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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This paper is intended to reinterpret Lee, Sang‘s Japanese poem, <Game playing of ▽-> released in 1931 and interpret text ▽, △, 1.
The poem <Abnormal Reversible Reaction> displays his yearning for Charlotte Perriand, French interior designer, during the Japanese colonial period. He described the situation surrounding him as "Circle" and the effort to overcome the obstacle(circle) as "straight line". The expression, “Does the straight-line kill the Circle?”, questions himself whether he is free from the obstacle.
In <Fragmentary Landscapes><破片의 景色->, he (Stick!=스틱크!=李箱!) made a conclusion that “a snowscape which ▽ was finally exhumed and buried in.” Considering he will forget the French woman symbolized as ‘▽’ by covering her with snow, it is interpreted that Lee Sang can not go to France.
In <Game playing of ▽->, Lee Sang is looking for a woman of his dream, regretting her disappearance. He confesses that he is waiting for her telegram since the vanished woman (▽) has yet to send a telegram. The “bent line” is a symbolic expression that he gave up going abroad(symbolized as ‘straight line’) because the line couldn"t penetrate ‘circle’(obstacle), so it is bent and confined in ‘circle’
Among text ‘1’, ‘2’ and ‘3’, it is suggested that ‘3’ needs to take the lead and conquer common multiple ‘6’. Why is conquest needed is telling the reason all the text ‘1’, ‘2’ and ‘3’ originated from ‘6’ and Lee Sang blames the situation described as ‘6’ in <Architectural Infinite Hexahedron>(建築無限六面角體). The context of a girl or woman is identified as text ‘1’, ‘▽’ and ‘△’.
The poem <Abnormal Reversible Reaction> displays his yearning for Charlotte Perriand, French interior designer, during the Japanese colonial period. He described the situation surrounding him as "Circle" and the effort to overcome the obstacle(circle) as "straight line". The expression, “Does the straight-line kill the Circle?”, questions himself whether he is free from the obstacle.
In <Fragmentary Landscapes><破片의 景色->, he (Stick!=스틱크!=李箱!) made a conclusion that “a snowscape which ▽ was finally exhumed and buried in.” Considering he will forget the French woman symbolized as ‘▽’ by covering her with snow, it is interpreted that Lee Sang can not go to France.
In <Game playing of ▽->, Lee Sang is looking for a woman of his dream, regretting her disappearance. He confesses that he is waiting for her telegram since the vanished woman (▽) has yet to send a telegram. The “bent line” is a symbolic expression that he gave up going abroad(symbolized as ‘straight line’) because the line couldn"t penetrate ‘circle’(obstacle), so it is bent and confined in ‘circle’
Among text ‘1’, ‘2’ and ‘3’, it is suggested that ‘3’ needs to take the lead and conquer common multiple ‘6’. Why is conquest needed is telling the reason all the text ‘1’, ‘2’ and ‘3’ originated from ‘6’ and Lee Sang blames the situation described as ‘6’ in <Architectural Infinite Hexahedron>(建築無限六面角體). The context of a girl or woman is identified as text ‘1’, ‘▽’ and ‘△’.
목차
1. 서론
2.〈이상한 가역반응〉의 연작시 또는 계열시
3.〈▽의 유희-〉에 대한 해석
4. 소녀 컨텍스트에 나타난 다양한 표상
5. 결론
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UCI(KEPA) : I410-ECN-0101-2014-800-003642634