잡지 『청춘』을 통해 본 최남선의 고시조(古時調) 인식 방향과 그 의미

Abstract

This thesis attempts to discuss the perception and significance of kosijo (古詩調) through analysing the characteristics of pieces from the magazine, Chungchun (靑春), published since 1918. Ahn Jung Sik, who introduced modern speech, visualized four pieces of sijo in painting. His endeavor accounts for Choi Nam Sun's intention to achieve more public appeal by including kohojo in the magazine. In addition to the visual materials, Chungchun had nine pieces of sijo and one translated in Chinese under the title of Sijohanyok (時調漢譯). Choi seems to focus on the possibility that literary structure could be broadened into more varied poetic concepts when sijo was translated into Chinese. It indicates that sijo also had as much room for annotation as translated poems. The selection became more systematic under Kokumsijosun (古今時調選) in Chungchun vol. 12 published in 1918. According to the context revealed in the introduction of Kokumsijosun, Choi attempted to establish the literary history of sijo as the national literary written in the native language. He organized Kokumsijosun by applying the compiling method of Taedongsisun (大東詩選), which adopted a chronological order. As well known, Choi, proclaiming the theory in sijo in earnest since the mid 1920s, led the revival of sijo. Therefore, the development of his perception in sijo found in the magazines, Sonyun and Chungchun, published in the 1910s is highly noteworthy in the history of literature as the chain of his thoughts matured and developed before the theory in sijo was surfaced is represented in kosijo published through these magazines.