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
오류제보하기
The study examines Jeon Bong-gun’s “6 · 25” series as “Uncanny” and argues that the “6 · 25” series needs to be actively reexamined.
Jeon Bong-gun is a poet who has been highly praised for embodying the poetic will to embrace fragmentation and division through the “love” method that crosses the violent horrors of war. The tragic situation in reality and the poet’s work to maintain tension have been read as the possibility of modernism poetry, which seeks to overcome reality while keeping critical eye on it. However, the 6 · 25 series seems to have a unique location. This is because the poet’s will is not easily found, even though the series “6 · 25”, which published 59 works for three years from 1985 to 1988, focuses on the single subject of the 6 · 25 War. However, the 6 · 25 series provides important clues as to how the poet is involved in the war.
Jeon Bong-gun’s “6 · 25” series shows the memory of the suppressed war, which suddenly returns from familiar daily life, breaks the will of life and makes the war experience itself. From a “Uncanny” perspective, Jeon Bong-gun’s “6 · 25” series, which is a concept that makes people feel unfamiliar with familiarity and cause anxiety, is a collection of poems that appear to have returned terrible memories of the war, which were suppressed unconsciously by the poet, while also expressing the experience of facing the reality of oppression through a tear in the poetic subject. In Jeon Bong-gun’s “6 · 25” series, it can be seen that “Uncanny’s Punktum,”which is caused by the coexistence of disparate things, the situation of “objective coincidence”, which is revealed by repeated compulsive compulsions, the emergence of fragmented body images, and discontinuous writing patterns are being shaped by “Uncanny”.
Uncanny, which enables the series “6 · 25”, shows how the psychological state of the poetic subject intervenes in the perception of reality and forms the reality itself, aesthetically proves that the experience of war is destructive enough to bind the subject and nonlinearly return no matter how long it has been experienced. The series is also another “reality” of the poet, who is driving criticism aimed at social realities that are increasingly losing memories of the war. In the series “6 · 25”, Jeon Bong-gun embodies war by displaying the pain itself that cannot be fully reproduced through the language of the divided tongue. This is a way of penetrating the wounds of the war rather than a premature move to “repress” the wounds of the war. It is a way of breaking the boundary between consciousness and unconsciousness and not leaping from war. It would be meaningful to read Jeon Bong-gun’s “6 · 25” series as “Uncanny” in that it embodies the way he penetrates wounds to readers through poetic imagery.
Jeon Bong-gun is a poet who has been highly praised for embodying the poetic will to embrace fragmentation and division through the “love” method that crosses the violent horrors of war. The tragic situation in reality and the poet’s work to maintain tension have been read as the possibility of modernism poetry, which seeks to overcome reality while keeping critical eye on it. However, the 6 · 25 series seems to have a unique location. This is because the poet’s will is not easily found, even though the series “6 · 25”, which published 59 works for three years from 1985 to 1988, focuses on the single subject of the 6 · 25 War. However, the 6 · 25 series provides important clues as to how the poet is involved in the war.
Jeon Bong-gun’s “6 · 25” series shows the memory of the suppressed war, which suddenly returns from familiar daily life, breaks the will of life and makes the war experience itself. From a “Uncanny” perspective, Jeon Bong-gun’s “6 · 25” series, which is a concept that makes people feel unfamiliar with familiarity and cause anxiety, is a collection of poems that appear to have returned terrible memories of the war, which were suppressed unconsciously by the poet, while also expressing the experience of facing the reality of oppression through a tear in the poetic subject. In Jeon Bong-gun’s “6 · 25” series, it can be seen that “Uncanny’s Punktum,”which is caused by the coexistence of disparate things, the situation of “objective coincidence”, which is revealed by repeated compulsive compulsions, the emergence of fragmented body images, and discontinuous writing patterns are being shaped by “Uncanny”.
Uncanny, which enables the series “6 · 25”, shows how the psychological state of the poetic subject intervenes in the perception of reality and forms the reality itself, aesthetically proves that the experience of war is destructive enough to bind the subject and nonlinearly return no matter how long it has been experienced. The series is also another “reality” of the poet, who is driving criticism aimed at social realities that are increasingly losing memories of the war. In the series “6 · 25”, Jeon Bong-gun embodies war by displaying the pain itself that cannot be fully reproduced through the language of the divided tongue. This is a way of penetrating the wounds of the war rather than a premature move to “repress” the wounds of the war. It is a way of breaking the boundary between consciousness and unconsciousness and not leaping from war. It would be meaningful to read Jeon Bong-gun’s “6 · 25” series as “Uncanny” in that it embodies the way he penetrates wounds to readers through poetic imagery.
목차
국문초록
Ⅰ. 서론―전쟁 체험의 시적 형상화와 ‘언캐니’
Ⅱ. 이질 형상의 절합과 ‘언캐니의 푼크툼’
Ⅲ. 반복강박과 ‘객관적 우연’의 발현
Ⅳ. 파편화된 신체 이미지와 불연속적인 쓰기
Ⅴ. 결론
참고문헌
Abstract
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