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논문검색은 역시 페이퍼서치

청람어문교육검색

Journal of CheongRam Korean Language Educatiln


  • - 주제 : 어문학분야 > 국어학
  • - 성격 : 학술지
  • - 간기: 격월
  • - 국내 등재 : KCI 등재
  • - 해외 등재 : -
  • - ISSN : 1598-1967
  • - 간행물명 변경 사항 : 청람어문학(~1999) → 청람어문교육(2000~)
논문제목
수록 범위 : 8권 0호 (1993)

한용운 시에 나타난 전통과 선사상에 관한 연구

정학심
청람어문교육학회|청람어문교육  8권 0호, 1993 pp. 637-692 ( 총 56 pages)
13,100
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초록보기
Discussion over Manhae, Han Yong-un`s Poetry has diversely been made from several Perspectives, viewpoint and methodology. As a result, evaluation over Manhae, Han Yong-un`s Poems has led to being called `aesthetics of separation` and `aesthetics of pardox,` which formulated evaluative daomain and evaluative value But, any illumination that `aesthetics of separation` the evaluative value of his poetry, is attempted to be interpreted in connection with our traditional emotion and prototypal emotion has never been made, For this reason, his poetry seems to have not been interpreted the correlation with the prototype. In order to overcome this, this thesis defined the first separation ballad appearing in korean poem`s and songs as Arirang, and attempted to trace the prototypal emotions and sentiments arising from our separation in a context of tradition with a focus on the separation (parting) folk songs since Arirang and to interpret Manhae, Han Yong-un`s poems in comparision and contrast with such folk songs to veilluminate a modem vepresentational style. As a consequence, the fact was discovered that the emotion of poems and songs singing existing separation or farewell are represented through three channels, which are classified and defined as the emotion of curse and anger, that of entreaty and appeal and finally that of lingering attachment and regret. These emotions are affection arising from the salutatory separation or farewell and are represented as the style representative of universal emotions stemming from separation. But, in case of Manhae, Han Yong-un emational evocation does never come to light, which was thought to be attributable to the fact that the object of separation for him is the salutatory separation or farewell and the absolute and transcendental object as the ideological object as well. Heve, the identity of the lover was defined through biographical inquiry as the ideological, transcndental object, not the emotional object such as freedom, equality, fatherland, nation. Buddha, living things, truth, good and beauty. As the existence of the transcendental object is named, the titles of salutation such as `lover` or `you,` though, it establishes the foundation that it can be interpreted as salutation or the other sex. But it can be seen that the existence of the transcendental object was sublimated and beautifled into the metaphysical object that the flesh perishes and only the spirit remains by making it absolute or transcendental. For that reason, it was made to know that traditional emotions such as curse or anger, lingering attachment or entreaty, the materializing condition of salutatory farewell were excluded from it. It can seem to be said that Buddhist principles and Zen thought have quietly rooted in a deep context and the Buddhist Principle acting as the dimension of conception in Manhae`s Poems showed a changed picture that it shifted his poetry from `aesthetics of separation (farewell)`to asethetics of paradox` . As a result, the out layer structure of Han Yong-un`s poems is the structure of irony and could not help mobilizing a dialecticul rhetoric of affirmation through negation that is manifested in a paradoxical fashion. And it cannot but be interpreted that this paradox exceeded the dimension of the representational nature of Manhae, Han Yong-un`s poems as a simple representational technique and so the Buddhist Zen thought could not refrain from containing the principle such as the topic of conversation. With reqard to the `aesthetics of separation (farewell)` separation is here negated through `aesthetics of paradox`, and so formal separation materializes `parting equals meeting` called the essential casual meeting. This means that his poetry started with the conceptional dimension of Yongi doctrine(綠起說), a Buddhist principle and implies that it is put to a shape as the Banshanghap do of the topic of conversation such as `no one and no-two`, `non one and non-two` and `non-exist

이육사 시와 그 역사인식 연구

조영식 ( Yoeng Sik Cho )
청람어문교육학회|청람어문교육  8권 0호, 1993 pp. 693-740 ( 총 48 pages)
12,300
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This thesis is a study concerned with the poetry-sprit and historical recognition of Yuk Sa, Lee Woen Rok, who was well known to us a representative resistance-poet in the colonial ages. Above all, Searching the historical situation after 1930 times when Yuk sa lived, I refered to his keen life against it. In order that I may search his thoughts and sprit which based such a life, I devided his prose which was left by Yuk sa into two parts, comments on comtemporary topics and artistic prose. Also, I refered to objective, logical, and hystorical recognition on the china and world state in the comments on contemporary topics at that time. Additionally, I refered to his human anguish and conflict on the gloomy reality in the artistic prose which could be devided into novel and essay. Deviding his poems which show his poetry-sprit and historical recognition evidently into content and form, I argued them potently. In content, his poems contain homelessness, loitering, pessimistic reality-recognition, and will which was concerned with the recovery of homeland` as a leitmotif (central thought) . And this fact also reveals his poetry-sprit and changing-process of his historical recognition. In form, his poems symbolize the poetic word, antagonistic structure of image, balanced arrangement of column and ream, and the symbolism of poetic word. Among his poems, We can recommend the following works which represenred his poems like `Climax (Chul Jung)`, `Arbor (Kyo mok)`, `Blue grape (Chung po do)`, `Flower (Kkoch)`, `Desolate plain (Kwang ya)`. And those poems harmonize such a charactor (symbol) of content and form well. The idea which Yuk sa dreamed through his poetry works to recover it was just the `Homeland of past`. And it was resulted from his individual limitation and the limitation of his class which belonged him, Thus, his poems revealed the consciousness of anti-imperialistic, anti-external situation strongly, but his poems could not distinguish the consciousness of anti-feudialistic. Yuk sa has enhanced a magnificent, continental, and masculine temper to the Korea-poetry, announcing the poems which made effective use of the balanced form-beauty and the refined expressing method. As mentioned above, Yuk sa aws a anti-imperialistic national poet who has enlightened the darkness of late colonial ages which could be thought as a gloom period in Korea literature history.

김광섭 시 연구

최정선 ( Jung Sun Choi )
청람어문교육학회|청람어문교육  8권 0호, 1993 pp. 741-798 ( 총 58 pages)
13,300
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초록보기
This study aims to examine the characteristics and the nature of the poems of Isan kim Kwang-Sub, focusing on his life and view of literature and to trace the course of change in his poems` themes. The research papers existing show that the essence of his mind can be represented as by and large the sense of resistance arid pace-seeking, conceived by the mind of nationalism and patriotism, and that the character of his poems` topics can be indicated in essence to be abstract through being idealism-oriented, in spite of the variety of their themes; and that kim Kwang-sub started from the poetic view of Romanticism, and that the nature of his poems had as its conceptional dimension the activistic enthusiasm which refused the inner longing or the transcendental spirit suprematism which only wanted tried and earn the perfect freedom. Underscoring the fact that even though his conceptional motivations and poetic characters were based on the Western Romanticism, there has been no examination in light of comparative literature and no reillumination of his poems, this study tries to examine mainly his early poems in the order to clarify the nature of his poems, the change and development of his poems, and the relational ways in which he established his poetic world by overcoming the limit reception. In light of the fact that Kim Kwng-Sub` poems started from the poetic view of Romanticism, it seems that his poems can be understood more fun damentally when they are compared and exa mined by presenting the natures and characters of the Western Romanticist poems. As it seen in the nature of the Romanticist poems, the Romanticism can be represented by the aesthetics of yearning. Even though besides yearning, magic idealism, enthusiasm, romantic irony, the theory of nature-organism, and so on, can be set forth as the nature and characters of Romanticism, these characteristics can be said to be another aspects of philosophical background and world view of the Romanticism, which are to support and build yearning. Korean Romanticist poems have already been defined as a received aesthetics which was imported, having the Western Romantistic poems as their conceptional dimension. In other words, Korean Romantistic poems are said to be established and developed by the influences of the Romanticism. Then it is proper that the Korean Romantistic poems should be understood by the relationship with the Western Romantistic poems and when the interrelationships of their influences are made clear, the role and the extent of evaluation of the Korean Romantistic poems will be able to be formed and the interrelationships of the Western Romantistic poems and the Korea Romantistic poems will be able to be compared and examined by the non-literal aspects besides by the naturalistic approach. This study attempted to examine Kim kwang-Sub`s poems focusing on his early collection of poems named $quot;Yearning$quot;, through the method of comparative study of literature comparing them with the Western Romantistic poems. The conclusions earned by this can be presented as follows: First, Kim Kwang-Sub`s poems, accepting the aesthetics of yearning which is the essence of the Western Romanticism, incorporated it with the sense of contemporary situation of Korea and made it a defence of the national ritual. Secondly, the yearning of his poems, through the yearning of time, being sublimated into the love of his people and the love of his country, inspired the national consciousness, and at the same time it can be said that this expressed the spiritual and cultural resistance through the way of creativity. Thirdly, the inner yearning in his poems signified the love of his country by the way of metaphorical symbols, that is, return to the sense of motherhood. Forthly, his spatial yearning, through the transcendental view of nature, was a rest to charge the energy which would restore a lost age by a pastoral behavior. Finally, the aesthetics of yearning in his poe
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