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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This article has researched the aspect of poetic change in the poetry of Kim Chunsu focusing on the specific persons, ‘Cheoyong’ and ‘Lee Jungsub' who are his poetic objects. Kim Chunsu adapted these persons as poetic motifs and also subjects because of the unique epic these people have.
Kim Chunsu raised the issue of evil and ethics through his poem 「Cheoyong」. Kim Chunsu thought of Cheoyong as ‘a poetic ego’ which exposed ‘a stoic humor’. He noticed two conflicting situations Cheoyong was facing. The situations showed contrast ‘before Cheoyong's seeing four legs’ and ‘after seeing them’. The world, before his witnessing the adultery of his wife and the bad spirit, was ‘a peaceful world' where he used to hang around ‘under the bright moonlight of Seorabeol', and the world was connected with ‘the careless world under the sea' before Cheoyong ascended onto land. Paralleling ‘this careless world under the sea' with ‘his childhood', the age of non-violence world, which was not violated by the force of ‘history'.
Kim Chunsu began to write a series of poems, ‘the literary fragment of Cheoyong’. He transformed group epic in the previous language group into individual epic. 「The literary fragment of Cheoyong 1」 described the mythological world which couldn't split the subject and the object, human and nature using the childhood of the poetic narrator. In contrast, after losing sea, the mythological space, Cheoyong ascended into the human world in 「The literary fragment of Cheoyong part 2」. Cheoyong in this part was magical incarnation of the poet himself who experienced ‘evil' with the name of history and who sang querulously desperate reality of the poet himself.
Finally, the writer, Kim Chunsu reflected his own individual epic in the two contrasting items which 'Cheoyong' in 「Cheoyong」 had faced.
These items are appeared with two separated world, ‘violence from the force of history / stoic escape', ‘wounded grown-up / pure childhood', ‘the world separated from the object / the world without dividing the object and the subject', ‘realistic world / myth world'.
Kim Chunsu began to write 「Lee Jungsub」, because he felt a lyric impulse to the epic which Lee Jungsub's life had. He was much more interested in Lee Jungsub's unhappy life than Lee Jungsub's artistic talent. The basic axes of epic which the poem, 「Lee Jung sub」 shows are ‘the ideal artistic spirit' and ‘contemptible reality'. These two items are shown, contrasting the space ‘land' and ‘Seogyipo' in the first part and are transformed into a mental, safe place(Pyongyang, space) and wandering place(Chungmu, Daegu, Busan). The group of persons are separated with ‘family'(wife, children) and ‘I', and the lines in the poem are contrasted and transformed; ‘The wind blows / the wind doesn't blow’, ‘putting the sea on the head / there is no sea’, ‘the wife has gone / the wife has cone' and so on.
Kim Chunsu showed himself with narcissistic attitude who was sacrificed by the history and evil wearing the ‘mask' of Cheoyong in his poem 「Cheoyong」. He showed more objectively the contemptible reality, the reality of the human beings which are contrasted with ‘ideal art' in the poem 「Lee Jungsub」. The contemptible reality of a human being contrasted with the ideal art is appeared in poems 「Jesus」 and is enlarged with the question about universal reality, it became the stepping stone role to the poems 「Dostoievski」 which are dealt with the problems about the consciousness of sin and evil the contemptible human being have committed.
Kim Chunsu began to think about the proposition of epistemology, asking himself ‘Why am I lingering here?’ through ‘Cheoyong' and ‘Lee Jungsub'. And he gradually enlarged his poetic world from ‘individual reality' to ‘the universal, realistic problem of human beings'. Therefore ‘Cheoyong' and ‘Lee Jungsub' became another person of epistemology of the poet Kim Chunsu, as well became the subject of the conversation opening his new poetic world.
Kim Chunsu raised the issue of evil and ethics through his poem 「Cheoyong」. Kim Chunsu thought of Cheoyong as ‘a poetic ego’ which exposed ‘a stoic humor’. He noticed two conflicting situations Cheoyong was facing. The situations showed contrast ‘before Cheoyong's seeing four legs’ and ‘after seeing them’. The world, before his witnessing the adultery of his wife and the bad spirit, was ‘a peaceful world' where he used to hang around ‘under the bright moonlight of Seorabeol', and the world was connected with ‘the careless world under the sea' before Cheoyong ascended onto land. Paralleling ‘this careless world under the sea' with ‘his childhood', the age of non-violence world, which was not violated by the force of ‘history'.
Kim Chunsu began to write a series of poems, ‘the literary fragment of Cheoyong’. He transformed group epic in the previous language group into individual epic. 「The literary fragment of Cheoyong 1」 described the mythological world which couldn't split the subject and the object, human and nature using the childhood of the poetic narrator. In contrast, after losing sea, the mythological space, Cheoyong ascended into the human world in 「The literary fragment of Cheoyong part 2」. Cheoyong in this part was magical incarnation of the poet himself who experienced ‘evil' with the name of history and who sang querulously desperate reality of the poet himself.
Finally, the writer, Kim Chunsu reflected his own individual epic in the two contrasting items which 'Cheoyong' in 「Cheoyong」 had faced.
These items are appeared with two separated world, ‘violence from the force of history / stoic escape', ‘wounded grown-up / pure childhood', ‘the world separated from the object / the world without dividing the object and the subject', ‘realistic world / myth world'.
Kim Chunsu began to write 「Lee Jungsub」, because he felt a lyric impulse to the epic which Lee Jungsub's life had. He was much more interested in Lee Jungsub's unhappy life than Lee Jungsub's artistic talent. The basic axes of epic which the poem, 「Lee Jung sub」 shows are ‘the ideal artistic spirit' and ‘contemptible reality'. These two items are shown, contrasting the space ‘land' and ‘Seogyipo' in the first part and are transformed into a mental, safe place(Pyongyang, space) and wandering place(Chungmu, Daegu, Busan). The group of persons are separated with ‘family'(wife, children) and ‘I', and the lines in the poem are contrasted and transformed; ‘The wind blows / the wind doesn't blow’, ‘putting the sea on the head / there is no sea’, ‘the wife has gone / the wife has cone' and so on.
Kim Chunsu showed himself with narcissistic attitude who was sacrificed by the history and evil wearing the ‘mask' of Cheoyong in his poem 「Cheoyong」. He showed more objectively the contemptible reality, the reality of the human beings which are contrasted with ‘ideal art' in the poem 「Lee Jungsub」. The contemptible reality of a human being contrasted with the ideal art is appeared in poems 「Jesus」 and is enlarged with the question about universal reality, it became the stepping stone role to the poems 「Dostoievski」 which are dealt with the problems about the consciousness of sin and evil the contemptible human being have committed.
Kim Chunsu began to think about the proposition of epistemology, asking himself ‘Why am I lingering here?’ through ‘Cheoyong' and ‘Lee Jungsub'. And he gradually enlarged his poetic world from ‘individual reality' to ‘the universal, realistic problem of human beings'. Therefore ‘Cheoyong' and ‘Lee Jungsub' became another person of epistemology of the poet Kim Chunsu, as well became the subject of the conversation opening his new poetic world.
목차
Ⅰ. 여는 글: 연구의 필요성
Ⅱ. 세속의 슬픈 초상: 「處容」 시편
Ⅲ. 불우한 예술가의 현실: 「이중섭」 시편
Ⅳ. 맺음말
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