박용래 시의 자연물과 시세계의 원천

김낙현 ( Kim Nak-hyeon ) 한국문학이론과 비평학회 2020 한국문학이론과 비평 Vol.87 No.-

The main purpose of this article is to examine the natural objects mobilized in Park Yong-rae’s poems and the sources of his poetry. Specifically, this article focuses on the significance of all three poems published before Park Yong-rae’s debut of literary career and what the characteristics of his poems expressed by taking natural objects were, and also briefly looks at the sources of his poetry. The three poems before his debut were works that contained all the characteristics of Park Yong-rae’s poetry. His poems were created by taking rural and local natural objects, so they were rich in rural and local colors, and were created according to the ‘depictive’ method of poetry writing. In addition, they were poems embodying hometown consciousness, one of the sources of his poetry. His poems, which were created by the ‘depictive’ method of poetry writing that emphasizes the pictorial image of natural objects, resulted in objectification of the speaker, and thus the speaker’s emotions were not expressed outwardly through the so-called process of ‘self-destruction.’ His poems are evaluated as distinct from those of the existing Western modernistic character in that nature depicted in his poems is rural and local nature. Also, his poems have a critical character of reality that is not isolated from reality, given that natural objects in his poems are our ‘natural objects in our lives.’ In addition, Park Yong-rae’s poem inevitably took the form of a short poem because he wrote poems by taking natural objects. All of the above characteristics are derived from the manner that Park Yong-rae consistently took natural objects, which also serves as an advantage and disadvantage of his poetry. Meanwhile, the hometown consciousness and sorrow and longing for his deceased sister, which he perfused in his whole literary career, have become the source of his poetry. Park Yong-rae was a distinctive and unique lyricist who created poetry in his own way by taking persistently rural and local natural objects.

1990년대~2000년대 초 이원, 김혜순 시에 나타난 자연 표상의 탈자연화

김보경 한국현대문학회 2025 한국현대문학연구 Vol.- No.75

본 논문은 1990년대 시의 생태주의적 함의를 새로운 각도에서 조명하기 위해 이원과 김혜순의 시에 나타난 자연 표상에 주목했다. 1장에서는 1990년대 생태시가 서정시의 원리와 결합하는 한편 이념의 상실이라는 역사적 조건과 결부되어 보이게 된 미학적 성격을 규명한다. 생태시는 정치 이념의 종언을 고하고 본 연의 문학성을 담지한 서정시를 복권하고자 하는 맥락에서 부상하며 그 문학적 가치를 수월하게 부여받을 수 있었다. 이념적 정당화의 과정을 거치지 않으며 그 자체로 문학일 수 있었던 생태시는 자신이 기초한 생태주의 담론의 진보성에도 불구하고 장르적으로 보수화되기 쉬운 조건에서 배태되었다고 볼 수 있다. 또한 이는 자연/문화의 이분법에 기초한 낭만화된 자연 표상이 관습화된 사정과도 연관된다. 2, 3장에서 살펴볼 이원과 김혜순의 시는 이러한 자연 표상의 탈자 연화를 보여주는 것으로 의미화될 수 있는데, 이때 본 논문에서 사용하는 방법론적 도구이자 이론적 전제로서 탈자연화라는 개념은 자연 표상이 역사적, 사회문화적, 담론적 구성물이라는 전제하에 자연/문화의 이분법과 그러한 이분법에 기초한 자연에 대한 본질주의적 관념을 해체하는 개념이자 방법론으로 요약된다. 2장에서는 이원이 자연과 문화(인공, 기술)의 경계가 허물어지는 탈근대적인 혼종의 경험을 창작적 자원으로 삼았다는 점에 주목해 그의 시에 나타난 혼종적 이고 가상화된 자연 표상을 분석했다. 2장에서는 이러한 이원의 시가 당대의 역사적 맥락에서 포스트모더니즘 수용을 둘러싸고 쟁점화되었던 자연(본성)의 소멸이라는 문제와 관련해 자연(본성)의 회복과 회귀를 주장하는 본질주의적 입장 과는 다른 각도에서 현실을 돌파하려 했다는 점에서 그 의미를 부여하고자 했다. 또한 가상화된 자연이라는 표상은 인간중심주의적인 이분법에서 벗어나 있다는 점에서 당대 생태시와는 다른 각도에서 그 생태적 의미를 짚어볼 수 있다. 3장에서는 김혜순의 시론과 시를 중심으로 자연의 탈자연화가 여성주의적 방식으로 이루어졌음을 밝힌다. 당대 생태시에서 확인되는 자연/문화 이분법은 젠더적 이분법과도 연동되어 있었으며, 이에 따라 자연은 ‘어머니 대지’와 같은 표상으로 여성화되어 나타났다. 김혜순은 이러한 자연 표상을 문제시하며 생태시를 새로운 관점에서 사유하고자 했다. 본 논문에서는 재생산하는 여성-자연의 본질주의적 표상을 탈자연화하는 시에 주목하고 재생산을 목적으로 하지 않는 섹슈얼리티와 에로티시즘이 지닐 수 있는 의미를 살펴보았다. 또한 ‘죽음으로써 살아있는 자연’이라는 독특한 사유를 통해 자연과 여성의 관계를 비억압적인 방식으로 의미화하는 데서 당대에는 읽히지 못했던 생태주의적 함의를 도출할 수 있다. This study explores the representation of nature in the poetry of Lee Won and Kim Hyesoon, poets who were situated outside the category of so-called ecological poetry in the 1990s. By doing so, it aims to shed new light on the ecological implications of 1990s poetry from a different perspective. Chapter 1 explores ecological poetry as an emerging genre in the 1990s, examining how it intersected with the principles of lyric poetry while simultaneously becoming aesthetically conditioned by the historical context. Ecological poetry gained literary recognition within a discourse that rejected political ideology and sought to restore the authenticity of lyric poetry. Consequently, despite it is based on the progressive discourse, ecological poetry was embedded within conditions that made it susceptible to become conservative. This tendency is closely linked to the romanticized representation of nature based on the nature/culture binary. The poetry of Lee Won and Kim Hyesoon exemplifies the denaturalization of such representations of nature. In this context, the concept of denaturalization presumes nature to be historically, socioculturally, and discursively constructed. As such, it functions as a method and concept aimed at deconstructing the nature/culture binary and essentialist ideas of nature. Chapter 3 focuses on how Lee Won employs the postmodern experience of hybridity—where the boundaries between nature and culture (artifice, technology) become blurred—as a creative resource. This chapter analyzes the hybridized and virtualized representation of nature in her poetry, situating them within the broader historical discourse on postmodernism. In particular, it examines how Lee Won’s poetic engagement with the obliteration of nature (or essence), a key issue in the reception of postmodernism in Korea, diverged from the essentialistic perspective that sought to restore nature. By doing so, this study highlights how her poetry offers an alternative response to the contemporary reality. Furthermore, her depiction of virtualized nature can be interpreted as ecological interpretation as it challenges anthropocentric binaries. Chapter 4 examines the denaturalization of nature in Kim Hyesoon’s poetry by the feminist perspective. The nature/culture binary prevalent in the ecological poetry was closely linked to gender binaries, wherein nature was often feminized through representation such as ‘Mother Earth.’ Kim Hyesoon critiques this gendered construction of nature and reinterprets ecological poetry. This study focuses on her poetry’s denaturalization of essentialistic representation of women-nature as reproductive and explores the meaning of eco-sexuality and eroticism. Furthermore, through her unique conception of ‘nature that lives by dying,’ her work resignifies the relationship between nature and woman in a non-oppressive way, offering ecological implications that were overlooked at that time.

梅泉 自然詩에 投映된 近代性 硏究

김진욱 순천대학교 남도문화연구소 2014 南道文化硏究 Vol.0 No.27

본 논문은 매천의 자연시에 담겨 있는 근대성을 논하는 것이 목적이다. 이를 위하여 먼저 매천의 자연관을 살펴 볼 것이다. 나아가 매천시의 형식적 특성을 고찰하여, 형식의 굴절에 숨겨 있는 근대성을 논하고자 한다. 나아가 근대문학의 주요 특성인 개별화가 매천의 자연시에서는 어떻게 드러나고 있으며, 리얼리즘의 토대가 되는 현장 성이 작품에 어떻게 수용되었는가를 밝힘으로써 매천의 자연시에 투영되어 있는 근대성을 고찰하고자 한다. 먼저 매천의 자연관을 논하였다. 유가의 전통적 자연관인 도학적 자연관에서 벗어난, 자연을 인간과 수평관계에 서 인식하고자 하는 근대적 자연관을 매천의 작품에서 쉽게 읽을 수 있다는 주장을 하였다. 또한 매천시의 형식적 특성을 고찰하여, 형식의 굴절에 숨겨 있는 근대성을 논하였다. 매천은 詩作에 있어 일탈 을 꺼려하는 규범적 詩作을 선호하였다. 그럼에도 불구하고 일탈된 형식에 자연시가 많이 쓰였다는 주장을 하였 다. 이러한 형식의 굴절은 무의식 속에서 반영된 근대성의 결과라는 주장을 한 것이다. 그 다음으로 인식과 형식의 차원이 아니라 주제와 표현의 차이를 고찰하였다. 근대문학의 주요 특성인 개별화가 매천의 자연시에서는 어떻게 드러나고 있는지를 장소성을 가지고 논의하였다. 또한 리얼리즘의 토대가 되는 현 장성이 작품에 어떻게 수용되었는가를 밝힘으로써 매천의 자연시에 투영되어 있는 근대성을 고찰하였다. 근대성이 투영된 한 편의 자연시에는 이러한 요소들이 복합적으로 드러나 있으므로, 논의의 중복은 어쩔 수 없 었다. 인식을 이야기하면서 표현이 거론되기도 하였으며, 장소성과 현장성이 엄격하게 구분되지 않기도 하였다. 그럼에도 불구하고 위에서 논의한 네 가지 요소가 매천의 자연시에는 수용되어 있다고 주장하고자 한다. 그리고 이러한 이유로 매천의 자연시는 전통적 한시 장르의 자연시와 미묘한 미감의 차이를 보이고, 이것이 매천 자연 시의 특성이라고 주장하였다. The Nature Poetry of Maecheon uses a large number of aesthetic ideas about traditional Chinese nature poetry. These works have subtle differences. It has been researched as to whether the difference in the aesthetic sense was due to its being an object of the present discussion. The difference between that aesthetic modernity was projected at the time of the claim that it was nature Poetry of Maecheon. First, look at the view of nature of Maecheon. The traditional view of nature in oil shows the dohak enemy out of the view of nature. The modern view of nature is to be aware of the nature of human relationships. One argument is that it is easy to read from the works of Maecheon. It also examines the formal characteristics of the poetry of Maecheon. Modernity was discussed in the refractive hidden format. Maecheon favored a norm that was reluctant to deviate from how to write poetry and how to write this specific poem. Nevertheless, the city has used nature in a deviant form.. This type of refraction is a consequence of the claim that modernity is reflected in unconsciousness. Then the dimension of the format was not recognized and nor were the differences in theme and expression investigated. The main characteristic of individualization of modern literature is discussed. Gender has revealed that its place in poetry in nature Maecheon. Also investigated is the foundation of modern hyeonjangseong realism. It is projected while identifying the nature of Maecheon. Modernity, where nature is revealed during this project as a combination of these factors, is presented with no duplication. Recognition was also mentioned in this representation. It is not separated from the place of angido hyeonjangseong. Nevertheless, the four factors discussed above were accepted in Maecheon nature. For this reason the nature of the subtle aesthetic differences of Maecheon looks like traditional Chinese poetry and the nature poetry genre. This is a natural characteristic of the city of Maecheon. The Nature Poetry of Maecheon uses a large number of aesthetic ideas about traditional Chinese nature poetry. These works have subtle differences. It has been researched as to whether the difference in the aesthetic sense was due to its being an object of the present discussion. The difference between that aesthetic modernity was projected at the time of the claim that it was nature Poetry of Maecheon. First, look at the view of nature of Maecheon. The traditional view of nature in oil shows the dohak enemy out of the view of nature. The modern view of nature is to be aware of the nature of human relationships. One argument is that it is easy to read from the works of Maecheon. It also examines the formal characteristics of the poetry of Maecheon. Modernity was discussed in the refractive hidden format. Maecheon favored a norm that was reluctant to deviate from how to write poetry and how to write this specific poem. Nevertheless, the city has used nature in a deviant form.. This type of refraction is a consequence of the claim that modernity is reflected in unconsciousness. Then the dimension of the format was not recognized and nor were the differences in theme and expression investigated. The main characteristic of individualization of modern literature is discussed. Gender has revealed that its place in poetry in nature Maecheon. Also investigated is the foundation of modern hyeonjangseong realism. It is projected while identifying the nature of Maecheon. Modernity, where nature is revealed during this project as a combination of these factors, is presented with no duplication. Recognition was also mentioned in this representation. It is not separated from the place of angido hyeonjangseong. Nevertheless, the four factors discussed above were accepted in Maecheon nature. For this reason the nature of the subtle aesthetic differences of Maecheon looks like traditional Chinese poetry and the nature poetry genre. This is a natural characteristic of the city of Maecheon.

하서 김인후의 경물에 대한 수용과 형상화

한성금 ( Seong Geum Han ) 한국고시가문학회 2012 한국시가문화연구 Vol.0 No.30

하서 김인후는 16세기의 뛰어난 문인이면서 도학자(道學者)였다. 그의 시 인식은 도본문말(道本文末)로 이해하였기 때문에 많은 학자들은 그의 자연시 까지도 도학시로 규정짓기도 한다. 본 논문에서는 그가 자연에 대한 남다른 감수성을 드러낸 시작활동이 있음에도 불구하고 자연에 대한 논의가 많지 않았다는 점을 제기하였다. 따라서 시에 표현된 김인 후의 자연 경물에 대한 관점과 느낌을 살펴보아 하서 시의 다양한 면모를 연구목적으로 했다. 김인후의 경물인식은 다음과 같다. 철저한 도학자인 그의 자연인식은 일차적으로 천인합일의 이치를 내재한 본원적 공간으로서 심신을 수양하고 성정을 함양하는 공간으로 인식하였다. 다음으로는 자아와 세계의 부조화의 갈등에서 세상을 초월하는 꿈을 꿀 수 있는 공간이었다. 정치적으로 정쟁에서 밀려나 자연 속에서 현실적 고뇌와 울분을 해소함으로써 시인 자신의 탈속적 사상과 정감을 기탁하였다. 그런데 김인후의 자연인식 속에서 특히 주시 할 것은 흥취와 순수한 심미의식의 공간이다. 그는 누정을 비롯한 자연 속에서 성리학적인 관념을 배제한 시들도 많이 남겼는데 자연 경물 그 자체의 아름다움에 몰입하여 미감을 드러낸 시들을 남기고 있어 문학적 가치를 더하고 있다. 즉, 자연 발생적 감정에 대해 개방적 태도를 지닌 그는 감정을 다스림의 대상으로 인식하여 정서적 절제와 구속을 강요했던 다른 도학자들과는 변별되는 시각을 가짐으로 도학 문학 확장에 기여한 바가 크다고 생각된다. Haseo Kim, In-Who was an outstanding literary person and Taoist of the 16thcentury. As he perceived poetry as a linguistic device for Taoism and wrote a number of poetry based on Taoism, his poetry was considered as poetry of nature and Taoism by many. This study aims to speculate his perspective and feeling on natural sceneries, suggesting that there were only a few studies on the nature in his poetry although he was very sensitive to the nature and wrote a lot about it. It is expected that the results will contribute to studying diversification of poetry by Kim, In-Who, His perception on natural sceneries is as follows: Kim, In-Who, a thorough Taoist, considered the nature as aplace of training himself. Therefore, the nature was configured as a crystal-clear emotion of a learned man in his poetry. It was a space where he could dream transcending the society in disharmony and conflicts between self and the society. Being pushed out from political competition, he relieved his agony and grief in the nature and entrusted the nature with unworldly thoughts and sentiment. The nature was the space of excitement and aesthetic consciousness, whichis noteworthy in respect to his natural perception. He wrote a number of poetry which showed his exclusion of Confucian ideas in natural sceneries. The poetry has additional literary values as it described aesthetic consciousness through being immersed in beauty of the nature. Although he shared the perspective on poetry Taoists had at that time, he was open to nature-oriented emotion. He was different from other Taoists who were aware of emotion as a subject to be controlled and compelled emotional control and as a result, it is judged that he made a great contribution to expansion of Taoic literature.

촌은(村隱) 유희경(劉希慶)의 ‘자연시’의 특성 고찰

劉六禮 한서대학교 동양고전연구소 2024 동방학 Vol.- No.51

이 연구의 목적은 촌은 유희경이 쓴 촌은집(村隱集) 에 서술된 자연 이미지를 통해 그의 자연시의 특성을 고찰해 보고자 한다. 촌은집 의 자연시는 자연과 조화를 이루며 사는 삶의 중요성을 자각하게 한다. 유희경의 자연시의 특징을 요약해 보면 다음과 같다. 첫째로, 유희경의 시는 자연 경물을 시의 소재로 사용하여 자연 친화적 삶을 조망하게 한다. 둘째로, 유희경의 시는 회화성을 드러내며, 자연과의 일체성을 드러낸다. 셋째로, 유희경의 시는 삶의 즐거움과 괴로움, 슬픔과 고통을 시로 녹여내어 독자들에게 자연에 대한 감흥을 불러일으킨다. 넷째로, 독자는 독자의 감정을 유희경의 시에 이입시켜서 생동감이 넘치는 자연시를 음미해 볼 수 있게 한다. 요컨대 유희경의 자연시는 삶의 노래이다. 유희경의 독특한 시는 자연이 독자이며, 독자가 자연인 것처럼 독자들을 사색하고 몰입하게 만든다. The purpose of this study is to examine the characteristics of Yoo Hee-gyung’s nature poetry through the natural images described in his “Chon-eun-jip (村隱集).” The nature poetry in “Chon-eun-jip (村隱集)” makes us realize the importance of living in harmony with nature. The characteristics of Yoo Hee-gyung’s nature poetry can be summarized as follows. First, Yoo Hee-gyung’s poetry uses natural scenery as the subject matter of poetry to provide a view of a life in harmony with nature. Second, Yoo Hee-gyung’s poetry emphasizes pictoriality and reveals oneness with nature. Third, Yoo Hee-gyung’s poetry melts the joys and sorrows, sorrows, and pains of life into poetry, thereby evoking a sense of nature in readers. Fourth, readers can empathize with Yoo Hee-gyung’s poetry and savor the vivid nature poetry. In short, Yoo Hee-gyung’s nature poetry is a song of life. Yoo Hee-gyung’s unique poetry makes readers think and immerse themselves as if nature is the reader and the reader is nature.

초등학생의 자연체험 활동을 통한 시 쓰기의 효과 검증 연구

김이성(Yisung Kim),강민정(Minjeong Kang) 한국환경교육학회 2015 環境 敎育 Vol.28 No.1

본고에서는 자연체험과 시 쓰기 활동을 동시에 활성화시키기 위한 방안으로 초등학생들을 대상으로 학교의 자연을 활용한 시 쓰기 효과를 검증해 보고자 하였다. 효과는 크게 ‘시 창작 효과’, ‘시 쓰기에 대한 흥미도’, ‘환경감수성’이 어떻게 다른지 측정해보고자 하였다. 이를 위해 연구자들은 초등학교 6학년을 대상으로 실험반 23명과 비교반 23명을 선정하여 실험반은 학교 운동장에서 비교반은 학교 교실에서 시쓰기 수업을 실시하였다. 시 창작 효과는 수업결과로 제출된 학생들이 직접 쓴 시를 연구 협력진인 초등학교 교사 3인이 시 쓰기 능력 평가채점 기준 및 척도표를 준거로 정량적으로 분석하고, 분석도구를 통해 드러나지 않은 차이에 대해서도 논의를 통해 평가하였다. 흥미도는 예일대학 감정지수 연구소에서 개발한 감정표시판을 토대로 설문을 통해 분석하였으며, 환경감수성은 기존의 검사지를 통해 분석하였다. 연구를 통해 수집한 자료를 분석한 결과, 실험반 학생들이 작성한 시의 경우, 시의 이미지 요소와 시어 요소에서 비교반 학생들의 작품에 비해 통계적으로 유의미한 차이가 나타났다. 그렇지만 시의 운율, 유기적 관계 요소는 통계적으로 유의미한 결과가 나타나지 않았다. 그 외 연구 협력진의 분석에 의하면 자연을 활용한 시쓰기는 자연에 대한 심미적 내용, 학교 내의 자연에 대한 관심 증가 등 긍정적인 차이점이 발견되었다. 시 쓰기에 대한 흥미도는 실험반 학생들이 비교반 학생들에 비해 높게 나타났으며, 그 차이는 통계적으로 유의하게 조사되었다. 환경감수성의 경우, 실험반과 비교반에서 통계적인 차이는 발견되지 않았지만, 자연 체험이 환경감수성에 주는 주요한 변인이라는 선행연구를 고려하면 보다 장기적인 프로그램을 실시할 경우 환경감수성에도 긍정적인 효과가 있을 것으로 추측된다. 그리고 연구 협력진이 학생들의 시를 검토한 결과, 실험반이 작성한 시가 친환경적인 요소가 포함되어 있는 것으로 분석되었다. The aim of this research is to find out the effect of writing poetry in the nature of school ground. Both natural experience and writing poetry are important leaning experience for students, especially for elementary students. Students, however, do not have enough time to do natural experience mainly because of their time limits, and the scarcity of the nature near their home and schools. Writing poetry is also considered as a uneasy study for students because of its characteristic and methodology. Therefore this study assumed that if students do writing poetry in nature of the school, it would be more effective than do same thing in the classroom. Also researcher considered that it can help students environment sensitivity. For this purpose researchers did an experiment of writing poetry with two elementary class students. One of them did writing poetry in the classroom, and the other class did in the nature with simple instruction from their teachers. After writing poetry, we did survey to find out how they feel about their writing poetry. The survey was about environment sensitivity. In the case of the ability of writing poetry, we analyzed their poetry with three school teachers, experience more than 10 years as elementary school teacher. The result of this study show that how different outcome student can produce only by change study place. Compared to the control group, experiment group showed positive influence on the effect of writing poetry. And experiment group also exerted high score in the survey about the interesting about writing poetry. Regarding to environment sensitivity, however, there was no meaningful difference between two groups. This seems because of the limited time and if student spend more time in nature for writing poetry, it would be influential. Also teachers, analyzed students poetry, discussed about the poetry and resulted that there are some obvious difference between two groups. They concluded that the poetry from experiment group were more environmentally friendly, and focused on the school nature and so on.

이언적의 시에 나타난 樂天과 無爲 일고

장도규 한국사상문화학회 2013 한국사상과 문화 Vol.69 No.-

Lee Eun-jeok made a way for a new aspect of literature by moving his innocent idea as it was, which he had realized from the reason of nature that does flow without cease in heaven and earth, into the literature, and further broadened the range of literature by establishing neo-confucian's nature recognition while he found natural beauty lied in nature and realized to bone even confucianism temperament in it. He elucidated again the inevitable relationship from the sympathy between human consciousness and materials, and embodied the substance of reason obtained from consolidation of reason of nature and ego, into his literature. Based on his literature opinion expected, his poetry or literature was reviewed into "Lakchun poetry" poetry and “Muwee poetry". In the "Lakchun poetry", the author interpreted the goal and the spirit of literature lied in his works as the unity of principle of nature and ego. Lee Eun-jeok thought that, only when the pursuit of the principle of nature the sages show is integrated with ego, the inner world of humans, the best work could be created. It means such an aspect of life that is boundlessly open and principle of nature and ego are harmonized together, which is exerted after ceaselessly reasoning the huge universe and growing temperament. In the “Muwee poetry" the reason of nature resident in each phenomena of materials should be pursued, based on the typical confucianism that intends to obtain justice of life in the life and just of nature in the nature. The other one is that poems are to recite the temperament. To him, authentic poems were such ones in which pure temperament was revealed by conserving temperament and accumulating virtue. 회재 이언적은 일생에 네 차례의 사화(士禍)가 일어났을 정도로 정치 사회적으로 도덕적 상실기에 살았다. 일생을 통하여 성현(聖賢)의 학문에 뜻을 두고 도학(道學)에 침잠하여 도덕적 진솔한 삶을 영위하고자 하였으며, 자신의 학문과 사상, 그리고 도학적 사유를 그의 문학에 담고자 하였다. 그러므로 그의 도학적 삶은 그의 문학을 이해하는데 중추적인 역할을 하고 있음을 알 수 있었다. 그리고 그의 시문학 전반에 걸쳐 내재된 흐름의 한 축으로 낙천과 무위를 들 수 있다. 낙천은 하늘을 우러러보고 땅을 굽어보아도 마음에 부끄러움이 없이 살고자 하는 낙천안토(樂天安土)의 정신이다. 마음의 갈등을 떨쳐 버리고, 자연과 화합하면서 끊임없는 자기 성찰과 수신의 정신으로 천리의 진원을 찾고자 하였고, 사물에 대한 관조적 심회, 학문 등이 유기적으로 연결되어 하늘에 순응하는 기쁨을 읊고자 하였다. 무위는 순수하게 자연에 몰입하여 이상향을 추구하는 삶이다. 그것은 구도자적 철학정신과 통하고, 성취된 학문이 성숙의 단계에 이르러 무위락자연(無爲樂自然)의 이상향으로 드러났다. 이언적은 인간의 의식과 사물과의 교감에 의한 필연적인 관계를 재천명하고, 도학적 덕치주의의 이상을 실현하고자 하였으며, 인간본연의 근원을 회복하고, 성정을 함양시키고자 하면서도 자연의 순리에 따르며, 작위적 행위를 하지 않는 양진경세의 사유양상을 그의 문학에 구현시켰다는 점에서 도학자 문학의 한 전형을 보여 주었다고 할 수 있다.

김윤식 시 연구

한경희(Han, Kyung-hee) 한국어문학회 2019 語文學 Vol.0 No.146

In his poetry of resistance, Kim Yun-sik attempts to reveal and overcome the contradiction of reality without escaping from the order of nature and the flow of the universe. His poems did not come from projective consciousness but from constant reflection and thought regarding the essence of existence. The poet reflects on things extended from himself to the universe. The poet who pursued harmony with the universe on the earth, had an anger of conscience and could not escape the reality of broken harmony. As a farmer and poet living in sympathy with nature, he wrote his poetry of resistance in the most natural way in response to the sound of justice to the world. The poet Kim Yun-sik lived his life close to his hometown. At times, the poet chooses to live as a farmer and remained completely settled in his hometown. For this reason, his use of the space of the hometown is a poetic representation rather than reminding the hometown in memories. He did not write any poem yearning for missed his hometown because he returned home for his studies. Hometowns and hometown villages enter the spaces of daily life. Even though he lived in his hometown, he never stopped revering his hometown. The farmer"s point of view stands out in his poetry of nature. The poet, who actually settled as a farmer in his hometown, wrote a poem directly reflected his life directly. The view of the poet"s nature, which fits with nature, goes beyond the farmer"s feelings or the attitude of observing nature in drought rice fields and fields. The poet introduces a monk and the temple of Sansa into the background of his poetry to create a human natural space and draws this to nature as if looking at a neighboring village. In natural poetry, temples, Buddhist temples, and monks enter the landscape as important sanctions. It contains the natural world not as a dimension of faith, but faith as an antique landscape of that very similar to nature.

한국의 근ㆍ현대시와 정치

오세영(Oh Sae-Young) 한국시학회 2008 한국시학연구 Vol.- No.22

Modern Korean poetry intrinsically has had close relations with politics, active and passive, including both positive and negative meaning, for the past hundred years. Not only activist poetry, which is a direct intervention into politics, but also pure poetry, which excluded political agendas from its text, was not entirely free from politics. Thus to understand modern Korean poetry, it is essential that we examine the relationship between poetry and politics. As a result of the close relationship between poetry and politics, modern Korean poetry has come to bear the following characteristics: the spread of the idea that poetry is a political instrument or a reflection of political awareness, the idea that a model poet should be a patriot, critical discourse that emphasizes mainly the content and subject matter of poetry, schematic understanding of poetry, rationalization of politically needed poets and poetry, the division of the literary world into different factions, and popularity of prose-like poetry. The two main reasons for such closeness between politics and modern Korean poetry are as follows. First, it was due to the continuation of past tradition. During the Chosun Dynasty of five hundred years, Korean literature was essentially a political instrument, and such attitude toward literature can be said to have been inherited to modern Korean literature. Second, the hundred years of modern Korean history was a time of political turmoil, and intellectuals were always called upon to take a political stand. As a result, modern Korean poetry either actively took part in politics or rejected politics altogether, and either way, literature could not be entirely free from politics. In that aspect, whichever stand or attitude the poet took, his/her poetry was thus, political.

요합(姚合) 시가에 나타난 자연묘사 양상

배다니엘 ( Daniel Bae ) 한국외국어대학교 중국연구소 2013 中國硏究 Vol.59 No.-

This article was written to study on the aspects of the Yao-He (姚合, 779?-846?)`s landscape poetry. Yao-He was one of important poets in the school of Hanmeng(韓孟) in mid-Tang dynasty. During the mid-Tang dynasty, the aesthetic theme tradition of landscape poetry were innovated by Yao-He and Jia-Dao and their epigone. The features of Yao-He`s Landscape poetry was in basically inherited the landscape poetry in high-Tang Dynasty, but the aspects of the Yao-He`s Landscape poetry was developed some different direction. I can be summarized the distinct characteristic of his poem as that: The first, Yao-He`s landscape poetry basically seek the small subject of nature, and pursuit detailed description. We can say Yao-He is the meson of landscape poetry between high-Tang and mid-Tang dynasty, but, in the other hand, it associated with small scale approaches in writing poem about nature scenery and which represented one of the style of mid-Tang Dynasty. The second, In Yao-He`s poems, he had concentrated his rich emotion by using rather small spaces comparison with other poet. That, in some aspect, means he had intense feeling and passion in his inner world. Most of poets of mid-Tang dynasty experienced suffering life which comes from political environment, and Yao-He`s government process was not very successful, so his landscape poetry was also a part of the expression of his life, that the expression can be offered his landscape poetry have some of small spaces and view point. The third, in the way of expression, Yao-He pursued fresh and elaborate description. This aspect can created fine expressions, on the one hand, he can marked an more unique style of mid-Tang dynasty. At to artistic conception, narrow and small, detailed aspects of Yao-He`s landscape poetry not much showing the magnificence of the poems as in high-Tang dynasty, but it contains it`s own character of mid-Tang dynasty. After Song dynasty, more critics regarded Yao-He and Jia-Dao as successor of Chinese aesthetic theme on landscape poetry.