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권호별목차 / 소장처보기

H : 소장처정보

T : 목차정보

한국시학연구 = Korean poetics studies 15건

  1. [국내논문]   근대시에서 '감각'의 용법  

    고봉준
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 7 - 29 , 2010 , 1229-1943 ,

    초록

    Studies on the modern Korean poetry has regarded “sensibilities” as belonging to personal experiences, giving birth to a modern subject. In other words, “sensibilities” have been comprehended from a perspective of a subject"s personal experiences of an object (or the world), rather than focusing on existential meaning of the “sensibilities” by themselves. During the modern period, “sensibility” has been often used as an opposing concept to common principles such as Confucian ideology or other external ideology; “sensibility” was even interchangeably used with “modernity.” For this reason, “sensibilityn” has been regarded as a threshold to aesthetics of modern poetry. The agreement was made that “sensibility” was a counterpart of “emotion” that traditional Romanticism emphasized. The arguments between Lim Hwa and Kim Ki-rim on Technicalism can be understood as a struggle between “emotion” and “sensibility.” Sensibility can be construed as a similar concept to mentalites, indicating underlying qualities of literature in a particular period. This applies to discourse on Kim Kwang-gyun"s poem that captured changing sensibilities in a transformation of civilization. Except plain expression of emotions or crude display of ideology, most of the modern poem works share a common quality that they rely on visual images to express objects concretely, and that they convey poetic messages based on a series of images. In this case, aesthetic accomplishment of individual poem is judged by vividness of images or organic linkage of images. And yet, a study of images in a particular poet"s work is insufficient to fully display peculiar significance of “sensibilities” as a threshold to aesthetics. Noting this, this research attempts to demonstrate that “sensibilities” were involved in production of modern subjects, while remaining as the core of arguments surrounding concept of poem.

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  2. [국내논문]   한국 근대시의 비극성 - 1930~1940년대를 중심으로  

    곽명숙
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 31 - 59 , 2010 , 1229-1943 ,

    초록

    This study aims to research on the tragedy of Korean modern poetry as conduits of the colonial reality. In this Study, I focused on the poetry in the later of 1930"s~1940"s. In brief, the tragedy of Korean modern poetry is deeply associated with Japanese colonialism. The annexation of Korea by Japanese imperialism was executed with unprecendented ruthlessness and cruelty. The military violence was mobilized to restructure Korea into source of supply for Japanese imperialism and to suppress Korean who resist the oppression. At the same time various measures was taken to incorporate Korean economy into that of Japan. So they had brought unbearable hardness and poverty to Korean people. Korean poets also felt such pain and made works from such tragic situation and self-consciousness. Although the concept of tragedy was derived from a drama, generally we use it to imply not just suffering of violence, catastrophe, bereavement but also dignity and fortitude against them. It is a bit difficult to discern the word 'tragic' and 'tragedy'. But we might fully appreciate the complex and various characteristics of great tragedies. This study intends to find the apt example of tragedy of Korean modern poetry in the aspects of the tragic situation, tragic consciousness, and the motif of scapegoat. At the first, the tragic situation means the colonial reality with barbarous imperial power and economic poverty. Park Se-young who was a member of KAPF and opposed to the disbandment of KAPF, showed the passion and ambition for the revolution with tragic heroism. And Lee Yong-ak described the miserable condition of drifting people and the migrants of the Northern region. At the second, the tragic consciousness means the consciousness of poetic subject who feel the disharmony between the idealism and the reality. Oh Jang-hwn negatively exposed the decline of history by contrasting with Bak Suk who positively looking for the transcendence in the world of hidden God. At the last Yon Dong-ju was interpreted as the scapegoat for the history and the Korean modern poetry. He revealed the will of sacrifice which resembles that of Christ in his poems.

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  3. [국내논문]   김소월 시의 숭고 미학  

    주영중
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 61 - 88 , 2010 , 1229-1943 ,

    초록

    This current study aims to examine poems of Kim So-wol focusing on sublime aesthetic characteristics. Sublime aesthetic characteristics presented in his poems are connected with tragic recognition or tragic emotions. Speakers come to feel unpleasant emotions as a sense of desperate and tragic fate, not pleasant emotions, while they face the limit of inevitable fates, and at this moment, the speakers have sublime emotions from sublime objects. On the other hand, a reader as a contemplating subject and viewer comes to feel sublime feelings from existential characters who endure desperation or limited situations under repetition of tragic fates. Therefore, dual sublimity is created. This sublime aspect is somewhat connected with the speakers' fragmented and segmented images. Although speakers in his poems bumped against limits and despair of something beyond the limits, they come to have power to go ahead again when the speakers have eyes to contemplate the world of impossibility over the limits. Like this, although speakers in his poems admit limits in front of absolute and strong power as a sublime objects, the process in which they continuously bumped against it, despair and bumped against it again in order to escape from it is rather tragic and existential at the same time.

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  4. [국내논문]   현대시의 방언과 공간적 상상력  

    김동우
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 89 - 115 , 2010 , 1229-1943 ,

    초록

    This paper focused on spacial character and imagination of poetic dialect that have imagined geographies in Backseok"s poetry. Most studies on poetic dialect discovered meaning and esthetic effect only through viewpoint of vernacular. However, this study would consider a relation between the standard language and dialect to extend fields of research for poetic dialect. A Dialect as poetic language arises certain poetic effect through locating in opposit of the standard languages that have been repressing and abolishing its. In levels of reading, province language make up poetic ambiguity, which reader want to participate in its meaning. Then information value of poem would be increased by the ambiguity. And It give unique esthetic catharsis to readers because of breaking up the linguistic order and changing position with standard language. It is important that poetic dialect has an originality and identity on the ground of own geographical and spatial nature, couldn"t be found in standard languages. Its generated itself locality, make stand against homogeneity and standardization of formal languages, criticize marginal desires oriented center, and insist on various voices of repressed minority.

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

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  5. [국내논문]   석굴암 본존과 광륭사 백제관음을 둘러싼 한일간(韓日間) 시적 반응 및 미의식  

    송희복
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 117 - 153 , 2010 , 1229-1943 ,

    초록

    The salvation of the people themselves in common, literature is religious and religion is literature. Buddhism is of great importance to our literature. That applies to traditional literature as well as modern literature. And that is why sometimes modern people who are buried in civilization ask literature for possible of helping the people like a human being. If it is the total our experiences of Buddhism in what we call current literature, an interest in Buddhism as a material principle of literature is not meaningless. Many Korean poets wrote poems about the principal icon-Sakyamuni of Seokguram. Above all things, Seokguram is the best aesthetic sense among the oldest Buddha-statue existing in our country. It already has a reputation as a work of art, and poems about the principal icon-Sakyamuni of Seokguram among the poem of Buddha-statue of our literature are considered inspiring a representative poetic warmth in mass. And I research that the poems about the Horyuji kudarakannon that is the famous Buddha-statue in Japan are not small. That is, this paper is written for comparing the poetic reaction and an aesthetic consciousness between Korea and Japan through the principal icon-Sakyamuni of Seokguram and the Horyuji kudarakannon. Yu Chi-Hwan, who is a korean poet, and he wants to be an unmoved stone or a human"s feeling, his will of life expresses a similar emotional reaction, standing in front of the principal iconSakyamuni of Seokguram. This statue exist as a symbol of will to combine with the divided human"s life. But the Horyuji kudarakannon always existed peacefully. An aesthetic consciousness of the Buddha"s silence is called “Sa-Bi(さび)” in Japan. This concept can say the mutability aesthetic consciousness that person knows this through realize existence loneliness. In this way, it is different poetry about Buddha-statue realization of Korea and Japan.

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

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  6. [국내논문]   藝術家의 自我 認識 - 『花蛇集』 시절의 未堂  

    이남호
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 155 - 173 , 2010 , 1229-1943 ,

    초록

    Midang shows us an interesting self-consciousness in [Hwasajip], which published in 1941. There are three kinds of self in the 24 works of [Hwasajip]. The first one is that rejects conventional order, value, moral and be worked by basic instinct. The self in 〈A portrait〉 is typical of this kind. The second one is that obeys conventional order and traditional value instead of being driven of an impulse of dark desire. The self of 〈A poem of Sudaedong〉 and 〈A post card〉 is typical of this kind. The first usauly conflict with the second. The third one is that feels anxiety on the first self who has anti-social and destructive impulse. But he can not control the first self. The self of 〈An owl〉 is typical of this kind. In this poem, the persona is the third self and the owl is the allegory of the first self. These three selfves seem to be related with id, ego, superego. The first self pursues basic instict regardless of taboo with the energy of Libido. The second self is trying to pay regard to social value and moral. He is a moralistic self. The third self has self-consciousness and is trying to keep the balance between another two selves. The major attraction of [hwasajip] is the strong romanticism pursued by the first self. But it can be said that another two selves give [hwasajip] a proper form and some metaphysical depth. The self-consciousness in [hwasajip] seem to be the first kind of that in Korea literary history. That is a considerable achievement in literature as well as an important element of modernity of [hwasajip].

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  7. [국내논문]   韓日근대시의 청춘과 하늘 - 윤동주와 나카하라 츄야(中原中也) 비교  

    한수영
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 175 - 201 , 2010 , 1229-1943 ,

    초록

    The period when Dongju Yoon went to study in Japan was the gloomiest time of the history in Asia in the 20th century. The imperialist age was certainly threatening to the local residents, in a different context than to a foreigner like Dongju Yoon. Dongju Yoon and Nakahara Chuya, as a foreigner vs. a citizen, had extremely different political stances and personalities. However, they both were lonely "youths" and "individuals," with one in a rokuchou-tatami and the other outside of it, dreaming of their respective sky and writing poems. They are essentially similar in that both of them were "lonely individuals" and "poets of youth" who dedicated their 20"s to writing verses, outside of the mainstream literary world. They were also ashamed of being tarnished, the ethical mysophobia of which is a characteristic of youth. Behind this mysophobia is the Christian view of the world, in which they are also alike. On the basis of these similarities there are sensitivity to the nature and an ideal landmark of the sky. The sky was an altitude of life and an index of ethics that the two youths were dreaming of. Looking up at the sky is related to an act of responding to the surroundings and looking inside the self; therefore, this process, to both Yoon and Chuya, helped to develop a unique world of poetry whose features include shame and reflective penitence. The youths were examining the self on the basis of the sky, and they were earnestly seeking a way to overcome the split reality. The two poets died young, one of illness and the other in prison; they fulfilled the legend of youth with the premature death. Their poems contained the youth particular to the end of their lives, i.e. pure and high ideals, which are necessarily accompanied by melancholy and despair. The youth in the colony affirmed the existential self by drawing the sky into the inner side, under the sky in the dismal period, whereas the Japanese youth, who lived as a local, converged himself into the timeless and fantastic sky. The two youths shared the sky in the furious age, but they stood on different spots; therefore, they looked for disparate, poetic exits, having different ways for feelings and conflicts. To consider Dongju Yoon and Nakahara Chuya in comparison puts some aspects, which hardly emerge from the exiting unilateral view, into a comparative outlook. It thereby should open up new horizons of research in which the modern Korean and Japanese poetries can communicate.

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  8. [국내논문]   김수영 시에 나타난 우울증의 양상과 치유기제 - 현대성을 기원으로 하는 우울증의 세 차원을 중심으로  

    김수이
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 205 - 236 , 2010 , 1229-1943 ,

    초록

    Kim Su-young"s poem is the first case that figured in earnest the depression which originated from modernity in our poem history. As a text in which the narration and representation of modern depression are recorded, Kim Su-young"s poem figures the loss of three dimensions; the subject, the object and the other. First, the subject means the one that was deprived of its position by the exchange system of capital and became the object. Kim Su-young expresses the sorrow that the position of the subject is not guaranteed constantly as insider/outsider of an office, a modern social space. Second, the object the endlessly reproduced ghostlike object, that is, products made by the exchange system of modern capital. Kim Su-young, overlooking "depression" that capital conceal itself through "liveliness" of products, identifies the discarded and superfluous objects with himself. Third, the modern society intercepts the route enabling cooperation between the subject and the other by ruining lots of "social ideas". Kim Su-young finds "skill of love" that re-discovers the other and the world as the targeted love, sorrowing loss of ideas such as Kim Su-young makes for himself the defense and cure mechanism of depression in the process of reflecting on depressive self. It is the very 'skill of love' and 'glance of an analyst'. If 'skill of love' is the skill of "becoming the subject" that the depressive subject, retreated to one"s own inside, re-discovers and re-creates the lost object in the other and the world, "glance of an analyst" is the skill of "becoming of the other" continuously renewing oneself, seeing the identity of the depressive self from the viewpoint of a third party. The skill=methodology for coping with the depression created by the depressive subject itself has a significant meaning. This means going forward from passive ethical selection suffering from depression instead of sharing the sin of modern civilization to positive ethical selection curing depression. Kim Su-young, based on modern viewpoint of an analyst reflecting on modernity, pioneered the rare, modern and ethical poetic world in our poetic history.

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  9. [국내논문]   김억의 번역론 연구 - 근대문학의 장(場)과 번역자의 과제  

    김진희
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 237 - 260 , 2010 , 1229-1943 ,

    초록

    In the beginning of the Korean modern literature since 1910"s, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok"s translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators" lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim"s translations can be reconsidered through the study of theory. Kim argued for "creative liberal translation," and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim"s view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok"s theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim"s viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok"s translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920"s, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok"s theory of translation presented 'creative liberal translation' and 'creative translation' as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim"s theory evidently showed through translation.

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  10. [국내논문]   모윤숙과 노천명 시에 나타난 '해방'과 '전쟁' - 해방이후부터 전쟁까지의 시를 중심으로  

    김진희
    한국시학연구 = Korean poetics studies 2010 no.28 = no.28 ,pp. 261 - 293 , 2010 , 1229-1943 ,

    초록

    The purpose of this study is to examine the awareness of Korean women's poetry at the turning point through the aspects of 'liberation' and 'war' appearing in the poems of 'Mo, Yoon-sook' and 'No, Chun-myung'. As they had pro-Japanese consciousness before the liberation, surveying their poetic transition can have another meaning in that consciousness of colonial women-intellectuals can be examined. This study examined Mo and No"s poems announced from after the liberation period to the war. The war here implies the period till July, 1953. Specific collections of the poems which are the objects of this study are Mo"s 'Okbinyeo'(1947) and 'Poongrang'(1951), and No"s 'Contemporary poet collection, 2 volumes: No, Chun-myung collection'(1949) and 'Looking at the stars'(1953). Facing the liberation, Mo actively participated in political activities. The subject of her poems at that time was 'people'. If the concept of 'people' in Mo"s poems in colonial period included 'East Asia', 'people' after the liberation can be considered as nationalism combined with 'Anti-Communism'. The poet who sympathized with Imperialism in colonial period abruptly announces the poems which expect the brand new start of people after the liberation, with contradictory attitude. The 'people' in Mo"s poems changes to 'nation' and 'national people' through Korean War, strengthening 'nationalism'. No, Chun-myung reveals her insecure identity in her poems as a poet after the liberation. As she had much pride and was an idealist, her poems were introverted and had a squeamish self-consciousness. During Korean War, she had very severe psychological impact when she was sentenced to imprisonment due to her treacherous activities in 'Confederation of Chosun literary writers'. In her poems at that time, she expressed her inner conflict resulted from her damaged pride. She also showed the attitude of coping with outer reality through the closure of her pride rather than settlement of her inner conflicts. No"s r copoems can be divided into several types, such as the poems bas. In actual experience, the poems consistent with conceptual exaggerations, and the poems which poemto dely th the fweling of r copoems with just Ine oh two poetic languages in describing the situation not exactly related to the war. There are not many women"s poems from the liberation period to war period. Mo, Yoon-sook and No, Chun-myung can be objects of criticism by not leaving any trace of conflict or regret to their pro-Japanese consciousness in colonial period. Further, it should be acknowledged that the poetic languages they use such as 'people' or 'nation' are not differentiated from those in colonial period by not accepting the conflicts of turning point and by trying to escape from the conflicts. This study tried to look into the images hidden behind the stereotyped images of Mo, Yoon-sook and No, Chun-myung, and examined the aspects of "liberation" and "war" by that way. The poems of these 2 poets can be considered to include tragic truthfulness by showing the reality of Korean women poets.

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