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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2015.12
- 수록면
- 283 - 311 (29page)
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초록· 키워드
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In the history of Korean modernist poetry, the position of Lee Seung-hun’s poetry is unique. This is because his literature has a peculiarity different from other modernist poets that were immersed in self-exploration. In terms of content, he is immersed in a painful space of confinement by the reflection of transparent self-consciousness without external influences, does not devise a way to get out of the immersion and even lift this immersion to a value of poetics. In terms of expression, his poetry consists of only two poetry forms, general prosaic sentence and extreme segmented sentence. Of these, the latter poetry form is a creative poetry form appearing only in his poetry in the Korean contemporary poetry. This study looks into this specificity of Lee Seung-hun’s poetry from the perspective of soundscape and proves its generation and effect.
A soundscape consists of keynote, signal and soundmark. Common prose poems are dominated by a keynote of anxiety by self-disunion. This keynote is expressed as white, excess of color on static dimension, while it is expressed as “throw-up,” excess of body on dynamic dimension. When the self would contemplate itself, the position of the subject that is given a transcendental position from the self is divided. Thus, the keynote can be said to be resonance of this division itself. In the segmented poetry form, the keynote moves up to a signal. Contents of expressing consciousness of anxiety, pressing rhythms of extreme segmented sentences, a great number of poetic diction which means the sound and the linear form of poetry premise each other to form a soundscape of scream, comprehensively. The soundmark alluding the idea of ego does not appear in Lee Seung-hun’s poetry. Since there is no soundmark which is the original copy of a varied signal, the keynote elevated to the signal itself replaces the original copy of the soundmark. The soundscape of scream suggests that anxiety is the subject’s cry announcing that it is the essence of existence in an intellectual suspicion that got rid of the world of objects.
A soundscape consists of keynote, signal and soundmark. Common prose poems are dominated by a keynote of anxiety by self-disunion. This keynote is expressed as white, excess of color on static dimension, while it is expressed as “throw-up,” excess of body on dynamic dimension. When the self would contemplate itself, the position of the subject that is given a transcendental position from the self is divided. Thus, the keynote can be said to be resonance of this division itself. In the segmented poetry form, the keynote moves up to a signal. Contents of expressing consciousness of anxiety, pressing rhythms of extreme segmented sentences, a great number of poetic diction which means the sound and the linear form of poetry premise each other to form a soundscape of scream, comprehensively. The soundmark alluding the idea of ego does not appear in Lee Seung-hun’s poetry. Since there is no soundmark which is the original copy of a varied signal, the keynote elevated to the signal itself replaces the original copy of the soundmark. The soundscape of scream suggests that anxiety is the subject’s cry announcing that it is the essence of existence in an intellectual suspicion that got rid of the world of objects.
목차
1. 서론
2. 소리의 계열
3. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-001-002208413