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초록· 키워드
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Through poetry of Korean Lee-sang and associates of ‘samsamunhak’ and Japanese Dacahashisingizi the influencing relation and the trend of literary work were compared.
Korean modern literature can not be liberal in Japanese cultural space. Korean modern literature was established by most of Korean students studying in Japan and direct interchange among poets. The relation between Ko Han Yong and Dacahashisingizi played important role in setting up Korean Surrealism.
The most important idea introduced in this book is that theory which Japanese Surrealism Poetry is Formalism should be reconsidered. According to the poetry of Dacahashisingizi in the text, it doesn’t stay in “DaDa” stage but it goes along with French Surrealistic literary work with Andre Breton as the central figure.
Chaos is the open space where the boundaries of creatures, symbols and numbers are broken down and it is also radical space where all living things and the universe are formed and exterminated. And in this poetry ego is not ‘cogito’ but sur-humanism. The symbols and numbers in Lee sang’s poetry exist in open space.
In an imaginary space, the past, present and future meet in the one point. And as if the vestiges of this universe can be found in mother’s amniotic fluid, the form and extermination happen in the same place. So to speak, they aim the chora space.
Korean Surrrealistic poetry is poorer than Japanese one. At that time the situation was not good but as the case may be Korean literature was kept up.
Korean Surrealistic Poetry was influenced by Japanese but its formality is stronger although Surrealism has negative idea of its foundation. But the formality of Surrealistic Poetry is just a tool to show an involuntary spirit, so Korean Surrealistic literature is close to DaDa. It’s probably affected by strong negative senses in colonization at that time. But Japanese Surrealism was more liberal to accept the western Surrealistic literary work with Andre Breton as the central figure. The early stage, Dada part was similar to Korean one but the spiritual life is well introduced through the stage of Surrealim.
Korean modern literature can not be liberal in Japanese cultural space. Korean modern literature was established by most of Korean students studying in Japan and direct interchange among poets. The relation between Ko Han Yong and Dacahashisingizi played important role in setting up Korean Surrealism.
The most important idea introduced in this book is that theory which Japanese Surrealism Poetry is Formalism should be reconsidered. According to the poetry of Dacahashisingizi in the text, it doesn’t stay in “DaDa” stage but it goes along with French Surrealistic literary work with Andre Breton as the central figure.
Chaos is the open space where the boundaries of creatures, symbols and numbers are broken down and it is also radical space where all living things and the universe are formed and exterminated. And in this poetry ego is not ‘cogito’ but sur-humanism. The symbols and numbers in Lee sang’s poetry exist in open space.
In an imaginary space, the past, present and future meet in the one point. And as if the vestiges of this universe can be found in mother’s amniotic fluid, the form and extermination happen in the same place. So to speak, they aim the chora space.
Korean Surrrealistic poetry is poorer than Japanese one. At that time the situation was not good but as the case may be Korean literature was kept up.
Korean Surrealistic Poetry was influenced by Japanese but its formality is stronger although Surrealism has negative idea of its foundation. But the formality of Surrealistic Poetry is just a tool to show an involuntary spirit, so Korean Surrealistic literature is close to DaDa. It’s probably affected by strong negative senses in colonization at that time. But Japanese Surrealism was more liberal to accept the western Surrealistic literary work with Andre Breton as the central figure. The early stage, Dada part was similar to Korean one but the spiritual life is well introduced through the stage of Surrealim.
목차
Ⅰ. 서론
Ⅱ. 韓·日 초현실주의 영향 관계
Ⅲ. 코라(chora)적 세계관
Ⅳ. 결론
참고문헌
Abstract
참고문헌 (11)
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