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Hong Yoon-sook debuted in the literary world by publishing "Autumn" on Munye Shinbo in 1947 and "Song of Falling Leaves" on Shin Cheon Ji in 1948. She is one of the major poets that represenr 1950s with the publication of her first poetry collection Yeosa Poetry Collection in 1962 and her subsequent works of poetry up to the present.
This paper discusses the pathos and the evolution of Hong's poetry in three periods-the beginning, the middle, and the last-based on her twelve volumes of collection including her last one, Choson's Flower.
Her poetry in the beginning period is characterized by her inabiliry to deal with the external world; she is focused substantially on the theme of resistance and conflict. Founded on delicate emotions of a young girl, she expresses her melancholy from her encounters with the external world and she longs for the world that transcends reality.
Her middle period begins with the publication of Accessory Discussions and Daily Clock Sound. What's unique about her poetry during this period is that she shows a markedly different attitude about the external world. She no longer sets her roots in her conflicting emotions about the external world. Her focus turns inward and she is more concerned about life itself, the meaning of existence, evidenced by her intellectual expressionism.
Her self-centered world from her earlier period has given way to a search for the self in relation to the external world and the surroundings in real terms. She is more concerned about the importance of the details that occur in the daily living, even though her view of the external world still remains keen and nihilistic. Her departure from her young, fervent days is quite apparent, and her expressions are more circumspective.
Her last period is marked by her departure from objectivity and the popular point of view. She addresses the beauty associated with the process of extinction and she shows us the boundary built around the narrator, the poet. Her passion of the earlier period has subsided; her obsession with the self during her middle period has disappeared; and the conflict between the self and the external world has been nullified. Finally, there are signs of reconciliation with the external world as she perceives the extinction of the self.
The common ideology that runs through all of Hong's work is the 'confirmation of existence.' The determining process in pursuit of the definitive, universal nature of 'existence' begins with the conflict between the self and the external world. This process adopts the aspects of dielectric materialism, showing the depth of the narrator's thoughts. Also, her methodology of search for the true value of human beings goes a step beyond form, and ultimately, she recognizes the existence of the absolute being that transcends all conditions.
Hong Yoon-sook's poetic style is centered around the confessions by the narrator, and together with her mastery of craftsmanship, she delivers a strong message to the listener. The first-person treatment appear to be predominant in her early and later poems, and the first-person narratOr reflects Hong's 'self', which is derived from her own life experiences.
This paper discusses the pathos and the evolution of Hong's poetry in three periods-the beginning, the middle, and the last-based on her twelve volumes of collection including her last one, Choson's Flower.
Her poetry in the beginning period is characterized by her inabiliry to deal with the external world; she is focused substantially on the theme of resistance and conflict. Founded on delicate emotions of a young girl, she expresses her melancholy from her encounters with the external world and she longs for the world that transcends reality.
Her middle period begins with the publication of Accessory Discussions and Daily Clock Sound. What's unique about her poetry during this period is that she shows a markedly different attitude about the external world. She no longer sets her roots in her conflicting emotions about the external world. Her focus turns inward and she is more concerned about life itself, the meaning of existence, evidenced by her intellectual expressionism.
Her self-centered world from her earlier period has given way to a search for the self in relation to the external world and the surroundings in real terms. She is more concerned about the importance of the details that occur in the daily living, even though her view of the external world still remains keen and nihilistic. Her departure from her young, fervent days is quite apparent, and her expressions are more circumspective.
Her last period is marked by her departure from objectivity and the popular point of view. She addresses the beauty associated with the process of extinction and she shows us the boundary built around the narrator, the poet. Her passion of the earlier period has subsided; her obsession with the self during her middle period has disappeared; and the conflict between the self and the external world has been nullified. Finally, there are signs of reconciliation with the external world as she perceives the extinction of the self.
The common ideology that runs through all of Hong's work is the 'confirmation of existence.' The determining process in pursuit of the definitive, universal nature of 'existence' begins with the conflict between the self and the external world. This process adopts the aspects of dielectric materialism, showing the depth of the narrator's thoughts. Also, her methodology of search for the true value of human beings goes a step beyond form, and ultimately, she recognizes the existence of the absolute being that transcends all conditions.
Hong Yoon-sook's poetic style is centered around the confessions by the narrator, and together with her mastery of craftsmanship, she delivers a strong message to the listener. The first-person treatment appear to be predominant in her early and later poems, and the first-person narratOr reflects Hong's 'self', which is derived from her own life experiences.
목차
Ⅰ. 序論
Ⅱ. 詩의 變貌樣相
Ⅲ. 結論
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