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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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초록· 키워드
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This thesis aims to look into changes of the O Gyu-Won's poetry and his style of poetry writing on the basis of modernistic poetics. This study is to understand formal characteristics of the O Gyu-Won's poetry, which are base of their composition, and his view of the world, and to examine the process that he has built his own frame of aesthetic cognition as modernist through such changes. As for O Gyu-Won, deviation from existing poetical grammar relates to aesthetic orientation of a further essential form, where a meaning for the time and a conventional literary structure are met potentially. Changes in his style of poetry writing are not just technical ones but changes both in his cognitive attitude toward interpreting the world and in his view of the world. He expresses coping aspect with the modern society into the process of poetry writing in diverse and dynamic styles through the changing poetic potentials since 1970s. Based on the above background, this study analyzes changes in his poetic world and aspects of signification of it and clarifies aesthetic and formal characteristics of his poetry and their spiritual meaning on the basis of modernistic poetics.
The phenomenal world of his early poetry shows that all beings and subjects are negated or time and space are isolated from the actual - that is, it shows an aspect of investigating the virtual world while internal sense and fantasy of a poetic subject are combined. Although the linguistic form as autonomic symbol he showed may expose a phenomenon clearly, it does rather exist in the abstract space formed in his sense than exist in the actual.
"To a child, not a prince"(1978) and "Lyric poetry created in this world"(1981) of his middle poetry. The key of his poetry after middle 1970s is found in the process of methodological coping with oppression of the time, which is represented as capitalism and industrialism. In his middle poetry composed on the basis of keeping a distance from the world, poetry writing with irony is realized where the actual of the time and the poetic subject are described both with harmony and conflict. His irony relates to not only the role of allegory for capitalistic modernism or political condition but the reflective sense of watching the world cool-headedly and signifying it in the inside of a poetic subject. However, a Gyu-Won pursued an open world beyond sarcasm of the actual, pictorial expression of himself, and the-sis-antithesis-synthesis. A rhetoric bridge linking the meaning and value searched in the inside of self and the external world is the very irony in his middle poetry. His poetry pursues a new 'realism' paradoxically viewing the actual, and his middle poetry with irony can be understood as fruit of self-conscious aesthetic coping with the upset actual of the time and the experience of the crippled industrial society.
The phenomenal world of his early poetry shows that all beings and subjects are negated or time and space are isolated from the actual - that is, it shows an aspect of investigating the virtual world while internal sense and fantasy of a poetic subject are combined. Although the linguistic form as autonomic symbol he showed may expose a phenomenon clearly, it does rather exist in the abstract space formed in his sense than exist in the actual.
"To a child, not a prince"(1978) and "Lyric poetry created in this world"(1981) of his middle poetry. The key of his poetry after middle 1970s is found in the process of methodological coping with oppression of the time, which is represented as capitalism and industrialism. In his middle poetry composed on the basis of keeping a distance from the world, poetry writing with irony is realized where the actual of the time and the poetic subject are described both with harmony and conflict. His irony relates to not only the role of allegory for capitalistic modernism or political condition but the reflective sense of watching the world cool-headedly and signifying it in the inside of a poetic subject. However, a Gyu-Won pursued an open world beyond sarcasm of the actual, pictorial expression of himself, and the-sis-antithesis-synthesis. A rhetoric bridge linking the meaning and value searched in the inside of self and the external world is the very irony in his middle poetry. His poetry pursues a new 'realism' paradoxically viewing the actual, and his middle poetry with irony can be understood as fruit of self-conscious aesthetic coping with the upset actual of the time and the experience of the crippled industrial society.
목차
1. 서론
2. 시세계의 탈신비화와 거리화의 어조
3. 시에 대한 실존적 인식과 존재론적 충돌
4. 이중화된 자아와 ‘기교’의 시화
5. 결론
참고문헌
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UCI(KEPA) : I410-ECN-0101-2009-811-014734741