Earticle

초록

영어

This paper deals with the “three-line poetry” which appeared in the literary section of The Keijo Nippo, the largest Japanese daily newspaper published on the Korean Peninsula in the first half of the twentieth century. This poetry appeared over the course of four months from the autumn to the winter of 1919, immediately after the 3.1 independence movement arose. The “three-line poetry” of The Keijo Nippo, which was clearly influenced by Takuboku Ishikawa’s three-line Tanka, could not maintain a fixed Tanka form, nor did it constitute a completely new type of spoken free verse, and it ultimately disappeared from the literary world. However, I have identified how these poems drew on not only the Tankas of Takuboku in One Handful Sand and The Sad Toy, but also on the emotions and figurines that epitomize Takuboku’s work. Furthermore, I also point out that since these poems were created on the Korean Peninsula, they reveal the atmosphere of Joseon by using local proper nouns and unique linguistic elements that convey the distinctive colors of Joseon. Through this analysis, this paper reveals that Takuboku enjoyed a short-lived but distinct period of great popularity, and that around 1919 there was a related but novel poetic departure represented by the “three-line poetry” which appeared in The Keijo Nippo.

목차

1. はじめに
2. 『京城日報』における<三行詩壇>の生滅
3. <三行詩壇>の内容的な異彩
4. 朝鮮の三行詩としての特徴
5. むすび
参考文献

키워드

저자

• 嚴仁卿 [ 엄인경 | 高麗大学校グローバル日本研究院 副教授, 植民地日本語文学･日本詩歌文学. ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  일본언어문화 [Journal of japanese Language and Culture]

• 간기

  계간

• pISSN

  1598-9585

• 수록기간

  2002~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 730 DDC 495