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초록· 키워드
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The aim of the thesis is to exam me the modernity of Ko Seok-kyu's literature in the spiritual history of the 1950s. To do so, I will consider theoretically the problem of modernity that is being lively discussed, and on the basis of this, attend to the problem of 'Korean Literature and Modernity in the 1950s'. Also the modernity of his literature will be explained in the light of the fact that his work had been performed in the specific area of 'Pusan', which represented the fundamental experience of Korean literature historically and socially at that time.
His criticism started from the reflection and transcendence of the postwar poetry which expressed violent and exasperated feelings in front of 'the failure of modernity' brought about by Korean war. That is to say, His criticism suggested a new direction by overcoming the emotional dimension of the postwar poetry in a rational and intellectual attitude. It is the orientation of his criticism explained as 'the transcendence of modernity'. In the spiritual history of the 1950s, his criticism can be discussed in terms of three aspects, namely 'the drama of transcendence(超劇) and metaphysical world view', 'poet's irony and negative spirit', and 'poetical imagination and order consciousness'. Each aspect corresponds to five works in The Drama of Transcendence(超劇). 'Poet's Irony', and 'Poetical Imagination'.
His poetry and criticism showed distinctive dimensions corresponding to the failure of modernity' and 'the transcendence of modernity'. But we should not forget the deep interrelation of both in that his criticism created a literary space of transcending the postwar poems of the 1950s that sang ruined feelings sentimentally. 'Transcendence' can reveal full meaning when it is recognized as the transcendence of 'something'. Transcendence in his criticism meaned a remarkable will of fulfilling the poetical moments of the 1950s because it has a clear direction called 'the failure of modernity', namely the transcendence of poetry. So his literature has an important sense of encompassing the spiritual-historical trends of poetry in the 1950s, rather than being confined to his personal problem.
His criticism started from the reflection and transcendence of the postwar poetry which expressed violent and exasperated feelings in front of 'the failure of modernity' brought about by Korean war. That is to say, His criticism suggested a new direction by overcoming the emotional dimension of the postwar poetry in a rational and intellectual attitude. It is the orientation of his criticism explained as 'the transcendence of modernity'. In the spiritual history of the 1950s, his criticism can be discussed in terms of three aspects, namely 'the drama of transcendence(超劇) and metaphysical world view', 'poet's irony and negative spirit', and 'poetical imagination and order consciousness'. Each aspect corresponds to five works in The Drama of Transcendence(超劇). 'Poet's Irony', and 'Poetical Imagination'.
His poetry and criticism showed distinctive dimensions corresponding to the failure of modernity' and 'the transcendence of modernity'. But we should not forget the deep interrelation of both in that his criticism created a literary space of transcending the postwar poems of the 1950s that sang ruined feelings sentimentally. 'Transcendence' can reveal full meaning when it is recognized as the transcendence of 'something'. Transcendence in his criticism meaned a remarkable will of fulfilling the poetical moments of the 1950s because it has a clear direction called 'the failure of modernity', namely the transcendence of poetry. So his literature has an important sense of encompassing the spiritual-historical trends of poetry in the 1950s, rather than being confined to his personal problem.
목차
1. 1950년대ㆍ근대성ㆍ부산
2.『초극(超劇)』과 형이상학적 세계인식
3.「시인의 역설」과 부정정신
4.「시적 상상력」과 질서의식
5. 고석규 시와 비평의 상관성
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Abstract
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UCI(KEPA) : I410-ECN-0101-2009-809-014498857