지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This study reveals aspects of discourse characteristics according to perception of the poetic speaker’s about space in Songgang’s Gasa and discovers emotional differences about two spaces(realistic & peripheral). It is summarized as follows:
There are three discourse characteristics with space recognition in Songgang’s Gasa. First, monologue with discordant coexistence between ‘the self who desires the center’ and ‘the self who bewares periphery’ in the space of “Between”(< 關東別曲>), second, monologue and dialogue in the space of “Absence” with the poetic’s effort to overcome break with the absence object(< 思美人曲>&<續美人曲>), finally, various discourse types in the space of ‘periphery’ with the unity between the self and the other through the poetic speaker’s psychological distance adjust((<星山別曲 >).
These Characteristics in Songgang’s Gasa are also discovered in Gosan’s Sijo but there are slight differences. In attitudes toward the center(political reality), both writers reveals their strong desire as love for the king, however Songgang shows it positively unlike Gosan’s negative attitude. In attitude toward the periphery, Songgang shows a wide range of emotion spaning from positive to negative and positive emotion, however Gosan shows negative emotion in his early works to positive emotion in his later ones. In addition, the periphery space(nature) implies strong will about Confucian realistic participation to Gosan but taoists transcendence will to Songgang.
There are three discourse characteristics with space recognition in Songgang’s Gasa. First, monologue with discordant coexistence between ‘the self who desires the center’ and ‘the self who bewares periphery’ in the space of “Between”(< 關東別曲>), second, monologue and dialogue in the space of “Absence” with the poetic’s effort to overcome break with the absence object(< 思美人曲>&<續美人曲>), finally, various discourse types in the space of ‘periphery’ with the unity between the self and the other through the poetic speaker’s psychological distance adjust((<星山別曲 >).
These Characteristics in Songgang’s Gasa are also discovered in Gosan’s Sijo but there are slight differences. In attitudes toward the center(political reality), both writers reveals their strong desire as love for the king, however Songgang shows it positively unlike Gosan’s negative attitude. In attitude toward the periphery, Songgang shows a wide range of emotion spaning from positive to negative and positive emotion, however Gosan shows negative emotion in his early works to positive emotion in his later ones. In addition, the periphery space(nature) implies strong will about Confucian realistic participation to Gosan but taoists transcendence will to Songgang.
목차
1. 들머리
2. ‘사이’의 공간 속 ‘나－나’의 부조화한 공존: <관동별곡>
3. ‘부재’의 공간 속 ‘나－너’의 단절과 극복: <사미인곡>, <속미인곡>
4. ‘주변’의 공간 속 ‘나－너’의 거리와 합일: <성산별곡>
5. 마무리－고산 시가와의 미학적 차이를 논하며
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2015-800-002750873