春園의 詩硏究

김유선 淑明女子大學校 大學院 1981 국내석사

Chunwon's poetry is over 400 poems, but people have turned away this fact in the aspect of the poetic history. This thesis is intended to describe the quality and the consciousness of Chunwon's poetry through the intrinsic approach which is one of the literary research methods. A purport and a product of this thesis are introduced as follows: First, for the primary research in order to understand Chunwon's poetry, this study researches the poetic consciousness expressed in literary criticism. Chunwon sets the quality of poem to rhythm the same method as the ballad poets had done in the 1920's. Particularly, he has tried to compose one's favorite poems, which can be found in the earlier criticism, 'What is the literature' (「文學이란 何오」), 'Ballad Research'(「民謠小考」) and 'Shijo'(「時調」). He insists that the literary rhythm and thought must be based upon the tradition of nation. This poetry theory is reflected in his works - the earlier new style poem, and the set-rhymed-verse which is attemped during 'Youth' period(《靑春》). After that, in the changing process of the free verse, Chunwon has selected the traditional metre and for the first time he has insisted that the rhyme is very important in poem and realized it in the hisotry of Korean modern poetry. Second, Chunwon's poetry has the structural features of Repetition and Parellelism, which is the unique features of Ballad. Third, he chooses arbitrary verse and stanza in his poems. His poems ranged from 2 verses to 315 verses as a long poem in the basis of 4 verses, and in stanza, from 1 stanza to 25 stanzas in the basis of 3 stanzas showing many different pattern. In metre, he has used most Tetrrametre in his poems. It is a kind of the ancient poetry metre and is suitable for the search of racial characteristics and human nature. Besides, Trimetre expresses one's grudge, Dimetre pleasure. Fourth, Chunwon frequently has used the images of 'fire', 'water', 'flower' in his works. The common point of these images have the dualistic structure which is negative and affirmative. The juxtaposition between birth and death, good and evil, represents the conflicts and agonies suffered by Japanese colonial policy. His negative world view has looked for the affirmative possibility in the religious vision, that is, it sublimates the unsubstantial reality into the existencial possibility. Fifth, Chunwon, in his poems, has used the Simile more than Metaphor in Rhetoric. This technique becomes one of the features that the poetic dimension is weakened, because the poetic tension is relaxed. Besides he has used apostrophe and Exclamation, particularly his paradoxical structure has a very important significance. Sixth, the consciousness of Chunwon's poetry which is described as the rejection of tradition, and heroism is started by the recongnition of self. But the reality in which he is confronted is very hopeless. Accordingly, this condition causes that he believes in Buddhism and fascinates with Buddhist humanism. So the meanings of Love and Master('님')in his poems can be transmitted to us through this Buddhism. This thesis makes a fundamental attempt of Chunwon's poetry research. In the immediate future, his about 400 poems and his poetry which not yet to be found should be researched concretely and deeply for the new illumination of Korean modern poetry.

18세기 금강산 시와 그림의 관련 양상 연구 : 이병연의 시와 정선의 그림을 중심으로

박미나 경기대학교 대학원 1999 국내석사

이 글은 18세기에 나타나는 금강산을 소재로 한 시와 그림의 18세기적 특징을 찾아보고, 이것이 조선후기 예술사에서 갖는 의의에 대해 살펴보고자 한다. 금강산을 소재로 한 예술 작품은 18세기 이전에도 있었다. 하지만, 이 시기처럼 예술의 각 갈래 - 문학, 미술, 음악 - 에서 동시적으로 나타났던 시기는 없었다. 따라서 이 시기에 나타나는 이러한 특징은 분명 특이한 현상이라 할 수 있을 것이다. 그런데 이러한 시와 그림은 각기 따로 존재했다기 보다는 같은 영향 아래에서 함께 창작되어진 것으로 생각되어진다. 이렇게 생각할 수 있는 근거는 당대의 시평과 화평을 통해서이며, 더구나 당시는 시와 그림이 별개의 것이 아니라 ‘詩書畵 一致’ 또는 ‘詩畵一律’이라는 인식 하에 자연스럽게 함께 자리잡고 있던 시기이기도 하다. 필자가 이 시기의 시와 그림 중에서도 특히 금강산 소재의 시와 그림에 주목한 이유는 당시의 이러한 특징이 가장 잘 나타나고 있는 것이 금강산 소재의 시와 그림이라 생각하기 때문이다. 특히 사천 이병연과 겸재 정선은 둘의 교유 관계를 통해서뿐만 아니라, 형상화된 실제 작품들 간에도 서로 영향을 주고 받은 흔적이 잘 나타나므로 시와 그림의 관련 양상을 이해할 수 있는 좋은 예로 생각한다. 하지만 시와 그림은 그 고유의 성격으로 인해 둘을 함께 다루려면 둘에 공통으로 적용할 수 있는 연구 방법이 필요하다. 이럴 때 가장 좋은 방법은 우선 실제 시와 그림 작품을 면밀히 검토한 후, 이를 통해 나타나는 시와 그림의 고유한 특징을 살펴보는 것이라 생각한다. 그리고 이러한 과정을 통해 나타나는 개별적 특징에서 둘에서 함께 발견되는 공통점을 찾아낸다면, 이 시기의 금강산 시와 그림은 별개의 것이 아니라, 같은 영향으로 인해 나타나게 된 것으로 생각할 수 있을 것이다. 따라서 본고는 먼저 사천 이병연과 겸재 정선의 금강산 시와 그림을 그 각각을 살펴본 후, 둘을 함께 비교하여 그를 통해 나타나는 공통점에 대해 찾아보았다. 그런 결과, 둘은 사상적으로는 낙론계의 김창흡에게서 많은 영향을 받았으며, 당시의 천기론의 영향으로 인해 우리 국토에 대해 관심과 애정을 갖게 되면서 많은 여행을 경험하게 되었고, 이를 통해 결국은 우리 국토 및 우리 고유의 것의 소중함을 발견하게 되었다는 것을 알 수 있었다. 그리고 이것이 발전하여 우리나라는 중국과는 다르다는 주체적인 자각이 가능하게 되었고 그래서 새로운 시와 그림을 창작하게 되었다고 생각한다. 다음으로는 18세기에 이러한 새로운 시와 그림이 동시에 나타날 수 있게 해주었던 배경 사상 및 당시의 미학적 논의들에 대해 살펴 보았다. 이 시기에 나타난 가장 중요한 사상은 아마도 인물성동이논쟁일 것이다. 이 논쟁을 통해 인간과 사물은 결국은 다른 것이 아니라 같은 것이라는 인식을 하게 되었고, 그래서 이러한 금강산을 소재로 하는 시와 그림이 높이 평가받을 수 있었던 것으로 생각한다. 한편 이 시기에 나타나는 미학적 논의 중에서 시 창작과 관련된 논의로 천기론을 들 수 있다. 천기론은 자신이 사물을 보고 느낀 감정을 그대로 자연스럽게 표현할 때 진정한 시창작이 이루어졌다고 생각한다. 그리고 이러한 과정에서 시인이 자신의 천기를 가장 잘 발현할 수 있게 도와주는 것이 자연물이라고 생각한다. 이렇게 자연에 대한 인식을 새롭게 하게 되면서 시인의 천기가 잘 표현되려면 그 자연물이 주는 흥이 커야 한다고 생각하게 되었고, 이러한 대상으로 새롭게 부각되기 시작한 것이 금강산이었다. 금강산의 다양한 모습에서 시인들은 자신들의 다양한 감정을 표현할 수 있는 근거를 찾을 수 있었던 것이다. 사천 이병연은 금강산 뿐만 아니라, 다른 명승지를 여행하고도 많은 시를 지었는데 이병연의 시에서 공통적으로 표현되고 있는 것은 시인 자신의 감정의 중시와 그 묘사라 할 수 있다. 따라서 이병연의 시는 당시에 유행했던 진경산수화와 더불어 진경시라 할 만하다. 이 시기에 나타난 또다른 미학적 논의는 그림 창작과 관련되어 나타난 形과 神에 대한 논의이다. 이전에는 그림을 그림에 있어서 대상의 모습을 그대로 핍진하게 그리는 것만을 강조하거나, 대상의 정신의 묘사만을 강조했었다. 그런데 이 시기에 이르러서는 이 둘을 포괄해야 한다는 논의가 나타나게 된다. 즉 단순히 형태만을 그대로 묘사하는 것에 그쳐서도 안되고, 대상의 정신만을 강조해서 그려서도 안된다고 생각하게 된 것이다. 이를 형신겸비 내지는 전신론적 사실론으로 부를 수 있는데, 이러한 논의를 잘 표현한 것이 겸재 정선의 그림이다. 즉 겸재는 금강산을 그림에 있어 금강산의 모습 그대로를 묘사하는 데에 그치지 않고, 이것을 바탕으로 하여 새롭게 금강산의 모습을 창조하여 그리고 있는 것이다. 그리고 이것은 전통을 근거로 한 창조이기에 더욱 가치가 있다 하겠다. 이러한 여러 사상과 미학적 논의가 바탕이 되어 나타난 금강산 소재의 시와 그림은 임진왜란과 병자호란을 거치면서 우리나라와 이웃 나라에 대해 새롭게 인식하게 되면서 우리 것을 재인식하게 되는 과정을 통해 더욱 부각되었던 것이다. 즉 우리 국토에 대해 애정과 관심을 갖고 대하게 되면서 대상을 새롭게 재해석하게 되면서 나타나게 된 것이다. 그리고 이러한 인식을 바탕으로 형상화된 금강산 시와 그림이 널리 인정받고 알려지면서 점차 인간 내면의 진실하고 솔직한 감정을 그대로 표현하는 것이 중요하다고 생각하게 되었다. 결국 이 시대는 시와 그림이 함께 창작되고 함께 논의되던 시기였음을 여러 상황을 통해 알 수 있었다. 그런데 지금의 연구 상황은 서양의 분과 학문론만을 중시하여 이 둘을 따로 떼어 연구하고 있다. 이제는 이러한 개별 연구를 지양하고 함께 묶어 연구해야 할 시기라고 생각한다. 개별 연구에서 이루어진 구체적인 사례를 함께 다루는 총체적인 시각이 필요하다. This paper is looking into the artic historical meaning of poetry and paintings which's matters are Kumgang-san in the 18th century. Before the 18th century, there were also a lot of works about Kumgang-san, but in the 18th century used Kumgang-san by artic material, all kinds of art were come out simultaneously. This is a distinguishing mark. The poetry and the paintings of the 18th century were put as works of high level. At that time, the poetry and the paintings didn't exist separately. They were created together under the same influence. Because of this thinking, in the 18th century, everybody thought "poetry and paintings are one" or they have the same style and origin. The present writer thinks the 18th century's poetry and paintings of Kumgang-san are very important, because they are showing the distinguishing mark. According to the relationship between Sachun Lee Buong-yuon and Kyomjae Chong Son, they were given influence to each other. This is s good example to understand the 18th century's poetry and paintings realated. And we need a method of this study. The best method of this study is after investigating poetry and paintings, and that find something in common between both of them. In this thesis, at first, I found out the common feature between Sachun Lee Buong-yuon's works and Kyomjae Chong Son's works aftercomparing them's poetry and paintings. The common feature of them's works are below, 1) They were influenced very much by Kim Chang-hup of nack-theory, 2) They found out the valuableness of Korean land and tradition because of Chungi-theory, so they could create new poetry and painting which were very different from Chinese things. Second, I touched upon the supporting thinking and the aesthetic consultation which could come out new poetry and paintings. The best important supporting thinking must be "man and things are same or not same dispute" in that time. This dispute was "Human beings is not different from things". Because of that, the poetry and the paintings were essential. "Chungi-theory" was also very important to study the aesthetic consultation of creating poetry. Through "Chungi-theory", the best of writing poetry was that writers expressed their emotion naturally when they saw things. In this process of creating poetry, natural things made writer's Chungi abundant, so the multiplicity of Kumgang-san gave writers the power which could make them express their various emotion and feeling. The common feature of Lee Buong-yuon's poetry is that the writer's emotion and expression, therefore Lee Buong-yuon's poetry was 'true-view poem' with 'true-view landscape painting' that was popular at that time. The other aesthetic consultation was about form and spirit which was linked to create paintings. The past painting should just real things or only expression of mentality. In the 18th century, both of them tried to be covered and mixed together. It was not good to express just form, and to emphasis only mentality of matter. These consultation's best example is Kyomjae Chong Son's paintings. Kyomjae didn't express just real Kumgang-san. He created his own Kumgang-san under this thinking, and so this is very worthy because his works is creating based tradition. The poetry and the paintings which's matter is Kumgang-san was founded that thinking and the aesthetic consultation. And after both war in 1592 and 1636, we realized about next coutries, and saw our things in a new light. This new understanding thought the importance of expressing human being's emotion. Finally, in the 18th century, poetry and paintings were created and discussed all together. But we are dividing into two such as western departmental studying theories. These individual studyings have to be sublated. It is a time to study two of them together. We need general vision to put together individual studyings. I want this paper to make a stepping-stone of general study.

Unmapping Poetry: The Poetics of Space in the French Nineteenth Century

Dubois, Alexandre University of Minnesota ProQuest Dissertations & T 2019 해외박사(DDOD)

My dissertation deals with the notion of space in late nineteenth-century French poetry. I understand this notion in three ways. First, space as commonly related to geography and dimensions of height, depth and width. In the history of modern geography, space is reduced to coordinates on a map, to ultra-connected points of departures and destinations. Reading space in such a way equates to reducing it to its visibility, to its public display so that sight traverses it at a glance, in the same manner as sight traverses and defines landscapes in the modern world. Second, I understand space as the marker and threshold between literature and everything else. This second perspective on the notion defines literary space as resolutely different from other writing mediums. Moreover, it requires the awareness of the role of the reader/commentator in helping to define a text as literary, that is a text where hermeneutics is of central importance. In a way, this perspective asks about the space of poetry, a space that seeks to withdraw itself from the language of newspapers on the one hand, and of realistic and naturalist novels on the other. Poetic space strives to impede any fixed linear reading in profit of a re-arranged and unconventional syntax, so that sight cannot grasp the whole of the literary text and thus cannot traverse it with ease. The act of reading, in such a context, does not lead to fixed and true meanings, since it only triggers more interpretations. Third, and correlated to the second and first points, if the role of the reader is mentioned and analyzed in my dissertation, so is the distanced role of the twenty-first century commentator looking at nineteenth-century texts. The gap lying between the two also constitutes a space that ought to be pondered, because the poetry I study is defined by the space between it and its readers, whether they belong to the same century or to our contemporary one. Talking about the space between distant centuries allows for distant readings, so that the poetry I refer to, the one of Lautreamont, Rimbaud and Mallarme, has to do with a specific distance that can never be crossed, and that makes us—the contemporary readers—witness a literary space that eludes domination and control over its understanding. It is not to say that poetry refutes interpretation, but that it constantly reminds the reader of its opacity, of its distance that none can traverse. The understanding of poetry then has to do with the impossibility of understanding. This aporia is what defines poetry, what makes it understandable through the awareness of an unreachable space that separates the reader from the text. This unreachable-space-that-defines-poetry is also correlated to geographic space because it allows to conceive that reading space is done with limitations and distance rather than domination and control. The question of the unreachable not only opposes poetry to modern geography, it also defines nineteenth-century poetry in space and time. Since poetry could not stop the geographic advancements and conceptions of the modern times, it summoned a remote, far-off reader figure, any reader who comes after the writing of poetry. It means that as soon as poetry is written, as soon as Poetics appears, it is of Space because of the spatial gap it creates in the very moment it appears.To recapitulate and put differently, my dissertation argues that nineteenth-century poets devised anti-communicative styles and dreamed of unreachable spaces in order to resist modernization and geographical expansionism. Since the railway and modern geography rose in popularity and became the emblems for the colonization and domestication of space, my dissertation shows how French poets re-imagined aesthetic wonderment as the obverse of a cartographic, mechanical and networked world. This work, thus, dives into geographical matters where the role of the railway is clearly perceivable, transforming space into a mathematical grid that ought to be traversed with the highest mechanical efficiency, that is an efficiency that disregards any in-between for it only focuses on the connection between cities. The expansion of the urban over the rural and with it, the ultra-connectedness and domestication of the world were a strong concern for many poets of the time, who rejected objective and accurate descriptions so to disconnect language and through it, an empirical understanding of the world. Such rejection extends to maps and geographical conceptions of the French nineteenth century, and a consideration of these materials allows us to claim that poetry is a literary form that interrupts the hyper-connectivity displayed in modern maps. Numerous geographers of the period gave a representation of space that turned toward objective descriptions and modeled maps in a way that maintains a mastery over space that the railway could traverse and dominate. I investigate the influence of the rise of empirical methods and of the railway’s infrastructure on maps and literary texts, by pointing to their effects on the reader’s sight which is entirely guided from one coordinate to another, going through territories and texts with an efficiency that discards other possible territorial and textual identities. My work claims that poetry obstructs this indoctrinated way of reading, by being displayed under new and non-linear forms that rehabilitate the reader’s sight and endow it with the ability to wander and wonder, that is to escape fixed landmarks and objective descriptions. Geography is subsequently an important part in this dissertation, but so is literary space. Poetry, in a way, asks a question: when does one enter the space of literature, leaving ordinary language in profit of an unfixed and ever-changing meaning, space, poetics?.

柳致環硏究

조상기 漢陽大學校 1990 국내박사

唐诗在中日跨文化传播中的影响研究 : 以王维, 白居易诗的传播为例

쟈허 경남대학교 대학원 2023 국내박사

Japanese poetry can be described as the bulk of the poetic family except for China. And it is a precious wealth in the field of poetics, which is worth exploring. Japanese Chinese poetry has become an indispensable part of Japanese culture with its unique aesthetic style, rich artistic expression, and profound philosophical connotation. Therefore, it is of great practical significance to study Japanese Chinese poetry. Based on inheriting a small number of previous research achievements, the thesis takes specific literature materials as the starting point. It starts with the acceptance of Japanese Chinese poetry to Wang Wei's and Bai Juyi's poems. It analyzes the inheritance and development of Japanese Chinese poetry to China's Tang poetry in the cross-cultural communication between China and Japan. At the same time, it examines various works of Japanese Chinese poetry and explores the academic origin and poetic basis of the prosperity and development of Chinese poetry. Finally, it explores the academic value of Chinese poetry in cross-cultural communication between China and Japan and the social value of the Chinese cultural circle. In this paper, the spread of Tang poetry in Japan and the origin and development of Japanese Chinese poetry are mainly combed. By analyzing the acceptance of Chinese poetry to Wang Wei's and Bai Juyi's poems, this paper studies the influence of Tang poetry on Chinese poetry. The full text is mainly divided into six parts. The first part is the introduction, which briefly introduces the research purpose and significance, research status, research methods and means of this paper. The second part sorts out the origin of Japanese Chinese poetry, the creative subjects and their ideology in each period. The third part is about the spread of Tang poetry in Japan. From the cultural origins of China and Japan, we can see how Chinese poetry can be made Japanese through the process of "downstream", "upstream" and "communication" of Tang poetry in Japan. The fourth part is the acceptance of China's Tang poetry" Feng(Ballad) and Ya(Court Hymn)"by Japanese Han poetry. From the perspective of "Feng(Ballad) and Ya(Court Hymn)", it compares the relationship between Sugawara no michizane and Bai Juyi, Japanese Han poetry and Wang Wei's mysterious view as a whole. The fifth part mainly analyzes the Capacitance of Wang Wei's poems by Japanese Chinese poems. Starting with the Capacitance of Wang Wei's poems in terms of artistic conception and poetic style, this paper analyzes the acceptance of Wang Wei's poems by Chinese poems in different artistic conceptions, as well as the Capacitance of poem title, rhyme, group form and poetic charm. The sixth part mainly looks at the acceptance of Bai Juyi's poems by Japanese Chinese poems from Genji Tale. From the quotation of Bai Juyi's poems in Genji Tale and the acceptance of Bai Juyi's poems' language, poetic style and thoughts, this paper analyzes the influence of Bai Juyi's poems on Genji Tale, so as to analyze the affection of Japanese literati for Bai Juyi and the influence of Bai Juyi's poems on Japanese Chinese poetry. The seventh part concludes the thesis on the substantial influence of Tang poetry on Japanese Chinese poetry. 日本汉诗可谓除中国之外诗话家族的大宗,是诗学领域的宝贵财富,值得发掘与探究。而日本汉诗又以其独特的审美风格,丰富的艺术表现力以及深刻的哲学内涵,成为了日本文化不可或缺的一部分。所以说,研究日本汉诗有着十分重要的现实意义。本文在承继前人少量研究成果基础之上,以具体文献材料为切入点,从日本汉诗对王维和白居易诗的受容入手,来分析日本汉诗在中日跨文化传播中对中国唐诗的继承与发展,并在系统分析日本诗话各类型著作的同时探索汉诗能得以繁荣发展的学术渊源和诗学基础,从而发掘汉诗在中日跨文化交流中的学术价值及汉学文化圈的社会价值。 本论文主要梳理了唐诗在日本的传播历程,以及日本汉诗的起源、发展。通过分析汉诗对王维与白居易诗的受容来研究唐诗对汉诗影响。全文主要分为六个部分。 第一部分为绪论,简要介绍了本论文的研究目的与意义,研究现状以及研究方法与手段。 第二部分梳理出了日本汉诗的起源及各时期的创作主体及其意识形态。 第三部分为唐诗在日本的传播历程,在中日文化溯源中看汉诗如何通过唐诗在日本的“顺流”、“逆流”与“交流”的过程中完成汉诗的日本化进程。 第四部分为日本汉诗对中国唐诗“风雅”的受容,从“风雅”的角度入手,整体来对比菅原道真与白居易、日本汉诗与王维的幽玄观之间的联系。 第四部分主要分析日本汉诗对王维诗的受容情况。分别从对王维诗的意境受容和诗风受容两方面来入手,分析了汉诗在不同意境下对王维诗的受容以及对诗题、韵调、组诗形式、诗歌神韵等方面的受容情况。 第五部分主要从《源氏物语》看日本汉诗对白居易诗的受容。从《源氏物语》对白诗的引用和对白诗语言、诗体和思想的受容来看白诗对《源氏物语》的影响,从而分析日本文人对白居易喜爱程度和白居易诗歌对日本汉诗的影响。 第六部分得出论文结论,唐诗对日本汉诗文产生的具体影响。 일본의 漢詩는 중국의 漢詩에 이어 詩話의 大宗이라 불릴 만큼, 詩學 분야의 귀중한 문화적 자산인 동시에 발굴하고 탐구할 만한 가치가 매우 높다고 판단된다. 또한 일본의 漢 詩 는 독특한 美 的 風格과 풍부한 예술 표현력 및 심오한 철학적 내용을 담고 있어서, 일본 문화의 필수 불가결한 한 중요 부분으로 간주되고 있다. 그런 점에서 일본 漢 詩 에 대한 연구는 중요한 현실적 의미도 동시에 지니고 있다고 할 수 있다. 본 논문에서는 선행 연구 및 논문 주제와 관련된 문헌 자료들을 바탕으로, 王維와 白居易의 詩를 중심으로 한 唐詩 작품들이 일본 漢 詩 에 어떻게 수용되고 있는지에 초점을 맞추어 중국과 일본의 국제 문화 교류 차원에서의 唐 詩 와 일본 漢 詩 의 계승 및 발전상황을 분석해 보고자 한다. 또한 일본 漢詩 중의 유명 작품들에 대한 체계적인 분석을 통해 漢 詩 의 발전을 이루어낼 수 있었던 학술적 요인과 詩 學 的 기반 등을 탐구함으로써, 그 당시 중 ‧ 일양국 문화 교류에 있어서의 漢 詩 의 학술적 의미와 漢 字 文 化 圈 에서의 사회적 가치도 파악해내고자 한다. 논문에서는 주로 唐 詩 가 일본에 전파된 역사적인 과정과 일본 漢詩의 기원 및 발전 등 측면을 구체적으로 정리하였다. 특히 王 維 와 白 居 易 의 詩가 일본 漢 詩 에 수용된 상황을 자세히 분석함으로써, 唐詩가 일본 漢 詩 에 끼친 영향을 명확하게 밝혀내고자 하였다. 전체 내용은 크게 다음과 같은 여섯 장으로 구분 서술하였다. 제 1 장에서는 緖論 부분으로 연구 목적과 연구 의의, 연구 현황및 연구 방법 등을 서술하였다. 제 2 장에서는 일본 漢詩의 기원과 각 시기 작품들의 창작 주체및 주요 경향 등을 정리하였다. 제 3 장에서는 唐 詩 작품이 일본에 전파된 역사적인 과정을 논하였다. 중 · 일 양국 문화의 교류와 유입 및 수용의 관점에서, “順流” “ 逆 流” 및 “ 交 流 ”의 과정을 거쳐 唐 詩 가 일본화되어 정착한 경과를 서술하였다. 제 4 장에서는 일본 漢詩에 唐 詩 의 고유한 풍격인 “ 風 雅 ”가 수용된 상황을 밝혀내기 위해, “ 風 雅 ”의 관점에서 스가와라노 미치자네와 白居易 그리고 일본 漢詩와 왕유의 幽玄觀 간의 상호 관련성을 분석하였다. 제 5 장에서는 일본 漢詩에서의 王維 詩 수용 상황을 중점적으로 분석하였다. 먼저 王維 詩의 意 境 과 詩 風 등이 수용된 상황을 전체적으로 정리한 다음. 詩題와 韻律과 聯作詩 형식 및 神韻 등측면에서의 수용 상황을 구체적으로 분석하였다. 제 6 장에서는 『겐지 모노가타리』(《源氏物語》)를 통해 일본 漢 詩 에서의 白 居 易 詩의 수용 상황을 연구하였다. 『겐지 모노가타리』에 인용된 白 居 易 의 詩 작품과 그 詩 的 표현, 詩 형식 및 思想 등 수용 상황을 통해 『겐지 모노가타리』가 白居易 詩로부터 받은 영향을 파악한 후, 일본 문인들이 白居易를 흠모한 정도와 아울러 白 居 易 의 詩가 일본 漢 詩 에 끼친 영향을 살펴 보았다. 제 7 장 結 論 부분에서는 唐 詩 가 일본 漢 詩 에 끼친 영향을 구체적으로 재정리하였다.

萬海詩에 나타난 禪詩的 傳統

육근웅 漢陽大學校 大學院 1983 국내석사

1980년대 詩展開樣相 硏究

우경수 중앙대학교 대학원 2002 국내석사

1980년대는 5월 광주민주항쟁을 시작으로 군부독재와 자유를 갈망한 시민사회 간의 갈등이 심했다. 이 당시 우리 문단의 특성을 보면, 민족.민중문학의 확대에 따른 노동문학의 대두와 무크지의 등장, 그리고 분단극복문학의 활성화일 것이다. 본 논문은 이러한 시대적 상황에 우리 시가 어떤 응전력으로 현실적 대응을 하였는지 살펴보고 한국 현대시 중 80년대의 시의 다양한 시사적 의미를 탐색하고자 한 것이다. 80년대의 시를 4가지의 양상으로 나누어 볼 수 있는데 “민중적 현실인식의 시”와 “도시적 감수성의 시”, “전통적 감수성의 시”, “전통 해체의 실험시”가 그것이다. 민중적 현실인식의 시는 노동현실이나 문제를 제재로 하여 노동자의 삶을 형상화하는 데 국한하지 않고 왜곡된 사회구조와 현실을 개선.극복하려는 시이다. 이는 노동자의 삶의 조건이 열악하지만 온갖 생산 활동의 주역이라는 역사적 주체성을 부여하는 것으로 80년대 들어 증폭되는 하나의 주도적인 양상으로 나타났다. 따라서 김정환과 김남주는 사회.정치적 상황에 크게 관심을 두고 비인간적인 산업화의 추진에 대한 문학정신을 민족문학론 논의로 이끌어 갔고 사회적 갈등에 대한 문학적 관심을 고양시켰다. 한편 박노해와 백무산은 노동자가 창작주체가 되는 계기를 마련하였으며, 시작품이 단순한 텍스트에 머무르는 것이 아니라 사회 변혁운동 전반에서도 커다란 영향을 끼쳤다. 도시적 감수성의 시는 후기산업사회의 거대 도시를 기점으로 진행되고 있는 체제적 모순과 사회적 갈등 속에서 생성됐으며, 현실적 폐허를 드러내는 동시에 미래적 전망을 짚어보기 위해 노력하였다. 이에 해당하는 시에는 문명에 대해 개인이 겪는 소외와 권태, 피로감 등을 나타내고 있으며 도시 문명에 대한 비판과 자기 성찰이 담겨져 있다. 이하석의 경우, 도시 생활이 주는 편리함은 찰나적인 것이고 그것은 인간성의 파괴를 극사실주의 기법으로 묘사하는 등 문명 폐허를 객관화하였다. 최승호는 물질 만능의 사회 구조를 비판하고 도시 문명의 병폐와 부정적 기능을 밝히는 데 주력하였다. 장정일은 매우 의도적인 가벼움으로 도시 문명을 조롱하는 시인으로 일회용 소비재로 전락한 성의 타락과, 물질문명 속의 인간 소외를 고발하는 데 있어 언어 리듬에 대한 세심한 배려로 무거운 이미지를 가볍게 만들고 있다. 전통적 감수성의 시는 훼손되어가는 인간의 삶을 전통적 어법과 감수성으로 노래하고자 했다. 시의 서정적 속성을 최대한 살리면서 삶의 현실을 포괄하고자 노력한 시인들은 도시화된 현실 속에서 인간의 삶과 피폐성을 서정적이고 지적인 언어로 묘사하였다. 송수권은 토속적인 정서를 바탕으로 자기 세계를 구축하고 투박하면서도 실감나는 남도의 사투리를 시어에 살려내면서 ‘민족 정서’와 ‘전통 서정’을 강조해 왔다. 정호승은 전통적 감성에 몸담고 있으면서 특히 恨의 정서를 잘표현하였는데 가난.고통.불행.소외를 겪고 있는 사람들에 대한 이해와 함께 윤리성을 바탕에 깔고 있다. 그리고 안도현은 인간과 사회의 관계에서 파생되는 문제들을 그리움의 정서로 표출하였다. 한편 위의 시인들과는 조금다른 면으로 도시화된 현실 속에서 인간의 삶과 피폐성을 서정적이고 지적인 언어로 묘사한 시인은 김광규다. 전통 해체의 시는 문학전반에 걸쳐 대두되기 시작한 기존 질서에 대한 부정정신과 비판정신을 장르 해체와 장르 혼합형식으로 보여 주었다. 이들은 대상이나 사건이 함축한 어리석음을 풍자의 대상으로 삼고, 잘못된 기성 관념을 비판하는 데 치중하였다. 이전의 작품이나 구절을 새로운 문맥에 위치시킴으로써 의미론적 긴장과 충격을 발생시키는 패러디 또한 전통 해체의 시의 중요한 수단이 되었다. 이윤택은 자유분방한 개성주의를 표방하여 상상력의 강조, 자유의 추구, 서민 실학을 제창하였다. 황지우는 시적인 것이 실제로 존재한다고 믿는 리얼리스트로서의 명목론이 아닌 실재론적 세계관을 가지고 있으나 지나치게 현실 중심으로 세계를 보는 한계를 지닌다. 박남철은 가난과 울분이라는 동기에서 출발하여 사회의 온갖 모순에 대하여 반항하고 비꼬고 뒤집는다. 전통 해체의 실험시는 현실의 극복의지보다는 세계나 자아를 감금하는 현실에 대한 부정과 고발, 냉소와 야유, 실존적 고통을 토로하는데 머물고 있는 것으로 특성과 한계를 동시에 지니고 있다. 80년대의 시는 각기 다른 내용과 방법으로 가장 현실적인 문학적 대응 양식으로 시대에 응전했다. 즉 민중적 현실인식의 시가 시의 중심부로 들어온 것을 비롯하여 후기 산업사회의 인간소외, 물신화를 그린 도시적 감수성의 시가 그 깊이를 더했으며, 그러한 과정이 진행되는 가운데에서 전통적 감수성의 시는 민중적 현실인식의 시에 대한 저항적 의미를 지니면서 꾸준히 생산되어 왔다. 전통 해체의 실험시는 기존시의 문법을 혁신해 주는 의도를 지닌 채 다양하게 전개되어 왔음이 본 논문에서 연구되어졌다. The rise of labor literature driven by the magnification of national and popular literature, the advent of mook, and the literature involved in the partition of the Korean peninsula were the main issues in 1980s. The main current of Korean literature was realistic poetry corresponding to the trend of the times. The freedom of expression had been obtained in the world at large and the political outstanding problems were divided between conservatism and progressivism, between capital and labor, and between oppression and freedom. This paper will take a look at how the poems of the 1980s corresponded to the realities of life and probe the various implications of the 1980s' poems of the Korean modern poetry. The 1980s' poetry can be divided into four aspects, which are the popular reality-perception poetry, the urban sensibility poetry, the traditional sensibility poetry, and the tradition-dismantlement poetry. The popular reality-perception poetry, which is not limited to express the life of laborers, is the one trying to improve and remedy the distorted social structure and harsh reality. Kim Jung-Hwan and Kim Nam-Ju promoted the cultural concerns about the social trobles by being interested in the social and political circumstances. Pa No-Hae and Baek Mu-San contributed to make the laborers creators of the poetry and helped the poems not arrow down to the test but function as the intermidiation in the social reform. The urban sensibility poetry tried to overcome the mental crisis with which the modern poetry was facing by discovering the barrenness of the city life. It displayed the alienation, fatigue, and exhaustion that individuals were experiencing in the civilized society that post-industrial society brought about and included the harsh criticism on civilization and the self-examination. Lee H-Suk described the ruins of the urban civilization through the objective viewpoint. Choi Sung-Ho criticized the social structure in which the matter had been omnipotent and exerted himself in revealing the urban ills and negative aspects. Jang Jung-Il was a poet deriding the urban civilization, the decadence of sexual morality fallen into a disposable consumer goods, and the alienation of the human beings slightly with intentio. The traditional sensibility poetry depicted the damaged life of human beings with the traditional expression and sensitivity. The poets established their territory and emphasized the national emotion and the traditional feeling. Song Su-Kyun showed the southern dialect which was rough and realistic through the folk sentiment. Jung Ho-Sung presented the sentiment of regret with the traditional sensibility. His poetry was based on not only the understanding of people going through poverty, pain, misery, and alienation but also the morals. An Do-Hyun expressed the problems derived from the relationship between the human beings and the society as the sentiment of miss. Kim Kwang-Gyu depicted the life of human beings and impoverishment in the urban reality with the lyric and intellectual the poetic words. The tradition-dismantlement poetry showed the progressive idea in the dimension of contents and form. Lee Yoon-Taek pursued the personalism and the release from the restriction was regarded the goal of the literature. The freedom and the democracy could be verified in the emphasis of the imagination, the pursuit of the imaginative power, and the proposal of the practical science. Hwang Ji-Woo, who was a realist believing the existence of the poetic things and had the realistic viewpoints. Park Nam-Chul was sarcastic and derisive about the social discrepancy in the perspective of the poverty and wrath. The traditional sensibility poetry showed not only the will overcoming but also the poetry coming from the injustice, jeering, and existent pain. The poetry responded to the times of 1980s with the most realistic correspondence of the literature. The popular reality-perception poetry entered into the center of the poetry. The urban sensibility poetry dealing with the alienation of the human beings in the post-industrial society and fetishism was deepened. In the course of the trends, the traditional sensibility poetry was written by keeping the meaning of the resistance about the popular perception of the reality. The tradition-dismantlement poetry was studied with the intention of innovation of the existed poetry.

(The) effect of multimodal presentation on college L2 learner's poetry reading

김의강 중앙대학교 대학원 2016 국내석사

본 연구의 목적은 한국 대학생들의 영시 학습에 있어서 텍스트만으로 제시되는 자료가 아닌 멀티모드 형태의 자료가 제시되었을 때 학생들의 이해, 감상, 그리고 태도의 변화에 어떤 영향을 미치는지를 알아보고자 하였다. 이미지, 소리, 그리고 애니메이션 자료가 제2외국어 학습자들의 이해와 감상에 어떠한 영향을 주는가? 학생들이 사용하는 읽기 전략과 시 읽기에 대한 태도에 변화가 있는가? 본 연구를 통해 다음과 같은 세 가지 연구문제에 대한 논의를 진행할 것이다: (1) 텍스트 기반으로 제시되는 시와 비교하여 멀티모드로 제시되는 시 자료가 제2외국어 학습자들의 이해와 감상에 어떤 영향을 미치는가? (2) 시가 텍스트로 제시되었을 때와 멀티모드 자료로 제시되었을 때, 학생들이 사용하는 읽기 전략에는 어떠한 차이가 있는가? (3) 멀티모드로 제시되는 시 자료가 제2외국어 학습자들의 제2외국어 읽기, 시 읽기, 그리고 문학 읽기에 대한 태도에 어떠한 영향을 미치는가? 총 49명의 학습자들이 사전 및 사후 설문조사, 네 번의 이해 및 감상 시험에 참여하였다. 두 번의 설문지는 학생들의 제2외국어 읽기, 영시 학습, 그리고 멀티 모드 자료에 대한 인식과 경험을 조사하기 위해 실시되었다. 네 번의 이해 및 감상 시험은 학생들이 시를 텍스트로 학습했을 때와 멀티모드 자료로 학습했을 때 그들의 이해와 감상에 어떠한 차이를 보였는지 조사하고자 실시되었다. 연구를 통해 도출된 주요 결과는 다음과 같다: 1) 멀티모드 자료는 시의 주제를 이해하고 분위기를 파악하는 데에는 유용했지만 2) 중요한 단어나 구절 같은 시의 세세한 부분을 이해하는 데에는 큰 도움을 주지 못했다. 3) 학생들이 사용하는 읽기 전략 측면에 있어서, 멀티모드 자료는 시의 분위기를 파악하는 데에는 도움이 되었으나 4) 단어의 의미를 추측하는 것에는 큰 영향을 주지 못했다. 또한, 학생들이 멀티모드 자료를 이용해서 시를 학습하고 난 이후에 5) 영시 학습에 더 많은 자발성과 흥미를 갖게 되었다. 교육학적으로 본 연구는 멀티모드 자료가 제2외국어 학습자들의 영시 학습에 어떠한 긍정적 영향을 미치는지 알아보고자 하였다. 하지만 이러한 자료를 더 효율적으로 적용하기 위해 개선되어야 할 점들이 발견되었다. 학습자들이 멀티모드 자료를 더 이용할 수 있도록, 시간 및 기술적 제한에 대한 해결책들이 계획되고 구현되어야 한다. The purpose of this study is to examine how multimode delivery affects Korean college learners’ poetry reading comprehension, strategies, attitude toward English literature or reading poetry. This study attends to the differences in L2 poetry reading between single mode (text) and multimode. How do images, sounds, and animation-resources help L2 readers’ understanding or appreciation? Are there any changes in reading strategies, or attitudes toward poetry reading? The purpose of this study is to address the following three research questions: (1) How does multimode poetry affect the college L2 readers’ comprehension, appreciation, and recall compared to single-mode poetry? (2) How do L2 readers interact differently with multimode reading materials in terms of reading strategies compared to single-mode poetry? (3) How does the multimode poetry reading experience affect the college L2 readers’ attitudes toward L2 reading, reading poetry, and English literature? A total of forty-nine Korean college EFL learners completed two questionnaires (pre-questionnaire and post-questionnaire) and four comprehension and appreciation tests. Two questionnaires checked students’ cognition and experience in relation to L2 reading, learning English poems, and their attitude towards using multimode materials. Four comprehension and appreciation tests were conducted to check the differences between scores when students learn English poems in single mode and multimode. The major findings were as follows: 1) Multimode materials are useful for understanding the atmosphere and theme of poems but 2) They have no effect on comprehending the precise parts of poems, such as important words of phrases. 3) In terms of students’ employing reading strategies, multimode materials were helpful in appreciating the atmosphere of poems but 4) They didn't influence guessing the meaning of words. Furthermore, after students proceeded with their learning with multimode materials, 5) They demonstrated more initiative and interest in learning English poems and 6) Multimode materials encouraged students to more willingly use the materials for other kinds of L2 readings, if devised. Pedagogically, this study suggests how multimode materials beneficially affect college L2 learners’ reading and the learning of English poems. However, some complements should be designed and provided to L2 learners for better instruction. For learners to utilize multimode materials, some complements should be planned and realized to overcome time constraints and technical restrictions.

천상병 시 연구

박유미 순천대학교 교육대학원 2005 국내석사

This study purposes to delve into the process of Cheong Sang-byeong's poetic change by dividing his poetry into the former term and the latter term. To study contents of his poem, his poems were classified and arranged into the early poetry and the later poetry through analysis of texts. This course is related to what enables us to know how his poetic world was changed. Poetic words which frequently appeared were arranged and their meanings were analyzed. The analyzed things are helpful to interpreting the poetic world. Meanings of analysis lie in concretizing interpretation through this. In Chapter Ⅱ, contents of the early poetry were covered. The early poetry began from the recognition of negative world. Poetic ego who recognized the negative world felt a sense of alienation realizing that he could not live in peace in real life. A sense of alienation made him look for a place to protect him, where is the ideal world. The ideal world, at which people arrive through death, is the heavenly world, that is Heaven. Likewise, in his early poetry, negative recognition of life appears distinctly and an aim to the ideal world is expressed in poetry through imagination of death. In Chapter Ⅲ, contents of the later poetry were covered. The later poetry began from the days he led relative stable life since marriage in 1972. In his later poetry, he recognized the world positively and thought that he should not write poems with distorted view in the life filled with falsehood and affectation. This thought made his poetry plain. Since then, his poetry was changed from ideological lyricism to realistic lyricism and he found the world he longed for in nature. This place, the purest world, is enormous but the world where love and favor coexist. Nature is the world of hope to the poetic ego who suffered between life and death. As a result of this study, when the poetic world of Cheon Sang-byeong was divided into the early and later poetry, pursuit of romantic ideal and frustration appeared along with opposing aspects of the real world in the early poetry, while aspects that real life is accepted and poetic tension is relaxed appeared in the later poetry. In the opposing world, however, an internal structure including recognition of the world, formation of chances, and yearning for and meeting with the world he longed for is continued. So his early and later poetry can be understood in the difficult but same thread of connection. Likewise, Cheon Sang-byeong's poetry showed distinctive division between the early and the later poetry. Still, while this study was developing, detailed aspects other than overall study were not covered, which is intented to remain as the possibility for later study.

韓國 現代詩의 話者 硏究

노창수 朝鮮大學校 大學院 1993 국내박사

If poetry is speaking, there should be the speaker and hearer in it ; thus the existence of literature can be established through the mutual communicative relationship between the speaker and the hearer. When we talk about the speaker in poetry, there arises the problem of how long a distance between the poet and the speaker we should recognize. The primary obective of this study is aimed at finding out what role the speaker plays and in what from he is positioned in the structures of modern poetry. This study begins with delving into the existing theories on the speaker in poetry and sets up a new type of speaker by replenishing incomplete elements. A systematic analysis of poems based on this newly established type of speaker follows. Lastly a study of the relationship between the speaker and stream in the history of poetry is dealt with. After reviewing the existing types of speaker in poetry, this researcher thinks it possible to set up mutually contrasting types of speaker according as the poetic speaker surfaces or not and establishes the following types of speaker. A. manifest speaker 1. fictitious speaker 2. poet-oriented speaker B. implies speaker 1. observer-like speaker 1-1. self-intervening speaker 1-2. delineating speaker 1-3. explaining speaker 2. presenter-like speaker 1-2. imagist speaker 2-2. form-presenting speaker 2-3. message-presenting speaker The following are a synthesis of characteristic analyses of the poetic speakers classified according to the above-mentioned types. (1) In the fictitious speaker type, the poet sets up a hero in his poems and adjusts himself to the poetic atmosphere by letting the hero speak. (2) In the poet-oriented speaker type, the poet's philosophy of life approaches poetic objects and his empathy is carried out in the original forms of lyrical poetry. (3) In the self-intervening speaker type, the speaker's form is elucive but the entire stream and image of a poem is modulated and the poet's emotions are deeply planted in the objects. (4) In the delineating and explaining speaker type, neither the speaker nor the hearer appears in poems at all and speaker, as an objective correlative, delineates or explains the situation ; therefore this is a type which shows no revelation of the speaker's emotions at all. (5) In the imagist speaker type, extreme images of inhuman and materialistic nature block human emotions severely, using dry images instead. (6) In the form and message presenting types, the speaker' s emotions are heavily blocked, language is rejected ; thus traditional poetic frames are destroyed. This type changes poems into signs or messages by arranging symbols, pictures and words arbitrarily. The following are the results of study on the developemental coures of the poetic speakers shown in modern Korean literary history. (1) The 1920s was an era when two giants, Lee Kwang-soo and Choe Nam-seon, reigned over the Korean literary world entirely. During the period new civilization and thoughts were emphasized ; thus a male poetic speaker with a sonorous voice as well as an eloquent or preaching tone was set up. (2) In the 1920s, there appeared many poetic speakers showing sentimental emotions represented by tears, sorrow, despair, closet, darkness and wandering with a sorrowful female voice under the influence of decadent romanticism. (3) The poetic speaker types of the 1930s bad diverse voices and forms ; the School of Life emphaizing self-will, the Literature of Poetry School setting up the poetic speaker of feminine nature, and the Intellectual School upholding the observing and describing poetic speaker. (4) The 1940s was a dark era of the Japanese oppression when the nature describing speaker of the Cheong-rok School and the patriotic, transcendent poetic speaker of the Resistance School appeared. (5) The 1950 was a period characteristic of social confusion in the wake of the national liberation and the inflow of western civilization. During the diverse poetic speakers the existence-conscious speaker, the religiously contemplative including the surrealistic, traditional and lyrical speaker, describing poetic speaker appeared. (6) The 1906s and 1970s was an age when Schools of Purity and Participation competed with each other. During the period there appeared the lyrical poetic speaker as cbracterized by "A Collection of Flowery Language in the 1960s", the meaning presenting speaker of the Modern Poetry School, and real-situation and history conscious poetic speaker of the New Spring School. (7) Nowadays many poetic speakers in divers forms of poetry with voices and peculiarities showing modern senses of our socio-industrial world are appearing. It is expected that discussion of poetic speakers, which is sure become more active in the future, will positively contribute to the understanding and generalization of poetry.