DAU Library

학위논문 동서

詩文學派 硏究

진창영

부산: 동아대학교 1993. -

166p: 챠트; 27cm. -

학위논문(박사)- 동아대학교 대학원 국어국문학과 94년2월

영문초록 : This thesis has been written for the purpose of studying "Simunhakpa" in the early 1930’s in the history of Korean literature. Up to now, the study on "Simunhakpa" has been concentrated on a few leading poets and only mentioned piece by piece. There is, therefore, no study which set up a systematic position showing reasonable grounds to take its place in the literary history as a school. In order to form the basis of synthetic study, this thesis found out two general qualities which was expressed in the poems of 'Simunhakpa'. One is continuity which is perceived in the spiritual stream of the works and the other is revolution in the technique of expression; moreover the beginning of Korean pure poetry. The existing and historical valuation on 'Simunhakpa', the beginning of modern poetry, has a tendency centered on the representative poets. And it is a vague reasoning which has not been demonstrated through the works. To overcome these defects, this thesis regards the two qualities mentioned above as the grounds to form a separate school and tries to demonstrate Simunhakpa as a school synthetically through the analysis of the works which the poets belonging to the school composed. This research shows not only the common feature but the distinction of poets. In relation to internal continuity and technical revolution in the poetry of 'Simunhakpa', what they are and why they are called so are summarized as follows. First, the continuity (of simunhakpa) can be seen in the two kinds of view, that is to say, in the poetic ternal side and in the metrical form. This shows that a part of poetry in 1920’s and tradition of classical poetry are handed down to 'Simunhakpa'. The poetic internal side is a direction which the poetry follows and also a stream including the poetic feeling which shows the theme of poetry and metrical form is a conception which includes a set pattern of the number of line centered on a meter. Second, revolution in general means a change of expressional technique. It can be called revolution in point of recognizing the fact that literature is art created using language. This revolution enables a sensual image to form poetry and creates the verse as a spacial form. In addition, it makes it possible to organize the existential view of poetry. It can be called a big revolution in the history of Korean literature. If a necessary condition that enables poetry to be existential form is a spacial form and if that of this spacial form is an image, the poets of 'Simunhakpa' have a basic condition of spacial form by making a-minimum image through linguistic recognition. At the same time, it became the beginning of a new artistic genre which 'Simunhakpa' made in the existential view of literature. In the history of Korean poetry, Simunhakpa had continuity that admiration for an ideal world resulted from tragedy shared by Korean in the colonial period was expressed poetically on the basis of our traditional meter. On the other hand, it recognized that literature is the expression of a language and made revolution of expressional technique. Simunhkpa, therefore, is a school of literature which has two different qualities. It is thought of the beginning of Korean pure poetry by enlarging the range of a language. And, from a expressional standpoint, it is considered a school which helped poetry of those days get out of the old poetic practice and develope into that of real modernism after 1930's.

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