demonstrate the characteristics of "angel." This thesis divides Kim"s "angels" as three categories. And I will sometimes refer his "angel" from his prose if necessary. Kim said to meet "angels" three times. It can be "original angel", "Rilke"s angel" and "poet"s angel." The first one is in his childhood, and the third one is in the period after losing his wife. This paper follows this criterion. However, the second one, "Rilke"s angel" needs to be reexamined and complemented. In this paper, I propose the concept of "Russian angel" instead of "Rilke"s angel." Because Kim"s interests was not only on Rilke. His interests about Russia and the Slavs grew through Rilke"s poems, and then he was absorbed in reading of Dostoevskii and Shestov. In precedent studies, Kim"s literature was compared to each writer individually, like "Rilke and Kim Chun-soo" "Dostoevskii and Kim Chun-soo" or "Shestov and Kim Chun-soo" etc. I will examine his poems as a whole with the concept of "Russian angel." It can be the weakness that "Russian angel" is limited on the comparative studies among western poet, writer and thinker. Therefore, this study includes also the "original angel" and "poet"s angel", which have been treated carelessly or roughly in other studies. Through these two categories, it will be obvious that Kim"s angel is related to "Korean tradition." Moreover "Russian angel" which have been considered as foreign one, also has been united with Korean tradition or folkways. Kim"s "private experience" embodies Kim"s "angels" characteristically. In short, these "angels" are beyond poetic objects or subject matters for Kim Chun-soo. "Angels" is the essential of his literature and is united with his own life.

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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]   현대시에 나타난 비유의 상관성 연구  

    권혁웅
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 151 - 177 , 2009 , 1229-1943 ,

    초록

    The purpose of this paper is to study the kinds of figures, to diagram the ontological positions of them, and to make clear the relations of them. The figures of this paper are five, that is, metaphor, metonymy, synecdoche, symbol and allegory. The diagram of these figures is called the type of 'reverse pyramid.' The horizontal axis of this diagram show an ability of comparison, and the vertical axis show a systematic character. Metaphor is started from a horizontal dimension, synecdoche from vertical dimension, and metonymy is created with combzontion metaphor and synecdoche. Symbol is projectile from a horizontal dimension of metaphor to systematic character, and allegory is transfomation from vertical dimension of synecdoche to comparative character. Four figures intersect at the metonymy. Therefore, metonymy is produced with crossing other figures, not the top of diagram, but bottom of diagram. If other figures are combined with metonymy, they each become dead metaphor, functional synecdoche, traditional symbol and monotonous allegory.

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

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  7. [국내논문]   개화기 시가의 사회시학적 변이 양상  

    김영철
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 179 - 207 , 2009 , 1229-1943 ,

    초록

    The poetry of enlightened periods seek after multiple formal mutation for the instructive function of literature. This foramal mutation heads toward not the dimension of art aesthetics but the dimension of social poetic aesthetics. The formal mutations of shijo are summarized into ellipsis of last-line foot, setting up four-syllable key words, four or six line stanza, inversion of word order, addition of ballad, rhythmical pattern of 4.4 foot. The formal mutations of kasa are summarized into style of separated stanza, mode of numeral ballad, mode of conversation and drama. The formal mutations of folksong head toward the reworked ballads which change the lyrical contents into social contets. The parody of poetry became popular in that periods for the instructive funtion of literature. The parody of poetry is focused on the shijo. Shijo changes the the original contents into the social sontents by change of line or stanza. Occasionally it happened the parody of proverb or maxim.

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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]   유치환 시에서의 "절대"의 외연과 내포에 관한 고찰  

    김윤정
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 209 - 236 , 2009 , 1229-1943 ,

    초록

    This paper studies characteristic of connotation and denotation of Yu Chi Whan and analyzes the whole high-dimension and universe of Yu Chi Whan. It is pointed out that poetry of statement, denotation and poetry of lyric, connotation of Yu Chi Whan was features of the his hole poetry. His poetry of statement and poetry of lyric characteristic and aesthetics senses of Yu Chi Whan has been involved features in the first stage poetry. That is absolute and non-emotion, god in whole period. Especially it restarted experience of his high-dimension and characteristic connotation and denotation of with that period. The poetical investigation of Yu Chi Whan as we pointed out in his poetry, embodies high-dimension of modern korean poetry. That is to say, his orientation in his absolute and life, has the opportunity to understand in his whole poetry. The life image and non-emotion are the important concept the whole stage poetry. This work is the first stage departing from poetry of statement and poetry of lyric.

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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]   파시즘과 리리시즘의 상관성 연구 - 일제 말기 서정시의 경우  

    박정선
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 237 - 278 , 2009 , 1229-1943 ,

    초록

    Fascism and lyricism are alike in the principle of identity and transcendence. Fascism make an individual unify into the whole, people unify into the nation. These totalitarian characteristics of fascism appear in Japanese fascism well. Japanese fascism has organized a colonial Korean to win the Sino-Japanese War and the Pacific War in totalitarian. And fascism tried to build a utopia that overcome the modern age. Japanese fascism asserted the construction of the Orient that overcome the Western modern age. Meanwhile lyricism has the identity of the subject and object, the lyrical transcendence against reality. Therefore lyricism can proceed to fascism by identity and transcendence. In the end of Japanese imperialism Kim Jong-han and Seo Jeong-ju stuck to lyricism, but they sang Japanese fascism. But fascism is different from lyricism in the origin of awareness and the aspect of realization of identity and transcendence. Fascism is based on a modern epistemology, that is to say a principle that the subject dominate the object. Thus fascism select the subject-central identification way. It prove that Japanese fascism ideology and an oppressive policies are based on the ideology. And then fascism aimed at the transcendence of the modern age, but as a matter of fact it is the extreme aspect of instrumental reason. On the other hand lyricism select an equal identification way of the subject and object. Such lyricism is a radical criticism against the modern age. Kwon Hwan and Jeong Ji-yong resisted fascism by being faithful to the nature of lyricism in the end of Japanese imperialism.

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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]   시적 수사로서 병치은유의 영상 발현 방식에 관한 시론 - 〈검은 땅의 소녀와〉의 몽타주 분석을 통해  

    안숭범
    한국시학연구 = Korean poetics studies 2009 no.26 = no.26 ,pp. 279 - 307 , 2009 , 1229-1943 ,

    초록

    Poetry and films have not been closely scrutinized in terms of correlation of formal aesthetics. Thus, this paper aims to analyze a film called "With a Girl of Black Soil"to examine how diaphor of poetry is realized in the film, thereby discovering possibilities of a new method of communication between poetry and films. First of all, diaphor, one of the major concepts herein, refers to a particular rhetoric encompassing aesthetical images in the context of poetry. Its equivalent in films is the collision-montage, which is a visual rhetoric representative of "radical changes" such as contrast, spring or collisions. As a result, diaphor, as a poetical rhetoric creates two types of effects: "implication through contrast" and "emotional, semantic shocks". The former revealed itself in diaphor which has, to a certain extent, the similarity principle of epiphor, while the latter was materialized in a rather pure form of diaphor in which spring and collisions could be felt. The collision-montage, which was established by Russian film directors dedicated to formalism and is being stylized in various ways these days, realizes the aforementioned effects of diaphor through images. Collision-montage revealed through "implications through contrast" create new meaning and diverse relationships, and even proposed new ideas to the audience, whereas that for "emotional, semantic shocks" pluralized meanings by allowing different interpretations of meanings, leaving aesthetic afterimage to the audience, thereby drawing attention to the conceptual message inherent in the narrative. If an Consilience research on formal aesthetics of poetry and films can be conducted going forward, individual works of the two media are expected to influence each other from the initial stage of planning, conception ideas to even provision of fresh ideas.

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    Fig. 1 이미지

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