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日本語文學 第100輯.jpg
KCI등재 학술저널

니시와키 준자부로(西脇順三郎)와 김춘수(金春洙)의 비교문학적 작품 연구

시적 세계의 교차점을 중심으로

この論文では金春洙の『處容断章』詩集と西脇順三郎の『Ambarvalia』を中心に受容や変容などの影響関係と見られる詩作品を調べた。 金春洙の『處容断章』の詩篇「雪、海、山茶花2」、「雪、海、山茶花4」、「こだま19」、「こだま24」「雪、海、山茶花3」と西脇の『Ambarvalia』の「雨」、「カプリの牧人」、「太陽」、「栗の葉」、「春蘭」などの詩篇を比較し、詩的世界の交差点を明らかにした。金春洙は西脇の『Ambarvalia』の詩篇から句、モチーフ、素材などをパスティシュしていることが分かった。一人の作品のように見られる類似作品が交差点で出会う形状を成した理由の一つとして、無意味詩論と超現実主義詩論の類似点であることが確認できた。 それで作品は受容と変容の形態を見せたり、相互テキスト性で詩的世界は交差する。しかし、このようなパスティシュ技法は作品全体に影響を及ぼすことができず、部分の技法に止まっており、独特な詩的世界は保っている。西脇の超現実主義作品と金春洙の難解詩(無意味詩)が、ある程度拡張された読み方が可能になったのだ。

In this paper, we looked into poetic work, showing influencing relationship with accept, transformation, etc., focusing on the collection of poems Cheoyong- danjang of Chunsu Kim and Ambarvalia of Junzaburo Nishiwaki. I made the intersection of the poetic world clear by comparing ‘Snow, Sea, Sasanqua Camellia2’, ‘Snow, Sea, Sasanqua Camellia4’, ‘Echo19’, ‘Snow, sea, Sasanqua Camellia3’ of the poetic series Cheoyong- danjang to ‘Rain’, ‘Capri’s Shepherd’, ‘Spring Orchid’, ‘Sun’, ‘Chestnut Tree Leaf’ of the poetic series Ambarvalia. We could see that the phrases, motives, materials, etc. in Chunsu Kim’s work were based on the poetic series Ambarvalia of Nishiwaki. One of the reasons why similar works, which seemed to be one person’s work, came into contact at the intersection was that there were similarities between meaningless poetry and surrealist poetry. Therefore, the works display forms of accept and transformation and the poetic world intersects intertextuality. However, this pastiche technique does not affect the entire work and is limited to a part of the technique, maintaining a unique poetic world. Nishiwaki’s surrealist work and Chunsu Kim’s unintelligible poetry (meaningless) have become possible to read in a somewhat expanded way.

1. 들어가며

2. 니시와키의 『Ambarvalia』와 김춘수의 『처용단장』

3. 김춘수와 니시와키의 평행이론

4. 나가며

참고문헌

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