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논문검색은 역시 페이퍼서치

한국문학이론과 비평검색

Korean literary theory and criticism (KLTC)


  • - 주제 : 어문학분야 > 국문학
  • - 성격 : 학술지
  • - 간기: 계간
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-3501
  • - 간행물명 변경 사항 :
논문제목
수록 범위 : 27권 0호 (2005)

편집인의 말

장성수
4,500
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초록보기

영랑 초기시의 의미구조 연구

양병호 ( Yang, Byung-ho )
6,600
초록보기
Young-rang's early poetry has the poetic space which is called the pure lyricism in 'my mentality', which is colored with sorrow and grief. The incitement and the motive inducing the sorrow and the grief come from deprivation, and it seems that the deprivation is caused by Young-rang's injury and the experience of loss of sovereignty. In the mean time, although Young-rang shows a sense of emptiness and frustration as a confrontation against the loss, he reveals the aspect of overcoming the tragic world which is condensed into sorrow and grief through the attitude of waiting and yearning. Namely, Young-rang's early poetry regards the actuality on earth which is interspersed with loss, wandering, sorrow, etc. as tragic world, and it is forming the future-oriented volition with intention to get out of the tragic world by yearning or waiting, supplication, eternity, life-oriented, positive practical behavior, etc.

영랑시의 기호체계와 통화모형 -세 편의 초기시 분석을 중심으로

김동근 ( Kim, Dong-keun )
6,500
초록보기
This study begins from the view of relighting about characteristics of Yongrang's poetry. In this study, two sides are considered on (establishment of) directions of discussion. The first is that Yongrang's poetry show some differences in the form of structure, that is, dominant motif as the structural principle. And the second is that of Yongrang’s poetry show the different aspects of speaker and hearer in communication model. The purpose of discussion is to analize how these two sides interact on poetic discourse as text and are organized, and to study aspects of variation of poetic discourse structure. Semiotic methodology is applied tor effective development of discussion. In chapter 2·3·4, 1 study each relational poetic discourse with adoption of Imagism, and with pure lyric poetry movement. In the respect that language, ideology and subjectivity effect on readers in the course of communicating poem, I regard these as each discourse condition concerned with syntax, semantics and subjectivity layer. And I also study, in Yongrang’s poetry, the aspect of organizing three conditions, too. In result, I explain that emotionality of discourse subject assumes self-internalization in Yongrang’s poetry. According to the aspect of dominant motif and communication model, I select the text of discourse structure about Yongrang’s poetry. Then I exemplify the semiotic analysis and discuss comparable characteristics, I analize discourse structure of Yongrang's poetry with 「Now Year's Eve」, 「One who may know my beart」 and 「Till the peony blooms」. And I compare three poems on embodied meaning of dominant motif and of communication model, and distinctive characteristics in each works. In the case of Yongrang's poetry, I explain that emotional signs for hearer is discoursed through sequence and turning course, and that discourse structure of Yongrang’s poetry obtains the audible effects by tensity of statement rather than by stated meaning.

김영랑(金永郞) 비평(批評) 연구(硏究) - 1930년대를 중심으로

허형만 ( Heo, Hyung-mann )
6,600
초록보기
This paper is aimed to study in which Youngrang's creative writing motto was rooted since he made his debut in the literature world through 「Poetic Literature」and 「Literature」, referring to critical views in 1930s and the modern views. For this, I collected the related materials and arranged them and I have maintained a critical view on the basis of the reliable materials. Critical materials on his poetic world in 1930s were only like this; comments on current review, a general review, a monthly review, a brief review, and book review. However, considering his lyrical spirit, they were not sufficient in the depth and width. Accordingly, as I mentioned earlier in Introduction part, I must admit that criticism on his works in 1930s to 1950s were significantly different from academic criticism since 1960s. In addition, I would clarify the fact that this study was not accomplished for summarizing and arranging of the history of criticism, but for emphasizing of the following three aspects. First. Youngrang was alienated from the central literary circles, lie wrote his works actively since he made his debut, but he was devaluated and alienated by the central literary circles. At that time the reason for such alienation was thought that be maintained a negative attitude about the political problems of literary circles, and was absorbed in pure lyric poetry. However, I think the main reason was that the central literary circles intentionally excluded local literary men, and in addition to that, because of the closeness of the literary circles, they did not embrace his pure lyric world. Second, after 「Youngrang Anthology」 was published, analysis and evaluation on his works were done by several literary men. Previous chapter is about criticism of 1930s while this chapter is about that of the following period in which his first anthology was published. The reason I mentioned the difference of the time is that his poetic literature was not variously discussed until that time. He made his debut in March, 1930, and nine months after his works were introduced in Lee Hayun’s 「Literary Circles in 1930」 for the first time. In addition, individual discussion was officially done by Park Yongcheol through his writing「Reflection and Criticism on Poetic Circles in I931」 in December, 1931. After that he had been completely alienated until 「Youngrang Anthology」 was published. The writings of Lee Hayun, Jeong Jiyong, Park Yongcheol, Park Gwisong, Kim Kwangseop, Lee Wonjo, and Yun Kongkang are the representative examples, which belong to very much of a hook review or impression criticism. Finally, the succession and development of Korean lyric poetry were accomplished by Kim Youngrang. This chapter included the previous two chapters much. Because the subject of this chapter could support the fact that he was alienated from the central literary circles and analysis and evaluation on him were done in the later times. It was the main flow in the history of criticism. However, I focused on this; whether to admit or not the fact that the succession and development of lyric poetry were accomplished by Younyrang, who was called ‘an apostle of Muse.’ This issue was verified by several arguments that I referred to. I had argued in my previous paper titled 「Study on Youngrang Kim Yunshik」 that there were many traces of national emotion, hometown, and nature in his poetic literature in 1930s. That opinion had been derived from the result of the exact study on the history of criticism. Regardless of the fact, the most important thing is that his poetic motto was based on lyricism and his works which created on the basis of that motto do not disappeared until now. Therefore, I believe that my critical viewpoint showed in this paper should be confirmed and discussed; and furthermore it should be revised and supplemented by other materials.
6,700
초록보기
The Purpose of this paper is to study on the relationship between the sequence of stories and the categorization of the subject. The research materials are selected in the 'Eoyuyadam' which is written by Yumongin( 1559 - 1623). 'Eoyuyadam' which is transmitted to us is not the original text that is written by Yu-mongin. The original work written by Eoyu is rewritten by many writers through 300 years and over. So there are various versions, which has one's own unique way arranging the stories. But we must bear it in mind that the version is another original work recreated by the talented writer. So the version has one's own originality. I chose the version which is kept in the Jangseogak library. Because the stories in the Jangseogak version are grouped and arranged to the theme, they are suit for the purpose of this paper. One ghost story has one's theme : hunger, revenge, resque and love etc. But through the parallel, juxtaposition, and the repetition of the stories, the themes are integrated into the new era. So the new meaningful subject is brought forth. The process is as follow : (a → b) → X (a + b) As the fore theme 'a' is paralleled, juxtaposed, or repeated with the back theme 'b', the two themes makes a new theme X which has more powerful meaning. So the ghost stories are no more about the behaviour of ghost. They speak of the human and world. The ways to arrange the stories are as follow : 1) Parallel of the similar themes 2) Juxtaposition of the opposite themes 3) Repetition of the identical themes 4) Reinforcement of the theme between two themes. With this narrative techniques, Eoyu wrote the many literary works that show the satire, allegory and the other metaphors.

불안의 상상력과 정치적 무의식 -1970년대 소설의 경우

우찬제 ( Wu, Chan-je )
6,800
초록보기
This paper is, through a dose reading of the major novels of 1970s, a study of the characteristics of the imagination of anxiety and the political unconsciousness it evokes. The landscape of political, economical, national, and existential anxiety is well portrayed in the novels written in this decade of military dictatorship and rapid industrialization. 1) Chungjun Lee’s Your Paradise and Youngsong Ho’s Fog in Paha depict the anxiety under the political oppression. In the stories where a symbolic castration is done, the imagination of anxiety grows paradoxically into a political unconsciousness through which the heros year for the freedom. 2) The anxiety under the economical oppression and inequality finds a best expression in Sokyoung Hwang's A Strange Land and Sehui Cho's A Dwarf Launches a Small Ball. These novels depict wandering laborers who suffer under the deepening economic inequality and factory workers who are killed while fighting against it. Here the imagination of the anxiety shows itself as a political unconsciousness which longs for the economic equality. 3) Wonil Kim’s The Spirit of Darkness and Heunggil Yun’s Rainly Season successfully portray the anxiety of the people living in a divided country. The novels, narrated by a boy who has no direct experience of the conflicting ideologies, indirectly evokes the tragedy of nation. Here the imagination of the anxiety develops into a political unconsciousness which hopes for the resolution of the divided state. 4) The existential anxiety is a prominent theme in Inho Choi’s The Others Room and Chunghee Oh’s Burnt Offering. They deal with the problem of alienation and the oppression of woman in the process of rapid industrialization. The imagination of anxiety works as a political unconsciousness through which the hero/heroine endeavors to find he/her true identity. A collective unconsciousness of deep anxiety can be easily found in the novels of 1970s. But, according to the writer's attitude of confronting the given situation, the imagination of anxiety shows itself differently as political unconsciousness yearning for either freedom, equality, unification, or true self-identity.

서정주의 시세계 · 2 ―떠돌이의 의미망 혹은 정신기제

이은봉 ( Lee, Eun-bong )
6,700
초록보기
It is said that the basic spirit of Suh, Jungju's poetry represented constantly from his first collection Flower Snake (1941) to his last one 80 Aged Young Wanderer's Poems (1997) is vagabondism or Bohemianism. This paper analyses above all Suh, Jungju's famous collection Winter Sky (1966) in order to identify the vagabondism which means irresponsible and outsider-like attitude for the contemporary age. Here the poet's vagabondism is similar to the attitude of intellectuals not critical but adaptable to the situation ruled by military political leaders. This adaptable attitude, which is distorted as the life-wisdom of life of the hard times in his seventh collection A Wanderer's Poems, is embodied in the image of 'orchid' The image of orchid fundamentally means the wisdom of men who have lived servile for a long time. As poems such as 'lucky maid' or 'Song' show, the poet emphasizes that adaptable attitude symbolized as orchid would be necessary to every man's life. He does not, of course, emphasize only the wisdom of adaptable life in this collection. Sometimes he bitterly resents the ruling class of the despotic age in 1970s. For all that, I can not regard his rage as a perspective of the future based upon rational and systematic outlook on the world. It would be true that his fatalistic and narrative outlook on the world represents some dualistic attitudes to the reality of the present society. It can be ascertained in the fact that he above all wandered between the people symbolized as 'sea' or 'thing-daddy' and the Yushin despotism also imagined as 'Brutely Courageous General' or the 'Devil'. It is no exaggeration to say that this dualistic attitude reflects his pro-military life and poems since Gwangju Democratic Movement in 1980.
6,800
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This study is about the development of North Korean poetry, which had been considerably influenced by Park Se-young and his works. I especially brought my focus on Park's works carried on Chosun Literature. Park played an important role in making North Korean literature, taking over the inclination of < KAPF >. Unlike other literary men who were purged after they had crossed over into North Korea, Park belonged to the Establishment and was in an important position among poetry world until late 1980s. His works are the major indicators of North Korean poetry, that make it possible to see the whole developmental procedure of North Korean poetry. In this respect, they are very significant in the history of North Korean literature. First of all, I divided North Korean literature into four periods with a large scale and observed the periodical divisions. The aspects of North Korean poetry in each period appeared in Park's Poetry have showed some changing phases which were caused by the policies of the party and Kim Il-sung's instruction. But they don't deviate from North Korean subjective literature theory which constitutes the nature of the party, the nature of the people, and the nature of the working class. Especially Park's poetry has typical features in the aspects that it clearly shows the developmental procedure of North Korean poetry. Park has been known for devoting himself heart and soul to the creation of the leader's figure to the extents that he was called the professional poet of Kim Il-sung. Therefore, it is necessary to consider with an actual proof how Kim Il-sung's literary figuration has been changed and maintained in North Korean poetry by observing his poetry diachronically. The study points will also be an important theme in holistically observing North Korean poetry.
초록보기
This is a comparative study of "Mt. Jangsu 1," one of Jung Ji Yong's later works that harbors Oriental spirit and two Chinese poems -- "Logging" in 'The Book Of Odes' and "Jiang's Hermit Life" by Du Fu -- which share a similarity in terms of content and form. With respect to form, these poems employ the "Scenery First, Sentiment Later" approach that reflects a touch of ‘a technique of drawing readers into the domain of imagination by fusing scenic portrayal and sentiments’ often found in Chinese classics. Jung Ji Yong and Du Fu had to endure similar conditions of life despite their temporal distance. In Korea annexed by Japan, Jung was unable to express his creative thoughts while Du Fu, unable to advance himself through the government ladder of his time, spent all his life as a wanderer. Unable to either befriend or oppose the colonial Japan, Jung Ji Yong chose to write spiritual poems by resorting to scenic landscape descriptions behind which lay the domain of lofty spirit. That was how he could bypass the pain of his unfortunate realities, rejecting the mundane in favor of the fresh world of spirit. Given their harsh living conditions, both Jung and Du Fu probably had no choice but to pursue a creative life transcending the secular world. Thus the two poets adhered to the purity of their spiritual world -- by exquisitely blending the real and imaginative spheres and by immersing themselves in the merriment of nature. As they both regarded life, death, wealth, glory, and so forth as invincible forces in life, they tried to attain such in the world of poetry. The intent of my article is to show, by pointing to relevant works, how they enbaled other people to seek beauty even amid adverse conditions of life by means of contemplating and reflecting upon things they observed and thus sought esthetic pleasure and consolation denied in their real world.
7,000
초록보기
This research treats the novel of Pak Taewon between 1937-1945. Against the Pak Taewon's novel of this time the negative evaluation is most. The contents which the evaluation is principal with afterwords is same ; ‘the failure of modernism', 'psuedo-post-modernism', 'lack of asthetic tension', 'superficial recognition about modernity' etc. This means he as modernist was not through, and finaly failed to overcome the contradiction between 'modernity' and 'tradition'. But I think he was understanding the limit of 'modernity' quite accurately. It was the limit of 'rationality' to him. The works which reflect this well are < 債家(A rented house) >, < 偸盜(A thief) > etc. The critical recognition of rationality is not suddenly formed in this time. It was being started from middle of 1930's already. < 소설가 구보씨의 일일(A day of Mr. Gubo as a novelist) > is a good example. This changes a lot at around 1940. The new colonial policy so called '新體制‘ caused an effect. He wrote pro-japanese novel in this time. < 아세아의 여명(Dawn of Asia) >, < 군국의 어머니(A Mother of Military State) > are good example. He accommodated ‘新體制’ as criticism of rationality. He could not find the subject which overcome the contradiction of modern time. In his novel the old people appear frequently, and they symbolize the 'tradition'. But they are not the 'subject' which overcome the contradiction of modern time. They are just only awaken the limit of modernity. This result clealy showed a lack of understanding of modernity. Pak Taewon could not tell the diffenence between 'colonial-modernity' and 'universal modernity'.
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