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김점용 서울市立大學校 문리과대학 국어국문학과 2001 전농어문연구 Vol.13 No.-
현실을 비껴가는 방식; 채만식 <냉동어>론
김점용 국어국문학회 2003 국어국문학 Vol.- No.135
The purpose of this paper is to show depth psychology and aesthetic feature in So-Wol's poetry. At the bottom of his works, there is a principle of the change and creation that is based on the transformation myth. The principle of the change and creation is the essential to understand life and death, it is embodied as a image of the death and rebirth in his works. However, the image of the death and rebirth in his works has a special feature. So to speak, it reached the holy and sacred space, the same as many other ceremonies do. The poetic space which is spiritualized help the reader to broaden his aesthetic experience and pull up to a kind of religious experience. And also this special feature means that “the death and rebirth” is related to “Nim”(Thee), the core of his works. Till now, most debaters have concentrated on separation from Nim and have read consciousness of deprival, feeling of separation, sense of futility and hopelessness, but in the other side we could know that it premise strong belief in resurrection of Nim. The belief and expectation of rebirth makes another axis and dual structure of confrontation and unification, and at last give a tension and vitality to his works. But the belief in rebirth of Nim is possible just mythologically not really. It is embodied as the consciousness of irrevocability(non-resurrection) in his works. The idea, as we couldn't go back to our dead Nim. Nim also couldn't come back to us, is the basic sense of the consciousness of irrevocability. In the end the core of the mentality in his works is the process that the death of “Nim” bring about rebirth, the rebirth lead to the consciousness of irrevocability. It is a trace of his poetic consciousness.
김점용(Kim Jeom-Yong) 한국시학회 2004 한국시학연구 Vol.- No.11
This paper aims at revealing the meaning of ‘Wangshimni,’ one of Kim Sowol’s famous poems. Explication of this poem, ‘Wangshimni’ has been a controversial issue because of its ambiguity and unintelligibility. The most unintelligible part of the poem is line one through three of the second stanza. Only when this indirect narrative part is explicated correctly, we can make our way through the ambiguity and unintelligibility of the poem. Among the existing points of view are a position which describes those lines as a short period of time seeing a sweetheart(‘Nim’), a position as a rainy season, a view as the wax and wane of the moon, and a view as a relation between the ebb and flow of the tide. The present writer thinks the last opinion is most adequate. By the way to my judgement, the subject going and coming means not only “the rain” but also “a person”. Only if then explained, this poem can be understood properly. If so, the subject of “going and going” also covers both ‘na(I)’ and ‘nim(the sweetheart)’. ‘Cheonan Samgori(three forked road)’ which appears abruptly at the third stanza should be reinterpreted. It is understood as extended space of Wangshimni or as the realm of the fatherland in colonial situation. But it should be pointed out that Wangshimni at that time also as well as Cheonan Samgori was a place of great importance for traffic, leading to three southern provinces. Thus spatial meaning of Wangshimni in this work refers to a mental space where separation from the sweetheart are grieved at. In conclusion, Wangshimni is understood as lamenting the separation from the sweetheart on the one hand and at the same time as entreating falling rain earnestly to prevent the sweetheart from leaving on the other.