중국시의 세계문학적 지형 = 그 네가지 정경

다국어 초록 (Multilingual Abstract)

This paper mainly focused on the topography of Chinese poetry in the global literature through the literary culture related to Chinese poetry and the aesthetic-minded four scenes. Its main points of argument are as follows: the syngeneic relation between Chinese hieroglyphic characters and Chinese poetry in terms of the polysemy and ambiguity innate in the characteristics of Chinese Characters, Confucian sociocultural hermeneutics about The Book of Odes, the aesthetic sentiments of Yin and Yang philosophy in relation with monostrophe poems in Tang Dynasty, and the literary voyage of Chinese poetry to the Erewhon of truth with Chinese approaches. In short, this study includes such categories as linguistic consideration on Chinese hieroglyphic as ideogram, Chinese poetrys entrance to sociocultural hermeneutics by Confucianism, Yin and Yan aesthetics of poetic forms, the Chinese approach to the essence of poetry as a way of truth revelation.
After all, Chinese poetry have been developed with the help of Chinese Characters unique features such as ambiguity, polysemy, the time-space standard of monostrophe, and the enlargement of isolated-language semantic hiatuses. Moreover, the rise of poetry as both a method of social enlightenment and a main subject of high-official state examination contributed, in a sociocultural way, to the prosperity of Chinese poetry. Thirdly, the establishment of metrical poetry supported by Chinese Yin-and-Yang ideology also has founded out aesthetic beauty from the unfolding phases of paralleled homographic structure. In the end, Erewhon as an ever unreachable utopia could be realized ironically not by no-where but by now-here with the reversed reading of irony. Therefore, this transcendence of the present, that is, the Chinese Mobius shift means crossing a river of differences on a raft of language; after all, the truth indicates the process of revealing the simulacre apprehension from the self-experiencing particularity of a derivative view. Consequently, the ultimate statement of the Chinese poetics is more of the poetics of linguistic amnesia aiming at liberating language to the outside of language itself, not at possessing language.