A study of reciting the formal poetries of Korea and French in digital era - Shijo(Korean verse) vs Sonnet (French)

콘텐츠를 위한 한ㆍ불 정형시가 낭송법의 비교 고찰

Recently, the sonnet and the shijo, each representing French and Korean formal poetries, are tend to be read with the eyes only, as were more accustomed to written literature. But even after almost three millennia of written literature and increased use of digitalized poems, poetry retains its appeal to the ear as well as to the eye. To read a poem only by eyes might be wrong because it is designed to be read aloud by mouth and understood by ear, and will decrease the aesthetic sense otherwise. It is essential to find the right way to recite a poem in this dramatically changed society, and is especially important when many shijos are changing into digitalized forms to adapt the new wave of our society. The sonnet and the shijo emphasize the importance of the harmony of sounds and rhythms with certain structure, and have their own prosodies. The emotions of the speaker in poems are expressed with words. When they are pronounced. each phoneme has its own phonemic characteristics. When comparing the The Broken Bell(Baudelaire) and Chopoong ga (Jong Seo Kim) in terms of prosody and phonetics. the speakers emotions are closely related with the phonetic structure of each word. In The Broken Bell, the phonetic value of rhymes, repeated phonemes, concentration of front and back vowels. rhythms of onesyllable words shape the overall image of this poem describing the productivity of bells as appose to the sterility of the soul. Chopoong ga also shows the determined and strong will of the speaker by frequent glottalized sounds. distribution and concentration of certain vowels. and frequent use of plosives. As you see in these examples, phones, beats, and rhythms are not the mere transmitter of meaning but possess their expressive values of their own and should be the first to be considered when reciting a poem.

본질적으로 입으로 소리내어 읊조리고 청각으로 감상하기 위해 만들어지고, 일정한 형식 안에서 음성의 조화와 운율의 음악성을 중시한 소네트와 시조의 표현형식은 전반적으로 기의signifie와 관련하여 고찰되어야 한다. 보들레르의 <깨진 종>과 김종서의 <삭풍가>을 표현형식의 의미작용을 중심으로 분석해 본 결과 시적 자아의 정서는 표현형식과 밀접하게 연관되어 있다. 소네트나 시조는 의미, 율격, 각운, 음성구조, 리듬 등 여러 개별적 요소들의 집합체가 아니라 이 모든 요소들이 서로 상호 작용하는 통일된 유기체이다. 시대의 흐름에 발맞춰 낭송법에 대한 이론을 체계적으로 정립하여 시를 콘텐츠화 하여 유통방식의 변화를 꾀해야 한다. 그러기 위해서 그 자체가 표현가치를 가지는 표현형식은 낭송에 있어서 최우선 적으로 고려되어야 할 기본원리이다.