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초록· 키워드
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In modern korean poetry Ju Yohan ‘Bulnori’ is the first poem which overcame the conventional expression consisting of conceptual and purposeful rhetoric. The poem equips itself with poesy or poetic dictions that keep alive the illusion of a fecund and productive modernity. In the contrast of negation and revolt the poem has similitude of Western poetry.
In the light of the foregoing if we review 1930’s poetry the poets called themselves respectively artists, intellectualists, or vitalists. Even though they were contemporaries they bore different voices and colors with different paradigms. The individual poetic varities of the age coed with the environment of the age. The enlightenment literature like ‘Chanka’, ‘Shin-Che-Si(Nerse)’ and postwar literature had common features. What they earned to do in their poetry was to face themselves, their complexities and inconsistencies. Their consciousness and experiences for genuine expression brought poetic modification. The fact is that when it comes to discuss modern poetry, personal factors and the influence of fashion come into operation, and even the poetic dictions of our time, like our judgement of those poetic dictions, reveal a continuously changing perspective.
A problem is that poets could not change their conscious experience into poems indefinitely. The process of poetic modification is three phases of the background of the age, the poet’s conscious experiences and the selection of poetic dictions Poetic dictions range from the pure music to vulgar words in modern poetry. The poet’s relations with society are an important part of the history of poetry. Poets from classical times to the present day have acknowledged a power existing outside time which partakes of the nature of a divinity. One important strand is the struggle of the poet at successive periods to emancipate himself from a temporal allegiance in favor of the only allegiance he truly ackowledges.
Literature is the history of human as the history of human is that of human consciousness. The stream of modern Korean poetry is usually discontinuous. Various structures and paradigms are too divergent to represent a convergent spirit of one age. The varieties of paradigms fulfils its ordained ends as a symbol of aesthetic and spiritual order transcending or subsuming historical experience. The social misery and political unrest limits the imaginative scope of our criticism of we interpret the tendencies solely in historical and sociological terms.
In spite of superficial homogeneity poetic sensitivity that props up poetry is usually heterogeneous. Poetry is written by individuals, not movements, and the quality of a poet’s work depends, not on conformity to an accepted idiom, but on the authenticity and significance of his experience and his power to give it original and durable experience and his power to give it original and durable expression. Much good, unexciting, craftsman like writing is being done, without any compelling sense of direction of any strong impulse to experiment. I come to the conclusion that poetic sensitivity in a certain age. Accordingly the appropriate recogntion of poeticstructure which stands for poetic totality is very significant in the course of examining modern poetry.
In the light of the foregoing if we review 1930’s poetry the poets called themselves respectively artists, intellectualists, or vitalists. Even though they were contemporaries they bore different voices and colors with different paradigms. The individual poetic varities of the age coed with the environment of the age. The enlightenment literature like ‘Chanka’, ‘Shin-Che-Si(Nerse)’ and postwar literature had common features. What they earned to do in their poetry was to face themselves, their complexities and inconsistencies. Their consciousness and experiences for genuine expression brought poetic modification. The fact is that when it comes to discuss modern poetry, personal factors and the influence of fashion come into operation, and even the poetic dictions of our time, like our judgement of those poetic dictions, reveal a continuously changing perspective.
A problem is that poets could not change their conscious experience into poems indefinitely. The process of poetic modification is three phases of the background of the age, the poet’s conscious experiences and the selection of poetic dictions Poetic dictions range from the pure music to vulgar words in modern poetry. The poet’s relations with society are an important part of the history of poetry. Poets from classical times to the present day have acknowledged a power existing outside time which partakes of the nature of a divinity. One important strand is the struggle of the poet at successive periods to emancipate himself from a temporal allegiance in favor of the only allegiance he truly ackowledges.
Literature is the history of human as the history of human is that of human consciousness. The stream of modern Korean poetry is usually discontinuous. Various structures and paradigms are too divergent to represent a convergent spirit of one age. The varieties of paradigms fulfils its ordained ends as a symbol of aesthetic and spiritual order transcending or subsuming historical experience. The social misery and political unrest limits the imaginative scope of our criticism of we interpret the tendencies solely in historical and sociological terms.
In spite of superficial homogeneity poetic sensitivity that props up poetry is usually heterogeneous. Poetry is written by individuals, not movements, and the quality of a poet’s work depends, not on conformity to an accepted idiom, but on the authenticity and significance of his experience and his power to give it original and durable experience and his power to give it original and durable expression. Much good, unexciting, craftsman like writing is being done, without any compelling sense of direction of any strong impulse to experiment. I come to the conclusion that poetic sensitivity in a certain age. Accordingly the appropriate recogntion of poeticstructure which stands for poetic totality is very significant in the course of examining modern poetry.
목차
1. 서론
2. 韓國 現代詩의 詩語와 詩意識
3. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-811-016452702