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 purpose of this study is to carefully revaluate the historical and aesthetic characteristics of Shao Xunmei’s 邵洵美(1906-1968) third collection of poetry Shi ershiwu shou 詩二十五首(Twenty-five Poems), especially focusing on his concern for harmonizing poetic contents with formal device. His enthusiasm for decadent imagination and technique of weaving highly symbolic seductive images became distinctly visible throughout the Twenty-five Poems. Generally speaking, Shao’s third collection of poetry is superior to his first and second collection of poetry in aesthetic value. In his “Self-preface 自序,” he attempts to suggest that poets should employ different forms for different inspiration―the form always being appropriate to the subject. Also he said poet’s mission is to evoke an object that suggests the meaning, not to explain an object concretely. Because the inspiration experienced by a poet is unique enough to match the faith in Christianity, the poet is reduced to the use of a complex and godlike symbolization in an effort to give expression. As a result of this, Shao’s aesthetic achievement is superb and has a special significance in that these poems reflect his study on the characteristics of decadent literature as being chinese avant-garde.
목차
1. 들어가는 말
2. 完美한 形式
3. 시의 영원한 상징성과 시인의 사명
4. 맺는 말
〈參考文獻〉
〈Abstract〉
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UCI(KEPA) : I410-ECN-0101-2015-910-002833127