Korea and China accepted the western modernism in the similar historical and social backgrounds, as both belong to the same oriental culture. However, each country had a difference in distribution channel of acceptance, although the time was similar. ...
Korea and China accepted the western modernism in the similar historical and social backgrounds, as both belong to the same oriental culture. However, each country had a difference in distribution channel of acceptance, although the time was similar. At the same time, each country had individual changes depending on the political situations and cultural tradition. This analyzed such acceptance and changing aspects from the perspective of comparative literature.
The imagism movement occurred in Britain and the United States from 1908 to 1917 was introduced to Korea by a Japanese intermediary in 1919. Imagism started to be fully accepted and applied to creation only after the 1930s. Poets Kim Gi-rim, Jeong Ji-yong and Kim Gwang-gyoon joined the ranks of the movement.
Jeong Ji-yong encountered imagism while studying in Japan. Using synesthetic images in his works, he created lively images. Through the original images of ‘ocean’, ‘fire’, ‘night’ and ‘mountain’, he expressed the restrained emotions in the inner side. In addition, he expressed nostalgia using the local images. With more natural and oriental images in the poems written in the later years, he showed his poetic world which is oriented towards the tradition.
Kim Gwang-gyoon expressed wandering, sorrow, loneliness and sense of alienation through the urban civilization, which is the symbol of modernism. He also expressed the emotions of death and sorrow using the single color images, and expressed nostalgia using the images of home.
Imagism was first introduced to China in 1916 by the Chinese students studying in the U.S. In 1920, the characteristics, principles and representative poets of imagism were introduced in China. Acceptance of imagism led to translation of overseas literature and introduction of poetics in the 1930s. With the appearance of the poets of the Jiu Ye poetry school in the 1940s, the imagism in China produced was satisfactorily developed.
One of the representative imagist poets in China, Wen Yiduo, learned the English and American imagism in the United States. He uses colorful visual images in a distinctive way. He also criticized the bleak reality of the Chinese society using the opposing images. In addition, he showed his unique world of poetry by combining the western images and Chinese traditional images as he has pursued the ‘artistic trend of China and the West’.
Xin di strongly expressed the ancient images in creation under imagism as he had studied Chinese classics. At the same time, he emphasized ‘artistic mood or conception’ by creating chemical images, demonstrating poetic concepts of picturesque images. In addition, influenced by impressionists, he created more strong visual images using colors and light.
This organized common grounds and differences in acceptance and creation of imagism between Korea and China. First, the first common ground is based on ‘dry and hard image’ emphasized by the western imagism and the pursuit of pictoriality. Second, both countries developed nationalistic poetics based on the British and American theory of imagism through independent acceptance. Third, both countries used sensual images in creation.
Despite such common grounds, both countries have clear differences in terms of acceptance of the idea. First, the acceptance channel has a difference. Second, Korean poetry had strong intellectual factors. However, Chinese ones mostly tended to pursue the techniques. Third, while the Korean imagism formed a substantial literary world as relatively many theorists and poets participated in, the Chinese imagism had less participation by critics of poetry or poets to create a literary circle.
This research reviewed the differences occurring in the actual creation of the literary pieces. First, while the Korean language has advantage to create auditory and visual images since it is phonogram, the Chinese language is helpful to establish simple and clear images since it is ideogram. Second, while Korea uses somewhat single color images, China distinctively uses heavy and various colorful images. Third, while the Chinese poets had an attitude to actively participate in and criticize the social situations, the Korean poets tended to be somewhat passive and escape from the reality. Fourth, Kim Gwang-gyoon actively used urban images, which represent modernism, whereas such images did not described in the literary pieces by the Chinese poets. Fifth, the Chinese poets used a lot of Chinese traditional images. It is hard to find Korean traditional images in Korean literary works.
Surrealism was first introduced to Korea by Japan in 1929. It was accepted in a full scale by Kim Gi-rim in the 1930s. In addition, the literary coterie magazines of 『Samsa Literature』 and 『 Guinhoe (Nine People’s Group)』 produced surrealism poets including Lee Shi-woo and Yi Sang. The literary coterie magazine 『Hubangi (The Second Half)』, represented by poet Cho Hyang, has continued Korean surrealism from the 1950s.
One of the leading poets of Korean surrealism, Yi Sang, made efforts to solve the issue of self- disruption by exploring the unconscious world with automatism and unique form of poetry. He also used eroticism to liberate suppressed sexual consciousness. He expressed the death ceremony on the extension of self-consciousness.
Poet Cho Hyang actively embraced automatism, displacement and object in the 1950s. He also destroyed the existing orders and systems by establishing new forms of poetry including formalism, collaborated poetry and acrostic poetry. Moreover, he tried to liberate sex that is suppressed by reasons and logics using eroticism.
China started to accept surrealism from 1930, which is similar to Korea. The idea was introduced by the Chinese literary persons studying in France. However, the evaluation of surrealism was divided into positive and negative in China. Affected by the Soviet Union, China criticiz
，韩语论文题目，韩语论文 |
