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- 저자 : 尹錫山 (검색결과 128 건)
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尹錫山 한양대학교 한국학연구소 1990 韓國學論集 Vol.17 No.-
This study is to intended to analyze all of the personas in the poetry of Kim So-Wol in patterns according to their sex and to examine how they choose their poetic objects, times, spaces, tones, forms, and stanzas with lines and foot-meters to find some new poetic rhetorics of his as well as to set up a kind of narratorlogy of So-Wol's after reviewing all the discussions ever made about him. It is because that each persona in every poem plays not only the part of intermediary to show some poetic situation or some views to readers but also adapt himself or herself to every situation, choosing proper forms and tones according to the poetic emotion as soon as he or she is created by the poets. The term of persona used in this study may be the same meaning as a narrator or a speaker or a mask at times. Through the close examination the following facts were ascertained in all the works of Kim So-Wol. 1. In his poetry, three types of personas such as male, womanish (or only masked as a woman) male, and female personas are found in the ratio of 3:3:4, and their poetic objects can also be patterned into three types such as the poet's father-land deprived of by Japanese imperialism, or the sweet heart now departed far from him or her, or some ideal lovers whom can not be seeked for by the people of this mundane world. And so they have a distinguishing features in common that they are all the objects which are not real in their true existence, Therefore the remarks ever made about So-Wol's poetry that he has no male persona or he has inadequate understanding in the realities of actual life, can not always be right and just. 2. The time situation that each type of persona takes up in So-Wol's poetry also has obvious distinction to one another. Male-persona always appeares in the time situation of bright and the womanish male-persona does in that of darkness, while the female-persona appeares in the unspecified time situation in which she is confined to some assumption or some conditions or even the image of time itself has been eliminated. Closer reviewing in those aspects of the time situations shows the characteristics that there's never the intentional future as well as described in negatives. 3. Each persona, self-closed as mentioned above, has affection and yearning for each object while indignation or resistence to each obstacle, and has also some emotion of self-accusation for the ego of himself or herself which can not be got over, but according to the peculiar relations among the personas, topics and the listeners, The male-persona usually takes the pathetic tone of tragic, the womanish male-persona takes, the tome of longing with thirsty, while the female-persona usually takes the tone of paradox in which the surface and the depths of statement are possibly opposite to each other. 4. According to these differences, the inclination is generally found in So-Wol's poetry that female-persona often takes a set- form of poetry containing four stanzas with lines in three-footed cumulative, and the womanish mals-persona takes the unstanzaed form with less than tow lines, mixed with two or three footed meters, on the other hand, the male prsona chooes the form of free verse with more than three stanzas. But it seems that in the unspecified situation of time they all alter into the form with lines in three-footed cumulative. 5. Examining the meanings and their realization into poetic forms, in the case of male-persona and the womanish male-persona, the poems do not make any success because of the confusion of the poetic imaginations as well as the lack of controling forces in whole as they are in free verses, but in the cases of female-personas or of the unspecified situation of time, the poems usually make greater success with the organic combination of four stanzas containing four (or two) metered lines with three-footed meter cumulative, as well as the intensive structures of the four steps in writing (the introduction, the development of the theme, conversion, and summing up). Especially, combinng a female-persona with three-footed meter cumulative makes the poet effect much more greater with all the double function of such footed lines in good accordance with the persona's character.
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尹錫山 한양대학교 한국학연구소 1989 韓國學論集 Vol.16 No.-
This paper is intended to examine the Pyongmin Gasa (The Ode of the Commoners) appeared in thr age of reform in the late Choson Dynasty, With Kapmin-ga, Nochirnear-ga, Guchang-ga and Hapgang- chung-ga, especially which themes and contents are a critical toward reality, focused on the group of its writers, paper's topic is surveyed, Until now, it is a general tendenct that the writers of Pyongmin Gasa are commoners and the low classes (the humble). But, when analyzing the Pyongmin Gasa and scrutinizing the consciousness of the writers appeared in its works, it is possible to say that the group of Pyongmin Gasa's writers may be Yangban (the high classes) who has a regular knowledge or the middle classes (semi-Yangban). Consequently, it is certain that the ruind Yangban and the middle classes written the Pyongmin Gasa were conconsidered as a prize by social status in the late Choson Dynasty. So, it may be safely affirmed that the pyongmin Gasa is a valuable literature ofpoetry since it played a important part reform the society of late Choson Dynasty.
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素月의 리듬意識 : Briefly on his anthology, Azalea
尹錫山 제주대학교 1988 논문집 Vol.26 No.1
Analysis of his works shows that 114(115) poems were shown in public by Derember, 1925 and 67 poems were selected in his anthology. Azalca among them.48 poems were excepted in his anthology. They are: Chinese poems translated in Korean-2, prose poems-2, the poems of indictment against Japanese-4, The rest of them was simple and pure in the structure of rhythm. His standard of selecting poems can be thought rhythm. Among 67 poems in his anthology, 40 poem were adapted once, 11 poems were adapted two times, and only 16 poems (17) were not adapted. We can see that his main point of adapting his poems was the problem of rhythm. The changing period in his senses of rhythm is following. The first period(1920-1921), the second period(1922-1923), the third period(since the second period) This interval division can be thought to be short, but it is not unreasonable, considering that he was a poet at the time when the concept and the rhythm of modern poetry was not settled and that poets are able to change formal elements by his intentional will. (1) The senses of rhythm and basic pattern in the first period In this period his poems are characterized with the pure syllabic. To keep the pure syllabic he changed the words and phrases, arranged the same syllabled words in the same positions and made leaving spaces between words on purpose so that the syllables of the whole line look like same. The number of the lines in each stanza as well as the line was made to divide the syllable equally. It seemed that he had the simple idea that the rhythm of poetry is made by the repetition of the same number of syllables. His representative poets in his pattern are: 'Future days', 'Gathering the grass','the sea','on the mountain','the wishing mind to meet', etc. We should pay attention to the fact that the poem of this pattern can be found sometimes at the second period, very frequently at the third period not to speak of the first period. (2) The senses of rhythm and basic pattern in the secon period. He seemed to recognize the new rhythm pattern in this period. While he was writing two novels and proses, he seemed to think the pure syllabic unnatural and mechanical, and to be affected by free verse movement at that time. These pattern's poems appeared, more or less, in 1921s, in particular when he showed such poems in public as 'a golden grass', 'a chinese scops owl', 'su-a', 'the first skirt', and 'seeing the man', in 1922. This kind of poems are: 'a strong appointment', 'Mother! sister!', 'I can't forget you', 'I didn't know it when yours', 'when I am awake or sleep', 'Sak-ju-koo-seong', 'the mountain', 'Wang-sim-ri'. These poems are noticed to be his representative poems. They keeps the rhythm pattern similiar to free verse but they are not the complete free verse. This structure of rhythm has little difference with that of 'Future days'. He attained more natural rhythm pattern as he used the extra-metrical time adopting prosodic syllabic instead of pure syllabic. (3) The senses of rhythm and basic pattern in the third period. This thesis does not deal with the senses of rhythm in this period completely. But we can understand that the senses of rhythm of 1925 is reflected in the course of adapting and selecting poems in order to publish his anthology. His senses of rhythm in the first and the second period is supposed to exist to gether in the third Period. It is remarkable that we can find out many poems of the first period rhythm pattern among the new poems shown first in public in his anthology. I gyess that his senses of rhythm in this period is not harmony with the two periods but the reaction against the second period. The new poems that he supplemented when he published his anthology and the poems since 1926 are excepted in this thesis.
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尹錫山 한양대학교 한국학연구소 1985 韓國學論集 Vol.8 No.-
The purpose of this study is to verify on the basis of the Dong-Hak thoughts the Utopianism that can be found in 'Yong-Dam-Yu-Sa', one of the Dong-Hak Bible and a versicular literary work. This utopianism is closely connected with the creation of the world ("Gae-Byuk") which is one of the main ideas of Dong-Hak. To this effect, this paper presents the background for the origination of Dong-Hak and the general concept of the utopian thought. It further describes the problem of the earthly Taoistic hermit(Shin Sun") which is considered the most important element in creating an earthly Utopia/Paradise. The aforestated earthly Taoistic hermit is the man gifted with divine spirit and virtue and is the most idealistic type of man who is sought after in Dong-Hak. This Utopia or Paradise which is a community of the earthly Taoistic hermits is symbolically described as 'Spring' in 'Yong-Dam-Yu-Sa'. The literary background for this symbolic description can be found in the fact that the season of 'Spring' is characterized by its universal symbol and that its cycling feature conicides with Soo-Woon's view of history. Also, the term 'Spring' is adopted as a symbolic vehicle which symbolizes the sanctification of all the earthly Taoistic hermits into the boundary of divine spirits. The Utopianism of Dong-Hak is distinguished for its realistic feature from other utopian thoughts. It does not search for the Utopia of Measures which can be obtained through innovation of the social and conventional systems, but the Utopia of Man that can be estabished through reformation of human nature. The Millinnium Movement of the West is based on the concept that the earthly Utopia/ Paradise is established with the appearance of the Messiah. On the other hand, the Utopianism of Dong-Hak is founded on the modern thoughts such as total equality and participation that the reformation of nature is required for all human beings to establish the Utopian society.
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