- 영문명
- The Reception of Avant-garde and the Surreal in Korea - in case of Lee Sang and Jo Hyang -
- 발행기관
- 어문연구학회
- 저자명
- 김동근(Dong-geun Kim)
- 간행물 정보
- 『어문연구』語文硏究 第56輯, 369~389쪽, 전체 21쪽
- 주제분류
- 어문학 > 한국어와문학
- 파일형태
- 발행일자
- 2008.04.30
국문 초록
영문 초록
The purpose of this dissertation is to explain the aesthetic base of Avant-garde and the attitude adopting it in Korea and the surreal(surr？alit？) on creating poetry. For it, the aesthetic senses and the works of Lee Sang and Jo Hyang called the representative Avant-garde poet in contemporary Korean poetry become the object of this research. Consequently this dissertation, on the basis of logic and orientation of Dadaism or Surrealism, will investigate the poetic consciousness and text system relating to them.
Before anything else, Lee Sang who is a first Avant-garde poet in Korea shows the unique techniques, which are not wholly Dadaist"s but Surrealist"s in terms of adopting Avant-garde. In spite of Lee"s poetic imagination was affected by the Dada, his technique of poetry is in a unique territory. He optimizes the knowledge of mathematics or architecture and configures a technique of anagram eventually. Also from the aspect of creative process on poetry, the poetic reality appears in his poem does not stop in only Dada, the destruction and negation, none the less because it is Surrealistic. Moreover it does not depend on Surrealism in logical meaning. It is in self-consciousness, so to speak, a world of the surreal(surr？alit？) reconstructed with negative imagination of Dada, made of sign and anagram.
In 1950"s, on the other hand, Jo Hyang positively will be adopting the Surrealism from the multiple essays which he announces. Judging from them, he attempted to overcome limits of Dada. Among the members of 〈Hubangee〉 which is made by post-war modernists. Jo Hyang is the very important Surrealist. In point of fact, he was the poet who practices the method and a spirit of Avant-garde in typically. For the poetic revolution on poetry itself and in Korea, Jo Hyang adopted the theory of Dada/Surrealism and systematized it concretely. On the side of creative process, Jo Hyang even shows a world of the surreal(surr？alit？) which is different to Lee Sang. The proposition of the Jo Hyang, the supreme point(point supr？me) where a reality and imagination grow into one is the surreal (surr？alit？) and the world of the synthesist(合), is revealing an attitude of reception on Surrealism in no uncertain terms.
Before anything else, Lee Sang who is a first Avant-garde poet in Korea shows the unique techniques, which are not wholly Dadaist"s but Surrealist"s in terms of adopting Avant-garde. In spite of Lee"s poetic imagination was affected by the Dada, his technique of poetry is in a unique territory. He optimizes the knowledge of mathematics or architecture and configures a technique of anagram eventually. Also from the aspect of creative process on poetry, the poetic reality appears in his poem does not stop in only Dada, the destruction and negation, none the less because it is Surrealistic. Moreover it does not depend on Surrealism in logical meaning. It is in self-consciousness, so to speak, a world of the surreal(surr？alit？) reconstructed with negative imagination of Dada, made of sign and anagram.
In 1950"s, on the other hand, Jo Hyang positively will be adopting the Surrealism from the multiple essays which he announces. Judging from them, he attempted to overcome limits of Dada. Among the members of 〈Hubangee〉 which is made by post-war modernists. Jo Hyang is the very important Surrealist. In point of fact, he was the poet who practices the method and a spirit of Avant-garde in typically. For the poetic revolution on poetry itself and in Korea, Jo Hyang adopted the theory of Dada/Surrealism and systematized it concretely. On the side of creative process, Jo Hyang even shows a world of the surreal(surr？alit？) which is different to Lee Sang. The proposition of the Jo Hyang, the supreme point(point supr？me) where a reality and imagination grow into one is the surreal (surr？alit？) and the world of the synthesist(合), is revealing an attitude of reception on Surrealism in no uncertain terms.
목차
1. 머리말
2. 다다적 상상력과 자의식세계로서의 초현실성 : 李箱
3. 다다의 극복과 합(合)의 세계로서의 초현실성 : 趙鄕
4. 맺음말
참고문헌
Abstract
2. 다다적 상상력과 자의식세계로서의 초현실성 : 李箱
3. 다다의 극복과 합(合)의 세계로서의 초현실성 : 趙鄕
4. 맺음말
참고문헌
Abstract
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