물의 轉化와 闘爭의 歷史 - 曺雲 「九龍瀑布」의 唯物論的 解釋 -

• 영문명: The History of Water's Transition and Struggle -The Structure of Dialectical Materialism in Cho Un's Kuryong Pokpo -
• 발행기관: 한국언어문학회
• 저자명: 오하근(Oh Ha-Keun)
• 간행물 정보: 『한국언어문학』한국언어문학 제51집, 561~583쪽, 전체 23쪽
• 주제분류: 어문학 > 한국어와문학
• 파일형태: PDF
• 발행일자: 2003.12.01

영문 초록

Water', described in a Poet Cho Un's Kuryong Pokpo(Falls) represents the best chosen, and yet the most uncommon form of water. It also represents 'water of life' that is developed by an upward movement rather than a circular or a recurring movement. To become that 'water'(as used by Cho Un), many different or heterogeneous body of water became impure, and at last, only the body of water that consist of each and individual dewdrops survived. This transformation of water symbolizes the unification of conscious class or the unification of the people in general. And when those water roar like a dragon (using its condensed power), the body of water becomes so strong in force, it penetrates big rock found in Kuryong pond after traveling the downstream of Kuryong falls. This represents the independent movement or the revolution during oppressive period. This beautiful, and yet magnificent lyric poem by Cho Un contains five fundamental principles based on dialectical materialism First, the poem included a principle that dealt with 'the changes and the developments' of water that is a product of an upward movement. Second, the poem contained a principle that dealt with dramatic 'transformations from quantitative to qualitative changes'. Third, the poem included a principle that dealt with' the contradiction and the struggle of contradictories' of the life and the death. Fourth, a principle represented by the outer situation of water, depicted 'interrelations and interactions' of the realities of the contemporary. And finally, the poem was created using a classical rule of 'negation of negation' toward the entire body of water. Cho Un's use of the rhythms in his verse clearly reflects the same idea mentioned above. In (he first verse, He tried to depict ever so constantly transforming 'water'. Thus, the rhythms of the verse moved very slowly at the beginning, but later the verse became rather tense. In the middle verse, the rhythms were rather tense and slow which closely simulated the language of the people (serving, hesitating, and assuring.) In the final verse, He adopted the traditional Shijo method and came to the conclusion of the poem with the notion of recovering orders. Cho Un's masterpiece depicted (he earnest desire of the public to live in a magnificent, grandeur, and yet the most beautiful Mountain Kumgang to pursuit a life that is so beautiful, grandeur, and yet beautiful as a body of water. Unlike other socialism poets, Cho Un did not catch phrase his theory, instead, allowed his catch phrases and theories to be melted naturally in a very common body of water which in return quench the thirst for many of us.

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참고문헌

Abstract