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A Study on the Pictorial Intentionality of Jung Ji-yong Su-mee Chin (Univ. of Seoul) This study aims to find out the role of paintings in the early stage of Korean modern poetry through the poems and prose of Jung Ji-yong. Jung's pictorial intentionality can be divided into two steps: early stage of western typography and later oriental paintings. Jung introduced the space of paintings to his early poems. He positively evaluated the domain of typography and typographer by questioning the problematic type-ness. He also tried to get over the uncertainty and disorder which often happened in the stage of publication by making the meaning of poetic text prominent. Since the late 1930s, Jung had written prose which integrated poems and arts on the basis of oriental art. In Defense of Poetry, he regarded poetry as the most spiritual art form, hoping that the poetic spirit which leads to Tao would be realized. According to the analysis of Jung's poems, the role of paintings in Korean modern poetic history sums up as the following: First, Jung showed us that it is possible to incorporate visual arts like typography into poetry by recognizing the space of a printing type, which extended the domain of poetry. Second, he recognized arts as unified ones by capturing the similarity of poetry and paintings. Third, through the oriental paintings he set up the position of poetry as spiritual one through, letting his poetic state reach the spirit of Tao beyond the artistic technique.


A Study on the Pictorial Intentionality of Jung Ji-yong Su-mee Chin (Univ. of Seoul) This study aims to find out the role of paintings in the early stage of Korean modern poetry through the poems and prose of Jung Ji-yong. Jung's pictorial intentionality can be divided into two steps: early stage of western typography and later oriental paintings. Jung introduced the space of paintings to his early poems. He positively evaluated the domain of typography and typographer by questioning the problematic type-ness. He also tried to get over the uncertainty and disorder which often happened in the stage of publication by making the meaning of poetic text prominent. Since the late 1930s, Jung had written prose which integrated poems and arts on the basis of oriental art. In Defense of Poetry, he regarded poetry as the most spiritual art form, hoping that the poetic spirit which leads to Tao would be realized. According to the analysis of Jung's poems, the role of paintings in Korean modern poetic history sums up as the following: First, Jung showed us that it is possible to incorporate visual arts like typography into poetry by recognizing the space of a printing type, which extended the domain of poetry. Second, he recognized arts as unified ones by capturing the similarity of poetry and paintings. Third, through the oriental paintings he set up the position of poetry as spiritual one through, letting his poetic state reach the spirit of Tao beyond the artistic technique.