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초록· 키워드
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Among poets representing this period are Cheung Ji Youg, Shin Seok Jeong, Shin Seok Cho and so on. Of them the most remarkable poet is Cheong Ji Youg, who is called a footprint of Korean poetry in the 1930's. He played a leading role of imagism developing the movement of pure poetry with Shin Seok Jeong against poetry's degrading to the instrument of materialistic dialectic conception and, also when losing a course of what Korean poetry should be, contribued to the success and development of traditional Korean poetry by creating 'philosphicalfeatured poetry' based upon Taoist ideas, the most art-oriented of Eastern ideas, but as a victim of the partition of the Korean peninsula a correct estimate on him and his poetry has not been made yet.
This dissertation has been studied to contribute to development of contemporary Korean poetry by first estimating him and his poetry correctly and then rationalizing features of hie Taoist poetry objectively.
First of all, Ji Yong, a believer in the spiritual world of Orientalism at his earlier period, was much devoted to Eastern ideas, first, to overcome the crisis of traditional poetry, preserving and developing natioal poetry under Japanese colony and then, to escape naturally from the limit of imagism which he had searched.
It seems impossible and useless to find out which of two he had more importantly in his mind but the most obvious is that he escaped from aspects of struggle and restored a sense of gaiety and health again in his poetry. This fact could provide and history of Korean poetry with an opportunity of reflection and a foundation of an important turning point. It gave a realization that poetry should not be an express or a statement of simple emotion but a result of solidified thoughts, not an expressive instrument of thoughts but a substance of struggling and solving problems of life's realities.
Especially Ji Yong's poetry prevented readers from not being moved though direct touching with objects and at the same time showed remarkable result of active embodiment by achieving a simple struture.
As mentioned above, Taoist poetry has historical meanings and criticisms as follow:
Firstly, when Korean poetry didn't move beyond a wall of sentimentalis or utilized an instrument of political ideology, and didn't overcome a limit of folloeing Western tendancy, Taoist poetry could be said to be a result of needs of the times, that is, a control of emotion, a removal of an intention and an equipment of Eastern ideas.
Secondly, it can be estimated that Taoist poetry, connected closely with Eastren ideas and Eastern classical works, not only prevented following the Western-oriented tendancy one-sidedly but also contributed to achieving a traditional value.
Thirdly, Taoist poetry, as a spiritual supporter in overcoming a crisis of devastating historical realities and national spirit of the times, made a great contribution to the that the solving to a sense of losing and a condition for the supreme bliss is not a material but a spirit.
Fourthly' it can't be overlooked that Taoist poetry maximized the active taste of Korean poetry. Therefore Taoist poetry should have been valued correctly in terms of items mentioned above even if it didn't resist Japanese imperialism actively.
From now, Taoist poetry and the achievements of poets absorbed in embodying its ends should be arranged more objectively and systematically and used as a foundation of development for contemporary Korean poetry.
This dissertation has been studied to contribute to development of contemporary Korean poetry by first estimating him and his poetry correctly and then rationalizing features of hie Taoist poetry objectively.
First of all, Ji Yong, a believer in the spiritual world of Orientalism at his earlier period, was much devoted to Eastern ideas, first, to overcome the crisis of traditional poetry, preserving and developing natioal poetry under Japanese colony and then, to escape naturally from the limit of imagism which he had searched.
It seems impossible and useless to find out which of two he had more importantly in his mind but the most obvious is that he escaped from aspects of struggle and restored a sense of gaiety and health again in his poetry. This fact could provide and history of Korean poetry with an opportunity of reflection and a foundation of an important turning point. It gave a realization that poetry should not be an express or a statement of simple emotion but a result of solidified thoughts, not an expressive instrument of thoughts but a substance of struggling and solving problems of life's realities.
Especially Ji Yong's poetry prevented readers from not being moved though direct touching with objects and at the same time showed remarkable result of active embodiment by achieving a simple struture.
As mentioned above, Taoist poetry has historical meanings and criticisms as follow:
Firstly, when Korean poetry didn't move beyond a wall of sentimentalis or utilized an instrument of political ideology, and didn't overcome a limit of folloeing Western tendancy, Taoist poetry could be said to be a result of needs of the times, that is, a control of emotion, a removal of an intention and an equipment of Eastern ideas.
Secondly, it can be estimated that Taoist poetry, connected closely with Eastren ideas and Eastern classical works, not only prevented following the Western-oriented tendancy one-sidedly but also contributed to achieving a traditional value.
Thirdly, Taoist poetry, as a spiritual supporter in overcoming a crisis of devastating historical realities and national spirit of the times, made a great contribution to the that the solving to a sense of losing and a condition for the supreme bliss is not a material but a spirit.
Fourthly' it can't be overlooked that Taoist poetry maximized the active taste of Korean poetry. Therefore Taoist poetry should have been valued correctly in terms of items mentioned above even if it didn't resist Japanese imperialism actively.
From now, Taoist poetry and the achievements of poets absorbed in embodying its ends should be arranged more objectively and systematically and used as a foundation of development for contemporary Korean poetry.
목차
Ⅰ. 정지용 시의 개략적 점검
Ⅱ. 지용 시의 산이 갖는 의미와 내재적 상징성
Ⅲ. 도가의 이천합천(以天合天)의 관점에서 본 지용의 후기 시
Ⅳ. 도가적 시의 내재적 면모
Ⅴ. 결론
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