1920년대 시의 노래화 현상 연구 = A Study on Poem as Song and Anseo(岸曙)'s Seven-Five Rhythm

다국어 초록 (Multilingual Abstract)

According to Anseo, the seven-five is chosen as a form which can substantialize the world of song. From the beginning of symbolism on, Anseo seeks for the rhythm with which our nation can be sympathetic. Thus, he is orality-oriented whereas symbolists are music-oriented. On the other hand, his verse tends to count on formalism in order to make amends for the drifting subject's grievous and sentimental feelings. In addition, the frequent use of auditory images makes Anseo's poems disposed toward the state of song. The arguments for gyeokjosi (swing verse) provides theoretic foundations for verse-turned-into-song. The seven-five is opted for as a lyric rhythm that can best crystallize songness, where the precedents like comtemporary dongyo (nursery rhyme) as well as japka (popular song) or minyo (ballad) act upon. The solid syllabic framework of the seven-five with four lines, established by Anseo, realizes the role of poem as song, by leveling out conflicts into comparable sentiments.
The rhythm in modern poetry was construed as formula of song, which is then converged into a innate component of verse by degrees. In this process, the borrowed rhythm of seven-five serves as a medium that is eventually cast into a new metrics.

참고문헌 (Reference)

1 "金岸曙詩 硏究" 2000

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10 "□ 이 논문은2006년 11월 10일 접수되고 2006년 12월 10일 심사완료되어 2006년 12월 15일 게재가 확정되었습니다."

11 "The Poetics of Japanese Verse ; Imagery, Structure, Meter" Univ of Tokyo Press 2000

12 "20세기 한국시연구" 새문사 1989