earticle

영어

The Nature Poetry of Maecheon uses a large number of aesthetic ideas about traditional Chinese nature poetry. These works have subtle differences. It has been researched as to whether the difference in the aesthetic sense was due to its being an object of the present discussion. The difference between that aesthetic modernity was projected at the time of the claim that it was nature Poetry of Maecheon. First, look at the view of nature of Maecheon. The traditional view of nature in oil shows the dohak enemy out of the view of nature. The modern view of nature is to be aware of the nature of human relationships. One argument is that it is easy to read from the works of Maecheon. It also examines the formal characteristics of the poetry of Maecheon. Modernity was discussed in the refractive hidden format. Maecheon favored a norm that was reluctant to deviate from how to write poetry and how to write this specific poem. Nevertheless, the city has used nature in a deviant form.. This type of refraction is a consequence of the claim that modernity is reflected in unconsciousness. Then the dimension of the format was not recognized and nor were the differences in theme and expression investigated. The main characteristic of individualization of modern literature is discussed. Gender has revealed that its place in poetry in nature Maecheon. Also investigated is the foundation of modern hyeonjangseong realism. It is projected while identifying the nature of Maecheon. Modernity, where nature is revealed during this project as a combination of these factors, is presented with no duplication. Recognition was also mentioned in this representation. It is not separated from the place of angido hyeonjangseong. Nevertheless, the four factors discussed above were accepted in Maecheon nature. For this reason the nature of the subtle aesthetic differences of Maecheon looks like traditional Chinese poetry and the nature poetry genre. This is a natural characteristic of the city of Maecheon. The Nature Poetry of Maecheon uses a large number of aesthetic ideas about traditional Chinese nature poetry. These works have subtle differences. It has been researched as to whether the difference in the aesthetic sense was due to its being an object of the present discussion. The difference between that aesthetic modernity was projected at the time of the claim that it was nature Poetry of Maecheon. First, look at the view of nature of Maecheon. The traditional view of nature in oil shows the dohak enemy out of the view of nature. The modern view of nature is to be aware of the nature of human relationships. One argument is that it is easy to read from the works of Maecheon. It also examines the formal characteristics of the poetry of Maecheon. Modernity was discussed in the refractive hidden format. Maecheon favored a norm that was reluctant to deviate from how to write poetry and how to write this specific poem. Nevertheless, the city has used nature in a deviant form.. This type of refraction is a consequence of the claim that modernity is reflected in unconsciousness. Then the dimension of the format was not recognized and nor were the differences in theme and expression investigated. The main characteristic of individualization of modern literature is discussed. Gender has revealed that its place in poetry in nature Maecheon. Also investigated is the foundation of modern hyeonjangseong realism. It is projected while identifying the nature of Maecheon. Modernity, where nature is revealed during this project as a combination of these factors, is presented with no duplication. Recognition was also mentioned in this representation. It is not separated from the place of angido hyeonjangseong. Nevertheless, the four factors discussed above were accepted in Maecheon nature. For this reason the nature of the subtle aesthetic differences of Maecheon looks like traditional Chinese poetry and the nature poetry genre. This is a natural characteristic of the city of Maecheon.

한국어

본 논문은 매천의 자연시에 담겨 있는 근대성을 논하는 것이 목적이다. 이를 위하여 먼저 매천의 자연관을 살펴 볼 것이다. 나아가 매천시의 형식적 특성을 고찰하여, 형식의 굴절에 숨겨 있는 근대성을 논하고자 한다. 나아가 근대문학의 주요 특성인 개별화가 매천의 자연시에서는 어떻게 드러나고 있으며, 리얼리즘의 토대가 되는 현장 성이 작품에 어떻게 수용되었는가를 밝힘으로써 매천의 자연시에 투영되어 있는 근대성을 고찰하고자 한다. 먼저 매천의 자연관을 논하였다. 유가의 전통적 자연관인 도학적 자연관에서 벗어난, 자연을 인간과 수평관계에 서 인식하고자 하는 근대적 자연관을 매천의 작품에서 쉽게 읽을 수 있다는 주장을 하였다. 또한 매천시의 형식적 특성을 고찰하여, 형식의 굴절에 숨겨 있는 근대성을 논하였다. 매천은 詩作에 있어 일탈 을 꺼려하는 규범적 詩作을 선호하였다. 그럼에도 불구하고 일탈된 형식에 자연시가 많이 쓰였다는 주장을 하였 다. 이러한 형식의 굴절은 무의식 속에서 반영된 근대성의 결과라는 주장을 한 것이다. 그 다음으로 인식과 형식의 차원이 아니라 주제와 표현의 차이를 고찰하였다. 근대문학의 주요 특성인 개별화가 매천의 자연시에서는 어떻게 드러나고 있는지를 장소성을 가지고 논의하였다. 또한 리얼리즘의 토대가 되는 현 장성이 작품에 어떻게 수용되었는가를 밝힘으로써 매천의 자연시에 투영되어 있는 근대성을 고찰하였다. 근대성이 투영된 한 편의 자연시에는 이러한 요소들이 복합적으로 드러나 있으므로, 논의의 중복은 어쩔 수 없 었다. 인식을 이야기하면서 표현이 거론되기도 하였으며, 장소성과 현장성이 엄격하게 구분되지 않기도 하였다. 그럼에도 불구하고 위에서 논의한 네 가지 요소가 매천의 자연시에는 수용되어 있다고 주장하고자 한다. 그리고 이러한 이유로 매천의 자연시는 전통적 한시 장르의 자연시와 미묘한 미감의 차이를 보이고, 이것이 매천 자연 시의 특성이라고 주장하였다.