古詩十九首 硏究

양훈주 명지대학교 대학원 1988 국내석사

The Old 19 Poems were initially written down in the w?nhs?an (文選) of Liang Chao Ming hsiao tung (蕭統) these poems book a noticeable position in the domain of Chinese old poetry, so have been discussed mutually in comparison with Three Hundred Poems and bear their importance as a origin of five-word poems which hold taken the main current through the two thousand years history of Chinese poetry. These poems, which had been condenced into a real emotion of the people in the age of the great confusion of Han and Wei Dynasty after The Book of Songs, Ch'u t'zu (楚辭) had taken a leading role in five-word poems. These poems are lyric which is the main current of Chinese poetry and the nature of Han people as a origin of five-world poems which are the general rhythm in the history of Chinese poetry. Their significance lies in the product of the social atmosphere of that age. This thesis is divided into three parts as follow. First, y?eh fu (樂府) poetry and old poetry rised in Han and gradually the people and literary man grafted together in five-word poems. As a complete form of five-word poems, the process of formation of the Old 19 Poems is surveyed. Secondly, its authors and the age of formation, which are the debatable focus in the Old 19 Poems, are divided in four, namely Western Han, Eastern Han, Western Chin, Eastern-Western Han and by presenting and investigating the variously asserted theories of the persons of each era, the theories which are not examined until these days are studied. Literary men's works are certain but their authors are anonymous. According to the view of life and difference of methods expressed in the poems, their author is not one person. Though its age of formation was when the Y?eh Fu poetry collected in the Han and Chiefly consisted of ballads was transmitted over Eastern-Western Han, owing to its influence, the formation of five-word poems was fixed and developed and then the formation of the Old 19 Poems was completed at the end of Eastern Han. Third, literary characteristics of the Old 19 Poems are the emotion of parting and the social deploring expressed in the poems and the artifice of expression, which made use of a particle in classical Chinese, the choice of words, application of imagery, inversion and metaphors, described its literary characteristics. Especially lyric expression is excellent, and using the scenery, the emotion and the scenery skillfully fused into the empathy, and through the natural, simple poetic language of ballads, true and eager expression of emotion was made. More or less regular structures, syllables, and application of repeated words made its structure perfect but very natural. In various forms of old poetry, these poems are the essence of old poetry and anonymous at the great confusion of the end of Easternt Han. The popular emotion and the pains of success in life were expressed in it. After The Book of Songs, these poems took a main role in the history of Chinese poetry and were contributed to the literary pattern of Han age had a great effect on the transmission of poetry.

1920年代 韓國傾向詩의 한 硏究

송승환 경희대학교 교육대학원 1991 국내석사

Enjeux theoriques du poeme en prose

Cho, Jae Ryong Universite de Paris VIII 2001 해외박사

시의 대중성과 예술성

이규종 동국대학교 문화예술대학원 2008 국내석사

1. Introduction 1) Why I Pursue to Write Poems for the Populace ‘Is it an unachievable challenge to write poems that impress the populace yet have dignity?' To figure out this question, I have been writing poems so far through the fatigues of daily life. 『The Pain at a Farther Distance than Love』, the 1st poem collection that has been already released is being widely read by students of elementary and secondary schools, and I have just noticed through internet that it has been chosen as a recommended book by a middle school. What is understandable about that is because the 1st collection covered the works that have been endeavored to accomplish only with a heart pure as a little child. About 『The Sky of Seoul Awaits Starlight』, a poem collection that has been released after that, I strove to concentratively present works with more in-depth concepts and meanings than the first collection, however the responses by readers are rather slow and lukewarm than the first collection so far. Though my lack in fulfilling the perfection of works may be indicated as the first problem of course, what may be the reason that the collection that has been released through more endeavor of my own cannot reach out to readers as much as the first one? Perhaps, did I missed something that should have been considered on the readers' side? To figure that out, I came to determine I should broaden the view on poems, and such determination decided my poems writing directions. The works presented here are the ones that came out from such writing motives and directions. Somehow, laborious attempts to narrow down the distance from all those who love poems, that is, the public at large have continued for 10 years or so, and such labor will continue as long as I write poem. 2. Main Issue 1) Definition of Popular Poem and Comments on My Own Poems What is popular literature(poem)? Once Antonio Gramsci classified that populace is a changeable yet useful concept that comprehends all the classes of nationals like laborers, juveniles, women, farmers and bourgeois, etc, and saw through that though the populace forms the center of modern countries, they could not hold hegemony at all, subsequently criticizing that the intellectuals that are supposed to solve such problems are rather sitting back in renunciation instead of encouraging for literatures that reflect the desires and emotions of the public at large in the loss of contacts with them - a sharp criticism on the reality of literature which is supposed to represent popularity but has been estranged by writers that lead it. However critic view on popularity also is not negligible at all. For instance, Bonggun Kim, in his 《Diary of Literary Criticism in Multimedia Era》, comments that as the power of literature also is divided with the classification of the center and the surroundings, high class and low class demolished, the hegemony by aesthetic popularism already became a general trend. He also adds that their culture is blurred with frivolousness and instantaneousness, and the time is about to enter an era where only ‘uniqueness' rages itself high among universality, permanence and uniqueness - the conventional requirements of ‘good literature', while the overall literature flickers away. Furthermore, he also refers to the comment of Antonio Gramsci saying that the populace that is given hegemony can voluntarily be involved in hegemony, which means the populace may become either the subject or the object of holding hegemony. Though popularity of literature is involved with such many problems, our agonies relating to popularity became an unescapable task. The results of ignoring or estranging the public at large in the end brought forth the estrangement of the writers themselves, eventually driving them to leave the world of literature to a situation where they lead the writing activity only as a moonlighting. For such reason, excavation of popularity with dignity is demanded, and such requirement will continue to remain as the populace themselves will keep growing and changing. ‘The Populace' I mean to mention here refers to the group of all the readers who want to read poems or may gain feeling small or large after reading them. Now then, how can we deduce dignified popularity? In my opinion, to unfurl this problem little by little, the fundamental literary strength of writer needs be high. In other words, such task can be achieved only with undying endurance. The reason for that is, as mentioned before, because writer itself has to ceaselessly attempt changes to be able to compose a writing agreeable to every body. It is because the writer has to keep searching for development-oriented consistent changes, walking away from a concept that sticks around after setting up one single answer. Therefore, an attitude of passion is required more than ever. Let's look into the following meager poem of my own. Maybe in favor of the short-risen mountains the moon couldn't go off that day. Overlooking from the peak towering as a cone, clouds float around before the eyes, and I came to miss the mountains that tower higher and higher, wriggling as snake. When the leaves of white birch and linden tree bitten by the freezing wind of late autumn embrace the fatigued walks of feet gathering into the walk trails meandering as a string, maybe those ripples yellow and red loved by mountain lovers that extend ceaselessly as fire flowers left behind after burning in maples behind the season cannot leave the place in fond of Worak mountain even after all those travails by wind, rain and time not being able to pause over the bleak mountain. Quoted from 'From the Yearned Worak Mountain'. As a piece listed in 『The Pain at a Farther Distance than Love』, my first poem collection, this poem is a work among the poems created based on yearning, a subject familiar to the populace to enhance the popularity. This piece is also a work during my early days of poem writing in an attempt to reach out to the populace based on friendliness. 'From the Yearned Worak Mountain' includes works that sing of Worak mountain in a bright and joyous mood on the way back from mountaineering at Worak mountain with the coworkers I like. Maybe in favor of the short-risen mountains, the moon couldn't go off that day. The phrase is where humanism cherished in the heart encounters nature and love for people. Humanism starts from seemingly trivial matters. I have once sung of trivial stuffs, as follows. You ~ while walking along narrow mountain path / Lying as grass / Have you ever seen low wild flowers? - omitted - while being nothing, you ~ / it was more friendly than something of elegance / since you are a low shaped flower, you ~ / things of weakness became hope / not as shiny as the sun ray as it may be / since you are a wild flower that blossoms love / small was more beautiful - quoted from 「Small Was More Beautiful」 Overlooking from the peak towering as a cone / clouds float around before the eyes / and I came to miss the mountains / that tower higher and higher, wriggling as snake As they move higher from below, people are liable to grow arrogant. The phrases is the part in which the writer desires to remind of the reality that can easily lose the initial commitments. When the leaves of white birch and linden tree / bitten by the freezing wind of late autumn / embrace the fatigued walks of feet / gathering into the walk trails / meandering as a string, / maybe those ripples yellow and red loved by mountain lovers / that extend ceaselessly as fire flowers left behind / after burning in maples behind the season / cannot leave the place in fond of Worak mountain / even after all those travails by wind, rain and time / not being able to pause over the bleak mountain. This part is where the writer happened to expose warm heart in spite of himself while emphasizing the point that they shall not lose initial commitments, and the writer turns toward humanism that exists deep inside the human being, while shouting aloud in the poem to complete the work by melting the life all into it. This humanism is the basis of the very yearning onto which the writer has been holding all along the process of completing the first poem collection. There were some people that asked if it is necessary to put the title as 'From the Yearned Worak Mountain', however since the first collection was mainly intended to narrow down as close as possible the distance from readers, I pushed it through. Writing poems that win the interest and love by the public at large is impossible without well established plan and incessant efforts by the writer himself. 2) The Usualness and Commerciality of Poems To quote the writings of Shinseon Hong on the popularity of poems, the popularity of poems can be summed up as usualness and commerciality. Among these two sub-elements, he intended the usualness to indicate discovering and exploring of details among our usual life in macroscopic issues or anonymity and standardization by the phasing off of subjects. In particular, he is saying that this sub-element is in constant relation with aesthetic self-reflection of modernism. If one is asked to bring out the issue that became universal among issues on poetry in the 1990s, that may be the restoration of usualness by de-centralization phenomenon. Restoration of usualness means returning to the usualness fragmented along with disassembling of colossal power or arguments in the post capitalism. According to Henri Lefebvre, usualness is one of the most notable characteristics of today's society, noting that in contemporary society where the populace emerged at the front, usualness is the center of philosophy and all of life. He is saying that the essence of popularity can be found in the daily routine rather than from grandiose philosophy, and the source that reaches out closer to the populace lies in each fragments of daily life of the populace. It cannot be denied that what contemporary people who are chased by time and work want is true impression that they can feel in short fragments of time, and to that end, they need exceedingly fresh sense of uniqueness that whirls deep inside their usual daily life. Poet, Poem and Flu / by Hunkang Lee I was sick all night long. While I was groaning as bitch in heat with blanket between the legs, why is it you that came into my vision all until such hot moment? Sometimes I seek to be free from you not thinking of anything at all. You, my woman, my poem that keeps me sleepless this night as well as a sand castle that keeps collapsing not moving away from the wave! - Quoted from 「『The Sky of Seoul Awaits Starlight』 This poem was written after suffering from a flu for several days while thinking that the poems need reach out further to the public at large. Since writing poem was the first thing I felt like doing after suffering from a cold in high fever for a handful of days, I composed this poem. This may be a sign that such is the degree of passion and efforts to write poem for the public at large. 3. Conclusion 1) Attitude to Secure Popularity I once clarified the reason I hold on to such popularity in the Introduction. It means that if I may gain the minimal level of riches and power by coming up with bestseller through prolific good writings, I will seek that way and that is actively recommended. Thus, the future of Korean poetry which young students are reluctant to pursue can grow bright. I do not agree that good selling poem collections are all good poem collections, however on the other hand, I also cannot agree at all that not all good selling poem collections are all bad poem collections. The power of a writer eventually comes when the books of that writer sell good. And even if the writer rather actively refuse such power, publishers and fixed groups of readers may grant the writer sometimes unsensable yet irresistable power. Ironically enough writer gathers readers in his own taste rather than reflects the tastes of readers. That may be the influence of the writer or the greatness of the writer's spirit to offer to the world. Nevertheless, how many writers will be there on earth that may turn a blind eye to the opinion of Antonio Gramsci who comments that such influence may not be as strong as to lead the flow of the world and history. As many people sympathize, no poetry exists alone away from readers. Through internet media that keeps extending at an unimaginable speed, it can be assumed that whether we want or not, the distance between literature and readers is becoming closer, and such change will continue ever after. It is known to anyone that it is not easy at all for writer to seek improvement of quality and deduce popularity. For such reason, it is our incumbent task to ceaselessly pour out efforts to find the solutions. I came to have a desire that I may serve as a tiny little seed to bear fruits so that we may continue our race not being left behind in seeking solutions.

盧天命 詩의 記號論的 硏究

동시영 漢陽大學校 大學院 1994 국내박사

毛允淑 詩 硏究

김유선 淑明女子大學校 1992 국내박사

The purpose of this dissertation is to study the poetic world of Mo Yun-sook and to analyze its thematic and structural characteristics. Every collection of her poems makes a little difference according to its edition and therefore which edition is to be chosen should be considered. On the part of the poet. almost all the revisions and deletions seemed to be intentional. Words in Chinese and expressions too conceptual. sentimental. or explanatory were included in the revisions. It is revealed that she didn't put so much emphasis on the technical skills as on her poetic spirits or themes. In other words, she searched for the ideas of idealistic romanticism, emancipation of women, and patriotism, while ignoring the poetic fashions and techniques of the age. As for the poetic dictions, the words exclamatory. expressive, or abstract are frequently used at the beginning of her career. For example, exclamatory endings are used several times in a poem, as shown in both Len's Elegy and Winds and Waves, revealing the violent emotions. Such sentimental and typical expressions of the 1920's as "oh !" or "Ah ! ", however, are excluded in her poems. It is also noteworthy that the emotional word, 'heart' is used again and again during the arlier period, which is gradually replaced by the word, 'breast'. Such a transition partly reveals the contrast between the idealistic and spiritual world at the beginning of her career and the concrete and realistic world at the final stage. Likewise, more concrete dictions and synesthesia are introduced in the later period. As, for the structure, her poem consist of various numbers of lines, ranging from 4 to 107 lines and among them, the most common forms are those with 20 to 29 lines 2 stanzas, 8 lines and 4 stanzas, 16 lines are the popular ones in which many of her poems were composed. 37% of the 300 poems consist of more that 29 lines, which declares that she was able to develop and keep her ideas longer with less pauses. There are 1 up to 23 phrases and 1 up to syllables on a lone in her poems. 70% of her poems are written in the present tense, which is one of the characteristics of lyric poems. The most general term conveying the time consciousness is something pertaining to 'night' when the persona yearns for the lover ft the beginning phase of her literary world, while it is time for the revelation of the inner conflicts at the later one. 'Night' is usually employed as a symbolic image of despair during the clolnial period under the reign of Japan, but it symbolizes both the hope and hopelessness in her poetic world. As for the concept of space, a 'road' appears and when ft turns out a blind alley, new alternatives such as a 'tavern' or a 'lighthouse' enters on the scene. They meaningful places for one's destination and at the same time a starting point, with both positive and negative connotations. On the other hand, the fact that the image of 'outdoor' repeatedly comes into the poems suggests that the liberal women in that period longed for other spaces, searching after their self-discovery and self-realization, rather than the 'home' area, associated with the meaning of restriction and protection. Intangible or imaginary spaces such as the sky at night or the forest in her poems, are the spaces for the lovers, which can't be found in the real world. Her poems roughly deals with four thematic issues. First, they reveal the thirst for the mother country or the lover. The latter is shown in more abstract dictions and the latter is described in the oratory and instructive tone. Second, the agony of women to liberate themselves and to improve their lots is portrayed. Third, attempts to find beautiful sentiments in the history and the traditions and hand them to the later generations are made. Fourth, critical attitudes toward the society are paradoxically portrayed. In conclusion, her poetic world belongs not to the decadent tradition of romaticism in the 1920s, but to an idealistic one. What is significant is that she employed an epic tradition in the Korean poetry circles caring for short poems and broadened her perspective to the nation and people, After all, it should be remembered how she passed the limits on a lyric and woman poet and contributed to both the Korean poetic history and the history of woman poet,

盧天命 詩 硏究

김정희 전주대학교 대학원 1988 국내석사

Noh Chun-Myung (1911-1957) was a poetess in the beginning of the Korean modern literature who had lead a lone life in the dark age of our country. She spent her whole life writing poems continuously with her first work of <MY Boat of Youth> in the magazine of 「Si Won(Poem Garden)」 (詩苑). She published 4 anthologies of poems with the first anthology of 「San Ho Lim」 (珊瑚林), and later 「Chang- Byun」(窓邊), 「Looking at the Star」 (별을 쳐다보며) and 「The Song of Deer」(사슴의 노래). The poems of her first period, written with beautiful lyric words extracted from her inmost world like a silver thread, moved deeply the hearts of readers. color with our pure natural language, those poems showed her poetic originality . The poetic techniques of the poems of her second period were more refined and enlarged in the poetical world than those of the first period. These works described the affection of recurrence to the childhood life and were ritten in a classical and traditional atmosphere. Especially, her folk poems described the scenery and landscape of hometown so picturesquely that her works are prominent and that perhaps no poets or poetess could beat her poems in a sense of describing scenery. As a result, the anthology of 「Chang-Byun」made her a great poetess and deserves one of the greatest eternal works in the history of modern literature. The poems of her later period which were anthologies of poems after experiencing an actual life were full of untamed language, expressing anger and exclamation. Though, all the rough poems of emotion seemed to be a little lessened and her pecuriar poetic world seemed to be enlarged in the poetical works of 「The Song of Deer」, unfortunately she ended her short life in 1957. Noh Chun-Myung wrote poems intellectually with moderation and self- restraint like the British poet, Alice Meynell. As a result, the similarities in a sense of classical and traditional atmosphere can be found in their works Also, they together headed toward the neo-classicism and devoted themselves their whole lives to the poem writings. She was a melancholic poetess like the France poet, Marie Raurencin. Likewise, the similarities of these writers' senses a s chosen people, of the self-ecstatic factors, of the renunciative color, and of the affection of recurrence to the nature are found in their poems. Also, the similar lyric tint and literary abilities are found in their works too. She used our pure words in her works, as a result, her poems make the readers realize the beauty of our language. It should be highly respected that she thought and wrote poems through her whole life. Her personal and original poetic world which was seen in the poems of her beginning period of which theme had been "nature" and in those of her middle period of which theme had been "tradition" and turned to "real life" in the poems of her later period proves her excellent poetic ability. Compared with foreign poets, the Alice Meynell's influences were assimilated and absorbed in the Noh's poetic spirit and made her write intellectual poems with moderation and self-restraint. Also, she was influenced from the Marie Raurencin's lyric poetical world. So, the lyricism and the affection of recurrence to the nature of Marie Raurencin's style can be seen in the Noh's works. In spite of her blots of pro-attitude to Japan, of compulsory service to North Korea and of the rough poetic world which were seen occassionally in her poems, she should be understood in view of the Japanese colonial rule and Korean War. Writing poems with only her pecuriar original style, she is ranked as one of the highest poets and poetess in the history of Korean modern literature and occupies a firm place in the Korean modern poems. Therefore, she will be shined for good brilliantly like the fresh green of May. I wish this study to this point will be helpful to the re-setting of the Noh Chun-Myung's poetical evaluation.

Yeats의 Last poems 主題 硏究 : 悲劇的 기쁨, 욕망과 분노, 그리고 죽음의 극복의 문제

채규상 漢陽大學校 1992 국내석사

柳夢寅 詩 硏究

조석래 漢陽大學校 1989 국내박사

牧隱의 佛敎詩 硏究

신두영 檀國大學校 大學院 1986 국내석사

본 論文은 麗末鮮初 儒 · 佛의 思想的 교체기를 살다간 牧騷 李德의 佛敎詩가 가지는 핵심적인 요소가 무엇이며, 이러한 요소를 胚胎하게 하는 것이 무엇인가 하는 것을 儒·佛二元的 思想과 연관시켜 고찰한 것이다. 연구 결과를 章別로 요약하면 다음과 같다. Ⅱ장에서는 근대적인 학문이 시작된 이후 현채까지 발표된 연구논문들이 지닌 한계점을 밝혀내고 이 한계점을 극복하는 방향으로 本考의 연구방향을 설정하였다. 旣咸의 연구논문들은 諸家의 評에 의존하여 사상·학문·문학 등을 똑같은 位上에 두고 다루거나, "吟雨詩 "四君子詩" "自然素材詩" "題詠詩" 등의 분석을 통해 비의 이미지와 不遇期의 관련樣相, 유학사상과 교훈적 요소, 自然觀, 忠義臣節과 憂國慨世의 詩觀, 性情醉化의 文學觀 등을 고찰하고 있지만, 牧隱의 儒 · 佛二 元的 思想이 문학작품에 어떻게 형성화되어 있는지에 대한 고찰을 看過하고 있다. 따라서 본고는 牧隱의 儒 · 佛二元的 思想이 문학작품에 어떻게 형성화되고 있는지에 중점을 두었다. Ⅲ장에서는 麗末의 儒冠文人인 益齋 李齋賢, 稼亭 李穀, 園隱 鄭夢周, 霧亭 李達表 등의 詩와 文을 통해서 麗末鮮初의 사상적 배경이 儒·佛이 혼합된 二元的 사상체계임을 밝히고, 牧隱의 <贈休上人序>, <雪山記> 등의 支과 <雨中怒有賞蓮之興難於上馬吟得> 등의 詩를 분석하여 그의 사상체계 또한 儒·佛一致觀에 접근하고 있음을 살펴보았다. Ⅳ장에서는 牧隱의 佛敎諸는 <題牧菴卷> 등의 詩에서처럼, 현실 세계를 초월한 禪的 세계의 指向이 單緣的으로 형성화되는 시도 있지만, 불교시의 핵심적인 요소는 <答竹澗禪師>에 보이는 바와 같이 그의 학문적 경향인 儒敎的 현실세계의 지향과 佛僧들과 교유를 통해 체득한 禪的 세계에의 지향이 渾融 혹은 對立되어 나타나는 儒·佛二元的 세계를 형성화 하고 있음을 고찰하였다. 그리고 논의를 확대하여 牧隱 佛敎詩의 세계를 當代의 禪僧들의 詩世界와 비교하여, 禪僧들의 시세계는 현실이 제거된 解脫과 心印是佛의 세계이지만, 牧隱의 시세계는 현실을 초월하려는 禪的 세계에의 指向과 士大夫的인 의무감이 渾融·對立되어 있음을 살펴보았다. Mok-Un, Lee-Saek (牧隱, 李穡; 1328~1396) had lived a transitional period from Koryo-Dynasty to Lee Dynasty ; such as from Buddhism to Confucianism. He was a Confucianism, and he had a profound knowledge in Buddhism. There are many poems and proses written in Buddhistic thoughts among his master-pieces due to growing up and studying at the Buddhistic environment. I have studied Mok-Un's Buadhistic Poems to find out the characteristics of his poems and the influential factors of the dual points of Confucianism and Buddhism upon his poems. 1. A few studies have been done regarding Mok-Un, Lee- saek's characteristics of the poems, but some studies had been conducted regarding his thoughts and literatures. 2. There had been two ideologies in late Koryo-Dynasty and early Lee Dynasty, as we had shown in the works of Lee Je-Hyon, Lee Gok. Chung Mong-Joo, Lee Dal-Cung ; one of them is Confucianism as a way of behavioral norms, the other is Buddhism as a way of religious belief. They are from the dualistic thoughts of Confucianism and Buddhism. 3. The Buddhistic thoughts of Mok-Un is very closely related to the idea of the unitary thought of Confucianism and Buddhism through the study of his poems and proses. 4. Mok-Un's Buddhistis poems represent the dualistic thought of Confucianism and Buddhism ; Confucianists pursue of the real world and Buddhists pursue of Zen. Sometimes they are making harmonies and sometimes they are mating contrasts. 5. Mok-Un's Buddistic poems are pursuing the life of Zen, they are free from the troubles caused to the real life, and from bondage of right and wrong. There is only one way to pass by the things and nature. There is the another absolute values to understand the human mind. Mok-Un had pursued Zen based upon the Buddhistic thoughts. 6. The main characters of Mok-Un's Buddhistic poems show the dual aspects ; one is the harmonious view of Confucianism and Buddhism and the other is contrastic view of of Confucianism and Buddhism. 7. When Mok-Un's Buddhistic poems were compared with those of monks, the menu's poems are free from the troubles of the real world, Mok-Un's poems were captured by the troubles of the real world. The world of Mok-Un's poems belong to Zen and responsibilities of authorities (Sa-Tae-Pu ; 士大夫). Finally, the characteristics of Molt-Un's poems will be discussed in the further study when any researcher compares his poems to the ones written by the poets, his Confucian collegues of his age.