韩国现代象征主义诗文学研究

发布时间：2018-05-18 13:28

本文选题：韩国 + 象征主义　；参考：《延边大学》2016年博士论文

【摘要】：本论文的研究对象为韩国现代文学史上的象征主义诗歌。韩国在20世纪初期通过日本接受了象征主义文艺思潮。日本在19世纪末接受象征主义文艺思潮。到了20世纪初,象征主义文学思潮已经在日本文学的发展进程中起到了相当重要的作用。韩国在接受法国象征主义文艺思潮的过程中,口本是重要的媒介。韩国接受法国象征主义有着诸多原因。第一、朝鲜在20世纪初接受了多种西方文学思潮。象征主义是继启蒙主义、批判现实主义、唯美主义之后进入到了朝鲜。因此,象征主义的接受可谓朝鲜文学近代转型需求之体现。第二、韩国近代诗歌发展的需求。韩国的近代诗歌之前以“唱歌”与“新体诗”为主流。“唱歌”与“新体诗”虽然在朝鲜近代自由诗的发展进程中起到了一定的作用,却没能完全适应朝鲜诗歌近代转型的基本需求,亦即打破定型诗,探究自由诗的形式与韵律。象征主义承担了朝鲜诗歌的这一变革使命。第三,20世纪初留学日本的朝鲜知识分子正值感性丰富的20岁前后年龄段。他们积极关注和汲取和率先引进外国文学思潮。第四、韩国自身拥有“意象”、“意境”等东方诗歌传统,以辅助观念代替原观念的东方诗学理论与象征主义之间存在契合点,因此能够顺利地接纳象征主义,并实现本土化。韩国象征主义的接受和演进大致可划分为三个阶段。第一阶段是接受和立足阶段。以金亿为主的黄锡禹、朱耀翰、朴英熙、李相和等诗人是这一阶段的代表人物。尤其是“白潮”、“废墟”同人们的作品具有浓厚的感伤主义色彩,在自由诗的韵律探究过程中做出了重大的作用。其中,金亿在接受象征主义的过程中,加以一定程度的变化,以适应韩国的情绪和韵律传统,同时探究韩国自由诗的形式和韵律,发表了《格调诗论》。金素月作为金亿的学生,受到金亿象征主义诗论的影响,在诗歌创作中体现出对西方象征主义思潮、诗歌的接受、变化乃至“误读”。金素月回避盲目的模仿和翻案,以韩国的乡土性和民谣韵律为基础的同时运用象征主义技法。与先期接受象征主义的诗人们不同,金素月在象征主义的基础上融入东方诗学传统,以探究韩国的诗歌情感和韵律。韩龙云的诗歌也体现出象征主义的影响,注重诗歌的整体象征,同时又融入佛教的想象力。第二个阶段是纯粹诗的发展阶段。“诗文学”派是这一阶段的代表。“诗文学”派对象征主义表现出极大地关注,持续翻译和介绍象征主义诗歌,接受象征主义的诗歌技法,以追求诗歌的“纯粹性”。同时着力探究诗歌语言的雕琢和感觉性,以诗歌的暗示性作为主要的技法。“诗文学”派的诗歌可谓韩国诗歌接受、变化和发展象征主义的过程中的一大成就,实现了韩国“纯粹诗”的升华。第三个阶段是韩国诗歌的多样化发展阶段。在这一时期出现了现代派、“生命派”、民族诗歌等多种流派和思潮,他们共同的特点是以象征和暗示作为诗歌最重要的因素。象征主义对其的影响也不可忽略。中国和韩国均在20世纪初接受了象征主义。接受的时期虽然相似,两者之间却同中有异、异中有同。中国对象征主义的接受具有“二元化”的特点,亦即象征主义的原产地法国和日本作为双重媒介。而韩国则体现出以日本为媒介的“一元化”特征。就接受主体而言,20世纪10年代后期和20年代初期有诸位诗人介绍象征主义,到了20年代中期以后,由李金发、穆木天、王独清等诗人为中心创作象征主义诗歌,通过象征主义与中国诗论的嫁接探究中国象征主义的发展。韩国的诗人们则在介绍法国象征主义的同时创作象征主义诗歌。但是他们没有直接从法国“进口”象征主义,而是经过了日本的译介。因此在理解的深度、诗歌创作的水准和本土化等方面与中国有着一定的差距。在金亿的影响下,从金素月的诗歌开始,通过对象征主义技法的运用和变化,逐渐体现出韩国象征主义的特征。就象征主义与本国诗学传统的结合而言,中国的代表人物是穆木天,韩国则是金素月。穆木天是在诗歌创作中探究中国的象征主义诗学,金素月则在韩国诗歌传统的基础之上运用象征主义,创作出符合本国情绪和韵律的诗歌。中国象征主义在经历20年代的诗歌创作阶段之后到了30年代有梁宗岱提出所谓“纯粹诗”的象征主义诗论,从而取得了进一步发展。到了40年代,中国诗歌以后期象征主义为中心,以暗示和象征为主要技法表现时代精神和生活。韩国的象征主义到了20年代中期,感伤的、颓废的因素逐渐消失,象征主义技法的运用引发韩国纯粹诗的发展。同时,接受现代派的形象追求、超现实的暗示、生命主义的象征等,体现出对人的内在意识的追求以及对民族现实的暗示性表露。从感伤主义走向纯粹诗,继而实现与现代派诗歌的嫁接,这是中韩诗歌在接受象征主义的过程中所体现出的共同特征。象征主义在韩国诗歌的发展进程中具有极其重要的地位。通过象征主义的接受及其本土化,韩国积极探索了现代自由诗的形式及韵律,在不同的阶段,象征主义诗学和技法促进了诗歌发展的多样化和独特性。概而言之,象征主义的接受和立足使得韩国的诗歌得以开启新天地,为诗歌结构、韵律的探究和诗歌形象的多样化发展做出了极为重大的贡献。
[Abstract]:The object of this thesis is the symbolism poetry in the history of modern Korean literature. In the early twentieth Century, Korea accepted the symbolism of literature and art in the early twentieth Century. Japan accepted the symbolism of literature and art in the end of the nineteenth Century. By the beginning of the twentieth Century, the trend of symbolism literature has been very important in the course of the development of Japanese literature. In the course of accepting the literary trend of thought of symbolism in France, South Korea is an important medium. South Korea has many reasons for accepting French Symbolism. First, North Korea accepted a variety of western literary trends in the early twentieth Century. Symbolism was followed by enlightenment, realism, and aestheticism. The acceptance of the individualism is the embodiment of the demand for the modern transformation of Korean literature. Second, the demand for the development of modern Korean poetry. The mainstream of the modern Korean poetry was "singing" and "new poetry". "Singing" and "new poetry" played a certain role in the development process of modern Korean free poetry, but they could not be fully adapted to the development of modern Korean poetry. The basic demand of the modern transformation of Korean poetry, that is, to break the stereotype and explore the form and rhythm of the free poetry. Symbolism has undertaken the mission of the Korean poetry. Third, the Korean intellectuals who studied in Japan in the early twentieth Century were the sensual and sensual age of 20 years old. Fourth, South Korea itself has the "image", "artistic conception" and other Eastern poetry tradition, the eastern poetics theory and symbolism that replace the original idea in conjunction with the idea, so it can successfully accept symbolism and realize localization. The acceptance and evolution of Korean symbolism can be roughly divided into three stages. The stage is the stage of acceptance and foothold. Huang Xiyu, Zhu Yaohan, Pu Yingxi and Li Xianghe are the representative figures of this stage. In particular, the "white tide", "ruins" and people's works have strong sentimentalism, and have made a significant role in the course of the rhythmic exploration of free poetry. In the course of symbolism, a certain degree of change should be made to adapt to the mood and rhythm tradition of Korea, and to explore the form and rhythm of Korean free poetry, and publish "the poetic theory of the style >." Kim Su moon is the student of golden million, influenced by the symbolism of Jin billion poetry, reflecting the Western Symbolism and poetry in the poetry creation. Accepting, changing and even "Misreading", Kim Su Yue avoids blind imitation and case, and uses symbolism on the basis of the rhyme and rhyme of South Korea. Unlike the poets who accept the symbolism, Jin Su Yue integrates the tradition of Oriental poetry on the basis of symbolism in order to explore the emotion and rhythm of Korean poetry. Han Longyun's poems also reflect the influence of symbolism, pay attention to the overall symbol of poetry and incorporate the imagination of Buddhism. The second stage is the stage of the development of pure poetry. "Poetry literature" is the representative of this stage. "Poetry literature" shows great attention to symbolism, continuous translation and introduction of symbolism poetry. The poetic technique of symbolism is accepted to pursue the "purity" of poetry. At the same time, it tries to explore the carve and feeling of poetry language and the main technique of poetry. The poetry of "poetry literature" is a great achievement in the course of acceptance, change and development of Korean poetry, and the pure poetry of Korea is realized. The third stage is the diversified development stage of Korean poetry. In this period, there were many schools and ideas of modernist school, "life school", National Poetry and so on. Their common characteristics were symbolism and hint as the most important factor in poetry. The influence of Symbolism on it could not be ignored. China and Han Guojun were in the 20 world. At the beginning of the period, symbolism was accepted. Although the period of acceptance was similar, there were similarities and differences between the two. China's acceptance of symbolism has the characteristics of "two yuan", that is, the origin of symbolism in France and Japan as dual media. In the period of the late 1910s and the early 20s, the poets introduced symbolism. After the mid 20s, the poets of Li Jinfa, Mu Mu Tian, Wang Duqing and other poets created symbolism poetry, and explored the development of Chinese symbolism through the grafting of symbolism and Chinese poetry. The Korean poets were introducing France. Symbolism created symbolism poetry at the same time. But they did not directly "import" symbolism from France, but they passed the translation of Japan. Therefore, the depth of understanding, the level and localization of poetry creation have a certain gap with China. Under the influence of Jin billion, from Jin Suyue's poetry, through the symbolism The use and change of the doctrine of doctrine gradually embody the characteristics of Korean symbolism. In terms of the combination of symbolism and the traditional Chinese poetic tradition, the representative figures of China are Mu Mu Tian, and Korea is golden moon. Mu Mu Tian is the symbolism poetics of China in the poetry creation, and Jin Suyue is on the basis of the tradition of Korean poetry. Using symbolism to create poetry that conforms to the national mood and rhythm. After the period of the 20s poetry creation, Chinese symbolism had a symbolism poetical theory of "pure poetry" by Liang Zongdai in 30s, and thus achieved further development. In 40s, the Chinese poetry was centered on the symbolism of the later period of the Chinese poetry. And symbolism represents the spirit and life of the times. South Korea's symbolism in the middle of the 20s, the sentimental and decadent factors gradually disappeared, the use of symbolism led to the development of pure Korean poetry. At the same time, the pursuit of modernist image, the surreal dark show, the symbol of life doctrine, and so on, reflected the internal care of the people. The pursuit of knowledge and the implicit expression of the national reality. From the sentimentalism to the pure poetry and the realization of the grafting of the modernist poetry, this is the common feature of the Chinese and Korean poetry in the process of accepting the symbolism. The symbolism has a very important position in the process of the development of Korean poetry. Due to its localization, South Korea actively explored the form and rhythm of modern free poetry. In different stages, symbolism poetics and techniques promoted the diversification and uniqueness of the development of poetry. In a word, the acceptance and foothold of symbolism enabled the Korean poetry to open the new world, the structure of poetry, the rhythm of poetry and the poetic image. The diversity of development has made a great contribution.
【学位授予单位】：延边大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：I312.607.2

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