이 논문의 목적은 김소월의 시의식과 시세계를 고찰하고 그것들을 효과적으로 형상화하기 위하여 설정한 텍스트의 창작 원리를 밝혀 그가 지향하는 작품세계의 특질을 규명하는 데 있다. 한 시인의 작품 세계를 규명한다는 것은 의식의 밑바탕에 자리 잡은 그의 상상력의 근원과 그것이 구체화되어 드러나는 창작에의 기법을 밀접한 관련 속에서 고찰하는 복합적인 작업이다. 그럼에도 불구하고 그동안 소월이 지향하는 시세계와 창작 원리에 대한 연구는 단편적으로만 논의되었을 뿐 통합적인 연구는 미진한 것이 사실이었다. 따라서 이 논문에서는 그의 시의식과 시세계, 그리고 창작에의 원리까지 통합적으로 고찰함으로써 김소월 시의 상상력의 지평을 넓히고 그가 지향하는 세계의 궁극적인 의미를 규명해 보고자 하였다. 이러한 텍스트적 인식을 바탕으로 Ⅱ장에서는 김소월의 유일한 시론이라고 알려져 있는 <詩魂>을 통해 그의 시의식과 창작 태도를 살펴보았다. Ⅲ장에서는 김소월 시의 두 중심축을 상실의식과 저항의지에 두고 그의 시세계를 밝혀 보려 하였다. Ⅳ장에서는 김소월 시의 미적 가치는 시세계와 더불어 그것이 구체화되는 방법인 창작 원리와의 ...
이 논문의 목적은 김소월의 시의식과 시세계를 고찰하고 그것들을 효과적으로 형상화하기 위하여 설정한 텍스트의 창작 원리를 밝혀 그가 지향하는 작품세계의 특질을 규명하는 데 있다. 한 시인의 작품 세계를 규명한다는 것은 의식의 밑바탕에 자리 잡은 그의 상상력의 근원과 그것이 구체화되어 드러나는 창작에의 기법을 밀접한 관련 속에서 고찰하는 복합적인 작업이다. 그럼에도 불구하고 그동안 소월이 지향하는 시세계와 창작 원리에 대한 연구는 단편적으로만 논의되었을 뿐 통합적인 연구는 미진한 것이 사실이었다. 따라서 이 논문에서는 그의 시의식과 시세계, 그리고 창작에의 원리까지 통합적으로 고찰함으로써 김소월 시의 상상력의 지평을 넓히고 그가 지향하는 세계의 궁극적인 의미를 규명해 보고자 하였다. 이러한 텍스트적 인식을 바탕으로 Ⅱ장에서는 김소월의 유일한 시론이라고 알려져 있는 <詩魂>을 통해 그의 시의식과 창작 태도를 살펴보았다. Ⅲ장에서는 김소월 시의 두 중심축을 상실의식과 저항의지에 두고 그의 시세계를 밝혀 보려 하였다. Ⅳ장에서는 김소월 시의 미적 가치는 시세계와 더불어 그것이 구체화되는 방법인 창작 원리와의 통합적 고찰 속에서 드러날 것이라는 전제하에, 소월 시의 창작 원리를 인유(引喩)와 패러디, 비유와 대조로 나누어 고찰하였다. 이상과 같은 방법과 관점으로 김소월의 시의식과 작품 세계, 텍스트의 창작 원리를 통합적으로 고찰하여 소월 시의 의미와 창작태도를 규명하였다. 과거의 유교적 가치와 새로이 유입된 서구적 신가치가 혼동을 일으키고, 일제에 의해 국권을 상실하여 개인의 정체성은 물론 사회 전체의 정체성이 혼란을 일으키던 격동의 시대에 김소월은 일관된 시의식과 태도를 보이며 나름의 방법으로 자신의 세계를 펼쳐나갔다. 김소월은 뚜렷한 역사의식을 가지고 현실의 상황을 바라보았고 우리 민족의 보편적 정서를 자극하여 민족의식을 고취했으며 식민지 시대에 대한 저항의지를 표출하였다. 또한 통시적 안목으로 전통 문화유산을 계승 · 발전시켜 탁월한 감각으로 현대시화 하였으며, 서구의 자유시가 문단을 휩쓸던 시대에 다양한 외래문학 체험을 자신의 고유한 언어로 발전시켜 나갔다. 근대 문학의 태동기에 김소월이 보여준 이러한 시의식과 창작에의 태도는 높이 평가되어야 할 것이며 동시대 다른 시인들과의 세심한 비교를 통해서도 그 의의는 크게 인정받아야 할 것이다.
이 논문의 목적은 김소월의 시의식과 시세계를 고찰하고 그것들을 효과적으로 형상화하기 위하여 설정한 텍스트의 창작 원리를 밝혀 그가 지향하는 작품세계의 특질을 규명하는 데 있다. 한 시인의 작품 세계를 규명한다는 것은 의식의 밑바탕에 자리 잡은 그의 상상력의 근원과 그것이 구체화되어 드러나는 창작에의 기법을 밀접한 관련 속에서 고찰하는 복합적인 작업이다. 그럼에도 불구하고 그동안 소월이 지향하는 시세계와 창작 원리에 대한 연구는 단편적으로만 논의되었을 뿐 통합적인 연구는 미진한 것이 사실이었다. 따라서 이 논문에서는 그의 시의식과 시세계, 그리고 창작에의 원리까지 통합적으로 고찰함으로써 김소월 시의 상상력의 지평을 넓히고 그가 지향하는 세계의 궁극적인 의미를 규명해 보고자 하였다. 이러한 텍스트적 인식을 바탕으로 Ⅱ장에서는 김소월의 유일한 시론이라고 알려져 있는 <詩魂>을 통해 그의 시의식과 창작 태도를 살펴보았다. Ⅲ장에서는 김소월 시의 두 중심축을 상실의식과 저항의지에 두고 그의 시세계를 밝혀 보려 하였다. Ⅳ장에서는 김소월 시의 미적 가치는 시세계와 더불어 그것이 구체화되는 방법인 창작 원리와의 통합적 고찰 속에서 드러날 것이라는 전제하에, 소월 시의 창작 원리를 인유(引喩)와 패러디, 비유와 대조로 나누어 고찰하였다. 이상과 같은 방법과 관점으로 김소월의 시의식과 작품 세계, 텍스트의 창작 원리를 통합적으로 고찰하여 소월 시의 의미와 창작태도를 규명하였다. 과거의 유교적 가치와 새로이 유입된 서구적 신가치가 혼동을 일으키고, 일제에 의해 국권을 상실하여 개인의 정체성은 물론 사회 전체의 정체성이 혼란을 일으키던 격동의 시대에 김소월은 일관된 시의식과 태도를 보이며 나름의 방법으로 자신의 세계를 펼쳐나갔다. 김소월은 뚜렷한 역사의식을 가지고 현실의 상황을 바라보았고 우리 민족의 보편적 정서를 자극하여 민족의식을 고취했으며 식민지 시대에 대한 저항의지를 표출하였다. 또한 통시적 안목으로 전통 문화유산을 계승 · 발전시켜 탁월한 감각으로 현대시화 하였으며, 서구의 자유시가 문단을 휩쓸던 시대에 다양한 외래문학 체험을 자신의 고유한 언어로 발전시켜 나갔다. 근대 문학의 태동기에 김소월이 보여준 이러한 시의식과 창작에의 태도는 높이 평가되어야 할 것이며 동시대 다른 시인들과의 세심한 비교를 통해서도 그 의의는 크게 인정받아야 할 것이다.
The purpose of this study is to determine creation principles of fixed texts and examine characteristics of the poetic world pursued by Kim So-wol in order to investigate his poetic consciousness and poetic world and embody them effectively. To determine a poet's poetic world is a complicated task t...
The purpose of this study is to determine creation principles of fixed texts and examine characteristics of the poetic world pursued by Kim So-wol in order to investigate his poetic consciousness and poetic world and embody them effectively. To determine a poet's poetic world is a complicated task to consider the origin of his or her imagination underlying consciousness and creation techniques to concretize it in close association. Still, the previous researches on the poetic world and creation world pursued by So-wol have in fact made fragmental discussions alone, with few integrative researches. Therefore, this study aimed at making integrative consideration of his poetic consciousness, poetic world, and creation principles to increase the horizon of imagination in his poetry and determine ultimate meanings of the world pursued by him. Here, creation principles of texts mean verbal shapes to express a poet's consciousness and attitudes toward the world, not rhetoric techniques which were simply revealed externally. On the basis of this recognition of texts, Chapter Ⅱ investigated his poetic consciousness and creation attitudes through Sihon, which is known to be So-wol's only theory of poetry. So-wol saw poetry as a medium of embodying a poet's spirit of poetry. He indicates that the spirit of poetry a poet intends to reveal in his or her work is not revealed externally but implicit in the work. He set the concept of the spirit of poetry, which is the soul, as the whole of true "sentiments" of human beings and believed that it was unique and permanent and was realized by a nuance. A nuance which makes a poet's spirit of poetry manifest in a work becomes thematic consciousness unique to individual works. At the part of revealing his consciousness of poetry, So-wol regarded all matters of life as a situation of dichotomous oppositions. This shows his sense of alienation from the world and is embodied in his works through a technique of contrast revealing differences from objects. Sihon also reveals his tradition-oriented mind. This is associated with the pursuit of the ideal world in contrast with negative realities he perceived. The ideal world he dreamed of didn't mean the imaginary world in idea but the world prior to civilization by the Japanese Empire, or the natural world where Korean people once shared universal emotion in traditional cultural space. Chapter Ⅲ set two central axes of So-wol's poetry at consciousness of loss and at a will to resist to investigate his poetry world. The consciousness of loss in So-wol's works is largely divided into two categories: personal consciousness of loss from losing a sweetheart and consciousness of loss of sovereignty reflecting temporal situations. These act as key themes of So-wol's poetry and become a cause of tragic recognition of the world. Section 1 investigated works revealing emotion of loss caused by separation from a sweetheart and a will to meet the lost sweetheart again in the yearning for her. Nim (sweetheart) in many of So-wol's works is present in the past happy times but now arouses a extreme sense of loss and yearning out of sight in the narrator. He reveals emotion of earnest yearning for a sweetheart and hopes to meet her in realities, which is impossible. Section 2 investigated works revealing sorrow and a sense of a wanderer and considered a will to resist the realities and expressions of a sense of community. In this section, expressions of a sense of loss caused by the lost country were concretely examined in terms of farmers who had lost their land, wanderers without home, and the homeless who could not return their hometown. The previous discussions about recognition of realities in So-wol's poetry were mainly composed of escape from temporal situations or revelation of a passive sense of negation; however, he revealed the clear spirit of the times based on historical consciousness and a hopeful perspective of restoration of national sovereignty in many of his works. What is specific is that works demonstrating a will to break the realistic fretters and a pursuit of the ideal world have "we," the plural narrator, not the first person singular one. Assuming that an aesthetic value of So-wol's poetry would be revealed in integrative consideration with his poetic world and creation principles to concretize it, Chapter Ⅳ investigated creation principles of his poetry in terms of parody, metaphor, and contrast. Section 1 indicated that techniques of metaphor and parody to bring the existing literary and non-literary elements already known to readers into the present text made works more meaningful. Section 2 investigated techniques of metaphor to pursue identification with an object and contrast to express a sense of alienation from the world through concrete works. So-wol pursued unity with an object and revealed a favor for the natural world through the technique of metaphor and showed a sense of alienation by failing to adapt himself to the temporal realities through that of contrast. This study made integrative consideration of So-wol's poetic consciousness, world of works, and creation principles of texts to determine creation attitudes and meanings of his poetry. In the turbulent times when the past Confucian value was confronted with the newly-introduced Western value and loss of national sovereignty by the Japanese Empire caused confusions not only in personal identity but also in that of the entire society, So-wol spread his world in his own way with consistent poetic consciousness and attitudes. He looked at the realistic situations with a clear historical consciousness, stirred up national consciousness by stimulating universal emotion of Korean people, and expressed a will to resist the times. He also upheld and developed traditional culture heritage from a chronological perspective and brought it into modern poetry and developed his experience in foreign culture into his own language at that time when the Western free verse was sweeping over the then literary world. Such poetic consciousness and attitudes toward creation So-wol showed in the quickening period of modern literature should also be highly recognized through in-depth comparison with other poets at the contemporary age.
The purpose of this study is to determine creation principles of fixed texts and examine characteristics of the poetic world pursued by Kim So-wol in order to investigate his poetic consciousness and poetic world and embody them effectively. To determine a poet's poetic world is a complicated task to consider the origin of his or her imagination underlying consciousness and creation techniques to concretize it in close association. Still, the previous researches on the poetic world and creation world pursued by So-wol have in fact made fragmental discussions alone, with few integrative researches. Therefore, this study aimed at making integrative consideration of his poetic consciousness, poetic world, and creation principles to increase the horizon of imagination in his poetry and determine ultimate meanings of the world pursued by him. Here, creation principles of texts mean verbal shapes to express a poet's consciousness and attitudes toward the world, not rhetoric techniques which were simply revealed externally. On the basis of this recognition of texts, Chapter Ⅱ investigated his poetic consciousness and creation attitudes through Sihon, which is known to be So-wol's only theory of poetry. So-wol saw poetry as a medium of embodying a poet's spirit of poetry. He indicates that the spirit of poetry a poet intends to reveal in his or her work is not revealed externally but implicit in the work. He set the concept of the spirit of poetry, which is the soul, as the whole of true "sentiments" of human beings and believed that it was unique and permanent and was realized by a nuance. A nuance which makes a poet's spirit of poetry manifest in a work becomes thematic consciousness unique to individual works. At the part of revealing his consciousness of poetry, So-wol regarded all matters of life as a situation of dichotomous oppositions. This shows his sense of alienation from the world and is embodied in his works through a technique of contrast revealing differences from objects. Sihon also reveals his tradition-oriented mind. This is associated with the pursuit of the ideal world in contrast with negative realities he perceived. The ideal world he dreamed of didn't mean the imaginary world in idea but the world prior to civilization by the Japanese Empire, or the natural world where Korean people once shared universal emotion in traditional cultural space. Chapter Ⅲ set two central axes of So-wol's poetry at consciousness of loss and at a will to resist to investigate his poetry world. The consciousness of loss in So-wol's works is largely divided into two categories: personal consciousness of loss from losing a sweetheart and consciousness of loss of sovereignty reflecting temporal situations. These act as key themes of So-wol's poetry and become a cause of tragic recognition of the world. Section 1 investigated works revealing emotion of loss caused by separation from a sweetheart and a will to meet the lost sweetheart again in the yearning for her. Nim (sweetheart) in many of So-wol's works is present in the past happy times but now arouses a extreme sense of loss and yearning out of sight in the narrator. He reveals emotion of earnest yearning for a sweetheart and hopes to meet her in realities, which is impossible. Section 2 investigated works revealing sorrow and a sense of a wanderer and considered a will to resist the realities and expressions of a sense of community. In this section, expressions of a sense of loss caused by the lost country were concretely examined in terms of farmers who had lost their land, wanderers without home, and the homeless who could not return their hometown. The previous discussions about recognition of realities in So-wol's poetry were mainly composed of escape from temporal situations or revelation of a passive sense of negation; however, he revealed the clear spirit of the times based on historical consciousness and a hopeful perspective of restoration of national sovereignty in many of his works. What is specific is that works demonstrating a will to break the realistic fretters and a pursuit of the ideal world have "we," the plural narrator, not the first person singular one. Assuming that an aesthetic value of So-wol's poetry would be revealed in integrative consideration with his poetic world and creation principles to concretize it, Chapter Ⅳ investigated creation principles of his poetry in terms of parody, metaphor, and contrast. Section 1 indicated that techniques of metaphor and parody to bring the existing literary and non-literary elements already known to readers into the present text made works more meaningful. Section 2 investigated techniques of metaphor to pursue identification with an object and contrast to express a sense of alienation from the world through concrete works. So-wol pursued unity with an object and revealed a favor for the natural world through the technique of metaphor and showed a sense of alienation by failing to adapt himself to the temporal realities through that of contrast. This study made integrative consideration of So-wol's poetic consciousness, world of works, and creation principles of texts to determine creation attitudes and meanings of his poetry. In the turbulent times when the past Confucian value was confronted with the newly-introduced Western value and loss of national sovereignty by the Japanese Empire caused confusions not only in personal identity but also in that of the entire society, So-wol spread his world in his own way with consistent poetic consciousness and attitudes. He looked at the realistic situations with a clear historical consciousness, stirred up national consciousness by stimulating universal emotion of Korean people, and expressed a will to resist the times. He also upheld and developed traditional culture heritage from a chronological perspective and brought it into modern poetry and developed his experience in foreign culture into his own language at that time when the Western free verse was sweeping over the then literary world. Such poetic consciousness and attitudes toward creation So-wol showed in the quickening period of modern literature should also be highly recognized through in-depth comparison with other poets at the contemporary age.
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