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      • KCI등재후보

        백석 시와의 연관성을 통해 본 오장환의 초기시 : 인간을 위한 문학의 옹호와 선택적 부정의 양상

        장만호(Jang Man-Ho) 한국시학회 2009 한국시학연구 Vol.- No.25

        This paper aims at finding a relationship between Oh Jang-hwan's poetry and Baek Seok's poetry, clarifying Oh Jang-hwan poetry's thematic consciousness, and characterizing the inner logic of Oh Jang-hwan's early poetry. This kind of work helps finding out the logical reasons for the complex aspects of Oh Jang-hwan's early poetry. A desirable poem for Oh Jang-hwan is the one that reveals a poet's emotion, opinions, and visions. The 'sentimentalism' for him is the emotion that a true person has to feel when he confronts with the real life and the natural effect of the contents over the forms. On the one hand, Oh Jang-hwan's criticism for Baek, Seok is caused by this kind of reason. On the other hand, Oh tries to find Baek Seok poetry's good points, the characteristics of returning family and hometown and refinding a value of the present reality and the future directionality. The thematic tendency of Oh Jang-hwan's early poetry is perceiving the past with the present perspective and narrating the past with the vision for future. This kind of tendency is embodied in <Jongga [the head family]>. However, Oh Jang-hwan does not reveal his commentary and critical attitude in the poems depicting the low class whom he empathizes or feels sympathy. This kind of tendency proves that Oh Jang-hwan's critical voice is not his own voice but an intentional one resulted by his poetic theory. The reason why he shows a critical attitude in his many poems in spite of this tendency is that he thinks criticizing the old customs, the false consciousness and the deceptive attitude of the Yangban [the upper class], human alineation of the capitalistic society, and the small businessmen is more important than sympathizing with the lower class. This kind of attitude tells that Oh Jang-hwan does not deny all aspects of the contemporary reality and tradition but negate them selectively differentiating between the objects of negation and the objects of empathy. The reason why the critical poems are more visible than the empathizing poems is that the object of denial is the structure of reality itself.

      • KCI등재

        부정의 아이러니와 환멸의 낭만주의

        장만호(Jang Man-ho) 한국비평문학회 2009 批評文學 Vol.- No.32

        Oh, Jang-Hwan is the poet who demonstrated the contemporary social reality and its contradictions obviously through his literary practice living through the Japanese colonial period, the emancipation and the division. Oh, Jang-Hwan’s perspective covers such a broad range as the denial of old customs, a firm belief in progress, the criticism on the capitalistic modern urban civilization, a decadent experience of sailing, an ambivalent emotion on his hometown, which is regarded as an exceptionally broad spectrum comparing his contemporary poets. This paper aims at grasping an inner logic that can explain Oh, Jang-Hwan poetry’s heterogeneous and contradictory characteristics, which are produced by its complex and various aspects. The inner logic is the doubleness of Oh, Jang-Hwan’s consciousness of denial, in other words, an irony emergedby negating both reality and self and the attitude of romantic disillusionment. First of all, this paper analyzes that Oh, Jang-Hwan’s consciousness of denial is expressed with the double aspects. Oh, Jang-Hwan is the poet who revealed a strong interest on the social reality. While he wrote poems that sympathize the lives of the low-class, he also created the poems that criticize the social reality. They negate tradition and old customs and criticize their fakeness. When this consciousness of the denial is toward his interiority, Oh, Jang-Hwan’s poems reveal the artificial pose and the decadent aspects. This paper regards the double negation and the contradictory attitude as the conspicuous characteristics of Oh, Jang-Hwan’s early poetry and named it as ‘the Irony of Denial.’ Second, this paper analyzes the characteristics of Oh, Jang-Hwan’s early poetry as the transformation from the romantic disillusionment to lyricism. This paper named this character as the ‘Romantic Disillusionment’ in that the emotions of self disillusionment are expressed with the romantic spaces. The frequent expressions in this early period such as ‘tears,’ ‘regret’, ‘sorrow’, and ‘death’ are the results of the lyric attitude that poetic subject inevitably had to arrive after getting through the disillusionment.

      • KCI등재

        식민과 해방; 두 "탑" 사이의 거리 -발굴 작품을 중심으로 본 오장환의 해방기 시-

        장만호 ( Man Ho Jang ) 민족어문학회 2011 어문논집 Vol.- No.64

        이 논문은 오장환의 해방기 시문학에 관한 연구이다. 해방 후 발간된 『病든 서울』을 중심으로 한 해방기 시편들과 필자가 새롭게 발굴한 월북 이후 오장환의 시를 통해 해방에서 월북에 이르는 오장환의 시적 이력과 정치적 행보 사이의 연관성을 파악하고자 하였다. 특히 필자가 찾아낸 오장환의 시 「탑」과 번역시 「튀스터-氏」, 한효의 오장환 관련 평문은 해방을 맞이한 순간부터 월북에 걸친 시기의 오장환의 시를 이해하는 데 새로운 시각을 제공할 것으로 기대한다. 오장환은 식민지 시기의 행적에 대한 철저한 자기반성을 일회성의 차원에서가 아니라 지속적으로 수행하고 있었고 이 점에서 오장환의 자기반성은 새롭게 조명될 필요가 있다고 판단된다. 그의 해방기 시편들은 피식민의 역사를 건너 온 한 시인의 자기반성과 머뭇거림을 당대 어느 시인보다 선명하게 보여주고 있으며, 이를 바탕으로 한 ``개아적(個我的) 진정성``을 보여주고 있었다. 월북 후 오장환은 「탑」을 발표하는데 이 시는 식민지 시기 「絶頂의 노래」와 상호 참조적인 성격을 보여주고 있다. 그는 「탑」을 통해 새로운 세계에 대한 희망과 다짐을 노래하였지만 북한 내에서 이 시는 봉건적이며 재래적인 시라는 비판을 받게 된다. 두 시의 대상인 ``탑``의 거리는 오장환 개인에게 있어 피식민의 억압으로부터 새로운 세상을 기약하고자 한 바람의 거리였지만, 해방기 시문학사로 보면 해방기 남과 북, 또는 정치와 시의 거리를 보여주는 것이기도 하다. This paper examines the relationship between Oh, Jang-hwan`s career as a poet and political practices from the liberation to detection to North Korea through his poems of the liberation period in ``Byeong-deun Seoul``(Diseased Seoul) published after the liberation and poems written after his detection to North Korea, newly unearthed by the author. Especially, his poem ``T`ap``(Pagoda) and translated poem ``Mister Twister`` newly unearthed and Han, Hyo`s criticism related to Oh, Jang-hwan are expected to offer new perspectives on the understanding of Oh`s poems. It seems that Oh, Jang-hwan had been thoroughly and consistently reflecting on his whereabouts in the colonial period not as a one-off thing and in this respect, we needs to shed new light on Oh`s self-reflection. His poems in the liberation period much more clearly showed self-reflection and hesitation of a poet who had passed the history of colonized nation than any other poets in that period and displayed ``individual sincerity`` based on this. After detection to North Korea, Oh wrote ``Pagoda``, which showed the cross-referential characteristics with poem ``Song of Zenith`` written in the colonial period. He expressed his hope and promise for a new world in poem ``Pagoda``, however, it was criticized as feudal and conventional in North Korea. To Oh, Jang-hwan, the distance between two ``Pagodas``, objects of poems, was the distance of his hope and promise for a new world, free from the suppression due to the colonization, but it also showed the distance between South and North Korean, or politics and poetry in the liberation period from the perspective of poetic history back then.

      • KCI등재

        해방기 시의 공간 표상 방식 연구

        장만호(Jang Man-ho) 韓國批評文學會 2011 批評文學 Vol.- No.39

        이 글은 해방기 시에 형상화된 공간의 양상을 고찰하여 해방기 시문학에 나타나는 공간 표상을 살피고자 하였다. 이를 통해 당대의 현실 상황이 시적 주체의 인식과 상상력을 통해 어떻게 변용되는가를 살펴보고자 한 것이 이 논문의 목적이다. 해방공간의 서울은 식민지 시기의 ‘경성’이 지녔던 식민성을 재삼 확인하는 공간이며, 새로운 역사와 국가를 정립해야 하는 시발점으로 인식되었다. 대표적으로 오장환과 임화는 ‘서울’을 과거의 삶에 대한 반성과 ‘다가올 미래’에 대한 실천적 의지의 장으로 표상한다. 그러나 이후 다른 시인들의 시에서 서울은 구체적 공간성을 상실하고 ‘사건’이 발생한 ‘현장’으로 등장하거나 해방된 조선의 당대 현실을 제유하는 것으로 표현된다. 서울이라는 ‘해방기의 중심 공간’은 그 실감과 구체성을 상실하고 사건의 배경으로 등장하거나 하나의 관념적인 대상으로 성립되는 것이다. 서울이라는 공간이 시적 주체들이 삶을 영위하고 사회 · 정치 제도의 변화에 직간접적으로 관여하는 실제적인 공간이었다면 아시아, 소련, 미국 등의 공간은 일정 부분 지리학 및 언론 매체를 통해 습득한 간접 지식을 바탕으로 형상화된 ‘상상’의 공간이라 할 수 있다. 직접 체험하거나 거주하지 못한 장소나 공간을 문학적 대상으로 포섭하고자 할 때 필연적으로 개입되는 것이 시인의 상상력과 그 장소 및 공간의 특징들이다. 이런 점에서 이 공간들은 시적 주체의 상상력과 문화, 문학, 지리, 역사 등 실제 공간에 대한 예비적인 지식과 정치적 지향의 총체라고 할 수 있다. 박인환, 임화, 김기림 등은 아시아, 소련, 미국의 문화적 아이콘들을 호명하고 나열함으로써 해당 국가(공간)을 형상화하고 있는데, 나열의 방식을 통해 공간을 표상한다는 점에서 이 시들의 공간 표상 방식은 다분히 ‘환유적’ 방식에 기대고 있다고 할 수 있다. This paper aims to examine the spatial representation in poems by investigating the aspects of space in poems of the liberation period. Through this, it will look into how the reality of the period was transfigured with perception and imagination of the poetic subject. During the liberation period, Seoul was the space where people reconfirmed coloniality once Kyungseong had and had to be the starting point for the establishment of new history and nation. Oh, Jang-hwan and Im, Hwa represented Seoul as the space of self-reflection of the past life and practical will for the coming future. In poems of other poets after them, however, Seoul lost the concrete spatiality and was described as the site of events or as the synecdoche of the liberated Joseon’s reality. Seoul, the central space of the liberation period, lost its reality and concreteness and was appeared as the background of events or became an ideological object. While Seoul was the real space where poetic subjects lived their lives and directly and indirectly related to the change of social and political systems, Asia, the Soviet Union, the United States of America were imagined spaces formed with indirect knowledge attained through geography and mass media. When spaces or places where the poet has never been to or lived in were to be included into literary world, the poet's imagination and features of the spaces and places are necessarily intervened. In this respect, these spaces could be called as the whole of poetic subjects’ imagination, preliminary knowledges on real space such as culture, literature, geography and history, and political orientation. Park, In-hwan, Im, Hwa, Kim, Gi-rim embodied those nations(spaces) by calling and listing cultural icons of Asia, the Soviet Union and the United States of America. In that they represented spaces with enumeration, the way of spatial representation in their poems seems to be relied upon metonymic method.

      • KCI등재

        설창수론

        장만호(Jang, Man-Ho) 우리문학회 2016 우리文學硏究 Vol.0 No.51

        해방기 경남 진주 지역을 중심으로 활동을 전개한 설창수는 지역 문학과 문화 수립의 필요성을 역설하고 이의 실천을 위해 노력한 문인이었다. 그는 좌익과의 ‘투쟁’, 지역문학의 ‘정진’이라는 두 가지 방법론을 통해 해방기 지역문단을 수립하고자 하였으며, 이 방법은 민족문학 건설의 방법이기도 했다. 그는 또한 ‘전인문학론’을 주장하였는데, 이는 부분과 전체, 개인과 집단을 유기적으로 연결하고자 한 문학관이었다. 사회적 공리와 윤리적 감각을 바탕으로 하는 ‘문학의 기회균등’을 목표로 하는 문학론이었던 셈이다. 설창수 시의 특징 중 하나는 의인화를 통해 자신의 신념과 의지를 대상에 투사하는 것이라 할 수 있다. 이 같은 방식을 통해 설창수는 ‘전인’으로서의 삶을 시화하고자 노력하였으며, 불의와 타협에 항거하고자 하였다. 또한 연대의식을 부각시키며, 억압과 위험에 대해 투쟁함으로써만 존재의 의미를 구체화할 수 있는 정신의 공동체를 그리고자 하였다. 그러나 자신의 삶을 철저하게 정치․사회적 상황과 연계하고자 했던 까닭에 그의 시는 시대의 변화에 따라 대결에서 ‘회한’의 감정으로 전환되는 모습을 보여주었다. The activities undertaken by Paseong Seol, Chang-Soo have produced some of the most valuable material to study the local literature of the period of liberation. He undertook several projects, mostly in the Jinju area in Kyungnam province, during liberation stressing the need for improving regional literature, and in connection with this established various activities to promote regional literature. In comparison with the literature movement of other regions, which did not show significant theoretical deployment to establish local literature, Seol, Chang-Soo’s efforts can be an example in representing and establishing the theory of local literature in the Jinju region during the liberation period. He reasoned that regional literature was a microcosm of national literature because he considered that in “whole-person literature”, “whole-person” represented the ethnic, human, and the divine and organically connected the individual with the collective and made it an integral part of the whole. His literary theory was one that insisted ‘JeonSeonChamHweok’ and one that rejected the purity in the opposite position ’CheongMunHyeop’s national literature. One of the characteristics of Seol, Chang-Soo poems is that he projected his beliefs and willingness to the objects through anthromorphization. Like this, Seol, Chang-Soo tried to express the ‘whole person’s life as poetry and to resist against injustice and negotiation. Also, Seol emphasized awareness of unity and tried to depict a spiritual community that can embody the meaning of being by struggling against oppression and danger. However, Seol’s poems were transformed into the emotion of ‘regret’ from confrontation following the changes of times as Seol tried to connect his life with sociopolitical situation thoroughly.

      • KCI등재

        『문장』: 문학에서 문화로 : 『문장』지 소재 수필의 양상

        장만호(Jang Man-ho) 한국근대문학회 2010 한국근대문학연구 Vol.11 No.2

        ??문장??의 수필은 당대 다른 매체들에 비해 그 필자의 분포와 내용의 측면에서 차별화된다. 타 매체들이 문인들을 위주로 수필의 필자를 구성한데 반해 ??문장??은 문인을 포함, 학자, 연극?영화, 미술, 음악, 언론?출판, 의료, 종교 등 다양한 계층의 전문가를 망라했던 것이다. 이것이 ??문장?? 수필의 첫 번째 특징이다. 이 같은 필자의 분포로 인해 ??문장??의 수필은 매우 다양한 영역에 걸쳐 있다. ??문장??의 성과라 할 수 있는 조선학적 지식의 전파는 물론이고, 음악?영화?미술 등의 예술 분야, 의료?경제와 같은 비예술 분야에 이르기까지 ??문장?? 수필의 주제와 대상은 당대 문화 전반을 다루고 있었던 것이다. 이것이 ??문장?? 수필의 두 번째 특징이라 할 수 있다. 결국 ??문장??의 수필은 당대 문화 전반을 아우름으로써 수필을 ‘교양’의 층위로 올려놓게 된다. 이는 ??문장??이 수필을 ‘에세이’와 동일한 개념으로 인식했기 때문이며, 무엇보다 문학을 통해 “문화”를 창안하고자 한 기획의 일환이라고 판단된다. 대부분의 ??문장?? 논의들은 ??문장??이 주력했던 ‘고전의 발굴과 목록화’, ‘조선학의 전파’에 주목하고 이 부분을 ??문장??의 최고 심급으로 놓고 있다. 하지만 문화 전반에 걸친 수필의 게재와 예술 및 문화 관련 기획들을 함께 놓고 고려한다면, ??문장??의 전체 기획은 ‘문학을 통한 문화의 전유 및 창안’에 더 가깝다고 할 수 있다. ??문장?? 소재 수필을 고찰하고 이를 “문화”의 관점에서 보고자 한 이 논문의 주장이 여기에 있다. Essays in the literary magazine ??Munjang?? could be differentiated from other magazines of the day in the distribution of the writer and contents. Writers of other magazines were mostly literary person, however, including literary person, essay writers of ??Munjang?? were from various social stratum; academia, play, movie, fine arts, music, media, publication, medical circle, religion, etc. This is the first characteristics of essays in ??Munjang??. The distribution of writers resulted in the variety of areas covered by essays in ??Munjang??. Subjects and objects of essays in ??Munjang?? were overall culture of the day, covering not only the propagation of knowledges on Joseon Studies, the very achievement of ??Munjang?? but also music, movie, fine arts and inartistic fields such as medical circle, economy. This is the second features of essays in ??Munjang??. Ultimately, essays in ??Munjang?? strived to propagate knowledges on Joseon Studies on one hand, and placed essay in the ranks of 'gyo-yang' by covering cultures of the time in general. This is because ??Munjang?? recognized sooph'il(essay) as same with 'essay' and it was the part of strategy to create 'Culture' through literature. Most of discussions in ??Munjang?? paid attention to 'the discovery and cataloging of classics', 'the propagation of knowledges on Joseon Studies.' However if the publication of essays on culture in general and projects related to arts and cultures were considered together, overall project of ??Munjang?? is more close to 'the exclusive possession and creation of culture through literature.' This paper aims to examine essays in ??Munjang?? and interpret them from the perspective of 'Culture'.

      • KCI등재

        식민지 말기 수필문학의 양상과 문학장의 변화 : 최초의 수필 전문지 『박문』을 중심으로

        장만호(Jang Man-ho) 韓國批評文學會 2010 批評文學 Vol.- No.36

        This paper examines 박문(B’akmoon), the first magazine specialized in essay and the spread of essay in Joseon literary world at the end of 1930s through the relation with journalism of those days. Through this, this paper aims to clarify that as essay was actively written and circulated at the request of commercialized journalism, essay was developed as a literary genre and according to this, literary field changed at the end of 1930s. Various names designating similar type of writing began to be fixed as single name between late 1920s and early 1930s. Hereafter, literary magazines, all-around magazines, newspapers and etc. began to publish essays in full-scale and essays was spreading in 1930s. And the first magazine specialized in essay was born. This magazine was published by well-known publishing company B’akmoon Seogwan. The company published essays mainly and inserted advertisements of their publications in between them. It adapted the way of inserting the advertisements of their books between essays subscribers could easily read. The reason B’akmoon chose essays as its public relations magazine is because it did not take long time to write essay compared to novel, drama or poem. It was easy to ask writers and researchers to write essay and to receive essays from them. Other reason is that since readers could easily access and understand essay, the company could enhance the magazine’s readability and accessibility Most important point is that essay was very close to advertisements of its publications such as book review, book report, preface, personal criticism, etc in the aspect that materials for and form of essay is free. Essay was most suitable genre when the publishing company wanted to dilute their intention of its advertisements while achieving results of advertising by arranging similar type of writings. Not only P’akmoon but most of media companies of late 1930s preferred and mass-produced essay. The characteristics of essay is in that specialist of academic world, doctor, lawyer and ordinary person could become essayist and this contributed to the expansion of authors in literature of those period. Group of specialists with knowledge of their fields, cultured persons with contemplative view on life and culture were incorporated into author group. The expansion of author group necessarily leads to the diversity of contents and materials of writings. This phenomenon could be called as ‘appropriation of culture through literature’. Ultimately, essay of late 1930s was developed with the request of journalism and this leaded to the expansion of author group in literature and changed literary filed of those period.

      • KCI등재

        최남선 창가의 문화정치학과 『소년』 계몽기획의 이중적 구도

        장만호(Jang, Man-ho) 한국시학회 2016 한국시학연구 Vol.- No.46

        이 글은 최현식의 『최남선·근대시가·네이션』(소명출판, 2016)의 서평이다. 저자는 이 책을 통해 근대·계몽의 주체(최남선, 근대 매체)와 근대·계몽의 내용(네이션 기획), 근대·계몽의 문학적 형식(근대시가)을 살피고 있다. 최남선과 근대시가, 네이션의 삼각구도를 통해 최남선의 문학 및 문화 기획과 문학 양식의 문제를 검토하고 있는 셈이다. 이 서평은 크게 두 가지 관점에서 이 책을 읽고자 한다. 2장에서는 최남선의 철도창가와 근대 투어리즘의 관계에 대한 저자의 논의를 소개하고 그 특징을 파악하고자 한다. 저자는 최남선이라는 ‘문제’를 그 시기적 추이에 따른 변모를 기본축으로 삼으면서도, 대상 작품들과 그 주제나 창작 시기, 매체적 상동성·상사성을 지닌 대상들을 지속적으로 호출한다. 「경부텰도노래」에 대해서 오오와다 다케키의 「만한철도창가」를, 근대계몽기 한양의 모습에 대해 일제의 시각인 ‘경성’의 표상을, 「세계일주가」에 대해서는 이케베 요시다카의 「세계일주창가」를 호명한다. 이 과정에서 영향 관계가 밝혀지고, 창가의 공통적 특질이 드러나며, ‘문명국이며 제국주의 국가’ 일본의 기차와 ‘문명국이 되고자 노력하는 조선’의 기차가 실어나르는 문명과 역사, 심상지리의 차이가 구별된다. 3장에서는 『소년』의 계몽기획이 중요한 변화를 겪고 있다고 보는 저자의 논리를 따라가고자 한다. ‘소년’을 호출하고 ‘신대한’의 건설을 계획하던 최남선의 계몽기획은 당연히 좌절될 수밖에 없었고, 이에 ‘신대한’이라는 국민국가를 대신할 새로운 이념형의 찾을 필요가 있었다. 저자는 ‘신대한’을 대체한 것이 바로 ‘대조선’이라고 보았다. ‘신대한’이란 국민국가의 수립은 현실과는 무연한 욕망임을 깨달은 최남선이 문화 담론을 통해 그 활로를 개척할 수 있는 민족으로 전환한 결과가 ‘대조선’의 호출이었다는 것이다. 저자의 논리에 따르면 시조의 등장이란 이처럼 ‘대조선’의 정신을 앙양하고 민족의 기원과 영광을 상징하는 ‘대황조(단군)’를 기림으로써 ‘국가 만들기’에서 ‘민족 지키기’로 방향 전환한 최남선식 계몽기획의 필연적 결과였던 셈이다. This writing is a Choi, Hyun-sik’s book review on Choi, Nam-sun Geondaesiganation(Published by Somyung, 2016). Through this book, the author examines the subject (Choi, Nam-sun, modern media), content (Nation Planning) and literary expression form (Modern poem) of modern enlightenment. He reviews on the issues of literature, culture planning and literary form of Choi, Nam-sun through the triangular structure of Choi, Nam-sun Geondaesiganation. The book review is largely divied into two perspectives. Chapter 2 introduces author’s discussion on the relationship between Choi, Nam-sun’s railway song and modern tourism to idenfiy its feature. Chapter 3 follows the author’s logic of that enlightened planning of Boy is going through major changes to observe the characteristic and meaning of this book.

      • KCI등재

        국학의 이념과 근대시의 거절

        장만호(Jang Man-Ho) 고려대학교 한국학연구소 2011 한국학연구 Vol.39 No.-

        이 글은 최남선과 안확, 두 國學者의 시조론을 살피고 국학의 이념이 시조라는 장르에 어떠한 방식으로 접목되었는가를 고찰하고자 하였다. 이들은 시조를 조선의 대표적인 문학 장르로 인식하고 시조 부흥을 주장하였다. 이들에게 시조는 詩歌였다는 점에서 노래를 좋아한 조선 민족의 특성이 구현된 형식으로 이해되었다. 중국 문화의 영향을 받지 않았다고 간주된다는 점에서 조선적 독자성을 주장할 수 있는 장르라고 생각하였다. 시조는 또한 조선문으로 씌어진 것이며 당대에도 창작되는 장르였다는 점에서 전통을 현재화할 수 있는 것이었으며, 최소한 조선왕조 이전으로 그 발생 시기를 잡을 수 있다는 점에서 그 기원을 순수한 것으로 만들 수 있었다. 이처럼 시조는 ‘조선적인 것’을 재구성하고, 당대에 조선적인 것을 재현하고자 했던 두 국학자의 조선학이 적절하게 적용될 수 있는 문학 장르였던 것이다. 시조를 조선적인 형식으로 규정함으로써 세계문학의 한 부분으로 편입시키고자 한 최남선의 시조론과 시조의 과학성을 규명함으로써 조선적인 것의 우월성을 강조하고자 한 안확의 시조론은 식민지 시기 두 국학자의 조선적인 것 에 ‘ ’ 대한 시각의 편차를 보여준다. 최남선이 “조선으로 세계에”라는 구호를 통해 특수성의 획득이 보편성에 이르는 것이라고 주장한 반면, 안확은 ‘조선 속에 내재된 세계’, 혹은 ‘세계를 넘어선 조선’이라는 인식을 통해 특수성의 우월함을 강조한 것이다. 이 같은 편차에도 불구하고 이들은 ‘新詩’(자유시)에 대해서는 유사한 입장을 보여주었는데, 신시는 ‘조선적’이지 않은 것, 외래적인 것, 열등한 것이라는 인식이 있었기 때문이다. 일제 강점기 하에서 ‘自國’을 알고자 하는 학문으로서의 國學이 국수주의로 흐를 수 있는 위험을 이들의 시조론은 보여주고 있었다. This study inquired into Sijo theories of 2 scholars of Korea literature such as Choi Nam-Sun and An Whak, and watched on how the Korean study’s ideology was grafted to the genre called Sijo. They recognized Sijo as the representative literature genre of Joseon Dynasty, and insisted Sijo’s restoration. Sijo was understood as forms in which Joseon ethnic’s characteristics of liking songs were implemented in that Sijo was poetry to them. They considered Sijo as a genre that could insist on originality of Joseon because it was regarded such like being unaffected from the Chinese culture. Also, Sijo was a thing that could actualize the tradition in that it was written by Joseon characters, and also a genre created at contemporary times, and its origin was able to be made as a pure matter because its developing period could be taken to pre-Joseon Dynasty. In this way, Sijo was a literature genre that could be applied properly from Joseon studies of 2 Korea literature scholars who tried to revive ‘Joseon’s uniqueness’ at the contemporary times while recomposing it. Sijo theories of 2 scholars on ‘Joseon uniqueness’ in the colonial period show visual deviations such like Choi Nam-Sun tried to transfer it into a part of international literatures by regulating Sijo as Joseon uniqueness forms, and An Whak intended to focus on superiority of Joseon uniqueness. Choi Nam-Sun insisted that acquisition of specificity through a slogan “To Joseon, toward the world”reached to universality, but An Whak focused on specificity’s superiority through recognitions such like ‘Inherent world in Joseon’ or ‘Joseon beyond the world’ in contrast. In spite of these deviations, they showed similar stances on ‘modern poems (free verse),’ and it was derived from thoughts such like modern poems were dissimilar to ‘Joseon uniqueness,’ foreign things, and inferior ones. Sijo theories of them were showing risks such like the Korean study as a learning for intending to know about ‘self country’ under Japanese colonization could be inclined to ultra nationalism.

      • KCI등재후보

        산문시의 형식과 근대 문학 담당층의 산문시 인식

        장만호(Jang Man-ho) 한국시학회 2006 한국시학연구 Vol.- No.15

        This paper aims to study the concept and theory of prose poem of Korea and to examine the awareness of prose poem by the people in charge of early modern poetry. For a long time, prose poem was not properly understood by people. From the beginning of modern literature, prose poem was introduced and written with free verse at the same time, however, meaningful poetics or studies has not been accumulated. Until today, prose poem occupies an important place in contemporary poetry, without being precisely defined nor the aesthetic rules being laid down. Prose poem has been developed through antagonism with free verse and this is not just the problem of prose poem, but it is also deeply related to the various quests and experiments of Korean poetry. Free verse has been continuously developed, on the other hand, prose poem has showed the aspect of reduction and expansion. This means that prose poem is the form in which we can confirm the reduction and expansion of the horizon of Korean modern and contemporary history of poetry. In other word, how prose poem has been created and through which process it settled down as a concrete form become not only the concern of prose poem but the concern of Korean poetry. In this aspect, the question on prose poem can, over the question of 'what is prose poem?', be the indirect answer to question on the birth and self-confirmation of Korean poetry, that is, the fundamental question of 'What was poetry and what was the poetic thing?' This paper is planned as a preparatory study to clarify this question and critical mind and paid attention especially to comments and works of 이광수(Lee, Kwangsoo), 최학송(Choi, Haksong) and 김억(Kim, Eok). This paper tries to examine that prose poem was what kind of form at that time and how it was understood within the practical writings and comments on prose poem by them. It is because 이광수 and 김억 greatly influenced on the formation of modern literature and stated their own theory of literature and poetics. In conclusion, prose poem at that time was variously used not as a fixed form, but as a prose literature, the same concept with free verse. Writings by 최학송(Choi, Haksong) were very close to aesthetical sentence rather than poetry and 김억(Kim, Eok) possessed a form of contemporary prose poem and created ‘님’, a part of Korean literary tradition, however, this ended as a one-time and fragmentary, especially exceptional attempt. There could be various reasons for these disorder and confusion, but most of all, the emphasis on musicality, that is, poetry is to recite was rooted. When 'to recite' and 'emphasis on musicality' are perceived as the essence of poetry, poetry with the form of prose poem and prose poem which would be understood as not being possessed with a fixed form as a poetry become estranged from the interest of people in charge of literature in this period.

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