김구용 시의 상호텍스트성 연구 ―李箱 시와의 관계를 중심으로 (Studies on Intertextuality of Kim Guyong’s Pomes ―Focused on the relationship with Lee Sang’s poems)

서지정보

· 발행기관 : 충남대학교 인문과학연구소
· 수록지 정보 : 인문학연구 / 37권 / 1호 / 29 ~ 61페이지
· 저자명 : 민명자

초록

This paper aims at examining intertextuality of Kim Guyong’s poems by focusing on language play, montage techniques, a mirror motif, the erotic imagination of Kim Guyong’s poems that show intertextuality with Lee Sang’s.
First, the language play and montage techniques presented in both Lee Sang’s and Kim Guyong’s poems are categorized as thosethat implicateplayfulness of surrealism. Both Lee Sang and Kim Guyong employ the montage technique that juxtaposes language play through linkage of signifiers and heterogeneous stanzas in order to create new signified, and ultimately to deconstruct the traditional verse writing techniques and their language standards. They want to express their inner freedom and liberation by resisting absurdity, suppression and control that they face in their times. This playfulness of language is not a simple play but an expression of the basic human desire as Homo Ludens because it implicates the desire to ease the intense situation, to release the compulsion and to realize a hope in the reality where they feel there is no exit. The desire as Homo Ludens can be achieved in the same context as playfulness of surrealism in terms of pursuing the ultimate freedom.
Second, The mirror motif that Lee Sang and Kim Guyong employ means the split self caused by separation between the presence and the absence, and the reality and the ideal. Through this, the two poets express aggression, resistance and grotesque images. However, they describe the split self in a different way, and the poetic effect to be delivered to the readers are differentas well. poetic effect t are firmly basein a consciousness on the original sin and thus, it it almost impossible for self and the world to be unitei. Therefore, poetic effect t overwhel angly describe frustration, abandonment, fear, and impulse on death. Meanwhile, Kim Guyong’s poems are basein a the self-reflection, and a transcendent will by juxtapositration, metaphysical and physical issues. Also, though the two poets’ works have same refined aspects when using a clearct t overwhel angly have different approaches. poetic es poems maintains ‘parallel’ with calm and logical world rather than lean toward emotion. Therefore, they cannot reach the total unity. Meanwhile, in Kim Guyong’s poems, self and the world reach the unity at the point of sublimation. Here, sublimated ethic equals ‘morality’(道’).
Third, The two poets create structure of and generation will of a desire by modifying prostitution signs that createerotic imagination in several different forms. In their poems, prostitution signs do not simply mean physical sex but holistic self formation by involving sublimation of a soul. And they are expanded to a degree that it implies a desire for creating poetry, which is an embodiment of a mind. However, Lee fails achieving it and instead,expresses frustration and a desire for subversion as a form of abjection. Meanwhile, Kim’s prostitution signs are expanded to the world of creation covering various spectra such as reflection of the reality, creation of poetry and female image of redemption. This can be interpreted as an expression of religious transcendence and sublimation of Tantrism.
Kim’s poems have intertextuality with Lee’s and eventually he creates his own poetic world. If the ultimate goal of art is to save the human soul, Kim’s poems are highly appreciated for his transcendental will and sublimation to do so. This achievement is closely related with his belief in Taoist and Buddhist values that deeply influence Kim’s philosophical formation. The embodiment of Kim’s philosophical world and experimental spirits through poetry greatly influences 1950s Korean poetry history.

영어초록

This paper aims at examining intertextuality of Kim Guyong’s poems by focusing on language play, montage techniques, a mirror motif, the erotic imagination of Kim Guyong’s poems that show intertextuality with Lee Sang’s.
First, the language play and montage techniques presented in both Lee Sang’s and Kim Guyong’s poems are categorized as thosethat implicateplayfulness of surrealism. Both Lee Sang and Kim Guyong employ the montage technique that juxtaposes language play through linkage of signifiers and heterogeneous stanzas in order to create new signified, and ultimately to deconstruct the traditional verse writing techniques and their language standards. They want to express their inner freedom and liberation by resisting absurdity, suppression and control that they face in their times. This playfulness of language is not a simple play but an expression of the basic human desire as Homo Ludens because it implicates the desire to ease the intense situation, to release the compulsion and to realize a hope in the reality where they feel there is no exit. The desire as Homo Ludens can be achieved in the same context as playfulness of surrealism in terms of pursuing the ultimate freedom.
Second, The mirror motif that Lee Sang and Kim Guyong employ means the split self caused by separation between the presence and the absence, and the reality and the ideal. Through this, the two poets express aggression, resistance and grotesque images. However, they describe the split self in a different way, and the poetic effect to be delivered to the readers are differentas well. poetic effect t are firmly basein a consciousness on the original sin and thus, it it almost impossible for self and the world to be unitei. Therefore, poetic effect t overwhel angly describe frustration, abandonment, fear, and impulse on death. Meanwhile, Kim Guyong’s poems are basein a the self-reflection, and a transcendent will by juxtapositration, metaphysical and physical issues. Also, though the two poets’ works have same refined aspects when using a clearct t overwhel angly have different approaches. poetic es poems maintains ‘parallel’ with calm and logical world rather than lean toward emotion. Therefore, they cannot reach the total unity. Meanwhile, in Kim Guyong’s poems, self and the world reach the unity at the point of sublimation. Here, sublimated ethic equals ‘morality’(道’).
Third, The two poets create structure of and generation will of a desire by modifying prostitution signs that createerotic imagination in several different forms. In their poems, prostitution signs do not simply mean physical sex but holistic self formation by involving sublimation of a soul. And they are expanded to a degree that it implies a desire for creating poetry, which is an embodiment of a mind. However, Lee fails achieving it and instead,expresses frustration and a desire for subversion as a form of abjection. Meanwhile, Kim’s prostitution signs are expanded to the world of creation covering various spectra such as reflection of the reality, creation of poetry and female image of redemption. This can be interpreted as an expression of religious transcendence and sublimation of Tantrism.
Kim’s poems have intertextuality with Lee’s and eventually he creates his own poetic world. If the ultimate goal of art is to save the human soul, Kim’s poems are highly appreciated for his transcendental will and sublimation to do so. This achievement is closely related with his belief in Taoist and Buddhist values that deeply influence Kim’s philosophical formation. The embodiment of Kim’s philosophical world and experimental spirits through poetry greatly influences 1950s Korean poetry history.

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