지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This thesis aims at comparing and analysing representative modernist poets’ poetry world in the 1950’th - Kim Sooyoung(1921-1968), Park Inhwan(1926- 1956), Kim Jongsam(1921-1984) - by quoting a concept of psychoanalysis called 〈Oedipus complex〉. 〈Oedipus complex〉 is to be an important concept in understanding human being’s unconsciousness as a cornerstone of psychoanalysis. 〈Oedipus complex〉 is, roughly summarizing, to be feeling sexual desire toward the parents of an opposite sex while murderous intent toward parents of the same sex. Point in problem, accordingly, is a three-cornered relation between father and mother and child.
In the case of Kim Sooyoung and Park Inhwan and Kim jongsam, they show a deep attachment toward a pre-oedipus three-cornered relation between mother and child and phallus. Even if they show a step of pre-oedipus complex, however, a phase in showing it in their poems is different.
Kim Sooyoung’s poems show disobedience toward father who exercises a law to subject’s desire to be a mother’s imaginary phallus. Disobedience consciousness and resistance spirit in his poems mean a disobedience toward a father in terms of psychoanalysis. The reason why he took a position of a standard-bearer in participation poetry was a continuous resistance spirit toward father and a law. He could enjoy a good fortune of his age by mixing his own unconscious desire and political and social one.
In Park Inhwan’s poems, the subject’s desire to be mother’s imaginary phallus cannot be realized because of the father’s law. Even if he wants to be a mother’s phallus in the form of Death - jouissance’s realization -, however, he can not but to awaring a father’s law such as “funeral services” and “social propriety and language”, etc. He can be a form without ignoring an existing law which prohibits an incest and abandoning a deep attachment toward mother. These points make his poems taking on a tragic colour. Especially, it was considered him as a poet who represented a feeling of the 1950’th most in connection with postwar situations in the 1950’th when he started his activity in poetry world.
Sense of guilty which is an important character in Kim Jongsam’s poems arises from a desire to be a mother’s phallus. Sense of guilty and trial of punishing himself which are often shown in his poems come from his desire itself toward mother. His poems unlike Kim Sooyoung and Park Inhwan’s ones, however, do not show father prohibiting this subject’s desire. It can be assumed that his poems show a typical pure poetry because of these points.
In the case of Kim Sooyoung and Park Inhwan and Kim jongsam, they show a deep attachment toward a pre-oedipus three-cornered relation between mother and child and phallus. Even if they show a step of pre-oedipus complex, however, a phase in showing it in their poems is different.
Kim Sooyoung’s poems show disobedience toward father who exercises a law to subject’s desire to be a mother’s imaginary phallus. Disobedience consciousness and resistance spirit in his poems mean a disobedience toward a father in terms of psychoanalysis. The reason why he took a position of a standard-bearer in participation poetry was a continuous resistance spirit toward father and a law. He could enjoy a good fortune of his age by mixing his own unconscious desire and political and social one.
In Park Inhwan’s poems, the subject’s desire to be mother’s imaginary phallus cannot be realized because of the father’s law. Even if he wants to be a mother’s phallus in the form of Death - jouissance’s realization -, however, he can not but to awaring a father’s law such as “funeral services” and “social propriety and language”, etc. He can be a form without ignoring an existing law which prohibits an incest and abandoning a deep attachment toward mother. These points make his poems taking on a tragic colour. Especially, it was considered him as a poet who represented a feeling of the 1950’th most in connection with postwar situations in the 1950’th when he started his activity in poetry world.
Sense of guilty which is an important character in Kim Jongsam’s poems arises from a desire to be a mother’s phallus. Sense of guilty and trial of punishing himself which are often shown in his poems come from his desire itself toward mother. His poems unlike Kim Sooyoung and Park Inhwan’s ones, however, do not show father prohibiting this subject’s desire. It can be assumed that his poems show a typical pure poetry because of these points.
목차
1. 문제 제기 및 몇 가지 전제
2. 김수영- 아버지의 법에 대한 반항과 참여시
3. 박인환- 욕망과 법 사이의 갈등과 페시미즘
4. 김종삼- 죄의식과 욕망, 그리고 순수시
5. 결론
참고문헌
[Abstract]
참고문헌 (0)
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UCI(KEPA) : I410-ECN-0101-2009-810-015975201