지원사업
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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The new-style poetry written by Choi, Nam-sun(최남선) in the Enlightenment Period was influenced by metrical system of Japanese poetry. The main metrical device of his poems is 7ㆍ5 syllable rhythm which imitated Japanese one. The style soon prevailed and was popularized in Korean poetry, since its substructure, trimetre, originating from traditional Korean folklore, met public favor in the period. Kim, So-wol(김소월), the outstanding poet in 1920's, made the most of it. Many of his excellent poems described typical Korean lyricism and sentiment, and his poems had artistic quality resulting from this metrical scheme, which variated and modernized 7.5 syllable rhythm.
The methodology of metrical analysis in that period was pure-syllabic metre theory and Cho, Yoon-je(조윤제) explained the metrical scheme of Sijo(시조) by means of it, which generalized the prosody of its fixed form. Later, the theory was criticized in that it is not appropriate to analyze Korean verse, since the metric units are not fixed in terms of the syllabic number and hard to count. Instead, the concept of foot was adopted in the methodology, where trimetre and tetrametre are dominant. However, I claim that the theory is not sufficient either to explain Korean verse because it has complicated metrical devices such as 7ㆍ5 syllable rhythm, which could be divided by uneven three or four metrical units. I suggest adopting a new concept, 'Yoolmadi'(율마디, metrical joint), which can comprise this unique metrical scheme. The terminology is similar to 'colon', closely connected group of words, proposed by J. Lotz.
Kim, Young-rang(김영랑), Seo, Jung-ju(서정주), and Park, Mok-wol(박목월) developed aesthetic sense of poetry by means of their characteristic metrical variations and exceptions. The rhythmical sense of trimetre is mixed with the stability of tetrametre in the poem "Until peonies bloom"(모란이 피기까지는) by Kim, Young-rang. This double structure of metrical scheme was realized in natural reading intonation of the poem 'The secret word"(밀어) by Seo, Jung-ju. In addition, symmetrical arrangement of lines and counterbalanced metrical form make unique beauty in formalism in the poem "Mountain peach blossoms(산도화)" by Park, Mok-wol. In their free verse, the regularity of metre is abandoned. Instead, cadences approximating the flow of speech are employed.
The methodology of metrical analysis in that period was pure-syllabic metre theory and Cho, Yoon-je(조윤제) explained the metrical scheme of Sijo(시조) by means of it, which generalized the prosody of its fixed form. Later, the theory was criticized in that it is not appropriate to analyze Korean verse, since the metric units are not fixed in terms of the syllabic number and hard to count. Instead, the concept of foot was adopted in the methodology, where trimetre and tetrametre are dominant. However, I claim that the theory is not sufficient either to explain Korean verse because it has complicated metrical devices such as 7ㆍ5 syllable rhythm, which could be divided by uneven three or four metrical units. I suggest adopting a new concept, 'Yoolmadi'(율마디, metrical joint), which can comprise this unique metrical scheme. The terminology is similar to 'colon', closely connected group of words, proposed by J. Lotz.
Kim, Young-rang(김영랑), Seo, Jung-ju(서정주), and Park, Mok-wol(박목월) developed aesthetic sense of poetry by means of their characteristic metrical variations and exceptions. The rhythmical sense of trimetre is mixed with the stability of tetrametre in the poem "Until peonies bloom"(모란이 피기까지는) by Kim, Young-rang. This double structure of metrical scheme was realized in natural reading intonation of the poem 'The secret word"(밀어) by Seo, Jung-ju. In addition, symmetrical arrangement of lines and counterbalanced metrical form make unique beauty in formalism in the poem "Mountain peach blossoms(산도화)" by Park, Mok-wol. In their free verse, the regularity of metre is abandoned. Instead, cadences approximating the flow of speech are employed.
목차
Ⅰ. 몇 가지 전제
Ⅱ. 초기 자유시의 리듬과 운율 분석 장치의 모색
Ⅲ. 운율 분석 장치의 확정 문제
Ⅳ. 리듬의식과 운율구조의 변천 양상
Ⅴ. 운율적 부속 장치
Ⅵ. 사설리듬과 산문율
Ⅶ. 운율 연구의 방향과 과제
참고문헌
Abstract
참고문헌 (28)
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UCI(KEPA) : I410-ECN-0101-2009-811-015005249