本文選題：韓國(guó) + 象征主義　； 參考：《延邊大學(xué)》2016年博士論文

【摘要】：本論文的研究對(duì)象為韓國(guó)現(xiàn)代文學(xué)史上的象征主義詩(shī)歌。韓國(guó)在20世紀(jì)初期通過(guò)日本接受了象征主義文藝思潮。日本在19世紀(jì)末接受象征主義文藝思潮。到了20世紀(jì)初,象征主義文學(xué)思潮已經(jīng)在日本文學(xué)的發(fā)展進(jìn)程中起到了相當(dāng)重要的作用。韓國(guó)在接受法國(guó)象征主義文藝思潮的過(guò)程中,口本是重要的媒介。韓國(guó)接受法國(guó)象征主義有著諸多原因。第一、朝鮮在20世紀(jì)初接受了多種西方文學(xué)思潮。象征主義是繼啟蒙主義、批判現(xiàn)實(shí)主義、唯美主義之后進(jìn)入到了朝鮮。因此,象征主義的接受可謂朝鮮文學(xué)近代轉(zhuǎn)型需求之體現(xiàn)。第二、韓國(guó)近代詩(shī)歌發(fā)展的需求。韓國(guó)的近代詩(shī)歌之前以“唱歌”與“新體詩(shī)”為主流�！俺琛迸c“新體詩(shī)”雖然在朝鮮近代自由詩(shī)的發(fā)展進(jìn)程中起到了一定的作用,卻沒(méi)能完全適應(yīng)朝鮮詩(shī)歌近代轉(zhuǎn)型的基本需求,亦即打破定型詩(shī),探究自由詩(shī)的形式與韻律。象征主義承擔(dān)了朝鮮詩(shī)歌的這一變革使命。第三,20世紀(jì)初留學(xué)日本的朝鮮知識(shí)分子正值感性豐富的20歲前后年齡段。他們積極關(guān)注和汲取和率先引進(jìn)外國(guó)文學(xué)思潮。第四、韓國(guó)自身?yè)碛小耙庀蟆�、“意境”等東方詩(shī)歌傳統(tǒng),以輔助觀念代替原觀念的東方詩(shī)學(xué)理論與象征主義之間存在契合點(diǎn),因此能夠順利地接納象征主義,并實(shí)現(xiàn)本土化。韓國(guó)象征主義的接受和演進(jìn)大致可劃分為三個(gè)階段。第一階段是接受和立足階段。以金億為主的黃錫禹、朱耀翰、樸英熙、李相和等詩(shī)人是這一階段的代表人物。尤其是“白潮”、“廢墟”同人們的作品具有濃厚的感傷主義色彩,在自由詩(shī)的韻律探究過(guò)程中做出了重大的作用。其中,金億在接受象征主義的過(guò)程中,加以一定程度的變化,以適應(yīng)韓國(guó)的情緒和韻律傳統(tǒng),同時(shí)探究韓國(guó)自由詩(shī)的形式和韻律,發(fā)表了《格調(diào)詩(shī)論》。金素月作為金億的學(xué)生,受到金億象征主義詩(shī)論的影響,在詩(shī)歌創(chuàng)作中體現(xiàn)出對(duì)西方象征主義思潮、詩(shī)歌的接受、變化乃至“誤讀”。金素月回避盲目的模仿和翻案,以韓國(guó)的鄉(xiāng)土性和民謠韻律為基礎(chǔ)的同時(shí)運(yùn)用象征主義技法。與先期接受象征主義的詩(shī)人們不同,金素月在象征主義的基礎(chǔ)上融入東方詩(shī)學(xué)傳統(tǒng),以探究韓國(guó)的詩(shī)歌情感和韻律。韓龍?jiān)频脑?shī)歌也體現(xiàn)出象征主義的影響,注重詩(shī)歌的整體象征,同時(shí)又融入佛教的想象力。第二個(gè)階段是純粹詩(shī)的發(fā)展階段�！霸�(shī)文學(xué)”派是這一階段的代表。“詩(shī)文學(xué)”派對(duì)象征主義表現(xiàn)出極大地關(guān)注,持續(xù)翻譯和介紹象征主義詩(shī)歌,接受象征主義的詩(shī)歌技法,以追求詩(shī)歌的“純粹性”。同時(shí)著力探究詩(shī)歌語(yǔ)言的雕琢和感覺(jué)性,以詩(shī)歌的暗示性作為主要的技法�！霸�(shī)文學(xué)”派的詩(shī)歌可謂韓國(guó)詩(shī)歌接受、變化和發(fā)展象征主義的過(guò)程中的一大成就,實(shí)現(xiàn)了韓國(guó)“純粹詩(shī)”的升華。第三個(gè)階段是韓國(guó)詩(shī)歌的多樣化發(fā)展階段。在這一時(shí)期出現(xiàn)了現(xiàn)代派、“生命派”、民族詩(shī)歌等多種流派和思潮,他們共同的特點(diǎn)是以象征和暗示作為詩(shī)歌最重要的因素。象征主義對(duì)其的影響也不可忽略。中國(guó)和韓國(guó)均在20世紀(jì)初接受了象征主義。接受的時(shí)期雖然相似,兩者之間卻同中有異、異中有同。中國(guó)對(duì)象征主義的接受具有“二元化”的特點(diǎn),亦即象征主義的原產(chǎn)地法國(guó)和日本作為雙重媒介。而韓國(guó)則體現(xiàn)出以日本為媒介的“一元化”特征。就接受主體而言,20世紀(jì)10年代后期和20年代初期有諸位詩(shī)人介紹象征主義,到了20年代中期以后,由李金發(fā)、穆木天、王獨(dú)清等詩(shī)人為中心創(chuàng)作象征主義詩(shī)歌,通過(guò)象征主義與中國(guó)詩(shī)論的嫁接探究中國(guó)象征主義的發(fā)展。韓國(guó)的詩(shī)人們則在介紹法國(guó)象征主義的同時(shí)創(chuàng)作象征主義詩(shī)歌。但是他們沒(méi)有直接從法國(guó)“進(jìn)口”象征主義,而是經(jīng)過(guò)了日本的譯介。因此在理解的深度、詩(shī)歌創(chuàng)作的水準(zhǔn)和本土化等方面與中國(guó)有著一定的差距。在金億的影響下,從金素月的詩(shī)歌開(kāi)始,通過(guò)對(duì)象征主義技法的運(yùn)用和變化,逐漸體現(xiàn)出韓國(guó)象征主義的特征。就象征主義與本國(guó)詩(shī)學(xué)傳統(tǒng)的結(jié)合而言,中國(guó)的代表人物是穆木天,韓國(guó)則是金素月。穆木天是在詩(shī)歌創(chuàng)作中探究中國(guó)的象征主義詩(shī)學(xué),金素月則在韓國(guó)詩(shī)歌傳統(tǒng)的基礎(chǔ)之上運(yùn)用象征主義,創(chuàng)作出符合本國(guó)情緒和韻律的詩(shī)歌。中國(guó)象征主義在經(jīng)歷20年代的詩(shī)歌創(chuàng)作階段之后到了30年代有梁宗岱提出所謂“純粹詩(shī)”的象征主義詩(shī)論,從而取得了進(jìn)一步發(fā)展。到了40年代,中國(guó)詩(shī)歌以后期象征主義為中心,以暗示和象征為主要技法表現(xiàn)時(shí)代精神和生活。韓國(guó)的象征主義到了20年代中期,感傷的、頹廢的因素逐漸消失,象征主義技法的運(yùn)用引發(fā)韓國(guó)純粹詩(shī)的發(fā)展。同時(shí),接受現(xiàn)代派的形象追求、超現(xiàn)實(shí)的暗示、生命主義的象征等,體現(xiàn)出對(duì)人的內(nèi)在意識(shí)的追求以及對(duì)民族現(xiàn)實(shí)的暗示性表露。從感傷主義走向純粹詩(shī),繼而實(shí)現(xiàn)與現(xiàn)代派詩(shī)歌的嫁接,這是中韓詩(shī)歌在接受象征主義的過(guò)程中所體現(xiàn)出的共同特征。象征主義在韓國(guó)詩(shī)歌的發(fā)展進(jìn)程中具有極其重要的地位。通過(guò)象征主義的接受及其本土化,韓國(guó)積極探索了現(xiàn)代自由詩(shī)的形式及韻律,在不同的階段,象征主義詩(shī)學(xué)和技法促進(jìn)了詩(shī)歌發(fā)展的多樣化和獨(dú)特性。概而言之,象征主義的接受和立足使得韓國(guó)的詩(shī)歌得以開(kāi)啟新天地,為詩(shī)歌結(jié)構(gòu)、韻律的探究和詩(shī)歌形象的多樣化發(fā)展做出了極為重大的貢獻(xiàn)。
[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.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：I312.607.2

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 劉以煥;;“象征主義”探源[J];學(xué)習(xí)與探索;1982年02期

2 寧宓用;俄國(guó)與西歐象征主義淺議[J];俄羅斯文藝;1994年02期

3 長(zhǎng)石;論象征主義文學(xué)[J];內(nèi)蒙古師大學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);1999年06期

4 ;《中國(guó)象征主義與藝術(shù)圖形》(英文)[J];Women of China;2008年06期

5 吳紅光;;象征主義淺探[J];文教資料;2009年28期

6 薛瑞東;福克納與象征主義[J];江蘇教育學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2000年01期

7 李小桃;俄國(guó)象征主義思想探源[J];渝州大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2001年02期

8 張智華;象征主義與電影電視[J];北京師范大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2002年01期

9 孫喜燕;論象征主義美學(xué)觀[J];美與時(shí)代;2004年01期

10 李s，

本文編號(hào)：1906004