唐詩與英國浪漫主義期之間愛情詩比較

배다니엘 한국중국학회 2009 國際中國學硏究 Vol.0 No.12

This article was written to study on the comparative study Love Poems between Tang Dynasty in China and Romantic Period in English literature. Love is an ever-lasting subject of classical works in every country. poems, a main stream of Chinese and English classic literature, is no exception. In the perspective of culture, the different features of contents, forms and styles are compared. The different cultural resources are explored in the perspective of social history, national psychological tradition and philosophical aesthetics. The features of Love Poems between Tang Dynasty and Romantic Period are compared in basically, and also can be summarized as that: The first, the choice between hero and heroine are distinct, so the description object by writer in each literature is different. The description object in the Love poems of Tang Dynasty was a heroine frequently, by compare with who was a hero in the poems of Romantic Period in English literature. The second, although the poems of Tang Dynasty and Romantic Period in English literature have many similar ways of expression, however, in the aspect of content, the Love poems of Tang Dynasty focus on life after marriage while the poems of Romantic Period in English literature on courtship. The Chinese ancient Love poems is strikingly characterized by consciousness of aesthetic appreciation. What she valued is purity and sincereness, loyalty and firmness, and profundity and persistence. In comparative, what the valued of the Love poems in Romantic Period in English is more intense pursuit and passion to love. The third, although Chinese and Western love poetry have many similar ways of expression, however, each has its own characteristics in the aspect of style. That because of its distinguishing language feature and aesthetic feeling. So the Love poems of Tang Dynasty have some of Quiet, Delicacy, Lonesome styles while English poems are known for their openness and explicitness in expressing love. The art of poetic language between Chinese and English assigned great importance in the literary history. It stands huge aspects to have a contrast with the description object, contents, styles, images alternatively.

고정희 연시 연구

이경희(Lee Kyong Hee) 돈암어문학회 2007 돈암어문학 Vol.- No.20

고정희 시인은 1948년 《현대시학》에 등단한 이후, 12권의 시집을 남기면서 왕성한 시작 활동을 하다가 1991년 타계했다. 고정희는 그의 『누가 홀로 술틀을 밟고 있는가』(1979, 평민사)를 시작으로 유고시집 『모든 사라지는 것들은 뒤에 여백을 남긴다』(1992, 창작과 비평사)에 이르기까지 12권의 시집을 남겼는데 주로 실험적 의식이 강한 시편들을 다수 남겼다. 그럼에도 불구하고 그의 가장 내면적인 목소리는 그의 연시들 속에 간직되어 있다. 때문에 그의 연시를 살펴보는 것은 그의 시세계의 핵심을 조명하는 중요한 작업이 될 수 있다. 그래서 본고에서는 『아름다운 사람 하나』에 수록되어 있는 서정성이 뛰어난 연시들을 중심으로 그 내용과 형식의 특성을 살펴보기로 한다. 먼저, 연시에 나타나는 지향대상을 보면, 고정희의 연시에 보이는 사랑의 대상인 ‘그대’는 다양한 범주를 드러낸다. 첫째는 초월적인 힘을 지닌 신적인 존재로서의 ‘그대’이다. 시인은 초월적인 존재로부터 삶의 희망과 생명을 새로이 회복한다. 둘째는 자연으로서의 ‘그대’이다. 시인이 그리워하는 자연은 ‘그대’ 가슴처럼 내 고단함을 묻는 포근한 대상, ‘나’가 안식을 취하면서 바라는 세계를 의미하기도 한다. 셋째는 구체적 현존으로서의 ‘그대’이다. 고정희의 시에서 사랑하는 ‘그대’는 ‘아름다운 사람 하나’이며 가장 서정적 의미로 다가오는 구체적 현존이다. 이 세 가지 의미는 각각의 작품에 나타나기도 하지만 때로는 한 작품에서 세 가지 모두가 드러나는 것과 같이 다양한 대상을 수렴하고 있다. 다음으로 고정희의 연시에 주로 나타나는 기법 양상을 살펴보기로 한다. 첫째, 형태시 기법이다. 시각적인 효과를 주며 음절과 구문의 배행을 달리 함으로써 시가 지니는 주제를 좀 더 선명한 이미지로 표현하고 있다. 둘째는 음절과 구문의 반복으로 인한 주제와 의도의 강조이다. 이는 의미의 점층과 확장을 가져오는 효과를 갖는다. 셋째는 시어의 선택에서 자기 연민의 어조와 담백한 표현을 쓰고 있는 점이다. 넷째는 패러디형식으로 성경을 패러디한 것이 많다. 보통 패러디는 적대감과 친밀감이라는 상호 모순의 양면성을 띠는데 고정희의 「더 먼저 더 오래」에서는 모방과 친밀감이 강조되어 있다. 본 소고가 미비하기 때문에 정신분석학이나 시인의 체험 등을 참고한다면 이 주제의 연구는 더욱 풍성해질 수 있을 것이다. 앞으로 계속 고정희의 시세계에 대해 연구할 것이기에 차후의 과제로 남기기로 한다. After Goh Jung Hee (1948~1991) established herself as a poet on 「Mordern Poetics」 in 1975, she wrote 12 poetries actively. Goh Jung Hee composed a lot of experimental poems which are about traditional longpoems, feminism, eternity of Christian and populace. Still, she described her most internal voice in her love poems. Therefore studying her love poems can be the important thing to illuminate her core of her poetic world. This paper is about the study of contents and forms of her poems, especially love ones in ‘A Beautiful Person’. First of all, in her love poems she intends to express ‘He’, which is the object of love, could be interpreted variously. First, ‘He’ is God who is transcendent and means salvation. So his love is absolute and everlasting. At this point there is special quality that God is the absolute being and his love is continued absolutely. ‘I’ love one who is transcendent and feel his existence which holds myself by an irresistible force. Second, ‘He’ is like nature. She wrote many poems of which motifs are mountains and rivers. They are the key to link the theme directly. Mountains and rivers plays an important role in the subject of her poem like expression and creative writing motif in literature. That is, mountains and rivers, objects of ardent desire as motifs are in the category of ‘He’. Finally, ‘He’ is a person who is ‘A Beautiful Person’. ‘He’ could be the meaning of concrete being rather than transcendental being or nature which is mentioned above. It is the most lyrical interpretation. He is existing but away from her consistently in her poems. These three meanings are expressed in each poem, but sometimes all the three meanings are expressed in one poem. Let me examine her technic in her love poems. First, formal technic visualizes poems and expresses the clear image by making a difference of lining syllables and constructions. We can see the technic in her love poems like 「Triangular Love」, 「Late Autumn」, 「Autumn Night」, 「Confession」. Formal technic effects on her poetic meaning through visualizing effect. Second, she repeated a syllable or a construction to emphasize themes and her intentions. Also, these refrains show not simply a few times but many times in her lyric. And this effect gives her love poems soft rhythm. Third, she uses self-sympathetic tone and simple expression in choosing poetic words. She uses poetic words which are not florid and less metaphorical. She appeals to us frankly and simply. In her love poem 「Thinking of You」, she thinks she should leave him, but she sees herself get closer to him. She feels painful sympathy for herself seeing the process of this. Many poems have this aspect. Finally there are parodies in her poems, especially many from the bible. Unlike other parodies which express mutual contradiction like hostility and familiarity, she emphasizes imitation and familiarity in her lyric 「The Earlier, the Longer」. In her love poems, she parodied Matthew. It is far from objection and hostility. And it is similar to the value of Matthew flowing internal. Afterwards the discussion on Goh Jung Hee's lyric will take a turn for the better. I think that the study on Goh Jung Hee's love poems will be more plentiful when you refer to mental analytics or poet's experience because this study is incomplete.

기획논문: 문학의 통속화, 통속의 문학화 : 삼괴당신종호한시(三魁堂申從濩漢詩)의 풍류적(風流的)면모 -염정시(艶情詩)를 중심으로-

이재숙 ( Jae Sook Lee ) 근역한문학회 2014 한문학논집(漢文學論集) Vol.39 No.-

본고는 15세기 관료문인인 삼괴당 신종호의 염정시를 대상으로 작품 창작 동기를 살펴보고 관능적 여성의 형상화에 나타나는 통속성과 문예미를 고찰하였다. 이를 통해 정통 한시에서 빗겨있거나 가치 폄하된 통속적 염정시의 미적 특질과 한계성을 정리해보고자 하였다. 신종호의 염정시는 15세기 관료문인의 자유분방하고 탄력적인, 또 雅俗의 경계를 넘나드는 다양성이 주목된다. 사대부들에게 있어 사랑의 감정과 여성 육체에 대한 탐닉, 性의 표현은 일반적으로 자유롭지 못했으나, 신종호의 문집에는 다수의 애정시가남아있다. 첫째, 신종호의 염정시는 함께 격의 없이 지냈던 벗들과 일탈적 유흥을 배경으로 장난기 가득한 戱作的경향이 두드러진다. 이에 연정의 풍류를 즐기며 아름다움을 찾는 면면의 애착이 염정시 창작으로 이어지고, 관인으로서의 형식적인 문학 활동과 구별되는 문예미를 추구한 흔적이 엿보인다. 둘째, 신종호의 염정시는 관능적 여성의 아름다움을 머리 모양과 머리 장식을 통해 섬세한 문예미를 함축하고 있다. 이들은 여성의 정조와 관련해 중요한 상징적 의미를 지니는데, 이를 바라보는 남성 시인의 시선은 본능적 욕망과 함께 은유적으로 표현된다. 또한 사랑의 공간과 침실에 배치된 다양한 여성들의 소품을 섬세하게 묘사함으로써 관능적 여성의 俗趣를 함축적으로 전달한다. 염정시를 통해 표현된 화려하고 고운 것들에 대한 섬세한 문예미는 그와 반대되는 작자의 심경을 역설적으로 돌이 켜보게 한다. 일반적으로 염정시는 시어의 운용과 선택에 있어 규방의 소품과 여성의 장신구 등이 빈번하게 등장하는 전형적인 양상을 보인다. 이러한 소재들은 기본적으로 남성이여성에 대한 속물적 연정과 탐닉의 俗性을 내포하고 있다. 염정시에 사용된 시어와故事는 정통 한시의 다양한 양상과 표현기법에 비해 상투적인 언어와 기법을 주축으로 한다. 그럼에도 불구하고 유희성과 해학성에 의해 일상의 긴장과 엄정성에서 벗어나 자유로운 인간의 감정을 허심탄회하게 펼쳐 풍부한 美感을 함축하고 있다. 또 사대부로서 사랑의 감정과 여성에 대한 표현은 주로 ‘꽃’을 매개로 이중적 함의를 갖고 있다. 이러한 유희성과 이중적 함의가 가져다주는 모호성은 속물적 남성의 염정을 문학적으로, 심미적 시세계로 한 단계 끌어올리는 중요한 부분이라고 할 수 있다. This piece of writing looked into the motive of creative writing targeting Yeomjungsi (Love Poem) by Samgoedang Shin, Jong-ho who was an official-literary person in the 15th century, considered the popular nature and beauty of literary art that are exposed in the embodiment of a voluptuous woman. Through this, this writing is intending to organize aesthetic characteristics and limitations of a popular love poem which was deviant from a legitimate Chinese poem or whose value was denigrated. It has been brought to this author’s attention that the love poem written by Shin, Jong-ho represents the 15th century official-literary writers’ carefree, flexible traits and diversity which crossed the borderline between something lofty and something vulgar. To the Literati Society, a feeling of love, indulgence in a woman’s body and sex expression weren’t free in general, but there still remain a large number of love poems in Shin, Jong-ho’s collection of literary works. First, Shin, Jong-ho’s love poems stand out as writing-for-amusement-based tendency full of mischief against a backdrop of deviant amusement with his friends, to whom Shin, Jong-ho was free and open. Hereupon, every single aspect of attachment of seeking beauty while enjoying the taste for burning love was linked to creative work of love poems, and seen are the vestiges of pursuing the beauty of literary art distinct from formal literary activities as an official. Second, Shin, Jong-ho’s love poems connotes delicate beauty of literary art by describing a sensual woman’s beauty through hairstyle and tire. They have an important symbolic meaning in relation to a woman’s chastity, and a male poet’s eyes are expressed metaphorically together with his instinctual drive. In addition, Shin, Jong-ho renders a voluptuous woman’s vulgar taste connotatively by describing a women’s various small articles placed in the love space and bedroom. The subtle beauty of literary art of gorgeous and lovely things expressed through love poems makes us paradoxically look back on the writer’s feelings which are opposite to it. Generally, a love poem shows a typical aspect where small articles in women’s quarters and a woman’s accessories frequently appear in the application and choice of poetic words. Basically, such materials connote a man’s snobbish affection and attribute of indulgence for a woman. The poetic words and ancient events used in love poems are formed around stereotyped languages and techniques in comparison with diverse aspects and expression techniques of orthodox Chinese poems. Nevertheless, they connote a rich aesthetic feeling by spreading out a free human’s feelings open-mindedly away from tension and exactness of a daily routine by virtue of pleasure and a vein of humor. In addition, the expression of romance and a woman as the gentry(Sadaebu) has the dual implication This piece of writing looked into the motive of creative writing targeting Yeomjungsi (Love Poem) by Samgoedang Shin, Jong-ho who was an official-literary person in the 15th century, considered the popular nature and beauty of literary art that are exposed in the embodiment of a voluptuous woman. Through this, this writing is intending to organize aesthetic characteristics and limitations of a popular love poem which was deviant from a legitimate Chinese poem or whose value was denigrated. It has been brought to this author’s attention that the love poem written by Shin, Jong-ho represents the 15th century official-literary writers’ carefree, flexible traits and diversity which crossed the borderline between something lofty and something vulgar. To the Literati Society, a feeling of love, indulgence in a woman’s body and sex expression weren’t free in general, but there still remain a large number of love poems in Shin, Jong-ho’s collection of literary works. First, Shin, Jong-ho’s love poems stand out as writing-for-amusement-based tendency full of mischief against a backdrop of deviant amusement with his friends, to whom Shin, Jong-ho was free and open. Hereupon, every single aspect of attachment of seeking beauty while enjoying the taste for burning love was linked to creative work of love poems, and seen are the vestiges of pursuing the beauty of literary art distinct from formal literary activities as an official. Second, Shin, Jong-ho’s love poems connotes delicate beauty of literary art by describing a sensual woman’s beauty through hairstyle and tire. They have an important symbolic meaning in relation to a woman’s chastity, and a male poet’s eyes are expressed metaphorically together with his instinctual drive. In addition, Shin, Jong-ho renders a voluptuous woman’s vulgar taste connotatively by describing a women’s various small articles placed in the love space and bedroom. The subtle beauty of literary art of gorgeous and lovely things expressed through love poems makes us paradoxically look back on the writer’s feelings which are opposite to it. Generally, a love poem shows a typical aspect where small articles in women’s quarters and a woman’s accessories frequently appear in the application and choice of poetic words. Basically, such materials connote a man’s snobbish affection and attribute of indulgence for a woman. The poetic words and ancient events used in love poems are formed around stereotyped languages and techniques in comparison with diverse aspects and expression techniques of orthodox Chinese poems. Nevertheless, they connote a rich aesthetic feeling by spreading out a free human’s feelings open-mindedly away from tension and exactness of a daily routine by virtue of pleasure and a vein of humor. In addition, the expression of romance and a woman as the gentry(Sadaebu) has the dual implication mostly by a medium of ‘flower.’ Ambiguity brought by such pleasure and dual implication could be judged as an important part that takes a snobbish man’s love to one step higher level of the aesthetic poetic world in a literary sense.

1980년대를 배경으로 이성복의 시를 읽는 방식과 의의

이승은(Lee, Seung-eun) 한국시학회 2016 한국시학연구 Vol.- No.47

This paper studies the significance of reading Lee, Seong-bok’s poetry, specifically his love poems, with the 1980s, as the background which is referred to as the “Era of Grand Narrative.” It is difficult to deny that national popular literary discourse was a dominant trend in the 1980s, in terms of literary themes, and in consideration of that background, the concept of romance itself, which is the most intimate and private, may sound heterogeneous in those years. In fact, even if the 1980s was referred to as the Era of Grand Narrative, it was also a time when a lot of books of poetry were sold. In terms of poetry, the aspect of popular poetry was strong, but thanks to the significant response of readers, the genre of love poetry was also one of the best sellers at times. The fever of love poems that existed at the time when mentioning individuals itself, especially the love and romance of individuals, was considered extravagant and it seems insufficient to dismiss as a temporary popular literary phenomenon when explaining the 1980s. Therefore, this study discusses Lee, Seong-bok’s poetry in connection with love poetry and the 1980s, taking into account the fact that he was a representative poet of the 1980s and many readers take note of his love poems. I find that there is a common aspect between the 1980s and Lee, Seong-bok’s love poems: melancholy. The 1980s was a period when it was commonplace to see deaths from the pursuit of the aspirations for social reforms. Therefore, mourning was necessary after the deaths, but mourning was prohibited institutionally for the subjects of discourse. The subjects who were prohibited from mourning became melancholika. The speakers of Lee, Seong-bok’s poems are also melancholika. The former was the subjects of the grand discourse, and they were also the readers of Lee, Seong-bok’s poetry. They encountered each other as melancholika, and reading love poems for the subjects to whom mourning was forbidden was to replace the mourning process with a love poem. Because mourning is a symbolic register for the dead through a communal ritual. It means that the subjects who read love poems were replacing the act of mourning with the symbolization of parting in love poems. It is because the love poems belong to the work of symbolization of parting that laments the sadness of parting. Lee, Seong-bok’s love poems are melancholika that sing the hurt and pain of love, not the joy of love. In conclusion, the love poems in the 1980s can be seen as a response to the unconscious request of subjects of the 1980s for a mourning ritual.

유치환의 연시(戀詩) 연구

박진희(Park, Jin-hee) 원광대학교 인문학연구소 2022 열린정신 인문학연구 Vol.23 No.1

유치환 시세계의 특징 중 하나는 의지와 서정이 공존하고 있으며 이에 따른 논자들의 상반된 평가가 존재한다는 사실이다. 본고는 많은 논의가 유치환의 ‘의지’의 시를 중심으로 이루어지고 있고 ‘서정’에 관한 논의를 전개한다고 하더라도 연정이 드러난 시는 분석 대상에서 배제되고 있다는 점에 주목하여 유치환의 전시를 대상으로 연시를 분석하였다. 『청마 유치환 전집』(1~3권, 남송우 편저, 국학자료원, 2008.)을 자료로 삼아 분류한 결과, 총 작품 수는 694편, 이 중 연시는 69편으로 전체의 9.9%에 해당한다. 유치환의 연시의 가장 큰 특징은 그리움이나 기다림과 같은 직정적 정서들이 공통적으로 고독으로 귀결되고 있다는 사실이다. 유치환의 시에서 고독은 시인의 궁극적 지향이라 할 수 있는 전인적 존재, 고양된 자아로 나아가는 데 꼭 거쳐야 할 사유, 회오의 과정으로 가치를 지닌다. 유치환의 시에서 연정과 이와 관련된 정서들은 자기 정화의 기제, 고독을 환기하는 매개로 의미를 획득한다. 또한 유치환의 연시에서 정서는 감상의 차원에서 머물지 않고 사유, 의지의 차원으로 전이되는 양상을 보인다. 이는 유치환의 연시가 ‘의지의 시’와 동일하게 존재의 정화, 고양, 초극에 긴밀하게 연결되어 있다는 것을 의미한다. 유치환의 궁극적 지향점은 자아의 어떠한 경지였던 것으로 판단된다. 시는 그러한 경지에 도달하기 위한 과정이자 도구였으며, 이러한 맥락에서 유치환의 연시는 그의 시세계에서 이원(異元)적 지점에가 아닌, ‘의지’의 시와 동궤의 자리에 위치시킬 수 있는 것이다. 유치환의 연시는 결코 ‘의지’의 실패로 생산된 결과가 아니며 심리적 퇴행의 징후도, 그의 솔직함 때문에 감정을 감추지 못한 결과라 할 수도 없다. 유치환은 자아 고양이라는 뚜렷한 목적하에 그 스스로의 의지로 연정의 세계를 견지하고 있었던 것이다. 그러므로 의지의 시인 유치환의 시세계에 연가 형태의 시가 존재한다는 것이 특이한 것이 아니다. 자아 고양을 위하여 연정마저 의지로 구동하고 있는 정신적 가열성이 유치환 시만의 독특한 서정이자 의의라 할 수 있을 것이다. One of the characteristics of the Yoo Chi-hwans poetry world is the fact that will and lyricism coexist, and there are conflicting evaluations by the commentators accordingly. Many discussions are centered on Yoo Chi-hwans poem of will. In addition, even if discussions on lyricism develop, poems with love revealed are excluded from the analysis. Therefore, this paper analyzed love poem among all poems by Yoo Chi-hwan. Including unannounced and unpublished poems, the 82 out of 893 Yoo Chi-hwans love poems, accounting for about 9.2% of the entire poems. The biggest feature of Yoo Chi-hwans poem of love is the fact that direct emotions such as longing and waiting are commonly resulting in solitude. In his poem, solitude is valuable as a process that must go through to move toward the elevated ego, which can be said to be the ultimate aim of the poet. In Yoo Chi-hwans poem, the love and related emotions acquire meaning as a mechanism for self-purification and a medium of evoking solitude. In addition, emotions do not remain at the level of appreciation, but are transferred to the level of the thought and will in Yoo Chi-hwans love poem. This means that Yoo Chi-hwans love poem is closely connected to the purification, elevation, and transcendence of existence, just like the poem of will. Yoo Chi-hwans love poem is by no means a result produced by the failure of will and cannot be said to be the result of failing to hide his feelings because of his honesty. Yoo Chi-hwan maintained the world of love with his own will for the clear purpose of raising his ego. Therefore, it is not out of ordinary that poetry in the form of love exists in the poetry world of Yoo Chi-hwan, a poet of will. It can be said that the passionate mental aspect that even drives the feelings of love with will for raising his ego is unique lyricism and characteristic of Yoo Chi-hwan.

이세보 애정시조의 성격과 작품 이해의 시각

손정인 한민족어문학회 2011 韓民族語文學 Vol.0 No.59

The study is aimed to look through to Lee Sebo's Love Affair Poems over 100 pieces in new perspective for understanding his poems. To achieve this, we should first understand the nature of Lee Sebo's Love Affair Poems and explain the way of reading of the poems. Lee Sebo's Love Affair Poems are a product of his Pung-Ryu spirit. He took the lead in Pungryumadang of his region before he was exiled, in addition; he loved and enjoyed Pungryu through Pungryubang after releasing from exiling. He sang about magnanimous spirit of man who loved and enjoyed Pungryu on Pungryumadang and the beauty of Pungyu in Pungryubang. He composed Love Affair Poems as Sijo-Changsha to add to the amusement at place where loved and enjoyed Pungryu and put emphasis on Sijo Chang's musical aspects. For this study, we saw Lee Sebo's Love Affair Poems showed content's solidarity as well as poetic relation among his works. However, with this simple insight, it was hard to decide we explained the way of Lee Sebo's Love Affair Poems properly. Lee Sebo's Love Affair Poems were arranged according to not only identity of vocabulary and similarity of contents, but also organic relationship in his works. Therefore, for understanding the actual state in his works, the readers need to understand organic order among his works. When we sequentially sing a series of Sijo-Changsha with regular story at place where loved and enjoyed Pungryu, we are more excited. 본 연구는 104수에 이르는 이세보의 애정시조를 작품 이해의 새로운 시각이라는 측면에서 살펴보고자 하는 것이다. 이를 위해 먼저 이세보 애정시조의 성격을 이해한 다음, 그 독법을 해명하고자 하였다. 이세보의 애정시조는 그의 풍류정신의 산물이다. 이세보는 유배되기 전에는 지방의 풍류마당을 주도하면서, 유배에서 풀려난 뒤에는 서울의 풍류방을 중심으로 풍류를 즐겼다. 이세보는 풍류마당에서는 주로 풍류남아의 호방함을 노래했고, 풍류방에서는 주로 풍류염정을 노래했다. 이세보는 풍류공간의 흥을 고조시키기 위해 시조창사로서 애정시조를 지었으며, 시조창의 음악적 측면을 중요시하였다. 기왕의 연구에서는 이세보의 애정시조에는 일부 작품 사이에 내용의 연대성이나 시적 상황의 관련성 등이 있음을 지적하였다. 그러나 극히 일부 작품에 대한 이러한 단순한 지적만으로는 이세보 애정시조의 독법을 제대로 해명했다고 보기는 어렵다. 이세보의 애정시조는 어휘의 동일성이나 내용의 유사성 등에 의해서도 배열되어 있지만, 상당수의 작품이 내용의 유기적 관계에 의해서도 배열되어 있다. 그러므로 이세보 애정시조의 실상을 제대로 이해하려면 작품들 사이의 유기적 질서를 파악하여 읽어야 할 것이다. 이세보는 애정시조 한 편 한 편이 지닌 이야기성을 바탕으로 하되, 작품들 사이의 상황과 사건을 관련지어 더 큰 서사적 맥락으로 연결하고자 하였다. 이리하여 풍류공간에서 일정한 스토리(story)를 지닌 일련의 애정시조가 연속적으로 노래될 때, 흥은 더욱 고조될 것이다.

주디스 라이트와 에밀리 디킨슨의 연애시

정병화 ( Byeong Hwa Jeong ) 韓國世界文學比較學會 2011 世界文學比較硏究 Vol.37 No.-

It is the purpose of this paper to examine the nature of love in the love poems of Judith Wright and Emily Dickinson. Even in psychology, love has not been defined clearly in intelligent terms, for people have thought that it is not to be pondered but simply to be experienced as a strong emotional attachment to another. In this paper, the ideas on love are examined in Heraclitus and Plato to understand how they considered love in ancient times. Among the recent studies of the psychology of love, Robert Sternberg`s triangular theory of love is remarkable and popular in the analysis and categorization of love. According to him, love consists of 3 factors, passion, intimacy and commitment, which are located at the vertexes of the triangle of love. He categorized love into 8 types depending on the combination of these 3 factors. When the triangular theory is applied to Wright`s love poems, the love in them seems to be a completed one in which the 3 factors harmonized well together. However, when Dickinson`s poems are analyzed with the theory, the love in her poems focuses on passion while the other 2 factors are lacking or absented. In Wright`s love poems, personae want to appreciate love as a resource of life-force and to be free from the fear of time and death through happy union, or for them love can be a means to lead a better life morally or emotionally. In Dickinson`s, personae are eager to share passionate love with lovers who are not always able to be around them. For them, love itself is a goal to acquire. The result can be reasoned that Wright was a married woman and she could appreciate harmonized love, while Dickinson was unmarried, and furthermore, reclusive in her later life, and she had no opportunity to realize what complete love is in Sternberg`s sense.

김춘수 <타령조> 연작시에 나타난 ‘사랑’의 의미

홍승희 서강대학교 인문과학연구소 2019 서강인문논총 Vol.0 No.55

Kim Chun-soo's series of poems, <Taryungjo> is the text that shows Kim's early gloomy sentiments. At the same time, it can be said to be the beginning of a connecting medium-term of meaningless poetry. This study exams the meaning of love in the series of Toryeongjo from a psychoanalytical point of view. The purpose of this study is to complement the existing discussions on Kim Choon-soo's production process of meaning of text. The series of poems <Taryungjo> begins by exploring the meaning of "love." Love is never fixed and cannot be expressed as one. Thus love is an emotion that can talk about everything and cannot explain anything at the same time. The early poetries from the series of poems, <Taryungjo> embodied the desire of the poetic subject to satisfy the feeling of lack, that is not resolved by expressing sorrow, with love. This is revealed through the narcissistic view in which the subject seeks to identify with the others. At the same time, the word "love" shows the point of being linked to "meaningless poem" after the series of <Taryungjo> in terms of embodying meaning through the extinction of meaning of the word itself. Kim attempts to escape the prescribed meaning, a basic attribute of language, through the form of meaningless poetry. His efforts are being embodied in "Love," which he portrays in a series of poems, <Taryungjo>. This is because the nature of love and meaningless poem coincide with each other. In other words, an attribute of love that is altered at the time of speaking and its original meaning disappears and the characteristic of meaningless poem to escape from the property of language are overlapped. <Taryungjo> shows that the love of the subject can only be reached at the moment of embracing the contradiction. This is in line with the depression sentiment of early poetries of Kim, as it shows that the love between the subject and the other is an unfeasible world. Also, refusing to embody the object of love is the point of trying to escape the meaning of language. This shows an early stage that depicts a unique step in Kim's meaningless poem. Therefore, the series of <Taryungjo> is a major link for understanding the world of Kim’s master peaces. 김춘수의 <타령조> 연작시는 김춘수의 초기 우울한 정서를 보여주는 텍스트인 동시에, 중기의 무의미시를 연결해주는 도입부라 할 수 있다. 본고는 정신분석학적 관점으로 <타령조> 연작시에 나타난 ‘사랑’의 의미를 살펴보면서, 김춘수의 무의미시 텍스트의 의미 생산 과정에 대한 기존 논의를 보완하려는 목적을 가지고 있다. <타령조> 연작시는 ‘사랑’에 대한 의미를 탐색하는 것으로 시작한다. 사랑은 결코 고정된 것이 아니며, 하나로 표현될 수 없는 것이기에 모든 것을 이야기할 수 있는 동시에 그 어떤 것도 설명할 수 없는 감정이다. <타령조> 연작시는 초기 시에서 ‘슬픔’을 표출하는 것으로 해소 되지 않은 결여의 감정을 ‘사랑’으로 충족시키려는 시적주체의 욕망을 형상화한다. 이는 주체가 타자와의 동일시를 추구하는 나르시시즘적 시선을 통해 드러난다. 동시에 ‘사랑’이라는 말은 시어 자체의 의미 소멸을 통해서 의미를 구현해 낸다는 점에서 <타령조> 연작시 이후의 ‘무의미시’와 연계되는 지점을 보여준다. ‘무의미시’라는 형식을 통해 언어의 기본 속성인 규정된 의미를 벗어나려는 김춘수의 시도는 <타령조> 연작시에서 형상화하는 ‘사랑’으로 구현되고 있다. 이는 말 하는 순간 변질되고 그 고유한 의미가 사라져버리는 ‘사랑’의 속성과 언어의 속성에서 벗어나려는 ‘무의미시’의 특성이 순간 일치하기 때문이다. <타령조> 연작시는 주체의 대상에 대한 사랑이 모순을 껴안는 순간에만 도달할 수 있음을 보여준다. 이는 주체와 타자의 사랑이 실현 불가능한 세계임을 인지시켜주므로 김춘수 초기시의 우울증적 정서와 맞닿아 있다. 또한 동시에 사랑의 대상인 타자의 구체화를 거부하는 것은 언어의 의미화에서 벗어나려고 하는 지점이라 할 수 있다. 즉 김춘수 무의미시의 독특한 단계를 형상하는 초기 단계를 보여준다. 따라서 <타령조> 연작시는 김춘수 시 세계를 이해하는 주요한 연결 고리라 할 수 있다.

유치환의 연정(戀情)의 시에 관한 고찰

박진희 개신어문학회 2011 개신어문연구 Vol.0 No.33

The coexistence of will and sentiment is a great characteristic of Yu, Chi-Hwan's poems that perplexes the critics to yield contradictory remarks. This paper focuses on that his love poems were excluded as a weaker counterpoint to his poems of 'will' or seen even as the failure of his attempt to maintain his 'will'. I argue that it was only a superficial reading of his own words that 'I would not wallow in love and hatred,' not a result of actual analysis of his love poems. His love poems were not at all his failure in expressing the world of will power. He maintained the world of sentiment and love by his own will and love acquired a special meaning for him as a self-purification mechanism and a medium to alert his sense of solitude. As the sentiment of his love poems alerted him to his solitude, the senses and sentiments accrued from it rarely remained as such but elevated to reasoning and will. Solitude in his poems rarely meant to express a sentiment but was a crucial step stone of contemplation and reflection towards the wholistic being, his ultimate aim. That even love was animated by will was the unique sentiment and characteristic of Yu's poems. Of course this will was the spiritual power of the poetic self that persisted for self-elevation. Therefore, his love poems should be understood as another form of his willed expression for his endless strife for self-elevation, not raw sentiment revealed when he lost his will power.

고정희 연시의 창작 방식과 의미 -『아름다운 사람 하나』를 중심으로

문혜원 ( Hye Won Mun ) 국제비교한국학회 2011 비교한국학 Comparative Korean Studies Vol.19 No.2

A Beautiful Person was a collection of poems written by Goh Jung Hee. It was published by Deulggotsesang in 1990, and the main theme was ``love`` and she labelled it as ``love poems``. She recollected and recomposed her published poems in this collection. She composed her poems in several ways. Some of them were decomposed by verses and sometimes the subtitles became the main title or the title changed completely. There were also changes in the content and volume. Some of the personal experiences were omitted from the poems, making it more general. The length was shortened and some of the phrases were repeated so that the reader could memorize it easily. These changes enabled the poems to be more popular and accessible to the general public. From the viewpoint of content, this collection shows the progression of love from personal to a broader love. In this collection, relation of ``I`` and ``you`` has a certain stereotype, where ``I`` have the endless love towards ``you``, who is heartless and apathetic. This is where readers can sympathize with the lover`s tragedy, and heal their pain through the process. The method of confession also draws the readers to sympathize. Love poems of Goh Jung Hee show true love as well as overwhelming of confliction and pain, not by immersing oneself in the other but by admitting the independence and otherness. Through this process, ``love`` progresses to higher fields such as symbiosis with nature and solidarity of society. Love poems of Goh Jung Hee were the poems that showed not only the process of overwhelming complication, but also the process of developing the poet`s idealogical aim, and it was expressed by its theme, ``love``.