2000년대 한국시의 '미성년 화자' 연구 - 진은영·김민정·이민하의 시를 중심으로 (A study on the ‘the minority narrator’ in the korean poetries of the 2000’s)

서지정보

· 발행기관 : 한국문예창작학회
· 수록지 정보 : 한국문예창작 / 10권 / 2호 / 179 ~ 201페이지
· 저자명 : 오정국

초록

The analytic target of this thesis is in the poems of Jin-Eunyoung, Kin-Minjeong, Lee-Minha. And the poets in these poetries chose ‘the child of the infancy’ as the poetic narrator, and tried to meet this world through the sensory organs of the child’s body. So the writers in their poetries show flexible free associations, the imagination which upsets the existing world and fantasies that are grotesque.
The narrators in these poems expose their desires to ‘become something’ not to ‘become an adult’ in the way of murmuring to themselves. For example, ‘a girl’ changes into ‘a cat’ or it sometimes changes into “a thin writing paper” and sticks to the ceiling. Here ‘the girl’ or ‘the cat’ is the substitute of the narrator to keep his or her own system against the social demands. This substitute means escaping of the reality of the poetic subject. So fantasies are generated here.
These fantasies are usually presented by the grotesque images: “the body” which is mutilated and damaged like “pieces of photos”, “wheat flakes noodles made by the mom's and dad's bodies”. Here we can see there is an escape of the reality of the poetic subject. It shows the extremes of both sadism and masochism related with the human body. ‘Dad cut legs’ ‘the decapitated baby’ ‘the baby cooking flesh and wheat flakes noodles’ are the good examples. Here and there we can see the wounds of the damaged bodies. And in this part the image of the eyes is very important and it draws attention. The eyes and the mirror are composed of similar terms. And it’s ironic the eyes and the mirror watch over the subject and devide and split the subject, at the same time, wake the subject up.
The wounds of the mutilated body is the gap which shows ‘the reality’ beyond ‘the symbolic world’. These poets didn’t use the metaphoric way of writing to see the gap. Instead, they spread the metonymy by the discontinuous narration. In Lee-Minha’s poems we can see the unreasonable and absurd aspects in our society by the grotesque images, on the other hand, the poems of Kim-Minjeong show the collision between the corrupted world and the pure life by producing the grotesque situations. And in the poems of Jin-Eunyoung, we can feel the blank space of life in the world of violence through free associations.
These poetries show ‘the poet’, ‘the poetic narrator’ and ‘the inter-subjectivity’. ‘The poetic narrator’, who is ‘the child of the infancy’ is ‘the epistemology other’ who incessantly communicates with the poet. The image of the past does perform the interpretative function, not the historical function. The narrator in these poetries is the child who is still not growing up in “The tin drum”. This is an irony and also allegory. Therefore, the aspects of confrontation in the reality are shown just as they are and they made characteristic conversation of 2000’s poetries through ‘strange and unfamiliar voices’ and by throwing away the existing poetic language.

영어초록

The analytic target of this thesis is in the poems of Jin-Eunyoung, Kin-Minjeong, Lee-Minha. And the poets in these poetries chose ‘the child of the infancy’ as the poetic narrator, and tried to meet this world through the sensory organs of the child’s body. So the writers in their poetries show flexible free associations, the imagination which upsets the existing world and fantasies that are grotesque.
The narrators in these poems expose their desires to ‘become something’ not to ‘become an adult’ in the way of murmuring to themselves. For example, ‘a girl’ changes into ‘a cat’ or it sometimes changes into “a thin writing paper” and sticks to the ceiling. Here ‘the girl’ or ‘the cat’ is the substitute of the narrator to keep his or her own system against the social demands. This substitute means escaping of the reality of the poetic subject. So fantasies are generated here.
These fantasies are usually presented by the grotesque images: “the body” which is mutilated and damaged like “pieces of photos”, “wheat flakes noodles made by the mom's and dad's bodies”. Here we can see there is an escape of the reality of the poetic subject. It shows the extremes of both sadism and masochism related with the human body. ‘Dad cut legs’ ‘the decapitated baby’ ‘the baby cooking flesh and wheat flakes noodles’ are the good examples. Here and there we can see the wounds of the damaged bodies. And in this part the image of the eyes is very important and it draws attention. The eyes and the mirror are composed of similar terms. And it’s ironic the eyes and the mirror watch over the subject and devide and split the subject, at the same time, wake the subject up.
The wounds of the mutilated body is the gap which shows ‘the reality’ beyond ‘the symbolic world’. These poets didn’t use the metaphoric way of writing to see the gap. Instead, they spread the metonymy by the discontinuous narration. In Lee-Minha’s poems we can see the unreasonable and absurd aspects in our society by the grotesque images, on the other hand, the poems of Kim-Minjeong show the collision between the corrupted world and the pure life by producing the grotesque situations. And in the poems of Jin-Eunyoung, we can feel the blank space of life in the world of violence through free associations.
These poetries show ‘the poet’, ‘the poetic narrator’ and ‘the inter-subjectivity’. ‘The poetic narrator’, who is ‘the child of the infancy’ is ‘the epistemology other’ who incessantly communicates with the poet. The image of the past does perform the interpretative function, not the historical function. The narrator in these poetries is the child who is still not growing up in “The tin drum”. This is an irony and also allegory. Therefore, the aspects of confrontation in the reality are shown just as they are and they made characteristic conversation of 2000’s poetries through ‘strange and unfamiliar voices’ and by throwing away the existing poetic language.

참고자료

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