목차
Ⅰ. 서론·························································
1쪽
Ⅱ. 본론·························································
1쪽
1. 三人의 생애와 문학세계·····································
1쪽
1) 송강 정철···················································
1쪽
2) 노계 박인로·················································
3쪽
3) 고산 윤선도·················································
4쪽
2. 시조(短歌)의 비교···········································
5쪽
1) 송강의 시조················································
5쪽
2) 노계의 시조················································
8쪽
3) 고산의 시조················································
9쪽
4) 송강·노계·고산의 시조 비교·································
11쪽
3. 가사(長歌)의 비교···········································
11쪽
1) 송강의 가사················································
11쪽
2) 노계의 가사················································
13쪽
3) 송강·노계의 가사 비교······································
16쪽
4. 시가의 후대적 수용··········································
16쪽
1) 후대적 수용················································
16쪽
2) 현대적 변용················································
16쪽
Ⅲ. 결론·························································
19쪽
□ 참고문헌·····················································
19쪽
1쪽
Ⅱ. 본론·························································
1쪽
1. 三人의 생애와 문학세계·····································
1쪽
1) 송강 정철···················································
1쪽
2) 노계 박인로·················································
3쪽
3) 고산 윤선도·················································
4쪽
2. 시조(短歌)의 비교···········································
5쪽
1) 송강의 시조················································
5쪽
2) 노계의 시조················································
8쪽
3) 고산의 시조················································
9쪽
4) 송강·노계·고산의 시조 비교·································
11쪽
3. 가사(長歌)의 비교···········································
11쪽
1) 송강의 가사················································
11쪽
2) 노계의 가사················································
13쪽
3) 송강·노계의 가사 비교······································
16쪽
4. 시가의 후대적 수용··········································
16쪽
1) 후대적 수용················································
16쪽
2) 현대적 변용················································
16쪽
Ⅲ. 결론·························································
19쪽
□ 참고문헌·····················································
19쪽
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