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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 : 33권 0호 (2006)

편집인의 말

송명희
4,500
키워드보기
초록보기

고려궁정잔치노래와 무녀의 사랑노래

엄국현 ( Kook-hyeon Eom )
6,800
초록보기
The Song of the Koryo dynasty was known as a folk song of an anonymous person. But it is not a folk song but a song of shaman. The words of it are related with Shamanism. The Shaman song was created by female shaman, because the speaker of the poems uses woman's manner of speaking. The Shaman song had two kinds of love song. One was sad love song which a female confess her devotion to the God. And the other was sensual love song which man and female loves each other with strong carnal appetites. It induces pleasant laughing. So the love song has not a lustfulness but a delight. It is supposed that the sensual human being's love was made by the female shaman who wanted to delight her lover God. In Koryo dynasty, there was Korean traditional prayer, Byeol Ki Eun which prays for longevity of King and peaceful reign of the kingdom. When the prayer was over, there was female concert. It was performed by the professonal beauty entertainer, Kisaeng who lives in the royal palace of Koryo kingdom. I think the song of the Koryo dynasty was the female shaman's love song which was performed by the Kisaeng.
8,000
초록보기
This study deals with the parody aspects of Koryo-gayo(高麗歌謠, i. e. the popular songs in Koryo dynasty) in modern poetry and its discourse to examine the dialogical connection between classical literature and modern literature. The study is investigating modern poems which is parodying 「Gasiry」, 「Manjeonchun Byolsa」, and 「Hanlimbyolgok」 among the popular songs in Koryo dynasty. The results of study can be categorized followings: the research finds out three aspects of parody through the examples of modern poems; the first case selects the elements of original text and converses the discourse of it. ; the second case modifies the original text and actualizes the discourse of it by connecting with social context. ; the third case parodies critically the original text and makes a new discourse by reversing the discourse of it. But the forth case, which parodies the original text critically and breaks up the dominating discourse of it, cannot be found.

고려속요의 주제 양식적 성격 고찰

정종진 ( Jeong Jong Jin )
6,500
초록보기
This study intends to examine the aspects of thematic mode and its specific features of poetic figuration in Korean classic poetry, Goryeo Sokyo(高麗俗謠). Besides Goryeo Sokyo(高麗俗謠), the thematic mode had frequently and continuously been found in our classic poetry. Therefore, in the development of Korean classic poetry, the study to look into the characteristics of thematic mode, ite social function and effect, and principles of figuration gives us the oppotunity to reveal the character of Korean classic poetry and its development in a new perspective. For the purpose of this study, I begin to see thematic mode in a view of communication theory. Because the way of dialogue is the most basic and important characteristic to contribute toward the poetic figuration. Finally, this study for the thematic mode on Goryeo Sokyo(高麗俗謠) wants to clarify the coutinuous characteristics of Korean classic poetry through thematic mode and the changing aspects of thematic mode in the development of Korean classic poetry will be investigated.

「정과정」의 창작 성격에 대한 시론적 고찰

이수곤 ( Yi Su-gon )
6,600
초록보기
This paper is about the creative characteristics of poem, Chungkwajung(「鄭瓜亭」). The objective is examining of the forming process of Korea folk song. The considerations of these are following. First, the Korean translated songs included in Korea History(『高麗史』 樂誌 俗樂條) and Soakbu(小樂府) are mostly folk songs as well as popular songs among the peasants. For this reason, all of the songs don't originate from the old folk songs. This consideration shows that some of Korean folk songs are formed through the process: private creation → being popular among the peasants → spreading to the royal court. Second, the poem, Chungkwajung(「鄭瓜亭」), has the same lyrics as IkjaiSoakbu(「益齋小樂府」) and Manjenchunbyulsa(「滿殿春別詞」). However, the lyrics in the Chungkwajung(「鄭瓜亭」) base on specific circumstance, and each lyric has close accordance with other lyrics structurally throughout the whole poem. Third, the structural coherence of Chungkwajung(「鄭瓜亭」) has different characteristic to Manjenchunbyulsa(「滿殿春別詞」) and Seokyoungbyulkok(「西京別曲」), made my gathering and imitating old folk songs. So, Chungkwajung(「鄭瓜亭」) isn't made by gathering and imitating old folk songs but created folk songs by peasants, and Chungkwajung(「鄭瓜亭」) became popular among them. For this reason, we can notice that Chungkwajung(「鄭瓜亭」) was transferred to the royal court music through the process of becoming fork song.

「청산별곡」의 의미와 향유 의식

최정윤 ( Choi Jung-yun )
6,600
초록보기
「Chengsanbaylgok(청산별곡)」is Karean classic song, a word of court music that play in ceremonies or banquets in period of Goryeo (고려) and Chosun(조선) Dynasty. 「Chengsanbaylgok」 is internal consciousness of the high circles who enjoied this song. And in 「Chengsanbaylgok」, it is expressed that an attachment to life and unworldly desire. A point of historical view, this is connected with Taoism ideasand Confucianism ideas coexist and interact in period of the end Goryeo Dynasty. This is unique characteristic of 「Chengsanbaylgok」 and contrast with other song. Because of a enjoyment class sympathize 「Chengsanbaylgok」, this song continue long in existence. In period of Chosun Dynasty, a strict Confucian scholar Jeng-do-jen(정도전) toke off a word of 「Chengsanbaylgok」. As this song retained Taoism ideas. On the other hand, a outsider Confucian scholar Nam-hoy-on(남효온) enjoyed with feel sympathy.
6,800
초록보기
The aim of this paper is to propose a new reading of the Blue Deer Anthology, that was published almost immediately after Liberation, from a postcolonial viewpoint. Until now, the standard evaluation of the Anthology has been discussed in terms of the discovery of nature, traditional rhythms, the linking of popular poetry and pure poetry, the combination of a rural consciousness and a nationalistic esthetic. But I wish to offer a new reading of the Anthology, claiming that although the 39 poems comprising it were mostly composed before the 1945 Liberation, since it was published just after Liberation, in 1946, the composition of the Anthology as such was influenced by the discourse specific to the period of the ‘colonial aftermath’ and the postcolonialism that arose immediately after Liberation.. In other words, the poems of the Anthology are not just pure nature poems, but should be seen as ‘rebellions’ poems of decolonializing cultural resistance, resisting the power of imperialism. If we summarize the common features shared by the three poets included in the Anthology, Bak Mok-wol, Jo Ji-hun and Bak Du-jin, we discover the following: as they celebrate nature and express Korean sentiments through nature, they introduce an awareness of a break with the burdens of a colonized nation. They also reveal a postcolonial desire to quit the diseased territories polluted by imperialism and return to nature as it was prior to pollution and disease. They also introduce, as a shared characteristic, the claim that they are constructing an alternative form of nature, an imaginary Utopia, as a method of casting off the pollution of imperialism. However, from the viewpoint of postcolonial methodology, each of the three poets is distinct in literary terms. Bak Mok-wol, confronted with a desire for a geographical transformation of the land colonized by imperialism, resists imperialism by creating an imaginary geography as a form of cultural resistance. One characteristic of his poetry is the way it is influenced by folk song rhythms, with 3 feet in a line, divided into 7/5 syllables. By means of this traditional rhythm, he stresses the rural order in his poetry, and by evoking imaginary localities in various poems he exhibits a decolonializing resistance, transforming the Korean landscape that had been pillaged by Japanese imperialism into “the heart’s map,” “vision’s map,” “an imaginary Utopia.” This decolonizing strategy is similar to that found in Yeats’ “Innisfree.” Jo Ji-hun introduces in various poems a postcolonial resistance that sets out to restore and preserve the original forms of Korean culture, that had been changed and polluted by Japan. Bak Du- jin introduces a view of nature and poetic rhythms that are very different from the other two poets. Unlike the traditional rhythms of the other two, he uses a prosaic style, while by a breathless sequence of nouns, and the use of repeated nouns and clauses, he show a powerful sense of rhythm and stress. In Bak Tu-jin’s poems, nature is not a metaphor for the refashioning of a colonial reality or for an occupied homeland. Rather it is a space of liberation, of rejoicingat the return of a Messiah, like that manifested by the prophets such as Isaiah or Jeremiah in the Old Testament. He is not confined in a nationalistic imagination, but by means of the globalistic image of human salvation proposed by Christianity he expresses a narrative of liberation in opposition to colonialism. Hitherto, many critics have read the Anthology as a volume of nature poems, of pure poetry, but here it is read as poetry of postcolonial cultural resistance. Seen from the viewpoint of Edward Said, who criticizes cultural indigenization or nationalism, saying “they confine themselves to an inferior place created by the imperialists, casting aaway the historical world for a sad narcissism praising their own integrity and an essential narcissism,” it is the poems of Bak Tu-jin, rather than the works of Bak Mok-wol or Jo Ji-hun, that transcend nationalism and cultural indigenization and come closer to a narrative of decolonializing liberation, expressing a universal ideal. However, we may conclude that, insofar as the Anthology, composed in the very particular moment of the ‘colonial aftermath/ was composed with a strong postcolonizing desire, setting out to erase the pollution of colonial rule, restoring and preserving the Korean people’s cultural integrity from the time before colonial domination, all three poets can be said to manifest a decolonizing desire.

근대계몽기 『대한민보』 소재 시조의 위상

김승우 ( Kim Seung-u )
6,900
초록보기
The purpose of this article is to investigate the background and characteristics of Sijo on Daehanminbo(1909~1910). Daehanmaeilsinbo(Sinbo) and Daehanminbo(Minbo) were two main journals that contained Sijo in the enlightenment period of modern age. But most studies on Sijo in this period have given too much importance only to the former until now. Sinbo generally put Sijo to practical use of enlightening people or criticising betrayers of Korea, while Minbo dealt with it as a literary creation. So the status of Sijo on it was higher than that of Sijo on Sinbo. It was the reason why Sijo on Minbo could have even more various themes. Minbo also developed the way to compose Sijo effectively by borrowing inspirations, stanzas, or subjects from many kinds of poems such as old Sijos, Chinese poems, other popular songs, and especially Sijos on Sinbo. Sinbo frequently borrowed Sijos on Minbo, too. This mutual relation between two journals indicates the unique composing practice in this period.

백석의 북방체험과 도가적 상상력-1930년대 말 동양주의 한 방향에 대하여

김용희 ( Kim Yong-hee )
6,900
초록보기
Baek Seok’s poetry has been discussed mostly as a world of ‘Love and Sorrow’,‘Vagrancy and Solitude’ within his Manchurian experience since his < Deer > poetry, but in addition, this paper endeavors to examine the point in Baek Seok’s poetry where his poetic intentions touch Laotse’s philosophy of inactivity. In his Northern experience, the poet brings up China’s ancient sages, Laotse and Tao Yuan Ming, Li Bai and Du Fu, and their ancient Chinese poetry as he reveals his interest in Taoist view of the world. Citing stories related to Taoism, the poet also uses satisfaction of the poor and respect for life, simple and modest humility, and leisurely idleness in his poetry. However, when deep sorrow and past memories return with exhaustion of his heart from vagrancy and colonized experience, the poet quietly calms his disheveled heart as he seeks out balance and harmony in his heart’s sorrow. Along with calmness and submersion, silence and sorrow, he synchronously presents the ‘world of obscure heart’ (玄)headed for a world of hollowness (虛靜).Hence, in Baek Seok’s poetry, ‘loneliness’ begets ‘obscurity’,while ‘contemplation’ leads to 'profoundness* feeling the entirety and energy of the universe, and ultimately, sorrow achieves the poetics of shadowy and secluded gloom (幽暗).Baek Seok,s poetry in his Manchurian experience clearly contains the solitude and sorrow of vagrancy, while that sorrow ripples over all his poems. But on the other hand, aspirations for such Taoist and Naturalist life had been coexisting with a search for the aesthetics of sorrow and balance, freedom in idleness, and meditation ('contemplation5) searching for simplicity. This idle nature, humble self reflection, and the naturalist attitude of life in search of principles are points clearly distinguished from Confucianism pursuing ‘classicism’. The two worlds of spirit that poets could choose from in order not to abandon their principles during Japan’s extreme forced dominion at the end of the 1930s were first, the world of lofty virtues and strict integrity with a confucianist world view, and the second was a world pursuing solitude, sorrow, calmness, and submersion within freedom and complacency based on Taoist ideals. Poets with confucianist ideals were Munjang poets like Jung Jiyong and Lee Byeonggi, and Lee Yuksa, while Baek Seok would belong to the Taoist world view. The Taoist ideals expressed by Baek Seok’s poetry seems perhaps like extremely passive escape immersed in practical emptiness and self-satisfactory comfort considering the extreme circumstance of the nation. However, unlike the confucianist hunger for reaching extremes of mental patience and search for truth with intentions for aggressive conflict, the Taoist world view may be considered th basic way of the workings of the universe eliminating hierarchical ranks and barriers beyond modem order and one way to resist the world of fascism.

1920년대 시적 주체와 여성 화자

박승희 ( Park Seung Hee )
6,800
초록보기
This study examined the meaning of female speakers found in poems in the 1920s in terms of the autonomy of modern poetry. In the middle and second half of the 1920s when periodic demand for realistic imagination and new consciousness for poetic subjects were widespread, the then poets came to create various poetic meanings and stream of poetic history through female speaker. Especially, female speakers who appeared constantly as speakers in modern poetry in the discourse of nationalism have been in fact othernized not as poetic subjects but as the realization of male desire. This writing investigated the poems by Kim SoWol, Han YongUn and Lim Hwa who were leading poets and introduced female speakers in a full-scale in the 1920s in their poems. The females in Kim SoWol's poems represented suppression and othernization through the imaginative identification for Nim (the Protean Beloved). In the poems of Han YongUn, they demonstrated the limitations by othernizing physical female bodies while showing dismantling masculine nationalism through motherhood. It has been found that the femininity that sisters and Suni had in Lim Hwa's poems was othernized by masculine desire such as class-oriented abstract or 'Oppa' (elder males mainly called by younger females) or 'Na (me).’
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