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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In-hoo Kim was very famous in Korea as a neo-confucian scholar and poet during the Chosun dynasty. He composed many Chinese poems. In addition, he wrote three Korean poems, these are referred to as Sijo.
In order to understand his Sijo, I first analysed his literary criticisms. Formally he thought literature should be useful for teaching people Confucianism. But in reality he showed a different literary attitude while composing his poetry, expressing his passion which stemmed from daily life in a complicated world. Thru expressing his mental agony he obtained a measure of peacefulness and happiness. Emotionally he thought literature should be useful for solving psychological problems. These two different literary criticisms are harmonized into one higher form of literary criticism. According to his high lebel literary criticism, expressing mental agony and solving psychological problems can be the same as teaching people Confucianism.
He wrote about 1,600 Chinese poems throughout his life. These Chinese poems can be classified into four groups expressing different themes. In the first group, the ontology of traditional Confucianism was represented. The method of learning Confucianism was dealt with in second group. The general emotions of human beings were the topic of group three and finally, the fourth group described the scenery. In-hoo Kim's Sijo can be classified into the third category of man's general emotions. His resolution to overcome agony in his daily life and his intention to be devoted to nature are described in his Sijo. These can not be described in Chinese poems and Korean poems because his emotions violate the tone of traditional moderation.
By comparing his Sijo with those of his teachers, students and friends, I came to understand his poetry more precisely. In-hoo Kim took nature, for example mountains and rivers, as subject matter in his Sijo just like those of his contemporaries but expressed his passion by using nature as subject matter differently than the others. This is evident in his teacher Song Soon's expression of peaceful mind and his friend Lee Hwang's neo-confucian thinking.
In order to understand his Sijo, I first analysed his literary criticisms. Formally he thought literature should be useful for teaching people Confucianism. But in reality he showed a different literary attitude while composing his poetry, expressing his passion which stemmed from daily life in a complicated world. Thru expressing his mental agony he obtained a measure of peacefulness and happiness. Emotionally he thought literature should be useful for solving psychological problems. These two different literary criticisms are harmonized into one higher form of literary criticism. According to his high lebel literary criticism, expressing mental agony and solving psychological problems can be the same as teaching people Confucianism.
He wrote about 1,600 Chinese poems throughout his life. These Chinese poems can be classified into four groups expressing different themes. In the first group, the ontology of traditional Confucianism was represented. The method of learning Confucianism was dealt with in second group. The general emotions of human beings were the topic of group three and finally, the fourth group described the scenery. In-hoo Kim's Sijo can be classified into the third category of man's general emotions. His resolution to overcome agony in his daily life and his intention to be devoted to nature are described in his Sijo. These can not be described in Chinese poems and Korean poems because his emotions violate the tone of traditional moderation.
By comparing his Sijo with those of his teachers, students and friends, I came to understand his poetry more precisely. In-hoo Kim took nature, for example mountains and rivers, as subject matter in his Sijo just like those of his contemporaries but expressed his passion by using nature as subject matter differently than the others. This is evident in his teacher Song Soon's expression of peaceful mind and his friend Lee Hwang's neo-confucian thinking.
목차
1. 서론
2. 문예의식의 성격
3. 시조문학의 성격
4. 결론
참고문헌
Abstract
참고문헌 (28)
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UCI(KEPA) : I410-ECN-0101-2009-810-013791629