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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This study is about inner rhythm of Korean modern poetry. It is remained one of the most complicate and ambiguous concept. This paper therefore intends to considering the process of the transplantation and settlement of it in 1920’s. That period was the original space of the Korean modern literature. This concept was transplanted form the western together free verse in 1920’s. At that time, it had two dimensions. One was the dimension of anti-rhythm that all traditional rhythm were denied. The other was the dimension of combination content with form. If the former was formal concept, the later was very expansive and constructive concept. But it was necessary to settle through poetic practices in Korean cultural context.
It was the middle 1920’s that those practices had been acted. Here those practices could be divided two directions. One direction could be found in Kim So-weol’s Poetic Soul(詩魂) that was very creative poetic theory. He focused on the possibilities of the presonality of poets in it. Meanwhile the other direction could be found in Kim-Eok who was the most important poet of the school of nationalistic literature. He concentrated his attention on the construction for Cho-seon poetic form which was filled with Cho-seon emotion. For him free verse has seemed to be very dangerous form which confused with prose. The reason why he denyed inner rhythm. In this process the possibility of inner rhythm couldn’ help reducing in formal dimension.
It was the middle 1920’s that those practices had been acted. Here those practices could be divided two directions. One direction could be found in Kim So-weol’s Poetic Soul(詩魂) that was very creative poetic theory. He focused on the possibilities of the presonality of poets in it. Meanwhile the other direction could be found in Kim-Eok who was the most important poet of the school of nationalistic literature. He concentrated his attention on the construction for Cho-seon poetic form which was filled with Cho-seon emotion. For him free verse has seemed to be very dangerous form which confused with prose. The reason why he denyed inner rhythm. In this process the possibility of inner rhythm couldn’ help reducing in formal dimension.
목차
1. 머리말
2. 1920년 전후 내재율 개념의 수용
3. 내재율 개념의 두 가지 전개 방향
4. 맺음말
참고 문헌
［Abstract］
참고문헌 (42)
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UCI(KEPA) : I410-ECN-0101-2014-800-003347445