시의 자기지시성과 자기지시성에 작용하는 장치

윤의섭 ( Youn Eui Seoup ) 성균관대학교 인문학연구원 2023 人文科學 Vol.- No.89

본고는 시의 자기지시성이 갖는 의미와 특징을 살펴보기 위해 시를 구성하고 있는 다양한 층위의 요소들을 자기지시성과 관련하여 분석해 보았다. 그리고 시의 자기지시성이 시의 존재성과 관련하여 어떤 의미를 갖는지를 알아보았다. 이와 함께 시의 자기지시성에 작용하는 장치의 기능과 특징을 시의 요소를 통해 살펴보았다. 시의 요소들은 장치로서의 역할을 한다. 시에서 장치는 분리, 결합, 진화와 관련된 작용을 한다. 시의 장치는 시의 자기지시성을 유지하고 강화하는 작용을 한다. 시의 자기지시성은 자율적 세계인 시의 자기존재를 지시 대상으로 하여 스스로를 나타내는 성질이다. 이러한 시의 자기지시성은 시의 요소가 수행하는 장치의 작용과 밀접하게 관련되어 있다. 또한 시의 자기지시성은 시의 존재성과 관련되어 있다. 따라서 시의 자기지시성에 작용하는 시의 장치 역시 시의 존재성을 성립시키는 데에도 일정한 역할을 한다. This paper examined the meaning and the characteristics of self-referentiality of poetry. To this end, the elements of various layers constituting poetry were analyzed. In addition, this paper investigated the meaning of self- referentiality of poetry in relation to the existence of poetry. In addition, the functions and characteristics of the device acting on self-referentiality of poetry were examined through the elements of poetry. The elements of poetry serve as a device. In poetry, devices act as separation, coupling, and evolution. Poetic devices perform the role of maintaining and strengthening self-referentiality of poetry. Self-referentiality of poetry is the property of expressing oneself toward oneself. Self-referentiality of poetry is closely related to the action of the device performed by the elements of poetry. In addition, self-referentiality of poetry is related to the existence of poetry. Therefore, the device of poetry that acts on self-referentiality of poetry also plays a certain role in establishing the existence of poetry.

이성선 시에 형상화된 음양오행의 상상력과 치유성 연구

김지연(Kim, Ji-yeon) 한국비평문학회 2020 批評文學 Vol.- No.75

본 연구에서는 이성선 시에 형상화된 음양오행의 상상력을 탐색하여 그 치유성을 모색하고자 했다. 이러한 이 연구의 방향성은 일반적 시론과 동양의 음양오행을 융합해 통찰하고, 시 치료의 시야를 전위적으로 확대해 보려는 시도였다. 동양에서는 우주・자연의 생명이 음양오행이 生剋하는 원리를 통해 변화와 순환의 과정을 거쳐 조화를 이룬다고 보았다. 본 연구에서는 음양오행에 관한 기존 학설을 검토하여 ‘음양오행 체계’ 분류표를 만들어 이성선 시 해석의 토대를 세웠다. 이성선은 시, 우주, 삶이 합일되는 세계를 꿈꾸며 치열하게 시 창작에 몰입했다. 이성선은 전 詩作을 통해 인간과 자연이 광대한 우주와 모두 하나로 꿰어진 생명이라고 역설했다. 우주의 신비를 생명의 언어로 시화하려는 이성선의 시적 동경은 그의 시를 음양오행의 시각으로 해석하게 하는 단서가 되었다. 본 연구에서는 木・火・土・金・水의 오행이 生剋하는 이성선의 시를 오행 상징 ‘나무’・‘달’・‘산’・‘별’・‘물’ 이미지에 초점을 맞추어, 생명의 우주율이 형상화된 오행생극의 자연시로 조명해 분석했다. 이성선 시에 형상화된 음양오행의 상상력과 치유의 힘은 ‘나무’―생명의 우주율을 꿈꾸는 영원의 꽃, ‘달’―원초적 생명에의 동경과 열정, ‘산’―생명의 조화를 주재하는 터전, ‘별’―견고하고 의로운 생명의 빛, ‘물’―생명의 원천과 정화 등으로 해석되었다. 이성선 시에 형상화된 음양오행의 상상력은 시적 자아와 우주와의 교감을 통해 치유의 연금술을 보여주었다. 음양오행의 생명관과 가치에 대한 연구는 자아와 우주의 교감, 몸과 자연의 경계를 해체하고 통합시켜, 역동적 치유성을 탐구할 수 있는 단초를 마련해주었다. 음양오행의 관점에서 이성선 시의 생명의 우주율을 탐구한 이 연구가 시 치료에 있어서 하나의 방법론으로 확장될 수 있기를 기대한다. This study explores Lee Sung-sun’s poetry imagination in his figurative descriptions of Yin-Yang and the five elements shown in his poetry, and its healing effects. Therefore the direction of this study is to combine common poetic theory with the Eastern Yin-Yang and the five elements to widen the view on the poetry therapy. Lee Sung-sun has been aspiring to create a world that combines poetry, universe and life. He expresses the combination of the universe and motions of the poetic-self through dance in his poetry. Lee Sung-sun’s poetry depicts an image of Yin-Yang and the five elements gracefully joined in unison and yet in opposition of one another. He depicts universe of life through nature poetry with Yin-Yang and the five elements. In the East, people found the truth of the universe and nature through Yin-Yang and the five elements. This study systematizes Yin-Yang and the five elements by considering existing theories. Image of the wood, fire, earth, metal and water in his poetry are analyzed and he explains how these elements have the capacities of therapy. Imagery depicted in the imagination of Yin-Yang and the five elements in Lee Sung-sun’s poetry shows capacities to heal through communion of poetic-self and universe. Through the perspective of Yin-Yang and the five elements, I hope that this study, which explored universe of life, will be considered as one methodology in poetry therapy.

중국 고전시가의 산문적 요소 수용 배경 연구 - 중당(中唐)에서 까지의 문단을 중심으로 -

김지영 한국중국어문학회 2009 中國文學 Vol.59 No.-

Yi wen wei shi(以文爲詩) is one of the artistic poem-composing styles in which poems are composed in the way of prose writing. Emerging in the Middle Tang period and flourishing in the Northern Song period, Yi wen wei shi has been considered very important in the history of Chinese poetry because it directly influenced the formation of the characteristics of the Song Poetry. My paper studies the development of the Yi wen wei shi style as well as the background of its expansion. First, I will discuss the backgrounds of the emergence of Yi wen wei shi in the Middle Tang. Most of poem critics refers Yi wen wei shi as the main feature of Han Yu`s(韓愈) poetry. What made Han Yu develop Yi wen wei shi? It was not easy for poets in Han Yu`s time to make their poetry distinguished from the works of Li Bai (李白) and Du Fu(杜甫), who belonged to the previous generation and left enormous achievements in poetic styles and poetry writing. But Han Yu developed a new style of poem-composing and formed a new school himself. It was Yi wen wei shi that made it possible for poets of the Middle Tang to present new styles in front of the brilliant accomplishment of the High Tang poetry. The Rebellion of An and Shi(安史之亂) was the turning point not only for the political and social conditions during the Tang period but also for the literature at that time. Through this incident, poets realized the socio-political reality of their time and found that the previous style of poetry could not describe the disorder they were experiencing. Therefore, they desperately needed a new style. This was the reason why the new poem-composing style of Yi wen wei shi developed. One of the significant changes in the Middle Tang literary world was the Classical Prose Movement(古文運動), which claimed the revival of the spirit of the Classical Prose of the Han dynasty(兩漢) and its use in poem composition. Now I will discuss why Yi wen wei shi developed in the Northern Song dynasty. In the early Song the sentimental character of the Five Dynasties(五代) was widespread and the Bai ti(白體), the Late Tang style(晩唐體) and the Xi Kun ti(西崑體) prevailed. By the time of the mid-Northern Song, Ouyang Xiu`s(歐陽修) poetry corrected the Xi Kun ti and used the Qige(氣格)-oriented Yi wen wei shi style. Shao Yong(邵雍), in the mid-Northern Song, began to compose poetry by using prose elements. The lixue(理學)Scholars at that time had a little opinion about literature and used Yi wen wei shi to demonstrate their ideas. Therefore the Poetry and Prose Reform Movement(詩文革新運動) in the Northern Song became the basis for the development of Yi wen wei shi. In addition, there was a trend of fusion among the literary genres in the mid-Northern Song, which was possible because of the Song poets` openness to new styles. This trend of fusion between poetry and prose further enabled the development of the Yi wen wei shi style.

조선시대 한시의 경관 요소에 대한 계량적 분석–‘소쇄원’과 ‘환벽당‧식영정’을 중심으로–

정성훈 근역한문학회 2024 한문학논집(漢文學論集) Vol.67 No.-

16세기에 호남지역에는 ‘소쇄원(瀟灑園), 환벽당(環碧堂)‧식영정(息影亭)’ 등이 조성되었는데, 이들은 매우 가까이 위치하고 있는 누정과 원림으로서, 비슷한 시기에 창건되었다. 창건 초기에 김인후, 임억령, 고경명, 정철, 송순 등의 인물들이 서로 한시를 짓고 교류하는 장소로 활용되는데, 이 연구에서는 이들이 ‘소쇄원’과 ‘환벽당‧식영정’을 대상으로 어떤 경관 요소를 사용하여 창작하였는지를 밝히고 각 장소별, 작가별, 시기별로 한시의 경관 요소들의 공통점과 차이점을 계량적으로 밝힌다. 이를 위해 ‘소쇄원’과 ‘환벽당‧식영정’에 관한 한시를 수집하여 데이터베이스를 구축하였으며, 경관 요소의 특성을 살핀다. 이후 TF-IDF와 가중로그승산비 분석을 통해 장소별, 작가별, 시기별로 한시에 나타나는 경관 요소의 모습을 거시적으로 해석하였다. 그 결과는 다음과 같다. 한시에 나타난 전반적인 ‘소쇄원’ 경관 요소의 특징은 소쇄원 내의 건물 같은 인공물 요소가 높다는 점과 자연물 요소뿐만 아니라 동‧식물 요소도 발견된다는 점이다. 이에 반해 ‘환벽당‧식영정’ 경관 요소의 특징은 동‧식물 조경 요소가 핵심이며, 자연물 요소와 인공물 요소의 특징이 가미되어 있는 모습이다. 다시 말하면, ‘소쇄원’은 건물의 모습과 그 배치를 중심으로 하며, 대나무‧물고기‧산새 등의 동‧식물 요소가 경관을 보충하고 있는 모습이라면, ‘환벽당‧식영정’은 소나무, 오동나무, 줄 등의 동‧식물 조경 요소가 주(主)가 되고 모래, 들판, 구름 등과 같은 자연물 요소와 배 등과 같은 인공물 요소가 배경이 되는 특징을 보인다. In the 16th century, ‘Soswaewon, Hwanbyeokdang, and Sikyeongjeong’ were established in Jeolla-do, which are located in close proximity. In the early of their establishment, they were used as places where writers such as Kim In-hu, Im eok-ryeong, Go Gyeong-myeong, Jeong Cheol, and Song Sun wrote and interacted with each other. In this study, we investigate what landscape elements they used to create their poems at ‘Soswaewon, Hwanbyeokdang, and Sikyeongjeong’, and quantitatively reveal the similarities and differences between the landscape elements of their poems. To this end, we collected Chinese poetry about ‘Soswaewon, Hwanbyeokdang, and Sikyeongjeon’ to construct a database, and examined the characteristics of the landscape elements. Then, we used TF-IDF and weighted log odds ratio to macroscopically interpret the landscape elements that appear in Chinese poetry. The results are as follows. The overall characteristic of the landscape elements in Chinese poetry is the high prevalence of man-made elements such as buildings in Soswaewon, and the presence of not only natural elements but also animal and plant elements. On the other hand, the landscape elements of Hwanbyeokdang and Sikyeongjeong are characterized by elements of flora and fauna, with a mix of natural and artificial elements. In other words, while Soswaewon focuses on the appearance of the building and its layout, with animal and plant landscape elements such as bamboo, fish, and mountain birds. Hwanbyeokdang and Sikyeongjeong is characterized by animal and plant elements such as pine trees, paulownia trees, and grasses, with natural elements such as sand, fields, and clouds, and artificail elements such as boats in the background.

The Analects element in Korean Ancient Chinese Poetry

( Wang Guobao ) 성균관대학교 유교문화연구소 2011 儒敎文化硏究(中文版) Vol.0 No.16

朝鮮古代漢詩中有很多《論語》元素, 主要包括對《論語》的不同稱謂、引用和評述。這些漢詩呈現《論語》元素的主要手法是用典。朝鮮詩人將《論語》中的名言警句、經典情境視爲典故來引用, 幷在語義、功用等方面充分發揮經典的力量, 提升了詩歌的表達效果, 這也透露了孔子思想的地位及《論語》在朝鮮半島傳播的諸多特点等文化信息。這種現象是《論語》在古代朝鮮半島廣泛傳播的重要證据和豊碩成果, 也是一種重要的文化傳播方式和詩歌生産方式。 There are a lot of the Analects elements in Korean ancient Chinese poetry, including the different appellation, reference and evaluation. The main way of these Chinese poetry presents the analects elements is using allusions. Korean poets quoted the wellknown saying, Classic scenes and played the role of the classic works at semantic and function, improved the expression effect of poetry. This also revealed the status of Confucius' thought and many cultural information of the analects’ transmission in Korean peninsula. This phenomenon is the important evidence and fruitful results of the analects’ transmission in Korea peninsula and this is a kind of important mode of culture transmission and poetry production. [Article in Chinese]

이상 시의 아이러니 서사 연구

김선빈 이상문학회 2023 이상리뷰 Vol.- No.20

본고는 이상의 시에서 서사가 구현되는 방식에 주목함으로써 그의 시에 드러나는 ‘아이러니 서사’를 살펴보았다. 이상의 작품은 다양한 차원에서 탈장르적 면모를 보여준다. 실제로 그의 작품에 ‘시적인 소설’, ‘소설적인 시’라는 평가가 가능하다는 점에서 이상이 시와 소설의 경계를 넘나들고, 각각을 융합했음을 알 수 있다. 그러나 지금까지 그 방식에 대해서는 구체적으로 논의되었다고 보기 어렵다. 이러한 문제의식을 바탕으로 본고는 이상의 시에서 서사가 포착되는 양상과 그 특징을 밝혀보았다. 이상 시의 서사는 시적 화자가 대상의 행위를 관찰하고 묘사함으로써 상황을 구현하는 지점, 화자 자신이 처한 상황을 진단하고 시에 장면을 구성함으로써 사건을 형상화하는 지점에서 포착된다. 이때 ‘예상치 못한 결말 혹은 반전’을 가져오는 아이러니가 동원되는 것이 이상 시의 서사가 지닌 특징이라 할 수 있다. 이처럼 이상 시의 ‘아이러니 서사’에 주목하였을 때 그의 시가 지닌 탈장르적 면모를 구체적으로 논해볼 수 있다. 그뿐만 아니라 아이러니가 ‘표면과 이면’의 불일치를 보여줌으로써 이면의 진실을 바라보게 하는 수사법이라는 점에서 이상이 절망적인 현실에 대한 인식을 우회적으로 드러냈던 지점까지를 살펴볼 수 있다. This paper focuses on the 'ironic narrative' in Yi Sang's poetry, aiming to explore how narrative elements operate in his works. Yi Sang's works exhibit a transcendent aspect across various dimensions of genres. Indeed, one can assess his works as 'poetic novels' or 'novelistic poems,' indicating his traversal of boundaries between poetry and fiction and the fusion of the two. However, to date, there has been limited specific discussion on these aspects. Building on this awareness, this paper seeks to illuminate the patterns and characteristics of narrative elements in Yi Sang's poetry. The narrative in Yi Sang's poetry is captured at points where the poetic speaker observes and describes the actions of the subject, bringing situations to life, and where the speaker diagnoses their own situation, constructing scenes in the poem to shape events. These narrative elements operate in conjunction with irony, bringing about 'unexpected outcomes or reversals,' revealing distinctive features of Yi Sang's ironic narrative. By focusing on the ironic narrative in Yi Sang's poetry, one can articulate the genre-transcending nature of his works. Moreover, by showcasing the discrepancy between the 'surface and depth,' where irony exposes the truth beneath, one can grasp the aspects of Yi Sang's poetry that indirectly reveal the despair of reality.

한국어교육을 위한 현대시의 문화 요소 분석

오수연(Soo Yeon Oh) 학습자중심교과교육학회 2023 학습자중심교과교육연구 Vol.23 No.20

목적 본 연구에서는 한국어교육에서 현대시를 문학적인 측면보다는 문화적인 관점에서 분석하고자 하며, 문화 요소를 기반으로 분석함으로써 한국어교육에서 현대시를 더 효과적으로 활용하는 방법을 제시하는 데 있다. 방법 이 연구를 위하여 학문목적 학습자의 분포가 가장 높은 서울 소재의 12개 대학교의 한국어교재 141권에 수록된 현대시 75편에서 중복된 시편을 제외한 55편을 분석 대상으로 삼았다. 한국어교재에 수록된 현대시를 분석하기 위해서는 국가 차원에서 마련된 ‘표준 교육과정’ 중 3단계 ‘「국제 통용 한국어 표준 교육과정 활용 점검 및 보완 연구」’의 문화 범주를 활용하여 시를 문화 요소로 분류하였다. 결과 「국제 통용 한국어 표준 교육과정 활용 점검 및 보완 연구」3단계의 문화 범주를 활용하여 55편의 현대시를 문화 분류 항목인 ‘의식주문화’, ‘생활문화’, ‘언어문화’, ‘정신문화’, ‘역사문화’, ‘예술문화’, ‘전통문화’, ‘제도문화’, ‘지리문화’, ‘정보문화’의 문화 요소로 분류하였다. 문화 요소로 분류한 문화 항목 빈도수로는 ‘언어문화’가 55회, ‘지리문화’가 37회, ‘정신문화’가 36회, ‘생활문화’가 18회, ‘의식주문화’가 17회 순으로 나타났다. 결론 한국어교재 141권에 수록된 현대시 55편을 ‘표준 교육과정’의 문화 요소로 분석한 결과 ‘언어문화’에 집중되어 있었고 그 다음으로는 ‘지리문화’, ‘정신문화’ 순으로 나타났다. 낮은 빈도의 ‘제도문화’, ‘전통문화’, ‘역사문화’, ‘예술문화’가 포함된 다양한 문화 요소로 분류할 수 있는 시편들이 추가되어야 할 것으로 보인다. Objectives This study aims to analyze modern poetry from a cultural perspective rather than a literary aspect in Korean language education, and to present a way to use modern poetry more effectively in Korean language edu-cation by analyzing cultural elements. Methods For this study, 55 modern poems, excluding overlapping psalms, were analyzed from 75 contemporary poems contained in 141 Korean textbooks at 12 universities in Seoul, which have the highest distribution of aca-demic learners. In order to analyze modern poetry contained in Korean textbooks, poetry was classified as a cul-tural element using the cultural category of the third stage of the “Standard Curriculum” prepared at the national level. Results Using the cultural category of the “Checking and Complementing the Use of the International Standard Korean Curriculum,” 55 modern poems were classified into cultural elements such as “Living Culture,” “Language Culture,” “History Culture,” “Art Culture,” “Traditional Culture,” “Instrumental Culture,” and “Information Culture.” The frequency of cultural items classified as cultural elements was 55 times for “language culture,” 37 times for “geographic culture,” 36 times for “spiritual culture,” 18 times for “living culture,” and 17 times for “receiving culture.” Conclusions As a result of analyzing 55 modern poems contained in 141 Korean textbooks as cultural elements of the “standard curriculum,” they were concentrated on “language culture,” followed by “geographical culture” and “mental culture.” Psalms that can be classified into various cultural elements including low frequency ‘institutional culture’, ‘traditional culture’, ‘historical culture’, and ‘art culture’ should be added.

운율과 소리를 통한 영시 교육 방법의 모색

조희정(Heejeong Cho) 한국영미문학교육학회 2017 영미문학교육 Vol.21 No.2

This paper attempts to suggest ways in which the instructor can call students’ attention to phonological elements in English poetry and integrate considerations of these elements into discussions of thematic/social/historical issues raised by the text. In English-speaking culture, reading aloud is regarded as one of essential steps to approach poetry. As Korean students usually encounter English poetry in the form of written texts, it is difficult to lead them to take interest in the experience of listening to poetry. Yet, English poetry speaks not only through its content but through its meter and sound as well, and understanding the importance of phonological factors opens a new horizon for students who are learning to interpret poetic texts in English. For example, the iambic meter, which is regarded as the most prevalent form in English poetry, sometimes gives way to a different kind of meter, emphasizing this exceptional part of the text where the poet delivers an important message. At other times, poetic texts intentionally deviate from the iambic meter, and this deviation adds effectively to the textual meaning process. Also, rhymes often show interesting connections with the content of the poem. Rhyming words may reveal where the focus of the poetic text lies, and changes occurring in the rhyming pattern of the poem may expose more fundamental changes in the speaker’s psyche or the poem’s overall meaning. Alliteration and assonance also perform a significant function in understanding English poetry. Through enhancing students’ aural experience of English poetry, the instructor can invite them to appreciate and analyze the text in a more in-depth way.

헝가리 시(詩)에 나타난 샤머니즘과 이교도적 요소를 통해 본 헝가리인의 정체성

유진일(Jinil Yoo) 한국동서비교문학학회 2016 동서 비교문학저널 Vol.0 No.38

The purpose of this study is to find Hungarian identity in Hungarian poetry. The Hungarian identity attracts attention, because the Hungarian people moved from Asia and settled in Europe. The Hungarians differ from neighboring peoples in nation, race, language and culture. Studies have been made of the Hungarian identity in terms of history and oral literature. The present study examined how shamanistic and pagan motifs have been reflected in the poems the Hungarian people wrote after their acceptance of Christianity in Europe. First, it is the taltos motif that is most found in connection with shamanistic elements in Hungarian poetry. The taltos was in charge of religious rites before the Hungarians adopted Christianity. He connected humans with gods by invoking gods in a state of hallucination and exercising supernatural powers. József Attila’s Regősének is a representative poem that includes the taltos motif. Second, it is the vérszerződés motif that is representative among non-Christian ones in Hungarian poetry. The motif is shown, above all, by Reményik Sándor’s Vérszerződés. Third, the A csodaszarvas is also a pagan motif easily found in Hungarian poetry. The deer was a totem for the Hungarian nation before their settlement in Europe. The motif is seen, in particular, in Arany János’ Rege a csodaszarvasról and József Attila’s A csodaszarvas. Additionally, there are various non-Christian motifs in Hungarian poetry. Some people may question whether individual poems can the general identity of the Hungarians. Indeed, it is difficult to make an affirmative answer, but the individual poems seem to reveal the self-consciousness of the Hungarian people at least in that the poets using such motifs represent the Hungarian literature of each era and are still loved by the Hungarian public. In conclusion, the Hungarians do not forget their Asian identity despite 1000 years of life in Europe, as seen in the shamanistic and pagan elements in their poetry.

당시의 어법적 특색

엄귀덕 대한중국학회 2015 중국학 Vol.53 No.-

당대시인들은 언어의 “생소화”에 상당히 집착했다. 어법적 생소화가 바로 시어의 생소화 신드롬이 당대를 풍미한 이유는 시가 권력과 결합했기 때문이다. 당대의 궁정창화와 과거는 시와 권력이 결합한 “현장”이었다. 당대 초엽은 궁정창화가 시의 발전을 견인했고, “以詩取 士”가 확정된 중엽부터는 과거가 시의 번영을 강력하게 추동했다. 응시자의 신분제한이 철폐 되면서 시인층도 엄청나게 불어났기 때문에 시의 경쟁은 더욱 치열해졌다. 시의 경쟁은 번영 을 낳았다. 시어의 생소화는 번영의 단면이다. 당시의 어법적 생소화는 주로 근체시에서 목도 된다. 특히 근체시에서 가장 미학적 연이라고 일컬어지는 2연과 3연에 나타난다. 어순의 도치 와 문장성분의 생략은 생소화의 전략이다. 어법적 도치는 앞으로 환위된 요소들이 전경화 효 과를 가진다. 문장성분의 생략은 독자의 상상력이 다양하게 작동할 공간을 제공함으로써 시 정을 풍부하게 하는 효과를 가진다. The Tang dynasty witnessed the prosperity of poetry. It is the collective writing of poetry in the court with the emperor in the center and the imperial examination to select high officials that led to the full blooming of poetry. What they shared in common is that poetic writing was a competition. Conventionally there arranged a competition of poetic writing in the court after the banquet hosted by the emperor. The poets, mostly high officials, were concerned with the poetic language whenever they wrote a poem in the court, the language which became a criteria for poetic mastery. Since the Tang government enforced a national policy to include poetic writing in the imperial examination, Tang literati devoted themselves to learning poetics and developing poetic skills. In order to become a winner, they focused on the de-familarization of daily language especially in composing Modern-style poems by disrupting the linguistic grammar. The inversion of word order, the list fragment of nounal images, and the abbreviation of sentence as the mode of de-familarization of language are frequently found in the Tang poetry. It is obvious that de-familarized language in the poetry “makes strange the world of every perception and renew the reader’s lost capacity for the freshness of sensation”, as V. Shklovsky says. The de-familiarization of language reflects an aspect of the great literariness of the Tang poetry which is hardly found in Song poetry oriented towards the philosophical trend.