「질마재 신화」의 공간 메타포 연구 (Study on Spatial Metaphor of Myth of Jilmajae)

서지정보

· 발행기관 : 한국문학회
· 수록지 정보 : 한국문학논총 / 48호 / 139 ~ 169페이지
· 저자명 : 박선영

초록

This study is to argue on newly generated poetic meaning, tension and creativity of recognition being revealed through them by analyzing spatial metaphor of 『Myth of Jilmajae』 by means of application of Hrushovski's theory of interaction.
In Chapter 2, his poems such as <Wooden Verandah in the Backyard of Maternal Grandmother>, <Madangbang (garden room)>, and <Somang (dung tub)>, etc. form metaphor of cosmic mirror. Vulgar space appearing in these poems such as ‘Wooden Verandah’, ‘Madangbang’, and ‘Dung Tub’ is personified as a cosmic mirror holding the space in ‘the heavens’ among interaction between frames of reference. Especially, in <Wooden Verandah in the Backyard of Maternal Grandmother> and <Madangbang (garden room)>, space of multi-layer metaphor is formed, giving meaning of life force and thereby revealing extension and renewal of Midang's recognition. In Chapter 3, his poems such as <Sound of Sanggasu (excellent singer)> and <Power of Urine of Respecting Wife of a Trivial Mr. Lee>, etc. form physical metaphor of the earth. In these poems, human body and the earth are combined as a metaphor and among their interactions, limitless life force is concretized. In Chapter 4, his poems such as <Haeil (tidal waves)> and <Rice Cake Stuffed with Bean Jam at Mrs. Almoit's House>, etc. form transcendental media metaphor through natural phenomena. These poems mean eternal and immortal life through transcendental union by means of existence of ‘tidal waves’, and waning and waxing of ‘the moon’. In Chapter 2, folds of Midang's complex thoughts form multi-layer metaphor and thereby deepen novelty of poetic meaning and tension, but on the contrary, in Chapters 3 and 4, he forms two folds' simple metaphor of contrast and unification through the earth(vulgarness) and the heavens(holiness) and thereby weakens them. This shows that because of Midang's affirmative recognition of the actuality, his complex thoughts became gradually simplified in his poems of later period and at the same time implies tendency of pursuing for profundity.
As such, in his 『Myth of Jilmajae』, Midang implies human being's common unconsciousness desiring eternal and immortal life through a metaphor of space. Instead of maximizing contrast between the heavens and the earth, Midang achieves semantic unification ceaselessly, and his space of metaphor indicates common features where boundary of inheritance is dismantled. Especially, the fact that poetic space in 『Myth of Jilmajae』 generates creative meaning among interactions of heterogeneity is aesthetics that can be revealed only through analysis of spatial metaphor.

영어초록

This study is to argue on newly generated poetic meaning, tension and creativity of recognition being revealed through them by analyzing spatial metaphor of 『Myth of Jilmajae』 by means of application of Hrushovski's theory of interaction.
In Chapter 2, his poems such as <Wooden Verandah in the Backyard of Maternal Grandmother>, <Madangbang (garden room)>, and <Somang (dung tub)>, etc. form metaphor of cosmic mirror. Vulgar space appearing in these poems such as ‘Wooden Verandah’, ‘Madangbang’, and ‘Dung Tub’ is personified as a cosmic mirror holding the space in ‘the heavens’ among interaction between frames of reference. Especially, in <Wooden Verandah in the Backyard of Maternal Grandmother> and <Madangbang (garden room)>, space of multi-layer metaphor is formed, giving meaning of life force and thereby revealing extension and renewal of Midang's recognition. In Chapter 3, his poems such as <Sound of Sanggasu (excellent singer)> and <Power of Urine of Respecting Wife of a Trivial Mr. Lee>, etc. form physical metaphor of the earth. In these poems, human body and the earth are combined as a metaphor and among their interactions, limitless life force is concretized. In Chapter 4, his poems such as <Haeil (tidal waves)> and <Rice Cake Stuffed with Bean Jam at Mrs. Almoit's House>, etc. form transcendental media metaphor through natural phenomena. These poems mean eternal and immortal life through transcendental union by means of existence of ‘tidal waves’, and waning and waxing of ‘the moon’. In Chapter 2, folds of Midang's complex thoughts form multi-layer metaphor and thereby deepen novelty of poetic meaning and tension, but on the contrary, in Chapters 3 and 4, he forms two folds' simple metaphor of contrast and unification through the earth(vulgarness) and the heavens(holiness) and thereby weakens them. This shows that because of Midang's affirmative recognition of the actuality, his complex thoughts became gradually simplified in his poems of later period and at the same time implies tendency of pursuing for profundity.
As such, in his 『Myth of Jilmajae』, Midang implies human being's common unconsciousness desiring eternal and immortal life through a metaphor of space. Instead of maximizing contrast between the heavens and the earth, Midang achieves semantic unification ceaselessly, and his space of metaphor indicates common features where boundary of inheritance is dismantled. Especially, the fact that poetic space in 『Myth of Jilmajae』 generates creative meaning among interactions of heterogeneity is aesthetics that can be revealed only through analysis of spatial metaphor.

참고자료

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