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Jeong Ji-Yong is regarded to be highly valuable in the history of korean literature from the point of his poetic achievement and his influence on history of poetry. Therefore, his works has been greatly applauded with ornament. Although there certainly existed critical opinions about his poetry, they were not enough noticeable in the stream of affirmation and compliment to his poetic quality.
As you are already aware, Jeong Ji-Yong's poems had been restricted from release to readers on south korean side for a few decades. This has to be said unlucky for both the poet as well as readers needless to say, but in other senses the poet had a luck of not being exposed to the strict evaluation on themes and mind, which had proceeded around at the academic circle and critique circle especially in 1970s and early 1980s, in comparison with Kim Young-Rang, who used to be characterised as a similar inclination poet to him and thus suffered from the cold criticism in terms of historical viewpoint for the same period. As Chong's poetry appeared after 1988, when political and cultural environment became changed, utmost appreciation had been given to them.
Despite the fact that continuous researches have explicated the contours of his poetry, it seems not right to assume that details of literary words and forms taken for his poems have been all construed. Most researches cling to positive and affirmative remarks put on Ji-Yong's poetry. It is intermittently pointed out that his poetry had abstrusity and also was over-evaluated and in this regard, it cannot be said that abstrusity and over-evaluation have been under inspective discussion or investigation.
In this respect, by investigating his two earlier poems of 'Nostalgia' and 'Window 1', here is to be stated how and what should be clarified for the further step of research on Ji-Yong's poetry, especially by exploring characteristics and limitation on creative methods appeared in both poems.
For 'Nostalgia', over-rhetorics will be discussed with a few his poetic words such as '해설피', '석근' and '희돌아‘, which is seen to be caused by his own poem creating style and it will be also explored from the point of ambiguity found among several phrases of allegory. On the other hand, for 'Window 1', generally centered on poetic implement of his own experience which is mostly appraised and on sensitive implementation, Ji-Yong's poetic style-ambiguity-is being explored in the aspect of internal critique viewpoint and microscopic language usage. Upon this exploration, a few basic opinions are reviewed on the 'a thing cold and sad' and 'the star wet' which have already been discussed with importance.
For certain, brief discussion here is based upon the affirmative evaluation of Ji-Yong's poetic walks that has been progressed considerably much. Consequently, this discussion firstly aims to verify that there is still a few more points to be discussed critically based on internal critical viewpoints although the range is not wide, because it does not account for his entire works, especially his late works not included which are regarded highly achieving. Studies on Jeong Ji-Yong's poetry writing in general shall be continued in a later discussion.
As you are already aware, Jeong Ji-Yong's poems had been restricted from release to readers on south korean side for a few decades. This has to be said unlucky for both the poet as well as readers needless to say, but in other senses the poet had a luck of not being exposed to the strict evaluation on themes and mind, which had proceeded around at the academic circle and critique circle especially in 1970s and early 1980s, in comparison with Kim Young-Rang, who used to be characterised as a similar inclination poet to him and thus suffered from the cold criticism in terms of historical viewpoint for the same period. As Chong's poetry appeared after 1988, when political and cultural environment became changed, utmost appreciation had been given to them.
Despite the fact that continuous researches have explicated the contours of his poetry, it seems not right to assume that details of literary words and forms taken for his poems have been all construed. Most researches cling to positive and affirmative remarks put on Ji-Yong's poetry. It is intermittently pointed out that his poetry had abstrusity and also was over-evaluated and in this regard, it cannot be said that abstrusity and over-evaluation have been under inspective discussion or investigation.
In this respect, by investigating his two earlier poems of 'Nostalgia' and 'Window 1', here is to be stated how and what should be clarified for the further step of research on Ji-Yong's poetry, especially by exploring characteristics and limitation on creative methods appeared in both poems.
For 'Nostalgia', over-rhetorics will be discussed with a few his poetic words such as '해설피', '석근' and '희돌아‘, which is seen to be caused by his own poem creating style and it will be also explored from the point of ambiguity found among several phrases of allegory. On the other hand, for 'Window 1', generally centered on poetic implement of his own experience which is mostly appraised and on sensitive implementation, Ji-Yong's poetic style-ambiguity-is being explored in the aspect of internal critique viewpoint and microscopic language usage. Upon this exploration, a few basic opinions are reviewed on the 'a thing cold and sad' and 'the star wet' which have already been discussed with importance.
For certain, brief discussion here is based upon the affirmative evaluation of Ji-Yong's poetic walks that has been progressed considerably much. Consequently, this discussion firstly aims to verify that there is still a few more points to be discussed critically based on internal critical viewpoints although the range is not wide, because it does not account for his entire works, especially his late works not included which are regarded highly achieving. Studies on Jeong Ji-Yong's poetry writing in general shall be continued in a later discussion.
목차
1. 서론
2. 본론
3. 결론
참고문헌
Abstract
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