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초록· 키워드
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The purpose of this study is to examine the awareness of Korean women’s poetry at the turning point through the aspects of ‘liberation’ and ‘war’ appearing in the poems of ‘Mo, Yoon-sook’ and ‘No, Chun-myung’.
As they had pro-Japanese consciousness before the liberation, surveying their poetic transition can have another meaning in that consciousness of colonial women-intellectuals can be examined. This study examined Mo and No's poems announced from after the liberation period to the war. The war here implies the period till July, 1953. Specific collections of the poems which are the objects of this study are Mo's ‘Okbinyeo’(1947) and ‘Poongrang’(1951), and No's ‘Contemporary poet collection, 2 volumes: No, Chun-myung collection’(1949) and ‘Looking at the stars’(1953).
Facing the liberation, Mo actively participated in political activities. The subject of her poems at that time was ‘people’. If the concept of ‘people’ in Mo's poems in colonial period included ‘East Asia’, ‘people’ after the liberation can be considered as nationalism combined with ‘Anti-Communism’. The poet who sympathized with Imperialism in colonial period abruptly announces the poems which expect the brand new start of people after the liberation, with contradictory attitude. The ‘people’ in Mo's poems changes to ‘nation’ and ‘national people’ through Korean War, strengthening ‘nationalism’.
No, Chun-myung reveals her insecure identity in her poems as a poet after the liberation. As she had much pride and was an idealist, her poems were introverted and had a squeamish self-consciousness. During Korean War, she had very severe psychological impact when she was sentenced to imprisonment due to her treacherous activities in ‘Confederation of Chosun literary writers’. In her poems at that time, she expressed her inner conflict resulted from her damaged pride. She also showed the attitude of coping with outer reality through the closure of her pride rather than settlement of her inner conflicts. No's r copoems can be divided into several types, such as the poems bas. In actual experience, the poems consistent with conceptual exaggerations, and the poems which poemto dely th the fweling of r copoems with just Ine oh two poetic languages in describing the situation not exactly related to the war.
There are not many women's poems from the liberation period to war period. Mo, Yoon-sook and No, Chun-myung can be objects of criticism by not leaving any trace of conflict or regret to their pro-Japanese consciousness in colonial period.
Further, it should be acknowledged that the poetic languages they use such as ‘people’ or ‘nation’ are not differentiated from those in colonial period by not accepting the conflicts of turning point and by trying to escape from the conflicts.
This study tried to look into the images hidden behind the stereotyped images of Mo, Yoon-sook and No, Chun-myung, and examined the aspects of 'liberation' and 'war' by that way. The poems of these 2 poets can be considered to include tragic truthfulness by showing the reality of Korean women poets.
As they had pro-Japanese consciousness before the liberation, surveying their poetic transition can have another meaning in that consciousness of colonial women-intellectuals can be examined. This study examined Mo and No's poems announced from after the liberation period to the war. The war here implies the period till July, 1953. Specific collections of the poems which are the objects of this study are Mo's ‘Okbinyeo’(1947) and ‘Poongrang’(1951), and No's ‘Contemporary poet collection, 2 volumes: No, Chun-myung collection’(1949) and ‘Looking at the stars’(1953).
Facing the liberation, Mo actively participated in political activities. The subject of her poems at that time was ‘people’. If the concept of ‘people’ in Mo's poems in colonial period included ‘East Asia’, ‘people’ after the liberation can be considered as nationalism combined with ‘Anti-Communism’. The poet who sympathized with Imperialism in colonial period abruptly announces the poems which expect the brand new start of people after the liberation, with contradictory attitude. The ‘people’ in Mo's poems changes to ‘nation’ and ‘national people’ through Korean War, strengthening ‘nationalism’.
No, Chun-myung reveals her insecure identity in her poems as a poet after the liberation. As she had much pride and was an idealist, her poems were introverted and had a squeamish self-consciousness. During Korean War, she had very severe psychological impact when she was sentenced to imprisonment due to her treacherous activities in ‘Confederation of Chosun literary writers’. In her poems at that time, she expressed her inner conflict resulted from her damaged pride. She also showed the attitude of coping with outer reality through the closure of her pride rather than settlement of her inner conflicts. No's r copoems can be divided into several types, such as the poems bas. In actual experience, the poems consistent with conceptual exaggerations, and the poems which poemto dely th the fweling of r copoems with just Ine oh two poetic languages in describing the situation not exactly related to the war.
There are not many women's poems from the liberation period to war period. Mo, Yoon-sook and No, Chun-myung can be objects of criticism by not leaving any trace of conflict or regret to their pro-Japanese consciousness in colonial period.
Further, it should be acknowledged that the poetic languages they use such as ‘people’ or ‘nation’ are not differentiated from those in colonial period by not accepting the conflicts of turning point and by trying to escape from the conflicts.
This study tried to look into the images hidden behind the stereotyped images of Mo, Yoon-sook and No, Chun-myung, and examined the aspects of 'liberation' and 'war' by that way. The poems of these 2 poets can be considered to include tragic truthfulness by showing the reality of Korean women poets.
목차
Ⅰ. 문제 제기
Ⅱ. 해방기의 혼돈과 기대
Ⅲ. 한국전쟁 형상화의 시적 특성
Ⅳ. 결론 및 남는 문제
참고문헌
Abstract
참고문헌 (11)
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