정지용의 후기 산문시에 나타나는 죽음의 의미-정지용의 「盜掘」, 「호랑나븨」, 「禮裝」을 중심으로- (The Meaning of Death in the Jeong Ji-yong's Later-Day Prose Poems -Focusing on Jeong Ji-yong's , and -)

서지정보

· 발행기관 : 중앙어문학회
· 수록지 정보 : 어문론집 / 49권 / 261 ~ 282페이지
· 저자명 : 최석화

초록

The world of Jeong Ji-yong's poems has been classified into three periods: (1) the period of post-modernism poems; (2) the period of religious poems, and (3) the period of landscape poems. This classification has had substantial influence upon the studies on Jeong Ji-yong's poems.
But it has also limitations of defining his world of poems indiscriminately.
In particular, his later-day poems published before his being kidnapped to North Korea cannot be viewed as mere poems of singing landscapes.
The purpose of this study was to examine the consciousness of Jeong Ji-yong's later-day poems and thus overcome the limitation of discussion on his poems. In his later-day poems, Jeong Ji-yong felt extreme despair with the continuity of Japanese colonial rule and produced poems that were related to death. This was the confession to the situation of the times unsolved with the poems of religious faith and landscape and the presentation of death consciousness. Representatives of these kinds of poems were <Grave Robbery>, <Tiger Swallowtail>and <Ceremonial Dress> of which speakers were 'an old wild-ginseng gatherer', 'a painter' and 'a gentleman in his prime of the life',respectively and implied death with the patterns of homicide and suicide.
Presented in the above poems, Jeong Ji-yong's consciousness of death was not the landscape-oriented hermitage or transcendence, but complete frustration with which one couldn't prepare a ceremonial dress in the situation of fishy smell. These poems were different from other poems in Baekrokdam and seemed to be an excuse for his discontinuity of producing poems in the latter days of Japanese colonial rule. In the end,before his being kidnapped to North Korea, Jeong Ji-yong seemed to produce poems with religious belief, nature and the consciousness of death in the situation of modernism and colony.

영어초록

The world of Jeong Ji-yong's poems has been classified into three periods: (1) the period of post-modernism poems; (2) the period of religious poems, and (3) the period of landscape poems. This classification has had substantial influence upon the studies on Jeong Ji-yong's poems.
But it has also limitations of defining his world of poems indiscriminately.
In particular, his later-day poems published before his being kidnapped to North Korea cannot be viewed as mere poems of singing landscapes.
The purpose of this study was to examine the consciousness of Jeong Ji-yong's later-day poems and thus overcome the limitation of discussion on his poems. In his later-day poems, Jeong Ji-yong felt extreme despair with the continuity of Japanese colonial rule and produced poems that were related to death. This was the confession to the situation of the times unsolved with the poems of religious faith and landscape and the presentation of death consciousness. Representatives of these kinds of poems were <Grave Robbery>, <Tiger Swallowtail>and <Ceremonial Dress> of which speakers were 'an old wild-ginseng gatherer', 'a painter' and 'a gentleman in his prime of the life',respectively and implied death with the patterns of homicide and suicide.
Presented in the above poems, Jeong Ji-yong's consciousness of death was not the landscape-oriented hermitage or transcendence, but complete frustration with which one couldn't prepare a ceremonial dress in the situation of fishy smell. These poems were different from other poems in Baekrokdam and seemed to be an excuse for his discontinuity of producing poems in the latter days of Japanese colonial rule. In the end,before his being kidnapped to North Korea, Jeong Ji-yong seemed to produce poems with religious belief, nature and the consciousness of death in the situation of modernism and colony.

참고자료

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