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.
이 논문의 연구 히스토리 (2)
- 이 논문의 후속연구가 궁금하신가요?
- 연관 학술논문 또는 학술발표를 통해 보다 발전된 연구결과를 확인하실 수 있습니다.
- 이 논문의 연구 히스토리 확인하기
초록· 키워드
오류제보하기
Avant-garde art brought the energy of a full transformation to Korean poetry, which was bogged down in traditional lyrical conventions. The impulse provided by the avant-garde, violating the standard artistic norms, produced many experimental texts in a quest for constant renewal. Studies of the avant-garde in Korean poetry have so far mainly been conducted in terms of Modernism. Taking the tendency toward Dadaism found in the early poems of Im Hwa or Jeong Ji-Yong in the 1920s, the influence of Futurism and Cubism in the concrete or visual and numerical poems by Yi Sang in the 1930s, surrealist texts expressing in prose the flow of the unconscious by free association and the absence of spacing between words, or the surrealist poetry of Jo Hyang in the 1950s, etc. the specific avant-garde artistic quality is defined. However, although the texts and poetic theories of the poet Kim Su-Yeong in the 1960s are clearly avant-garde, they present slight differences from the previous forms of avant-garde poetry. In his 'full-bodied poetics' or his 'anti-poetics,' Kim Su-Yeong rejected the forms of literature that were Modernist only in technique, advocating at the same time a text into which physicality had been integrated and a revolution of society. Kim Su-Yeong's antipoetics is very similar to the poetics of negation of Julia Kristeva. She linked the conflict between the symbolic and the semiotic and the physical to the production of text as she explicated the nature of avant-garde poetry. She stipulated that avant-garde texts do not simply violate the standards of previous aesthetics, they rather express a challenge to the symbolic structures governing society as a whole, as a revolutionary dream.
Invoking the theoretical positions of Julia Kristeva, it is proposed to express this distinction by terming the avant-garde poetry that simply violates aesthetic norms 'a revolution in poetry' and the poetry that calls for a radical transformation of society as a whole, as Kim Su-Yeong's 'full-bodied poetry' does, 'a poetic revolution.'
In his "Full-bodied Poetics," Kim Su-Yeong wrote "Poetry is not written with the head, nor with the heart, but with the whole body." He went on the say, "Modernity in poetry should not be pursued by poetic techniques but with the whole body." That is to say that the advanced poetry dreamed of by Kim Su-Yeong demands the integration into the text of the physicality that had been eliminated by the symbolic. That (the physicality of the pre-oedipal conflict) endows the text with a vigorous conflictual rhythm or libidinal energy and, although paradox and irony produce a confusion of meaning, at the same time they also introduce the dream of a revolution attacking and rejecting previous systems. A subject that disturbs and threatens a subject that has been secure in the order of previous systems, producing a divided subject, gives rise to dreams of a new world, one that does not as yet exist. Therefore Kim Su-Yeong came to assert that: "all advanced poetry is subversive poetry." It is also possible to affirm that this is very close to a practice of what Kristeva called 'poetic revolution.' Seen in this way, it becomes possible to include the ballads of Kim Ji-Ha, such as Ojeok (Five Thieves), or the calls for anti-capitalistic detachment or bohemian freedom of a Kim Jong-Sam or Cheon Sang-Byeong, and the feminist confessional poems of the 1980s, among earlier examples of avant-garde poetry.
Invoking the theoretical positions of Julia Kristeva, it is proposed to express this distinction by terming the avant-garde poetry that simply violates aesthetic norms 'a revolution in poetry' and the poetry that calls for a radical transformation of society as a whole, as Kim Su-Yeong's 'full-bodied poetry' does, 'a poetic revolution.'
In his "Full-bodied Poetics," Kim Su-Yeong wrote "Poetry is not written with the head, nor with the heart, but with the whole body." He went on the say, "Modernity in poetry should not be pursued by poetic techniques but with the whole body." That is to say that the advanced poetry dreamed of by Kim Su-Yeong demands the integration into the text of the physicality that had been eliminated by the symbolic. That (the physicality of the pre-oedipal conflict) endows the text with a vigorous conflictual rhythm or libidinal energy and, although paradox and irony produce a confusion of meaning, at the same time they also introduce the dream of a revolution attacking and rejecting previous systems. A subject that disturbs and threatens a subject that has been secure in the order of previous systems, producing a divided subject, gives rise to dreams of a new world, one that does not as yet exist. Therefore Kim Su-Yeong came to assert that: "all advanced poetry is subversive poetry." It is also possible to affirm that this is very close to a practice of what Kristeva called 'poetic revolution.' Seen in this way, it becomes possible to include the ballads of Kim Ji-Ha, such as Ojeok (Five Thieves), or the calls for anti-capitalistic detachment or bohemian freedom of a Kim Jong-Sam or Cheon Sang-Byeong, and the feminist confessional poems of the 1980s, among earlier examples of avant-garde poetry.
목차
Ⅰ. 서론: 아방가르드란 무엇인가
Ⅱ. 한국시와 아방가르드 : 모더니즘에 다름 아닌 모더니즘, 혹은 모더니즘에 거역하는 모더니즘?
Ⅲ. 기호적 충동으로 가득 찬 ‘육체’를 글쓰기 안에 들여오기
Ⅳ. 시의 혁명과 시적 혁명 : 기술적 모더니티 / 육체의 모더니티
Ⅴ. 문화적 아방가르드의 변용과 변질, 소멸에 관하여
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
1970년대 이후 한국 현대시에서 전위의 맥락
한국시학연구
2007 .12
-
한국 현대시의 ‘전위의 맥락’ 검토
한국시학연구
2008 .08
-
한국 현대 시사(詩史)에서의 아방가르드(Avant-garde) 미학 수용 양상
어문논총
2009 .08
-
시교육과 전위시
비평문학
2011 .09
-
아방가르드와 유희의 미학- 페루 아방가르드 시를 중심으로
세계문학비교연구
2014 .01
-
‘전위의 중심축’으로서의 김지하 시인
비평문학
2009 .06
-
러시아아방가르드 예술의 발생과 기원 : 초기 예술 그룹의 자유와 직관의 정신에 대하여
스토리앤이미지텔링
2018 .12
-
아날로그를 품은 디지털 시, 시의 부활을 이끌다
영어영문학연구
2012 .01
-
1930년대 한국시의 아방가르드와 데카당스 : 김기림 「기상도」의 현재적 의미를 중심으로
한국시학연구
2007 .12
-
李箱의 아방가르드 시학
인문논총
2007 .01
-
해방기 시에서 `전위`의 의미 : 『전위시인집』과 『신시론』을 중심으로
한국학연구
2016 .09
-
해방기 ‘전위시인’의 탈식민주의 성향 연구
우리말글
2006 .08
-
김수영 시의 ‘새로움’ 연구 : 전위 의식과 부정 의식을 중심으로
한국시학연구
2003 .05
-
시의 모더니티 추구와 그 정치화 : 김수영 시론의 아방가르드적 성격에 관한 고찰
한국시학연구
2004 .11
-
조향 시론 연구 : 청각론을 중심으로
한국학(구 정신문화연구)
2006 .06
-
한국 전위시의 조건과 근대출판의 시학
한국학(구 정신문화연구)
2008 .06
-
아방가르드의 한국적 수용과 초현실성－李箱과 趙鄕의 경우
어문연구
2008 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-811-016467907