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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2018.6
- 수록면
- 189 - 216 (28page)
- DOI
- 10.37967/emh.2018.06.140.189
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초록· 키워드
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The Indian female poet Sarojini Naidu (1879∼1949) was introduced to colonial Joseon in the 1920s as a highly reputed Asian poet in the West along with Tagore, an Indian politician who led the Salt March with Gandhi in 1930. Due to the uniqueness of her association with Tagore and Gandhi—two prominent figures from India—Naidu rarely received much attention as a foreign female poet in colonial Joseon.
However, since Naidu was introduced to Joseon after she had stopped writing and was more actively involved in political activities led by Gandhi, some regarded her as a poet, while others viewed her as a politician. This study highlights Naidu and her works, aiming to reveal the context in which emphasis is changed depending on time period, and attempts to build an integrated understanding of Sarojini Naidu.
In the early 1920s, Kim Eok focused on poet Naidu, with a focus on her love poems. Then, in the mid 1920s, Naidu’s poetry was introduced as an example of sympathetic linguistic literature for oppressed people. Around 1930, Jeong, In-seop and Lee, Ha-yun regarded Naidu as more of a politician and introduced poems directly expressing the voice of Indian nationalism. The writers and poets of colonial Joseon felt an affinity for Naidu, who came from a colonized country herself, and used her works based on their own areas of interest.
In India, Naidu’s literary and political activities are considered outdated. It is often said that her “aesthetics is feudal, although her politics is democratic nationalism.” Recently, it has been proposed that Naidu’s poems require reinterpretation as both a collusion with and resistance to colonialism. Her works are retrogressive in the use of India’s traditional customs and nature as subject matter but, at the same time, stem from a resistance to modern urbanization. Heo Jeong-suk, a socialist feminist who translated Naidu’s poems into the Korean language for readers in colonial Joseon, seemed to have been well aware of their contextual framing, that is, “a collusion with and resistance to colonialism.”
However, since Naidu was introduced to Joseon after she had stopped writing and was more actively involved in political activities led by Gandhi, some regarded her as a poet, while others viewed her as a politician. This study highlights Naidu and her works, aiming to reveal the context in which emphasis is changed depending on time period, and attempts to build an integrated understanding of Sarojini Naidu.
In the early 1920s, Kim Eok focused on poet Naidu, with a focus on her love poems. Then, in the mid 1920s, Naidu’s poetry was introduced as an example of sympathetic linguistic literature for oppressed people. Around 1930, Jeong, In-seop and Lee, Ha-yun regarded Naidu as more of a politician and introduced poems directly expressing the voice of Indian nationalism. The writers and poets of colonial Joseon felt an affinity for Naidu, who came from a colonized country herself, and used her works based on their own areas of interest.
In India, Naidu’s literary and political activities are considered outdated. It is often said that her “aesthetics is feudal, although her politics is democratic nationalism.” Recently, it has been proposed that Naidu’s poems require reinterpretation as both a collusion with and resistance to colonialism. Her works are retrogressive in the use of India’s traditional customs and nature as subject matter but, at the same time, stem from a resistance to modern urbanization. Heo Jeong-suk, a socialist feminist who translated Naidu’s poems into the Korean language for readers in colonial Joseon, seemed to have been well aware of their contextual framing, that is, “a collusion with and resistance to colonialism.”
목차
1. 머리말
2. ‘혁명 인도’의 여성시인
3. 서정시인 나이두
4. ‘신경향파’ 시인 나이두
5. ‘민족주의’ 시인 나이두
6. 여성 시인 나이두
7. 다시 읽는 나이두
참고문헌
Abstract
참고문헌 (29)
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UCI(KEPA) : I410-ECN-0101-2018-810-003164904