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- 저자 : 유신지 (검색결과 1 건)
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Lee Sang-hwa's literature has been interpreted by researchers as a framework for Western literary theories, such as symbolism and romanticism, and traditional ideologies, such as Confucianism and shamanism. However, current studies have failed to elucidate "transcendence" in Lee Sang-hwa’s poetry, although it is the main feature that sets it apart from that of his contemporaries. This study examines Lee Sang-hwa's poems and critiques them based on the "Donghak(東學)" theory, which posits the idea of Korean self-sustenance in the event of unexplained idealization. First, we explore the process of idealization and human relationships to confirm that the ideological basis of idealization is founded in "Donghak” thought. This is confirmed in Lee Sang-hwa's literary as well as biographical works, for example, in his biographical anecdote of interacting with "Chŏndo-kyo" in the Daegu region, where he was born and raised. Furthermore, his works have unique words such as "sky," "Shinryung(神靈)," "Geum," "soul," "life," "cave," "bedroom," and "field," which are commonly used in poetry. The presence of these words indicates that the poet used the transcendental language of writers in the 1920s, which was different from words used in poems by other poets of the time. Analysis of his works revealed "internal transcendence," a unique feature of Donghak theory. The convergence of the poetic subject and object in Lee Sang-hwa’s poetry is different from that in typical lyrical poetry, and the relationship between them appears to be harmonious. These are aspects of "fundamental egalitarianism" in Donghak’s theory. The study demonstrates this fact by analyzing the unique elements of lyricism in idealistic poetry using the concept of "inter-subjective lyricism." Current discussions on lyricism are subjective; therefore, the poet uses "Donghak's theory" to reveal the relationship between poetic subjects and objects. This is evident throughout Lee Sang-hwa’s poetry and is termed as "inter-subjective lyricism." It is therefore confirmed that Lee Sang-hwa built a literary world based on Korea’s homegrown "Donghak" theory. Even if a poet did not specify the influences upon his works, an exploration of literary sources is necessary and should continue. There is scope for further exploration of Lee Sang-hwa’s literary works within the framework of "traditional poetry." This is essential to firmly establish Lee Sang-hwa's works in the canon of modern poetry.
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