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李崇源 충남대학교 교지편집위원회 1984 寶雲 - 충남대학교 Vol.- No.14
이러한 새디즘은 한국문학 어디에서도 찾아볼 수 없는 전율어린 부분이다. 정신분석학에 의하면 가학증과 피학증이 표리의 관계에 있으며 그것은 의식의 분열상태에서 온다고 한다. 세계 속에 자기의 위치를 온당하게 매겨두지 못한 결과가 바로 이런 증세인 것이다. 그렇다면 저 전율 어린 새디즘의 장면은 북만 벌판의 자학과 역방향에 서는 것이며, 허무의 내면화의 실패라는 동심원에 포함되는 것이리라.
李崇源 충남대학교 교지편집위원회 1982 寶雲 - 충남대학교 Vol.- No.12
문화라는 개념은 상당히 포괄적이고 광범위한 의미를 함축하고 있다. 평범한 생활 유형을 지칭하는 것에서부터 인간고뇌의 궤적과 그 소산이라는 가치 개념을 포함하는 것에 이르기까지 의미의 폭이 확장된다. 어느경우든 그 개념의 저변에는 인간사유의 소산이라는 항목이 놓여있다.아무리 소박한 단계의 문화 유형이라 하더라도 거기에는 반드시 인간의'생각'이 개입되기 마련이다.
이숭원 고려대학교 민족문화연구원 한국문학연구소 2001 한국문학연구 Vol.- No.2
The purpose of the present thesis is to trace the phases of the poetic narrator in the development of modern Korean poetry. The narrator or persona in modern Korean poetry can be categorized into four types: (1) the "narrator as poet", who presents him-/herself as poet-narrator and discloses his/her thoughts and feelings ; (2) the "fictional narrator", serving as mouthpiece for the poet's thoughts and feelings ; (3) the "collective narrator", whose main function is to relate stories of consequence for a given group and encourage collective awareness and reflection; and (4) the "neutral narrator", and unobtrusive reporter of characters and situations as they are. Dominant in the 1920s was the "(semi-)fictional narrator", whose fictionality was merely hinted, rather than the narrator as poet. Examples include Yo-han Ju's "Bul-Nori" (1919), Sang-hwa Lee's "To My Bed" (1923), most early poems by So-wol Kim, and poems in The Silence of My Beloved by Yong-woon Han ; they all reveal the poets' feelings through diverse personae. The use of personae in this particular period is due to three main reasons. First, modern Korean poets needed a new narrative mode, as a departure from the "personal" or autobiographical tradition of Korean verse. Also, the new view of literature as artifact, not personal confession, probably worked on them. Lastly, they sought a fictional "other", as they wanted to vent extreme emotions remote from their reality. On the other hand, most of Ji-yong Jung's poems, renowned for their strong Imagist inclination, were narrated by the poet himself, with the exception of a few later poems. Similarly, poets like Young-rang Kim, Suk-Jung Shin, and Yong-chul Bak employed the "narrator as "poet". That is, the mid-1920s witnessed the transition from the "fictional narrator" to the "narrator as poet", the latter of which was to be the norm in the 1930s. Especially, those poets that started their literary career in the 1930s confirmed it further. Of the other two types, the "collective narrator" is a rare case in Korean poetry. Nevertheless, it is worth inquiring into due to a special historical phenomenon, the KAPF. To the KAPF poets that surged in from the mid-1920s, the "collective narrator" or "we-narrator" was particularly effective to demonstrate and advocate proletarian solidarity and militancy. A curious, case, however, is found in Hwa Im, who started with the "collective narrator" in his early poems but changed to the "narrator as poet" and the "fictional narrator" in his "short epic". The last type, the "neutral narrator", was almost concurrent with the Imagist poems of the 1930s, including those written by Ki-rim Kim. Understanding the types or phases of the poetic narrator helps explain the transitions remarked in various poets: from the "narrator as poet" to the "neutral narrator" in Ji-yong Jung ; from the "neutral" or the "fictional narrator" to the "narrator as poet" in Seok Baek ; and from the "neutral narrator" to the "narrator as poet" in Mok-wol Bak. Their changing narrators are an important index of their changing world view and poetics.