현대 여성주의 시에 나타난 ‘몸주체’와 (탈)여성적 글쓰기 - 황병승, 진은영의 시를 중심으로 (Body Subject & (Post)Ecriture Feminie Revealed in Poems of Contemporary Feminism - Focusing on poems of Hwang Byeong-seung, Jin Yeong-geun)

서지정보

· 발행기관 : 한국언어문학교육학회
· 수록지 정보 : 한어문교육 / 36권 / 195 ~ 232페이지
· 저자명 : 김순아

초록

This study examined the meaning of ‘body subject’ found in feminism poems in the context of (post) ecriture feminine. This study focused on (post) ecriture feminine, considering that the meaning of body writing would need to be explored from the angle of new dimension of writing if body was associated with writing as a method for artistic creation. In this paper, body writing was not confined to poem writing in which women participated as subject of poem writing. Rather, the body writing which intended to shatter existing dichotomy fundamentally was accepted as constituting (post) ecriture feminine. We looked into the poems of Hwang Byeong-seung and Jin Eun-yeong who show the tendency of (post) ecriture writing styles based on such notion as preconditions. According to Butler, reproduction of female subject does not have to be necessarily preconditioned on women. Existing discourses are pure fiction. To face it, we need to perform existing gender or transform ourselves vividly as the only and sole existences. That is also revealed similarly in the poems of both poets.
In the poems of Hwang Byeong-seung, the body reveals multiple sexual identities which are mixture of two genders and implies subsequent course of transformation. Poetic subject is not male, female, or living thing or dead thing, but presents dual, ambivalent, ambiguous, and strange realms. At this time, poet is a subject inconsistent with object and can be said to be the subject showcasing his/her emotion toward gloomy reality. The ego, the acting subject, is not a real existence in real world, but an unreal identity created through imagination, and therefore does not exist in fact and the authority of origin(poet) is denied. Through that, objects move freely and create the meaning on their own. That is one of the strategies to move beyond existing order and create his/her life newly, and is also revealed through metonymy which continuously fails to approach certain meaning or essence. Unlike that, existence reveals simultaneity with objects, etc., in the poems of Jin Eun-yeong, unfolding a variety of sensible images amidst intertwined relationship of death/life and reality/unreality. “I”, who represents coexistence of various attributes inside a body, is an existence that is in the ever-changing process and also represents the only “me” that can be substituted by any other things. “I” in the poem can be “You”, and “You” are forming current “me” in connection with the past. Therefore, it cannot be specified or explained transparently by anything. Thus, judgment on me is put on hold, making it impossible to utter the voice unique to me. That is a kind of poetic device to transform their identities vividly while considering their current egos to be problematic. By minimizing their voice, their transformed body images come to the fore. This tendency is also revealed by dual writing that applies metaphor and metonymy simultaneously.
Their poems provides symbolic window into the fact that feminine writing is evolving into another phase, considering that they are exploring their own identities through language that cannot be defined and through inconsistency between speaker and object. It is no wonder that there is a controversy swirling over whether it represented the writing that transcends existing dichotomous boundaries or what kind of possibilities it would open up for our poems. However, this shows new trends of Korean feminism poems, and at the same time, has important meaning in that it allows us to take new perspective towards our existence here and now.

영어초록

This study examined the meaning of ‘body subject’ found in feminism poems in the context of (post) ecriture feminine. This study focused on (post) ecriture feminine, considering that the meaning of body writing would need to be explored from the angle of new dimension of writing if body was associated with writing as a method for artistic creation. In this paper, body writing was not confined to poem writing in which women participated as subject of poem writing. Rather, the body writing which intended to shatter existing dichotomy fundamentally was accepted as constituting (post) ecriture feminine. We looked into the poems of Hwang Byeong-seung and Jin Eun-yeong who show the tendency of (post) ecriture writing styles based on such notion as preconditions. According to Butler, reproduction of female subject does not have to be necessarily preconditioned on women. Existing discourses are pure fiction. To face it, we need to perform existing gender or transform ourselves vividly as the only and sole existences. That is also revealed similarly in the poems of both poets.
In the poems of Hwang Byeong-seung, the body reveals multiple sexual identities which are mixture of two genders and implies subsequent course of transformation. Poetic subject is not male, female, or living thing or dead thing, but presents dual, ambivalent, ambiguous, and strange realms. At this time, poet is a subject inconsistent with object and can be said to be the subject showcasing his/her emotion toward gloomy reality. The ego, the acting subject, is not a real existence in real world, but an unreal identity created through imagination, and therefore does not exist in fact and the authority of origin(poet) is denied. Through that, objects move freely and create the meaning on their own. That is one of the strategies to move beyond existing order and create his/her life newly, and is also revealed through metonymy which continuously fails to approach certain meaning or essence. Unlike that, existence reveals simultaneity with objects, etc., in the poems of Jin Eun-yeong, unfolding a variety of sensible images amidst intertwined relationship of death/life and reality/unreality. “I”, who represents coexistence of various attributes inside a body, is an existence that is in the ever-changing process and also represents the only “me” that can be substituted by any other things. “I” in the poem can be “You”, and “You” are forming current “me” in connection with the past. Therefore, it cannot be specified or explained transparently by anything. Thus, judgment on me is put on hold, making it impossible to utter the voice unique to me. That is a kind of poetic device to transform their identities vividly while considering their current egos to be problematic. By minimizing their voice, their transformed body images come to the fore. This tendency is also revealed by dual writing that applies metaphor and metonymy simultaneously.
Their poems provides symbolic window into the fact that feminine writing is evolving into another phase, considering that they are exploring their own identities through language that cannot be defined and through inconsistency between speaker and object. It is no wonder that there is a controversy swirling over whether it represented the writing that transcends existing dichotomous boundaries or what kind of possibilities it would open up for our poems. However, this shows new trends of Korean feminism poems, and at the same time, has important meaning in that it allows us to take new perspective towards our existence here and now.

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