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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2005.3
- 수록면
- 179 - 201 (25page)
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This essay examines the characteristics of the 'Heung'(興; Ch. Xing) theory in the Mid-Joseon period considering the adoption of Van Yu (a Chinese critic of poetry in the Song Dynasty)'s theory of 'Heung-chwi'(興趣; poetic inspiration; Ch. Xing qu). The application of 'Heung' theory to poetic criticism is also discussed in terms of the range of subject matters of poetry. This research particularly focuses on the criticism made by Yi Sugwang and Heo Gyun, who actively participated in the discussion of poetic theory and the evaluation of poems based on the Tang Chinese style of poetry in the period between the late 16th and early 17th century.
Under the influence of the Tang Chinese tradition of poetry and the 'Heung-chwi' theory, poetry with various implications and ambiguities is considered to be close to the essence of poetry in the Mid-Joseon period. In this theoretical orientation, dictions and subject matters in poetry are regarded as having their own autonomous system of meaning within a text rather than functioning as indicators of real objects of the world.
Yi Sugwang and Heo Gyun share the same direction with each other in terms of adopting Yan Yu's 'Heung-chwi' theory. However, they differ from each other in how to establish the range of desirable subject matters and poetic dictions. Heo Gyun, who applies the theory to poetic criticism and analysis, is interested in feelings and impressions that poetic words and subject matters evoke within a text. He argues that subject matters chosen by a poet, though the poet does not actually observe them, are in a harmony with the poet's feeling and construct new poetic meanings within a text. Yi Sugwang also theoretically agrees to the idea that poetry has its own system of producing meanings in a text. However, unlike Heo Gyun, he argues that subject matters should be the objects which can be observed and experienced in everyday life.
This essay suggests semiosis and mimesis as a methodological framework of understanding critics' views of poems. Whereas Heo Gyun pursues semiosis and tries to understand subject matters as the unique and autonomous language of poetry, Yi Sugwang, who is based on mimesis, focuses on the correspondence between poetic words and their reality in everyday experience. This methodological framework of semiosis and mimesis may contribute to examining the development of Sino-Korean poetic criticism to a certain degree.
Under the influence of the Tang Chinese tradition of poetry and the 'Heung-chwi' theory, poetry with various implications and ambiguities is considered to be close to the essence of poetry in the Mid-Joseon period. In this theoretical orientation, dictions and subject matters in poetry are regarded as having their own autonomous system of meaning within a text rather than functioning as indicators of real objects of the world.
Yi Sugwang and Heo Gyun share the same direction with each other in terms of adopting Yan Yu's 'Heung-chwi' theory. However, they differ from each other in how to establish the range of desirable subject matters and poetic dictions. Heo Gyun, who applies the theory to poetic criticism and analysis, is interested in feelings and impressions that poetic words and subject matters evoke within a text. He argues that subject matters chosen by a poet, though the poet does not actually observe them, are in a harmony with the poet's feeling and construct new poetic meanings within a text. Yi Sugwang also theoretically agrees to the idea that poetry has its own system of producing meanings in a text. However, unlike Heo Gyun, he argues that subject matters should be the objects which can be observed and experienced in everyday life.
This essay suggests semiosis and mimesis as a methodological framework of understanding critics' views of poems. Whereas Heo Gyun pursues semiosis and tries to understand subject matters as the unique and autonomous language of poetry, Yi Sugwang, who is based on mimesis, focuses on the correspondence between poetic words and their reality in everyday experience. This methodological framework of semiosis and mimesis may contribute to examining the development of Sino-Korean poetic criticism to a certain degree.
목차
Ⅰ. 서론
Ⅱ. 興趣論의 수용: 시적 여운 및 시어의 자율성 강조
Ⅲ. ‘托興’의 시론과 그 비평적 전개: 시적 소재의 선택 범위에 대한 인식
Ⅳ. 결론
참고문헌
English Abstract
참고문헌 (16)
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