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Separate but Engaged: Human Subjectivity in the Poetry of Tasan Chŏng Yagyong

Separate but Engaged: Human Subjectivity in the Poetry of Tasan Chŏng Yagyong Tasan Chŏng Yagyong’s (1762–1836) philosophy is often noted for its departure from the mainstream Neo-Confucian thought of his time, particularly for its conception of the human mind as being distinguished from the cosmos. This aspect of Tasan’s philosophy implies a new paradigm of human subjectivity, which would have ramifications for his creative work. Thus, the question: How does this new subjectivity manifest itself in Tasan’s poetry? This paper analyses the characteristics of Tasan’s social poems that reflect his distinctive paradigm as follows: ethnic self-consciousness, heightened realism, oppositional images, anthropocentric themes, and a poetics of subject-object independence. Tasan’s distinctive subjectivity differs from the mainstream poetic trends of his time, but its moral engagement with the object of social malaise nonetheless remains faithful to the ethical goals of classical Confucianism. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Korean Studies Duke University Press

Separate but Engaged: Human Subjectivity in the Poetry of Tasan Chŏng Yagyong

Torrey, Deberniere
Journal of Korean Studies , Volume 15 (1) – Sep 10, 2010
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Copyright
Copyright © 2010 by the Trustees of Columbia University in the City of New York
ISSN
0731-1613
eISSN
2158-1665
DOI
10.1215/07311613-15-1-95
Publisher site
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Abstract

Tasan Chŏng Yagyong’s (1762–1836) philosophy is often noted for its departure from the mainstream Neo-Confucian thought of his time, particularly for its conception of the human mind as being distinguished from the cosmos. This aspect of Tasan’s philosophy implies a new paradigm of human subjectivity, which would have ramifications for his creative work. Thus, the question: How does this new subjectivity manifest itself in Tasan’s poetry? This paper analyses the characteristics of Tasan’s social poems that reflect his distinctive paradigm as follows: ethnic self-consciousness, heightened realism, oppositional images, anthropocentric themes, and a poetics of subject-object independence. Tasan’s distinctive subjectivity differs from the mainstream poetic trends of his time, but its moral engagement with the object of social malaise nonetheless remains faithful to the ethical goals of classical Confucianism.

Journal

Journal of Korean Studies – Duke University Press

Published: Sep 10, 2010

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