현대시의 형태와 리듬에 관한 연구

Abstract

A full-scale interest in the form of modern poetry has been closely related to the emergence of free verse and prose poem. The emergence of free verse or prose poem that departs from the standard pattern of poetry has played the role of calling to mind diverse questions on the components of poetry. Kim Chun-Su's 『Morphology of Modern Korean Poetry』 seems to be meaningful in that it examined the form and component of free verse and prose poem in full-scale. He laid stress on the generation of rhythms by lines and stanzas, thus explaining an important function of free verse that gradually becomes a prose. On the other hand, his conclusion that a prose poem with no line and stanza only leaves 'images' or 'contents' is the limitation of his research. Since then, a variety of studies have been carried out to examine the generation of poetic rhythms via repeating words, phrases and passages. The conception of rhythms, which includes the meaning of Henri Meschonnic, has made studies on poetic rhythms overcome the dichotomous perspective of voice and meaning. However, the focus of Henri Meschonnic's theory is not on the form of poetry but on the expressive technique of poetry, since his theory deals with discours on the whole. The generation of poetic rhythms cannot be decided only by general theories of rhythms or expressive techniques. Rather, it is closely related to the form of poetry. In other words, the rhythm of poetry exchanges a very crucial effect with the form of poetry. The rhythm here is not a simple aspect of voice or phoneme. It is related to the meaning and image of poetry and generates different rhythms according to the form of poetry. In this vein, research on the form or rhythm of poetry is an analytic process of aesthetics of multi-layered integration of poetic forms and rhythms..