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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper intends to inspect Mun-jang and its traditional implications and reasons. 1930s ‘Crisis of modernity’, ‘The Transcendence of the modern’ discourse makes the value of historical context or traditional thing upgrading. Mun-jang is located in the center of the contemporary context, ‘Korean’ and ‘traditional’, ‘classic’.
This paper approaches the discourse of Mun-jang by examining in detail whether Mun-jang has been defined as the ideology of ‘traditionalism’. Rather than the pre-determined value of the screening, a subject of traditional is a matter of choice that requires the active involvement in that matter. Within the traditional screening process and reflect on the past, there is the reasons and thought on the present worrying that the subjectivity of the modern and the attention are involved. At this time members of the Mun-jang showed subjective insights of the individual attention and they were the most meaningful thing in Mun-jang. Lee Byung-gi, Jeong Ji-yong, Lee Tae-joon and Kim Yong Joon is clearly apparent at the creative arts in Mun-jang. They have in common in aspects such as language or material. Their thoughts were very simmilar and it can be called ‘seogwongi’ and ‘munjahyang’. They are summarized as the work of art is a projection of an individual’s unique personality. Subjective perception of the gaze is very important in the traditional way of thinking and the literary tradition of a literary artist with the ideas and ideals they were expressing. Therefore, in the literary artist works, the most important issue is to symbolize the spirit world not the shape of things.
This paper revealed the members of Mun-jang quoted and imitated Chusa, literary artist directly. Their traditionalism is in the various possibilities of the traditional way of thinking rather than an issue of material. At that time this way of poetic thought and reason is aganst the authority of outside and is represented as his own part which is not suppressed and active intellectual and emotional potential. It was a way to express and to secure the self’s world. Therefore, their traditional way of thinking, ‘seogwongi’ and ‘munjahyang’ was the way of presenting the self independent from colonial traditionalism and the discrimination by Japanese imperialists.
This paper approaches the discourse of Mun-jang by examining in detail whether Mun-jang has been defined as the ideology of ‘traditionalism’. Rather than the pre-determined value of the screening, a subject of traditional is a matter of choice that requires the active involvement in that matter. Within the traditional screening process and reflect on the past, there is the reasons and thought on the present worrying that the subjectivity of the modern and the attention are involved. At this time members of the Mun-jang showed subjective insights of the individual attention and they were the most meaningful thing in Mun-jang. Lee Byung-gi, Jeong Ji-yong, Lee Tae-joon and Kim Yong Joon is clearly apparent at the creative arts in Mun-jang. They have in common in aspects such as language or material. Their thoughts were very simmilar and it can be called ‘seogwongi’ and ‘munjahyang’. They are summarized as the work of art is a projection of an individual’s unique personality. Subjective perception of the gaze is very important in the traditional way of thinking and the literary tradition of a literary artist with the ideas and ideals they were expressing. Therefore, in the literary artist works, the most important issue is to symbolize the spirit world not the shape of things.
This paper revealed the members of Mun-jang quoted and imitated Chusa, literary artist directly. Their traditionalism is in the various possibilities of the traditional way of thinking rather than an issue of material. At that time this way of poetic thought and reason is aganst the authority of outside and is represented as his own part which is not suppressed and active intellectual and emotional potential. It was a way to express and to secure the self’s world. Therefore, their traditional way of thinking, ‘seogwongi’ and ‘munjahyang’ was the way of presenting the self independent from colonial traditionalism and the discrimination by Japanese imperialists.
목차
1. 서론
2. 전통의 선별과 주체의 시선
3. 선별된 전통으로서의 문인화적 사유
4. 문인화적 양상과 주관성의 의미
5. 결론
참고문헌
[Abstract]
참고문헌 (3)
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