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
오류제보하기
It was found that many poets in Korea wrote free verses in the first half of the 20th century, or that, sometimes, even the contents(meaning) which should be expressed in sijo form was written in free verse. The borderline between sijo and free verse is sometimes blurred among those poetic works, because they can be classified into both sijo and free verse. They were all published as free verses, even though they could be regarded as any genre, sijo or free verse. What is worse, even some perfect sijo style works were published as free verses.
In those days many good poets did write more free verses than sijos which follow sijo rules. It became clear that some poets expressed the emotions, in free verse, which should be composed in sijo rhythm and that the poetic works which should be written in sijo form was expressed in free verses. From this fact we carre to definitely know the cause of decline of sijo resulted not from the restrictions for forms but from the fallacy of modernization.
Some poets of those days who were influenced by the fallacy of modernization averted sijo and preferred free verse which did not have any traditional roots. If many poets had not been swept away by the fallacy of modernization, and had resisted against the fallacy, made the best use of the merits of sijo, liberalized and modernized them am developed them into the modem sijo, the modem sijo would surely have been the major genre of modern poetry. But unfortunately most poets averted sijo and were absorbed in free verse. Owing to these phenomena, sijo was ebbed away, treated as an extinct past genre and naturally excluded from modem poetry, and so the free verse became the pronoun of modem poetry, In such processes, poems and sijos were divided into two equal genres. It is urgently necessary for the development of poetic literature to amend the discrepancy of such a division If more and more poets would write modern sijos and sometimes free verses, and if the two genres would be unified into ere in the activities of literary circles and in the judges for literary works, it will be very useful to the development of our national poetry, That is the very appropriate method to resurrect the merits of sijo through modem poems, and, accordingly, there can be a new way to resecue the audiences whom poetry did lose.
In those days many good poets did write more free verses than sijos which follow sijo rules. It became clear that some poets expressed the emotions, in free verse, which should be composed in sijo rhythm and that the poetic works which should be written in sijo form was expressed in free verses. From this fact we carre to definitely know the cause of decline of sijo resulted not from the restrictions for forms but from the fallacy of modernization.
Some poets of those days who were influenced by the fallacy of modernization averted sijo and preferred free verse which did not have any traditional roots. If many poets had not been swept away by the fallacy of modernization, and had resisted against the fallacy, made the best use of the merits of sijo, liberalized and modernized them am developed them into the modem sijo, the modem sijo would surely have been the major genre of modern poetry. But unfortunately most poets averted sijo and were absorbed in free verse. Owing to these phenomena, sijo was ebbed away, treated as an extinct past genre and naturally excluded from modem poetry, and so the free verse became the pronoun of modem poetry, In such processes, poems and sijos were divided into two equal genres. It is urgently necessary for the development of poetic literature to amend the discrepancy of such a division If more and more poets would write modern sijos and sometimes free verses, and if the two genres would be unified into ere in the activities of literary circles and in the judges for literary works, it will be very useful to the development of our national poetry, That is the very appropriate method to resurrect the merits of sijo through modem poems, and, accordingly, there can be a new way to resecue the audiences whom poetry did lose.
목차
1. 양분법의 모순
2. 근대화의 오류
3. 시조형의 자유시
4. 시조 변형 자유시
5. 시조 율격의 자유시
6. 시조적 가락의 자유시
7. 결론
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-811-014695727