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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2018.12
- 수록면
- 227 - 254 (28page)
- DOI
- 10.37967/emh.2018.12.142.227
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초록· 키워드
오류제보하기
There has been little discussion about progress of Jeong Ji－yong’s poetry from his early poetic period to the middle poetic period since 1990’s. this is because of the hypothesis that he introduced religious thought to escape from imagism found in his early poetry has been widely accepted. It is not an exaggeration that the most dramatic change in his poetic world was defined as a childish cute trick only seeking newness during the process. However, this paper rejects that hypothesis and suggests that his poetic change process from the early stage to the middle stage was initiated by change of thought about tragedy of life and such change of thought became the foundation of his authentic poetic world, which can be confirmed by change of an image of window found in his poetic world.
In his early poems, a window was used as an image of psychological closeness of his poetic ego trying to escape from the miserable and painful reality. In other world, solidity of a person who was disconnected with the outside world and swallowed by his/her individualism with a strict dichotomy of ‘ego and world’ was shown through an image of window. However, an image of window was fundamentally changed in his series ‘Window’. A glass wall that completely separated ‘life from death’, ‘light from darkness and ’me from you’ changed to a medium to connect them and make them co－exist. The intention of the poet to accept the pain of reality as a part of life, rather than escaping from the reality, was reflected in this change. The poet’s thinking that hardship in the reality leads us beyond tragedy of life, was included. His religious view of world found in later religious poems was formed based on such recognition. The intimacy between the ego and the absolute is initiated from the attitude of the ego that tries to accept pain and sorrow caused by cruelty of the reality as a part of life. It is the reason why religious ecstasy of his poetic ego coexists with grief as tragedy in his religious poems.
In his early poems, a window was used as an image of psychological closeness of his poetic ego trying to escape from the miserable and painful reality. In other world, solidity of a person who was disconnected with the outside world and swallowed by his/her individualism with a strict dichotomy of ‘ego and world’ was shown through an image of window. However, an image of window was fundamentally changed in his series ‘Window’. A glass wall that completely separated ‘life from death’, ‘light from darkness and ’me from you’ changed to a medium to connect them and make them co－exist. The intention of the poet to accept the pain of reality as a part of life, rather than escaping from the reality, was reflected in this change. The poet’s thinking that hardship in the reality leads us beyond tragedy of life, was included. His religious view of world found in later religious poems was formed based on such recognition. The intimacy between the ego and the absolute is initiated from the attitude of the ego that tries to accept pain and sorrow caused by cruelty of the reality as a part of life. It is the reason why religious ecstasy of his poetic ego coexists with grief as tragedy in his religious poems.
목차
1. 서론
2. 거울 모티브와 자기애적 퇴행
3. 닦음의 행위와 삶과 고통의 심오한 관계 인식
4. 신과 자아의 상호 귀속적 관계의 토대로서 삶의 비극성의 가치
5. 결론
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2019-810-000290210