김수영 시의 반복과 변주 연구 (A Study of Repetition and Variation in Kim, Soo-Young's Poetry.)

서지정보

· 발행기관 : 한국언어문화학회
· 수록지 정보 : 한국언어문화 / 51호 / 57 ~ 80페이지
· 저자명 : 오형엽

초록

This writing tried to analyze “Snow”, “Waterfall” “Speech”, “Petal 1”, “Grass” laying stress on rhythm of ‘repetition’ and ‘variation’ equivalent to so-called Kim, Soo-Young’s nonsense-poetry, and investigate structural principle of Kim, Soo-Yung’s poetry. This writing investigates technique of ‘repetition’ and ‘variation’ in viewpoint of rhythm structure in Kim, Soo-Young’s poetry, wished to attempt new lighting about poetry consciousness related to time⋅memory⋅unconscious.
“Snow”(1956)’s central rhythm structure is movement of ‘falling’ of “snow”. The whole structure of this poem is achieved by ‘repetition’ and ‘variation’ of three sentences, “snows are alive”, “The young poet!”, “Let’s cough”. The discovery that “falling” snows “is alive” yet contain awakening for bigger vital force which ‘falling’ is the same as death but dynamism of the movement overcomes death. The repetition of sentence “The young poet!” “Let’s cough” is sympathetic signal that react in awakening that “falling” snows “is alive” yet. “Waterfall”(1957)’s central rhythm structure is movement of ‘falling’ of “waterfall”. That movement of ‘falling’ have contradictory two attributes to meaning of death that is bursting and meaning of vital force that is dynamic movement. “Stright” hints honest sprit and upright conscience overcoming “laziness” and “stability”. “Without” and “not” contains meaning of non-provision, non-intention, unconsciousness as well as no pear courage, sleepless durability, infinity of width and height that is contain.
“Speech”(1964.11.16)’s central rhythm structure is movement of that see ‘sink’ of “root of a tree”. The whole structure of this poem is achieved by cause of 1 line “Root of a tree was falling for little more the depth winter” and sequences since 2 lines “Now my body is not my body”. On the other hand, “falling” and “is not my body” is looked like access to “eath”, but it is access of a little more original “life” and movement that is prepares for larger bearing fruit. the sentence “Now my body is not my body” declaration that is intent which leave in hands own to ‘other world’s force’, and will depart narrow outline of egotism with circulation of self-consciousness. “Petal 1”(1967.5.2)’s central rhythm structure is movement of “wind” ‘falling’ of “petal”. “Wind” that is ‘other world’s force’ offer power to “Petal” that falls in egotism of subject. “Wind” is ‘other world’s force’ intervening to “petal”, it is force of post-subject to burn that do not recognize own. “Unaware” confirm ‘post-subject’ and ‘unconsciousness’ of this wind. “Rock” is the same as solid actual darkness that “petal” wishes to zap ‘dynamism’, ‘life force’ that dropping petal has are that have force that can crumple rock. “Gat” is expressed thing with “revolution” that force of “petal” has broken all fixed value and identity following.
“Grass”(1968.5.29)’s central rhythm structure is movement of “wind”. “lie down” and “get up”, ‘weep’ and “laugh” are not concept of opposition, are concept of dynamic transition. “Wind” is other world’s forces that secede from center of awareness and individual main chain self, and “grass” gets power of dynamism from this potential energy of post-subject. “Wind” is involved with ‘unconsciousness of post-subject’. “Grass” is acquiring one space naturally because is been a work that produce at seat that have pushed bipolar agreement with whole body in process that dialectic of ‘vanguard’, ‘stop’ is spreaded by ‘awareness of historical element’, ‘signal merit speed’, ‘satire’, ‘deliverance’, and internalizes within work unlike works that way of such poem differs following and is smelted in language structure.

영어초록

This writing tried to analyze “Snow”, “Waterfall” “Speech”, “Petal 1”, “Grass” laying stress on rhythm of ‘repetition’ and ‘variation’ equivalent to so-called Kim, Soo-Young’s nonsense-poetry, and investigate structural principle of Kim, Soo-Yung’s poetry. This writing investigates technique of ‘repetition’ and ‘variation’ in viewpoint of rhythm structure in Kim, Soo-Young’s poetry, wished to attempt new lighting about poetry consciousness related to time⋅memory⋅unconscious.
“Snow”(1956)’s central rhythm structure is movement of ‘falling’ of “snow”. The whole structure of this poem is achieved by ‘repetition’ and ‘variation’ of three sentences, “snows are alive”, “The young poet!”, “Let’s cough”. The discovery that “falling” snows “is alive” yet contain awakening for bigger vital force which ‘falling’ is the same as death but dynamism of the movement overcomes death. The repetition of sentence “The young poet!” “Let’s cough” is sympathetic signal that react in awakening that “falling” snows “is alive” yet. “Waterfall”(1957)’s central rhythm structure is movement of ‘falling’ of “waterfall”. That movement of ‘falling’ have contradictory two attributes to meaning of death that is bursting and meaning of vital force that is dynamic movement. “Stright” hints honest sprit and upright conscience overcoming “laziness” and “stability”. “Without” and “not” contains meaning of non-provision, non-intention, unconsciousness as well as no pear courage, sleepless durability, infinity of width and height that is contain.
“Speech”(1964.11.16)’s central rhythm structure is movement of that see ‘sink’ of “root of a tree”. The whole structure of this poem is achieved by cause of 1 line “Root of a tree was falling for little more the depth winter” and sequences since 2 lines “Now my body is not my body”. On the other hand, “falling” and “is not my body” is looked like access to “eath”, but it is access of a little more original “life” and movement that is prepares for larger bearing fruit. the sentence “Now my body is not my body” declaration that is intent which leave in hands own to ‘other world’s force’, and will depart narrow outline of egotism with circulation of self-consciousness. “Petal 1”(1967.5.2)’s central rhythm structure is movement of “wind” ‘falling’ of “petal”. “Wind” that is ‘other world’s force’ offer power to “Petal” that falls in egotism of subject. “Wind” is ‘other world’s force’ intervening to “petal”, it is force of post-subject to burn that do not recognize own. “Unaware” confirm ‘post-subject’ and ‘unconsciousness’ of this wind. “Rock” is the same as solid actual darkness that “petal” wishes to zap ‘dynamism’, ‘life force’ that dropping petal has are that have force that can crumple rock. “Gat” is expressed thing with “revolution” that force of “petal” has broken all fixed value and identity following.
“Grass”(1968.5.29)’s central rhythm structure is movement of “wind”. “lie down” and “get up”, ‘weep’ and “laugh” are not concept of opposition, are concept of dynamic transition. “Wind” is other world’s forces that secede from center of awareness and individual main chain self, and “grass” gets power of dynamism from this potential energy of post-subject. “Wind” is involved with ‘unconsciousness of post-subject’. “Grass” is acquiring one space naturally because is been a work that produce at seat that have pushed bipolar agreement with whole body in process that dialectic of ‘vanguard’, ‘stop’ is spreaded by ‘awareness of historical element’, ‘signal merit speed’, ‘satire’, ‘deliverance’, and internalizes within work unlike works that way of such poem differs following and is smelted in language structure.

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