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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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There are a variety of aspects to the satire demonstrated by post-war modernist poets. Firstly, Song Uk utilized a variety of puns and paradoxical expressions, creating a split between the order of language and the order of material things and thus inducing the deautomatization of the perception of a negative reality. Accordingly, laughter in his poetry is the laughter of realization brought about through the disturbance of language and material things. Yet in Song Uk's poetry, the poetic subject assumes itself to be a superior self and consistently sneers at the reality of the times, and both the object of the satire and the reader are left out of the laughter. The fusion of mutually distinct values is hidden and only the single voice of the cynical subject is highlighted in the lyrical poem. This cynical subject then either succumbs to an "enlightened false consciousness" that submits to the conventional order of the fallen real world, or it must dare to transcend it all and rise to an ideal world. Whichever the case, reality is left as it is, unchanged, and the cynicism of the poetic subject remains only as a voice that testifies to the poet's solitary spirit.
In contrast, Kim Suyeong more actively discloses the division of the poetic subject. He despairs because of the fallacy and violence of modern civilization within a post-war reality. In particular, he meditates with the emotions of "melancholy" and "grief" on the pressure of the petit bourgeois lifestyle demanded by the real world. Here, the cynical subject shifts its critical gaze from reality to the duplicity harbored within the subject. This is why self-scorn frequently appears in his post-war poetry. His self-scorn shows the unceasing spirit of self-accusation of the intellectual who is attempting to fill in the distance between perception and practice, and introspection and action. Ultimately, Kim Suyeong arrives at an active satire of a negative reality through self-accusation. We should note that, unlike Song Uk, Kim Suyeong was able to discover a collective subject that could share the satirical laughter. Also, through his affirmation of "the enemy within me," he attempted to deny the "enemy," and he brought the community of laughter that seeks this denial of the "enemy" into his poetry, allowing the cynical subject to escape from an enlightened false consciousness.
In contrast, Kim Suyeong more actively discloses the division of the poetic subject. He despairs because of the fallacy and violence of modern civilization within a post-war reality. In particular, he meditates with the emotions of "melancholy" and "grief" on the pressure of the petit bourgeois lifestyle demanded by the real world. Here, the cynical subject shifts its critical gaze from reality to the duplicity harbored within the subject. This is why self-scorn frequently appears in his post-war poetry. His self-scorn shows the unceasing spirit of self-accusation of the intellectual who is attempting to fill in the distance between perception and practice, and introspection and action. Ultimately, Kim Suyeong arrives at an active satire of a negative reality through self-accusation. We should note that, unlike Song Uk, Kim Suyeong was able to discover a collective subject that could share the satirical laughter. Also, through his affirmation of "the enemy within me," he attempted to deny the "enemy," and he brought the community of laughter that seeks this denial of the "enemy" into his poetry, allowing the cynical subject to escape from an enlightened false consciousness.
목차
1. 들어가는 말: 주체의 분열과 웃음의 전략
2. 냉소적 주체의 현실 비판과 풍자적 웃음
3. 김수영 시의 자조와 냉소적 주체의 자기극복
4. 냉소적 웃음을 넘어서는 사랑
5. 맺음말
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