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초록· 키워드
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This study would explain structure of metaphor to have had Hwang, Suk-woo’s poems through the cultural context in early 1920’s. This study utilized positively recent study on early 1920’s. And solve a problem of the study that was already done, and this study will deepen it.
1920’s Hwang, Suk-woo’s poems started at ‘wasteland consciousness’ in early 1920’s. This was general recognition of intellectuals at that time. As they saw a this world to a wasteland, they would build the new world that got out of the present state. The new world was compared to ‘JangMiChon’(薔薇村) in his poems. Were the artistic world that ‘JangMiChon’ was absolute, and was sacred in his poems. So this space was a utopia saved from wastelands.
A person guiding persona in a utopia is just ‘lover’ in his poems. A lover is a rescuer and be the world of a relief. ‘Christ’ is a sacred form of metaphor called ‘lover’. The world of art that he created has unique structure. The structure is circulation structure a rescuer and the object of a relief being changed. The moment that the circulation structure is finished is the moment that aesthetic modernity is finished.
However, world of an art established at his poems was not the world stable so. The world is always as was accompanied by fear. The world is as it has changed in the confused world when the real intervenes. It is a figure of ‘wound lover’ to show this well.
Hwang, Suk-woo’s poems showed the finished of aesthetic modernity in early 1920’s. And his poems showed a limit of aesthetic modernity too. In this meaning his poem can be called a result most important in early 1920’s.
1920’s Hwang, Suk-woo’s poems started at ‘wasteland consciousness’ in early 1920’s. This was general recognition of intellectuals at that time. As they saw a this world to a wasteland, they would build the new world that got out of the present state. The new world was compared to ‘JangMiChon’(薔薇村) in his poems. Were the artistic world that ‘JangMiChon’ was absolute, and was sacred in his poems. So this space was a utopia saved from wastelands.
A person guiding persona in a utopia is just ‘lover’ in his poems. A lover is a rescuer and be the world of a relief. ‘Christ’ is a sacred form of metaphor called ‘lover’. The world of art that he created has unique structure. The structure is circulation structure a rescuer and the object of a relief being changed. The moment that the circulation structure is finished is the moment that aesthetic modernity is finished.
However, world of an art established at his poems was not the world stable so. The world is always as was accompanied by fear. The world is as it has changed in the confused world when the real intervenes. It is a figure of ‘wound lover’ to show this well.
Hwang, Suk-woo’s poems showed the finished of aesthetic modernity in early 1920’s. And his poems showed a limit of aesthetic modernity too. In this meaning his poem can be called a result most important in early 1920’s.
목차
1. 서론
2. ‘폐허’와 ‘장미촌’, 시간의 소멸
3. ‘애인’과 ‘기독’, 구원의 순환구조
4. ‘장님의 미륵’, 근원에 대한 불안과 방향상실
5. 결론
참고문헌
영어 초록
참고문헌 (19)
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