한국현대시의 프란츠 카프카 수용

조창환(Cho Chang-whan) 한국시학회 2011 한국시학연구 Vol.- No.31

The purpose of this study is verifying the reception of Franz Kafka, one of the most outstanding writer of existentialism in 20th century, in Modern Korean literature. It is deeply influenced by the works of the writer which concerned about alienation and anxiety of the existence of human being, absurdity of the fate of man, dialect of desperation and hope, problem of solitude and horror. Literary style of Kafka which has the characteristics of fable description and fantastic stories has been greatly stimulated to the techniques in creative writing into modern Korean literary works. There are some Korean poets who wrote their poems motivated from Kafka’s works. Lee, Chul-bum and Kim, Kwang-kyu described the desperation in front of sanctity or absolute power, Kim, Seung-hee and Kim, Jin-Kyung expressed the horror, anxiety and pent-up feelings in their poems which motivated from the “Castle”, “Metamorphosis” and “The Judgement” by Kafka. On the other hand, Lee, Kun-chung and Cho, Chang-whan dealt with the solidarity and self-conflict which is the characteristic theme of Kafka by parodying “Fasting clown” in their works. Also, we can find some poems that recited the name of Kafka or the image of him. O Kyu-won satirized self-ridiculously criticizes the appearance of modern life in extreme commercialism and fetishism in his poem. Jang, Suk-ju tried to find hope in desperation by describing that the desperation comes like ‘K in Kafka’ in his poem. Park, Ju-taek figured grotesque fantasy which influenced by works of Kafka. We can discover the influence of Kafka into Korean literature not only by the examples that recited or parodied from his work but also the way of recognition of the world and human being. It is obvious that his work has been deeply influenced to Korean modern literature by stimulating them and widening amplitude of imagination.

조지훈 초기시의 운율과 구조

조창환 ( Chang Whan Cho ) 한국현대문예비평학회 2008 한국문예비평연구 Vol.0 No.25

김영랑 초기시의 율격과 형태

조창환(Cho Chang-whan) 한국시학회 2004 한국시학연구 Vol.- No.10

The early poems of Young-rang Kim in the Collection of Poems of Young-rang express delicate lyrical emotion in the rhythmical language. The poems have only serial numbers instead of titles because of poet's strong tendency to the extreme pure poetry. The quatrain is the dominant form of the poems in the book. But it differs from the Chinese poems which have introduction, development, turn and conclusion in composition and makes couplers in the first or last t재 lines of the quatrain. We can find only continual tonal stream instead of the strict prosody of the Chinese quatrain in the poems of Young-rang Kim. He thought such free verse was the best form to express the poet's softly floating sentiment. The tetra-metre is dominant metrical device adopted in the poems. Young-rang Kim intended to introduce colloquial, prose rhythm in his poems by adopting this metre. But he made efforts to avoid formal and metrical strictness and stability of this metrical scheme. We can find variations and exceptions in the style of his poems, which have aesthetic effects in a natural prose rhythm. Furthermore, some poems like "Until the Peony Blossoms" have metrical dualism. Some lines in this poem could be recited by tri-metre and tetra-metre at the same time, though the basic metrical device of this poem is tetra-metre. We can feel in this poem the natural rhythm of free verse close to that of prose style in the everyday language and it is the excellency of his style.

구상(具常) 시의 전개와 문학사적 의의

조창환(Cho Chang-Whan) 한국시학회 2009 한국시학연구 Vol.- No.26

The poems of Koo Sang(具常) are philosophical rather than artistic. They describe examination of conscience and conviction of redemption in his inner self in front of God. The poet communicates metaphysical messages concerning his investigations of existence by using everyday language rather than elegant, refined words in his work. He came from north Korea over the 38th parallel after warnihg and accusing the injustice of communist power in his early poems. But during his times in south Korea, he also severly scolded moral corruption of the society. He criticised the so called poems of realism literature of his period as being overly superficial and naive. He creates the poems with optimistic perspective for the future even though they depict the miserable, desperate daily life of post Korean war. We can trace his effort for the virtue, practical morality in his poems of 1950s. “oems of scorched land” 焦土의 詩) are samples of this trend. His poems contain messages of metaphysical thought which are mainly concerned with the existence and eternity of human being in 1960s. He confesses and repents that his everyday life is so dirty and slothful, so he pursuits the extreme purification of soul in his poems. He knows that the complete freedom of human being comes from ultimate practice of moral virtue. His late poems express his religious understanding. We can find that he realizes the existence of God and has conviction of resuscitation in terms of Christian viewpoint in his works. He confesses that he willingly wants to take the sufferings and sacrifice for the people as Christ did. This pious attitude comes from the gratefulness of being created by God. Koo Sang, the profound thinker and poet created unique poems in modern Korean literature by writings of humanism in post Korean war poetry, expresses metaphysical thinking in his poems, add religious sanctity which can rarely be found in Korean poetry.

현대시 자료의 검증과 해석

조창환(Cho Chang-whan) 한국시학회 2001 한국시학연구 Vol.- No.5

We can find some significant clues to the interpretation of debating points in modern Korean poetry by identifying and analyzing literary materials. Collecting' and ordering materials, identifying the originals, establishing authors and the motivations of writings are basic, preliminary tasks in literary study as well as all the other fields of learning. Studies on poets, poetics and literary history must be based on the meticulous examination of bibliographical materials. The versification of Choi Nam-sun(최남선) and the other writers in the enlightenment period thoroughly followed a syllabic system of sound which was deeply influenced by Japanese poems. It can be discovered by the study of notation, spelling and word spacing in their works. It is also important for verifying the works of Kim So-wol(김소월), since there are some different versions of his works. There were some spelling mistakes in Chu Yo-han(주요한)'s poem, which originated' in republishing and which distorted the original meaning seriously. We can also find similar examples in the poems of Han Yong-un(한용운) and Chong Ji-yong(정지용), distributed by contemporary publishers. The study of dialects and semantics is helpful in correcting these mistakes. Style and symbol are also important. We can settle the debating points of interpretation of the poems of Lee Yuk-sa(이육사), Lee Sang-hwa(이상화) and Chong Ji-yong(정지용) by the study of the other writings of same authors.

현대시 운율 연구의 방법과 방향

조창환(Cho Chang-Whan) 한국시학회 2008 한국시학연구 Vol.- No.22

The new-style poetry written by Choi, Nam-sun(최남선) in the Enlightenment Period was influenced by metrical system of Japanese poetry. The main metrical device of his poems is 7ㆍ5 syllable rhythm which imitated Japanese one. The style soon prevailed and was popularized in Korean poetry, since its substructure, trimetre, originating from traditional Korean folklore, met public favor in the period. Kim, So-wol(김소월), the outstanding poet in 1920's, made the most of it. Many of his excellent poems described typical Korean lyricism and sentiment, and his poems had artistic quality resulting from this metrical scheme, which variated and modernized 7.5 syllable rhythm. The methodology of metrical analysis in that period was pure-syllabic metre theory and Cho, Yoon-je(조윤제) explained the metrical scheme of Sijo(시조) by means of it, which generalized the prosody of its fixed form. Later, the theory was criticized in that it is not appropriate to analyze Korean verse, since the metric units are not fixed in terms of the syllabic number and hard to count. Instead, the concept of foot was adopted in the methodology, where trimetre and tetrametre are dominant. However, I claim that the theory is not sufficient either to explain Korean verse because it has complicated metrical devices such as 7ㆍ5 syllable rhythm, which could be divided by uneven three or four metrical units. I suggest adopting a new concept, 'Yoolmadi'(율마디, metrical joint), which can comprise this unique metrical scheme. The terminology is similar to 'colon', closely connected group of words, proposed by J. Lotz. Kim, Young-rang(김영랑), Seo, Jung-ju(서정주), and Park, Mok-wol(박목월) developed aesthetic sense of poetry by means of their characteristic metrical variations and exceptions. The rhythmical sense of trimetre is mixed with the stability of tetrametre in the poem "Until peonies bloom"(모란이 피기까지는) by Kim, Young-rang. This double structure of metrical scheme was realized in natural reading intonation of the poem 'The secret word"(밀어) by Seo, Jung-ju. In addition, symmetrical arrangement of lines and counterbalanced metrical form make unique beauty in formalism in the poem "Mountain peach blossoms(산도화)" by Park, Mok-wol. In their free verse, the regularity of metre is abandoned. Instead, cadences approximating the flow of speech are employed.

한국 현대시사 연구의 문제점과 전망

조창환(Cho Chang-Whan) 한국시학회 2007 한국시학연구 Vol.- No.19

Early studies of the history of modern Korean poetry mainly adopted bibliographical critical methodolgy, as in The History of Modern Korean Literature by Cho, Yeon-hyun and The History of Modern Korean Poetry, by Chung, Han-mo, which took initiative of the studies. Later, many parts of the former were corrected and amended by scholars who ranged more extensive literary materials, while the latter criticized that the former neglected the background of poetry, literary activities and the evaluation of poetic works. The most outstanding studies of history of modern Korean poetry, The History of Modern Korean Poetry and The History of Contemporary Korean Poetry by Kim, Yong-jik, made use of literary historicism. The author concerned the social background of poetry, evaluated literary activities and their social effects and roles, and arranged major poets and their literary works in his literary history. But he confused history of literature and history of thoughts since he overemphasized on the social background of literary works and writers' thoughts. The major points of arguments in description of history of poetry in modern Korean literature are theory of cultural transplantation, theory of cultural traditionalism, the starting point of modern poetry, and the conception of modernity in Korean poetry. The modern Korean poetry seems to have two sharply contrasting perspectives from its beginning, which are manifested in the interpretation of modern Korean history of poetry. But they are only the matter of standing point of the scholars and can be compromised by more comprehensive viewpoint. The most reasonable starting-point of modern poetry is the Enlightenment Period, and the most appropriate conception of modernism in Korean poetry is the literary movement of Imagism and Surrealism in 1930s, though their modernity was distorted and transformed and different from that of the European and American literature.

Some Problems in Translating Korean Poetry

조창환 한국비교문학회 2004 比較文學 Vol.32 No.-

한국시의 외국어 번역에 있어 부딪치는 몇 가지 문제점을 검토하고 이를 해결할 방법을 찾는 것이 필요하다. 번역자는 뛰어난 외국어 능력을 지닐 뿐 아니라 시가 창작된 사회의 문화적 배경을 충분히 이해하고 있어야 한다. 아울러 번역 작품의 예술성과 문학적 세련미를 잘 살려내야 한다는 점이 중요하다. 이러한 문제들은 번역된 작품이 원작의 의미를 왜곡하였거나, 의미나 정서를 제대로 전달하지 못하였거나, 운율적 아름다움을 비슷하게라도 전달하지 못하는 경우가 많다는 점에서 문제가 된다. 한국 시를 영어로 번역할 때 발생한 오역의 예들을 찾아 검토함으로써, 이러한 문제점들을 개선하기 위한 바탕으로 삼고자 한다. 조지훈 시 「古詩」, 박두진 시「고산식물」 등의 영역에는 동서양의 문화적 배경의 차이에서 기인하는 잘못된 번역이 오해를 불러일으킬 수 있는 부분이 있다. 김소월 시 「진달래꽃」의 '죽어도 아니 눈물 흘리우리다'의 번역에서도 '죽어도'라는 단어를 직역하는 것은 한국어의 관습적 표현법에 의한 상징적 의미를 잃게 만든다. 또한 의성어나 의태어를 어떻게 옮길 것인가의 문제도 난제로 남아있으며, 어휘의 선택이 얼마나 어려운 일인가를 보여주는 많은 예들을 찾을 수 있다. 중요한 문제는 영어로 번역된 시가 단순히 작품의 내용만 옮기는데 그치고 말고 영시로도 훌륭한 작품이 되어야 한다는 점이다. 이러한 점을 고려하면서, 번역자는 제2의 창작을 한다는 생각으로 최선의 노력을 기울여야 한다. 이러한 문제들은 번역작품의 내적 문제라면, 번역환경의 외적 문제들이 있다. 상업성이 부족한 한국시의 번역은 국가적 지원에 의한 문화정책으로 추진하여야 한다는 점, 또, 개인의 관심사에 의한 즉흥적인 작품 선정을 지양하고 장르나 시대별로 일관성 있고 체계 있게 번역하여 우리 시를 해외에 소개하여야 한다는 점이 중요하다.

「學之光」의 詩文學史的 意義

조창환 亞洲大學校 1985 論文集 Vol.8 No.-

The 'Hak-Chi-Kwang'(學之光) was a magazine published in Tokyo from 1914 to 1930. The contributors to this magazine were the Korean students who attended Japanese universities. In those days the Korean Peninsula was under the rule of Japanese Imperialism. This study aims to elucidate one aspect of early modern Korean poetry, in order to relight the history of the modern Korean poetry. By analyzing the poems in those magazines, I have obtained some important data of early modern free verse form. The verse form in such traditional poems as 'Kasa'(가사), 'Taryong'(타령), 'Hansi'(漢詩) was used by the writers who had studied and tried to create a modern free verse form. They vigorously created romantic love poems, and write, at the same time, the poems of social enlightment movement. The form of free verse style, especially in the 1910s, was crude and unskillful in rhythm pattern, poetic diction, imagery, and expression of poetical sentiment. But it is noteworthy that such transitional verse form as 'Changga'(唱歌), 'Shinchesi'(新體詩) were changed and altered to modern free verse. And this magazine was a stage on which this new style was experimented. The 'Hak-Chi-Kwang' is important in terms of bibliographic document of Korean literature. The poets Choi-Sunggu(崔承九), Kim-Yoje(金與濟), Kim-Anso(金岸曙) etc, made their debut in this magazine and created some valuable poems.

역사적 사건의 문학화 방식 : 유현종의「들불」을 중심으로

조창환 亞洲大學校 1985 論文集 Vol.8 No.-

The subject matter of the novel "Deul-Bul"(들불) by You Hyun-jong is "Donghaklan"(東學亂), a peasant uprising in the modern history of Korea. The uprising is the explosion of the struggle between the ruling class of landlords, aristocrats, and bureaucrat on the one hand and the ruled class of peasants and all the others. The novelist inexorably reveals the corruption and inability of the ruling class all throughout and at the same time makes the potential energy in people felt. Im Yeo-sam(임여삼) the protagonist in this novel represents the capacity people have. The novel is faithful to the historical events as they were. The novelist does not fictionalize them. Therefore it is characteristic of it that, rather that the personality of a subjective individual the tremendous change of society governs the stage. It could be disparingly indicated that, by paying too much attention to the struggles between the classes, the complex feelings such as suffering or agony within one person should be neglected. And yet we can deny the significance that the novel has showing how the potential energy in people was operated in the cataclysmic period of history.