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權五滿 서경대학교 1979 論文集 Vol.7 No.-
1. This paper is written to illuminate some traits of the poet Hwang Tong Kyu's poetical writing. In the former part another study about the poet On Hwang Tong Kyu, by Yun chai Keun(尹在根), will be examined and critisized, while in the latter part the traits of the poet being divided into three stages will be examined. 2. Yun Chai Keun considers all poems of the poet as a phenomenological one according to merlos ponti, art including poetry can be a means to have a more true under standing than science and, on the other hand, all understanding is made in the phenomenological world. In this proposition all poetry shoule be understood phenomenologically. If we want to call the poet's poetry a phenomenological poem, the poetry should be based on that particular methodology, but none of the poetry except the second-stage poems is seemed to be based on such kind of methodology. 3. Perseverance forms the attitude and method of the poet consistently in his poetical writing. In his early stage the perseverance which is reflected in the poems is only an attitude of life which is not yet enhanced as a method of his poetical writing. But, in the second stage the perseverance appears to be transformed into such a phenomenological writing as "language becomes an integration of the relationship between things and me", and, finally, in the third stage the perseverance is deepened to the methodology of poetical writing as a methoodlogical tension and an intellectual extermination. This is the stage where the most fruitful result reveals in the course of Hwang Tong Kyu's poetical development in which the perseverance becomes an axis.
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권오만 한국어문교육연구회 2009 어문연구(語文硏究) Vol.37 No.2
A new type of engagement poetry was written by the poet Kim Soo- young after April Revolution 1960. The works he wrote can be classified ‘confessed self type' in engagement poetic genre. He wrote those works in order to prevent the engagement poetry from getting into ill-considered practice. He was opposed to the separation of the poet, the speaker and the readers, the hearers in the engagement poetic works. There were no Korean engagement poetry under the rule of Japan Empire, because Korean people didn't have political right under the rule of Japan. Resistance poetry took the place engagement poetic genre had taken. Resistance poetic works of several poets in that period can be classified as ‘confessed self type' works. Those works make it a rule embrace the problem of period as poet's own. Such works, ‘Does Spring Come on the Field Deprived from Us' by Lee Sang-hwa, ‘Night' by Sim Hoon, ‘The Climax' by Lee Yoog-sa, ‘Dreadful Time', ‘The Other Home Town', ‘The Confession' by Yoon Dong- joo are typical examples of ‘confessed self type’ of resistance poetry. 詩人 金洙暎은 1964, 5년 무렵에, 參與詩에 큰 관심을 기울이면서 그 장르의 새로운 類型을 提案하였다. 그가 제안했던 참여시의 새 유형은 ‘自己 告白型’이라고 부를 만한 것이다. 김수영의 그 제안은 매우 신선했다. 그러나 그런 性質의 詩作은 日帝 强占期의 몇몇 시인들이 參與詩 아닌, 抵抗詩 작품들에서 이미 試圖했었던 것이었다. 일제 강점기의 抵抗詩란 광복 이후의 참여시와 크게 다르지 않은 性質의 시이다. 그렇게 본다면, 일제 강점기의 ‘자기 고백형’ 저항시들은 光復 以後의 ‘자기 고백형’ 참여시의 직계 아닌, 방계의 선배격이었다고 일컬을 만하다. 그런 의미에서 李相和의 「빼앗긴 들에도 봄은 오는가」, 沈熏의 「밤」, 李陸史의 「絶頂」, 尹東柱의 「무서운 時間」, 「또 다른 故鄕」, 「懺悔錄」등 일제 강점기의 시작품들은 뒷날의 ‘自己 告白型’ 참여시들과 깊은 關聯을 갖는다고 말할 수 있을 것이다.
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權五滿 韓國比較文學會 1982 比較文學 Vol.7 No.-
The late famous dramatist of Korea, Yu Chi-jin said in 'Thirty years as a dramatist', his brief auto-biography that he was influenced greatly by two Irish dramatists, J.M. Synge and Sean 0' Casey. Other-wise, it is well known fact that Geuk-ye-sul-yeon-gu-hoe, the most active group of Korean dramatic movement in 1930's, tried to learn the spirit and the methodology of Irish Dramatic Movement. In this paper, I intended to make clear what made Yu Chi-jin be influenced by Irish darmatists and what he learned from them. Also I intended to make clear that among the members of Geuk-ye-sul-yeon-gu-hoe by whom the study which looks Irish Theater Movement as their model to start and why the study to begin. To the questions mentioned above, this paper reached conclusions as following; (1) In 1920's and 1930's, many learned Korean had a good deal of sympathy with Irish because they fought for their liberty againt England Kingdom like Korean themselves fought against Japanese intruders. At that times, Irish dramatists, W.B. Yeats, Madame Gregory, Synge and Sean O'Casey had made great success in their labours to make their theater people's own theater. They called their labours Irish Dramatic Movement. To the Korean under same conditions like Irish, it was encouraging fact that a nation without a country could make such success. Therefore there was an atmophere among the men devoting themselves to theater movement in Korea to learn the methodolgy of People's theater from Irish Theater Movement. (2) The way of receiving the methodology of Irish Dramatic Movement was various. The one way of it was to translate Irish drama into Korean. It was 1920 that the Irish drama was translated in Korean at first. In 1930's the member of Geuk-ye-sul-yeon-ku-hoe,Jang Gi jae, Choi Jeong Woo, lee Ha yun tried hard to translate Irish dramas into Korean. In consequence of their effort, the translations of Irish drama was notable than any other country's in number. (3) The other way of recieving the methodology of the Irish drama was to perform it on Korean stage. Dramatic company Sil-hum-mu-dae which means the 'experimental stage' and belongs to Geuk-ye-sul-yeon-ku-hoe, performed three Irish dramas as its repertoire. But important works which were produced through Irish Dramatic Movement, for example, the works of J.M. Synge or Sean O'Casey, were not performed upon Korean stage in 1930's. (4) To write the drama under the influence of Irish dramatists was the another way of recieving the methodology of Irish Dramatic Movement. The most noticeable results which were made under the influence of Irish dramatists, e.g.J.M. Syngo or Sean O'Casey, were the early works of Yu Chi-jin. In his early works, for example, To-mak (The cottage), So (The cow), Yu Chi-jin mimicked the dramatungy of J.M. Synge and Sean O'Casey. The matters and the characters of Synge's and O'Casey's works are different each other. The matters and the characters of Synge's Works crame from his own experience on Aran island and those of 0'Casey's works came from his poor urban life. To put the above facts shortly, Synge's works wree related to the folklore and 0'Casey's works were related to the politics and the economics in Ireland. Yu Chi-jin, as the writer of his early works, favored O'Casey more than Synge because he inclined to the politics and the economics and he could not find the significance of the folklore which was underdeveloped by 1930 in Korea. In 1935, Yu Chi-jin was arrested by Japanese police by causing to make the students revolt against Japan. The experience made the dramatist change the world of his dramas and this change means that the influence of Irish dramat -ists on Yu Chi-jin was ceased by receiver himself.
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