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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 :
수록 범위 : 37권 0호 (2007)

편집인의 말


삼국유사의 신화성과 반신화성-미시적 읽기를 위하여

송효섭 ( Hyosup Song )
Mythicality and anti-mythicaliy are revealed through a semiotic interaction between myth as and logos. This paper aims to show how mythicality and anti-mythicality conflict each other in Sam-guk-yu-sa by describing the interaction between mythos and logos in metacommucative strategies-quotation, annotation, comment, paean- found in this text. In quotation, mythicality is shown because existing stories are directly drawn, but, on the contrary, anti-mythicality is also shown because they are newly disposed in new discursive system. In annotation, mythicality is shown because annotative discourse is subordinated to existing stories, but anti-mythicality is shown because it induces readers from story world to real world. In comment, anti-mythicality is realized in that a transcendental essence of story becomes an object of argumentation, but it can not totally liberate from mythicality in that its presupposition is always mythos. In paean, anti-mythicality is realized in that it creates new mode of language, but it can not totally deviate from mythicality in that newly made languages always raise a strong desire toward transcendence. Such a paradoxical situation can always happen in innumerable microscopic conflicts between myth as and logos in Sam-guk-yu-sa. Therefore, it is impossible to reduce diverse figures revealed in such a dynamic movement to simple and abstract categories like mythicality and anti-mythicality.

『삼국유사』 향가에서 수용의 문맥과 서정주체

서철원 ( Seo Cheol-won )
This paper is to begin a study of the Lyric Persona of Hyangga in Samgookyoosa from its nature of the lyricism of Hyangga itself. The researches of the lyricism of Hyangga have been made by these days, but there are many obstacles to understanding it. We study the context about the aspect of the acceptance in Hyangga and its transmission story in Samgookyoosa, divided according to the usefulness and the lyricism. They displayed an harmony in collusion with the history of Shilla culture. Next, we turn around the stronghold of the harmony between the text and the context in Hyangga and its transmission story. By the arrangement of the role of the speaker and the reader in the transmission story, we can reach the nature of Hyangga and its role in the history of the old Korean poetry. The Lyric Persona is an wide concept of the poetic ego including the reader in the transmission story. By this concept, the radical aspect of some Hyangga will be catched. Some Hyangga text doesn't have any lyrical element but complemented by the transmission story. A few lyrical element of some Hyangga text can be recognized the usefulness of in the real. This element is very important to approach the sense of Shilla people.

향가 현대시화의 맥락과 의미-「헌화가」 관련 현대시 유형 분류

이창민 ( Lee Changmin )
This study investigated old Korean folk song Heonhwa-ga-related modem poetry, thereby finding out 39 poetries and analyzed those to compose a type classification system. In this study, Heonhwa-ga was chosen as a representative of common modem poetry related to old Korean folk song and the type classification system was deduced by considering that it might be applied to old Korean folk song-related general modem poetry. The purpose of this study was a general structure analysis for all old Korean folk song-related modem poetries. The type classification system was described as a plan to establish a general theory for old Korean folk song-related modem poetries. There were 6 types composed here. ① Interpretation of the original text - contents of the theme ② Interpretation of the original text - a mental state of a character ③ Modification of the original text - composition of epic ④ Modification of the original text - context of poetry ⑤ Use of the original text - figurative symbol ⑥ Use of the original text - background information
In the early decades of the twentieth century, comparative literature in Korea was preoccupied with literary and cultural encounters between Korea and three major cultural sites: China, Japan, and India. As is wellknown, Indian religious culture has had enormous influence on Korean culture and literature since Buddhism entered China. For instance Buddhist fables were quickly appropriated and transformed into some of the most famous Korean classic narratives in fiction. Later, Buddhist thought constituted an important source of inspiration for Shilla poetry, Hyang-Ga, manifested often in the poet's epiphanic understanding of the essence of nature, life, social customs, and religious practice in seemingly detached descriptions of landscapes or natural objects. Dong-ri, Kim fused Zen Buddhist understanding with natural surroundings in Wonwangsangga, in such an empathetic mode that the persona and the natural other become a totality. My purpose is to consider the intellectual and historical conditions under which comparative literature has obtained such remarkable popularity and prominence in Korean scholarship and to show that the development and currency of comparative literature is closely related to the formation of Korea's literary modernity.

서정주 시론 연구-예지, 전통, 신라정신을 중심으로

박연희 ( Park Youn-hee )
After a liberation in Korea, Si-cbang-jak-lon(1949) printed the first poet theory of Seo Jeongju, is a creative introduction designed to reflect the prosperous condition of publishing market and the social demand for creation, to promote the creative passions of literary aspirants. jak-go-si-in-seon(1950) and Si-cbang-jak-gyo-sik(1956) also took on media characteristics that had collected and spread the ideology about universality, purity and nation of mun-hyeop-pa in a process of the institutionalized cultural production. Seo Jeongju's poetics sublimate sense, emotion and intellect into the universal validity of poetic values. However, what is more important in a sense of Poetic Writing Theory is that the concept of 'intellect' reported as a poetics, is appropriated the traditional discourse named 'Shin-ra spirit' in late 1950s. That mentality is a part of cultural discourses in humanism realizing the universal human pattern as well as the articulation of far-right ideology not to be unconcerned in nationalism.

임화 시의 비유적 특성과 그 계승

권혁웅 ( Kwon Hyuk-woong )
This study is concerned with the figurative character of Lim-Hwa(임화)'s Short-epic(단편서사시) and it's succession. The poems of Lim-Hwa are composed of synecdoche and metonymical methods. In the synecdoche, he creates person who represent community(so called antonomasia). In the metonomy, he uses this figure to show the things, accidents and situations of this persons. The former is effective to treat community's themes, the latter is effective to deliver agitative tones. In 1960's, Shin-Dong Yeop(신동엽)'s poetry succeeded Lim-Hwa's figurative characters. Kim-Ji Ha(김지하) and Shin-Kyung Lim(신경림) succeeded them in 1970's, and so did many so-called People poetry(민중시), Walker poetry(노동시) in 1980's. In present, many poets succeed this methods. It is significant that Lim-Hwa's Short-epic introduce poetic thinking of synecdoche and metonomy into korean poetry.

국토 여행과 ‘조선시’의 형식-정지용의 「장수산2」를 중심으로

문혜윤 ( Moon Hye-yoon )
Jeong Ji-yong's 'mountain' poems were based on both a material base for a modern trip and scholastic enthusiasm for 'Joseon-ness'. Both trends urged Joseon people to visit places of historic interest. Jeong Ji-yong was influenced by these trends, and transformed his experience of a national land travel in his own way. Taking an initial interest in 'linguistic expression', he tried to adapt his traveling experience for a linguistic version, in which he developed the new form of Joseon poetry', Jang-su Mountain2 modified the method of 'reading painting' peculiar to oriental paintings into 'linguistic expression' in the inherited tradition of oriental paintings. Natural objects which went wrong with a sense of the season and homonyms which made the poem difficult etc. were analyzed more easiry beyond our expectation with the method of 'reading painting'.
Jung Jiyong seems to have agonized over the kind of poetry he wanted to cultivate in colonized Chosun which, having lost its unique Oriental aesthetics amid the influx of Western civilization, was now pursuing a new, Western version of aesthetics. Thus in 1938 he presented "A Note on Jo Taekwon, A Fresh Oriental Dancer" as if it was meant to reflect his agony. "Poetry exists in the Orient," he said, carefully revealing in it the type of poetry that he had intended to explore with references to Oriental art and poetics. In the choreography of Jo Taekwon who studied Aesthetic of the Orient and Courtesy of Chosun, Jiyong wanted to find some cues for his poetry. Jo Taekwon was a choreographer who, together with Choe Seunghee, took tutorial lessons from their Japanese teacher Yisiyi Baku (石井漠) and studied in Paris. He and Jiyong were close friends. Having landed in Paris to major in Western choreography and learn about the West, Jo realized that what he had to do in Paris, the center of Western choreography, was to pursue Oriental traditions. Jiyong took notice of Oriental aesthetics because he created a method to show the realistic and historical aspects of colonized Chosun in an indirect, circuitous manner. What he created was a form of poetry in which the self and the thing completely merge with one another while the writer remains totally hidden behind his poems. However, he actually exists inside his poetry in a latent form instead of completely disappearing therefrom. Jiyong borrows, rather than quoting, from Oriental classics in order to broaden his world of art. He was fond of reciting the Shih Ching and T'ang Poem while creating (石井漠) wherein classics and modernism blended. Yi Baek lived his life as a wanderer under adverse circumstances. And yet he contemplated on the mundane world, wherein he sought beauty and solace while transcending secular interests and gains and losses. One may thus conclude that, though set apart in time and space, Jiyong and Yi Baek pursued a similar kind of poetry in which the self and object fused into one amid the beauty and permanence of nature.

조지훈의 생태시학과 자아실현

김옥성 ( Kim Ok-sung )
This study examines the ecological poetics of Cho Jee-hoon(조지훈) focusing on the Self-realization. The poetics of Cho Jee-hoon is regarded as one of the high peaks of the Buddhitic poetics, as those of Han Yong-woon(한용운) and Seo Jung-joo(서정주). "Love" in the poetic theory of Cho, is eco-ethical and aesthetic concept based on the deep ecology. Cho thought that the poet, the poetry and the nature are connected to "the ultimate life"(唯一生命). This theory shows us the post-modern vision, because it overcomes the modem aesthetics by connecting the art and the nature. In the early poerty, Cho defines the modem man as the isolated existence. And he tries to realize the Self in the nature over the barrier of the modern world. This imagination leads to the ecological poetics. In the ecological poetics of Cho, the Self-realization is accomplished by the imagination of yonkiron(緣起論), yunwhoiron(輪廻論). The self becomes the Self connected to "the ultimate life" of the nature by the Self-realization.
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