정완영 시조 연구 : 『난보다 푸른 돌』을 중심으로

다국어 초록 (Multilingual Abstract)

The focus of this study lies in an Jeong's anthology occupied by short poems written in the 1980s. How those days of his came up in his poems and why his poems largely constituted short poems were examined. This study at large composed of four chapters.
In chapter II, his life and literature world were examined.
In section 1 of this chapter, we can see that he was born in the ear of japan's colonization of Korea, and his grandfather, with a special affection, taught him chinese classics which contain Confucian ideas and Taoism. Specially, he is absorbed Buddhism thoughts from his grandfather.
In section 2, we can see that Jeng's literature world, first of all, is based on the pride of our race and traditions.
In chapter III, Jeong's works was presented. They were largely characterized by the pains resulted from the realities of those days and his desire to get through them.
In section 1, the majority of his works occupied the ones written about journeys which symbolize his desire for escaping from the realities. The process of the journeys was seeking after the truth which was lost in his daily life.
In section 2, a transformed description which could be considered another characteristic of his poetic personality was examined. His transformed description is his unique compositive method of poem and stylistic personality as a poet.
In section 3, as a Jeong's subject of sijo which is continuously presented in his poems, a vision to recover his Self was examined. In order to realize the vision, his poetic self was tinted with contemplation which in turn completed the aesthetics of nothingness.
In chapter IV, we can see that his works keep traditional structure of sijo remain untouched. In this respect, section 1-1 began with the structure of the meaning.
Jeong's sijo had a strong taste of old poem called gosijo. As gosijo does, most of his works, occupying 98% of 142 works, had the subject in the last of 3 verses of sijo.
In section 1-2, the formation of sijo was examined.
Even though he largely took over the tradition of fixed form of verse, but he preferred the use of rhythm of words to that of syllables, the use of rhythm of syllables which might bring about lowing the poetic completion because it could limit the poems to a certain frame.
In section 2-2, the simple beauty of his short poems were examined.
Jeong included 124 of short poems through the anthology. Any previous anthologies didn't do this. It suggests that he cut down his poetic expressions in the 1980s. Mightn't he think that short poem is enough to express his thought on the full basis, and the oriental blank could generate he space between the lines and then organize an aesthetical distance between images.
In section 2 of chapter IV, Jeong's preference for the use of chinese characters was examined. Chinese characters which he preferred were not the ones daily used but ones which helped his ideas discriminated. They were employed to give readers emotions rather than meanings.
In addition to this study, future studies could examined the techniques of this style such as metaphors, allegories, and symbolism) which could expand the boundary of Jeong's wold of literature.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1.1. 연구의 목적 = 1
• 1.2. 연구사 검토 = 3
• Ⅱ. 시적 생애 = 8
• 2.1. 생애와 창작 활동 = 8
• 2.2. 문학관 = 11
• Ⅲ. 참신성의 극대화 = 22
• 3.1. 일탈의 서정, 기행시 = 22
• 3.2. 변형묘사의 절경 = 29
• 3.3. 자아 상실과 회복 = 45
• Ⅳ. 전통적 구조의 미학 = 56
• 4.1. 작품의 구조 = 56
• 4.1.1. 의미의 구조 = 56
• 4.1.2. 형태의 구조 = 63
• 4.2. 단수의 구조미 = 73
• 4.3. 한자어의 사용 = 85
• Ⅴ. 결론 = 89
• 참고문헌 = 93
• Abstract = 96