岸曙 金 億의 詩論 硏究 : 韓國近代詩論의 位相과 向方

김승종 中央大學校 1992 국내박사

趙芝薰 詩意識 硏究

배영애 淑明女子大學校 1988 국내석사

詩人 趙芝薰은 韓國現代詩史에서 가장 한국적인 정서를 작품에 담은 분이나 文學史에서 靑鹿派의 한 사람으로 국한되어 소개되는 感이 짙다. 이에 本 硏究는 趙芝薰의 詩世界의 바탕을 이루고 있는 禪的 감각이 作品속에서 어떻게 變貌·發展되어 가는가를 모색하고자 하였다. 禪的 흐름을 파악하기 위해 조 지훈의 詩를 〈習作期〉, 〈推薦期〉, 〈入山期〉, 〈落鄕期〉, 〈激動期〉, 〈安定期〉까지 〈조지훈 시선〉의 촛점을 맞추어 살펴 보았다. 먼저 習作期 계열의 작품 〈地獄記〉, 〈손〉, 〈月光曲〉등에서는 사변적 경항을 나타내었으나 차차 〈鶴〉, 〈밤〉, 〈祈禱〉 등을 발표하면서 사변적인 경향과는 조금은 詩風을 달리하는 가운데 문단에 오른다. 그는 자기에게 알맞은 詩의 形態를 이 추천기에 찾게 된다. 〈古風衣裳〉, 〈鳳凰愁〉, 〈僧舞〉등을 통해 지훈의 정신세계의 한 자락을 佛敎의 禪性으로 물들인다. 이렇듯 漸層的으로 佛敎의 분위기, 불교적 소재에 친근해가던 조 지훈은 1940년대의 어려운 時代的 狀況에서 더 깊은 觀照와 禪性으로 빠져들면서 知性人의 고통을 이기고 자기와의 대결에서 승리, 사물자체를 온전히 바라 볼 수 있는 마음의 눈이 열림으로써 더 좋은 禪詩를 쓰게 된다. 積極的 抵抗내지 現實에 대한 올바른 판단력이 佛敎的 차원에서 內面化되어 보다 원숙한 作品을 얻게 된다. 이 入山期의 작품으로는 〈古寺1〉·〈山房〉·〈마을〉·〈도라지 꽃〉·〈靜夜1·2〉·〈落花〉등이 있다. 해방후 같은 맥락으로 이어지는 詩로서는 〈絶頂〉·〈山〉·〈길〉·〈花體開顯〉 등이다. 해방을 前後한 사회적 혼란속에서나 晩年의 作品속에서도 지훈의 詩世界 저변에 깔린 에스프리는 禪性이었음을 本稿에서 밝혔다. 지훈이 태어나 활동한 시대는 줄곧 일제 식민지시대로 個人이나 社會 모두가 갈등과 苦惱와 挫折의 시련기였지만 지훈은 이 모든 비애와 갈등을 그의 훌륭한 情神世界의 지주인 禪思想으로 승화시킨 것이다. 그는 우리의 詩文學史에서 전통적인 정서와 불교의 禪을 완벽하게 접목시켜 놓은 훌륭한 업적으로 인하여 등불과 같이 중요한 위치를 차지한 詩人이다. 48세를 일기로 세상을 등졌으나 참다운 선비요, 지식인, 詩人으로서 그의 업적은 詩외에도 國學界에 커다란 발자취를 남겼다. Poet Cho Ji-Noon who had inscribed, in the modern history of Korean poetry, the very emotions of Korean in his work has been introduced limitedly as one of the Chyenglokpa. Hence this essay aimed at discussing how the sences of Buddhist meditation which compose the basis of Cho Ji-hoon's poetry were transfigured and developed in his works. In order to grasp the trend of his Buddhist meditation, the study of his poetry was carried out focusing on the periodical division of Ji-hoon's poetry according to Cho Ji-hoon Sisen. His works can be divided into six periods; the experimental period, the recommended period, the mountaineering period, the rustic period, the period of agitation and the settled period. First of all, in the poems of the experimental period such as Jiokki and Wulkwangkok, he showed the tendency of speculation. As he released Hak, Chunil, and Kido, however, he changed his verse style from the tendency of speculation and spiritual wandering to that of the recommended period. He entered upon a literary career and found his own form of poetry during this period. Through Gopoongeisang, Bonghwangsu, and Sungmoo, he paints his spiritual world with Buddhist meditation. Therefore gradually being acquainted to the atmosphere and subject matter of Buddhism he deepens the profound contemplation and meditation of Buddhism during the 1940's, and epoch of bitter situations. Overcoming the sufferings of intellectuals and winning over a struggle with himself, he could observe matters with soundness through an opened eyes of mind and compose better poems of Buddhism. An active resist or accurate judgement upon the reality, he could internalize in the realm of Buddhism achieving even more matured pieces through them. For this mountaineering period he has poems such as Gosa 1, Sanbang, Maul, Dorajikot, Aengumselbup, Jengyia 1 2, Nakhwa 1 2. After liberation, there are poems maintaining the same manner, for example, Jeljeng, Sankil, Hwachaekaehyen. The maintenance of this paper is that the esprit based in all Ji-hoon's poetry, during the period of social confusion before and behind the Independence and his later days, was the emotion of Buddhist meditation. Born in the times of colony Ji-hoon had to work in the situation where all the individuals and societies had to experience conflicts, agony, and frustration. Ji-hoon, however sublimated all this sadness and difficulty to the conception of Buddhist meditation which became the main esprit in his spiritual world. He has taken a very important place in our history of poetry for grafting together the traditional emotions and the Buddhist meditation. Though his life ended when he was forty eight years old, he left his grandeur marks not only in the history of poetry but also in the history of Korean literature as a true scholar and intellectual and an everlasting poet.

尹東柱 硏究 : 內面空間과 內面意識을 中心으로

김혜준 淑明女子大學校 1986 국내석사

尹東柱는 일제 암흑기의 어려운 시대적 여건 속에서 홀로 역경의 길을 걷다가 스러져간 비극적 삶의 주인공이었으며 우리의 시사에 주옥같은 시를 남기고 간 시인이었다. 본 연구에서는 기존의 연구 입장이 식민지 상황 아래서 저항적 시인이라는 측면과, 내면적 좌절과 퇴영의 시인으로 尹東柱를 바라보았던 점을 한편으로 종합하고, 또 한편으로는 비판하면서 尹東柱의 총체적인 내면세계를 고찰함이 그 목적이다. 우선 시인의 상황과 의식의 밀접한 상관 관계를 발견하고, 시인을 시대인으로서의 측면, 기독교인으로서의 측면, 그리고 자연인으로서의 측면으로 그 분석 수준을 나누어서 고찰하였다. 첫째, 당시의 시대상황과 결부하여 그의 시에 나타난 두 세계를 현실세계와 이상세계의 대비를 통하여 그 深層構造를 고찰하였다. 현실세계에서는 「바람」「밤」, 그리고 「어둠」 등이 주된 心象으로 나타나며 여기에서는 尹東柱의 實存的 自我가 연결되고 있다. 이상세계에서는 「하늘」「별」, 그리고「광명」 등이 주된 心象으로 나타나며 시인의 規範的 自我와 연관되어 있다. 이 상반되는 두 세계 사이에서 緊張이 발생하며, 여기에서 시인은 현실에서 이상으로의 「지향의지」를 표출한다. 이러한 두 내면공간의 形成과 緊張, 그 解消로서 지향의지의 바탕을 이루는 내면의식은 바로 「역사적 초월의식」이다. 위로의 超越意識과 미래로의 歷史意識은 당시 일제 식민지 상황이라는 外部狀況과의 交互作用에서 形成된 내면의식이라 본다. 둘째, 現實·理想世界와 意味論上 동일 구조를 보이나 「죽음」이라는 限界狀況이 첨가되고, 外部狀況으로부터 좀더 觀念化된 世界를 肯定·否定世界로 범주화하여 살펴보았다. 이 두 世界에서 발생하는 의지는 肯定世界에 대한 확신에서 비롯된 否定世界에 대한 「抵抗意志」이다. 이러한 내면세계 형성과 의지의 바탕이 되는 의식은 「基督敎的 召命意識」으로 간주하였다. 이는 尹東柱의 基督敎的 外部狀況과 밀접한 關係가 있다. 세째, 가장 관념화되고 主觀化된 세계로서 순수 自我世界를 「實存的 自我」와 「規範的 自我」로 區分하였다. 이 두 세계 사이에서 발생되는 緊張은 「화해의지」로서 극복하려 하고 있다. 그리고 바탕의식은 바로 「辨證法的 自意識」으로 본다. 위와 같이, 세 차원의 분석 수준으로 나누어 각각 내면공간, 의지 그리고 내면의식이라는 深層構造로써 가능한 尹東柱의 總體的인 면을 살펴보기 위한 分析的 고찰을 해 보았다. 그리고 이 논의를 전개하기 위하여 尹東柱 詩를 기본적으로 現實·理想世界에서의 지향의지, 긍정·부정세계에서의 저항의지, 규범·실존세계에서의 화해의지로의 이행인 이분법적 일원화의 과정으로 바라 보았다. This thesis aims to study the characteristics of Yoon Dong Joo's internal world. His poetry is constructed through the process of interaction with the external situation. Yoon's life is divided into three aspects; a contemporary in Japanese colonial, a Christian and a natural person. These three situational aspects are respectively related to three internal worlds and consciousness. First in the context of the external situation as a Japanese Colonial, the realistic world and the idealistic world are constructed in his poems. Of the former world, the words 'wind', 'night', and 'darkness' are the main images. In contrast, for the latter world, 'sky', 'star', and 'lightness' comprise the main images the poet's existential ego is found in the realistic world, his normative ego in the idealistic world. The two exclusive worlds give rise to tension and conflict which induces the will to overcome, that is, an upward directing will. This internal structure based on the consciousness of historical transcendence, which related to the external situation, a contempory in Japanese Colonial. Secondly, in his poems, the world of affirmation and that of negation are categorized which are more conceptualized and maginalized by the extreme situation, 'death'. Tension between the two worlds induces the will to resist. This internal structure is basis a consciousness of the vocation of as a christian. Third mostly conceptualized an introspective, the existential ego and normative ego are categorized, and tension between the two worlds induces the will to reconcile. This internal structure is based on dialectical self-consciousness as a natural person. Thus, in studying Yoon Dong Joo's totality in his poems, this thesis analized his inner world by dividing them into three dimensional analytical level, each of which is comprised of an internal world, a will, and a consciousness. Basically, this thesis regards the poems of Yoon Dong Joo with the logic of dichotomous monoism.

辛夕汀詩硏究 : 詩集 "촛불"을 中心으로

박수경 聖心女子大學校 1994 국내석사

박재삼 시의 기억과 일상 연구

우수현 부산대학교 대학원 2017 국내석사

Bak Jae-sam’s poems has been discussed in the tradition of lyric poetry. Bak Jae-sam’s poems, however, was based on his daily experiences and memories of childhood. His poems are singing everyday life and memories throughout his life. Literature not based on experience and not rooted in reality is easy to stops at imagination. On the other hand, literature works written on the basis of personal experience in everyday life can not only acquire universality by acquiring communal sympathy from the categories of individuals, but also may have an eternal vitality. The life of Bak Jae-sam, a poet, can be implied living together of poverty and disease. “The grudge and the sadness”, main emotion of his poem established the tradition of Korean lyric poem. However, first of all, it can be come out from loneliness and pain to master because of poverty experience and every disease of childhood. His poor life as expressed in grudge and sadness in his poem. In this influence, the emotion of ‘grudge’ and ‘sadness’ was expressed in main emotion of his poem. But his grudge and sadness became to overcome by fusing with eternity, natural object. Also we can meet nature to be expressed plentiful from all parts of his poem. This has a deep relation with nature of his hometown, Samcheonpo where he spent his childhood. He pours out the sadness of poverty and disease is bright and warm nature that he has borne from his childhood. In addition, the sadness and the grudge are perpetual, and are always seen in life. For the poet, every life is not passively judged by other people or according to the wagon wheel of society, but it is the imagination. The situation of play in Bak Jae-sam’s poem has already happened in the past, and it is taking structures that repeat it as an adult speaker recalls. He calls it ‘memories’, and the past facts in memories become a glittering experience. Various poems reflecting his childhood play experience actually show the process of realizing something through play while singing the joy of play itself. He has lived in pain of disease his lifetime since he broke down from high blood pressure at young age of 35. For that reason, he realized emptiness of life and he became to recognize death. After suffering from a serious illness, he became an opportunity to see life more affectionately by not being frustrated or afraid of death and realizing that life and death were together. His perception of disease and death tells poets how to live life more meaningfully. So, the emptiness that appears in his poem is not the emptiness of gloomy and dark color. It is a step forward emptiness. This emptiness consciousness is sublimated beautifully with emotion of grudge and grief through the tear, production of pure emotion and that he enjoyed Baduk can’t except from his life. We can look furtively at his simple view of life to practice the virtue of temperance and modesty and to overcome grudge and sadness from the pain of poverty and disease. This seems to be influenced on by Baduk that he enjoys ordinary times. He becomes to realize the discretion of life by playing Baduk because a wide Baduk board is at sixes and sevens like a way of life. In other words, we meet the modest figure to follow the nature with discretion consciousness that is based on the balance and the harmony from all parts of his poem. Because Bak Jae-sam’s everyday experience is melted in poetry, we feel more emotion and empathy. So, finding his ordinary traces of poetry is believed to be one of the ways to better understand his poems.