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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This article aims to investigate the phase of poetic rhythm in Kim Ki-rim's poetics. Commonly his modernism poetics has been regarded as a theory which lays emphasis on poetic image and contains the negation of poetic rhythm. This is closely concerned with a phenomenon that the movement from traditional poem to modernism poem is regarded as the exclusion of musicality and the acquisition of a pictorical character. In other words, his modernism poetics denies 'the past' and 'tradition', and affirms 'the future' and 'the foreign'. Hereto the musicality and pictorical character function as a criteria assessing the value of traditional poem and modernism poem. In this context, existing theories regard his modernism poetics as the denial of rhythm, and underestimate the value of his poetics, highlighting anti-traditional and anti-historical character.
But this is not a just evaluation on Kim Ki-rim's poetics. For he negated not poetic rhythm in itself but meter as a normative law. In this context, his poetics has three great significations. 1. 'Suggestion of prose poem' to penetrate his early poetics, requests new innate rhythm based on everyday conversation. 2. 'The poetics of totality' as a combination of sound, form and meaning, sublates verse/prose dualism existing between everyday language and poetic language. 3. By his making 'tempo and intonation' as prosodic features of our language and poetry, his rhythmology allows to explain the substance of new innate rhythm in modern poems full of free verse and prose verse.
So Kim Ki-rim's rhythmology has great theoretical significance as a possibility of free rhythm in 1930's. After poetic rhythm had divided into meter and free rhythm, meter was systematized as pure-syllabic meter of Si-jo at the succession and development of national culture. But free rhythm stood at the crossroads of extinction and progress, namely it was at a standstill. Hereto, his modernism poetics functions as a touchstone to estimate a possibility of free rhythm by raising a question what the rhythm proper to new modern poem is. This question includes not only the question of relation between meter and free rhythm, but the question of 'the poetics of totality' and of relation between poetic language and everyday language.
But this is not a just evaluation on Kim Ki-rim's poetics. For he negated not poetic rhythm in itself but meter as a normative law. In this context, his poetics has three great significations. 1. 'Suggestion of prose poem' to penetrate his early poetics, requests new innate rhythm based on everyday conversation. 2. 'The poetics of totality' as a combination of sound, form and meaning, sublates verse/prose dualism existing between everyday language and poetic language. 3. By his making 'tempo and intonation' as prosodic features of our language and poetry, his rhythmology allows to explain the substance of new innate rhythm in modern poems full of free verse and prose verse.
So Kim Ki-rim's rhythmology has great theoretical significance as a possibility of free rhythm in 1930's. After poetic rhythm had divided into meter and free rhythm, meter was systematized as pure-syllabic meter of Si-jo at the succession and development of national culture. But free rhythm stood at the crossroads of extinction and progress, namely it was at a standstill. Hereto, his modernism poetics functions as a touchstone to estimate a possibility of free rhythm by raising a question what the rhythm proper to new modern poem is. This question includes not only the question of relation between meter and free rhythm, but the question of 'the poetics of totality' and of relation between poetic language and everyday language.
목차
Ⅰ. 서론
Ⅱ. 과거의 시와 새로운 시 : ‘신산문시’의 제창
Ⅲ. 전체시론과 운문/산문의 이원론
Ⅳ. 내재적 리듬의 두 양상 : 템포와 억양
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (31)
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