자유주제 : 송찬호 시에 나타난 시적 인식의 방향성 연구 - 시집 『붉은 눈, 동백』을 중심으로 - = A Study on Directivity of Poetic Recognition Shown in Song Chan-ho`s Poetry

다국어 초록 (Multilingual Abstract)

Red Eye, Camellia』, which corresponds to Song Chan-ho`s third poetry collection, transcends this simultaneously with having the characteristic of 『Soil Has Memory of Quadrangle』and 『Empty Chair During 10 Years』, which are two volumes of poetry collections that were published previously. The reason is because the obstinate thinking about verbal consciousness and poetic essence that a poet Song Chan-ho shows in the poetic pieces of 『Red Eye, Camellia』made an opportunity of a new change beyond own limit in his poetic history. This consistent search for poem & language and existence & world is continued until the fourth poetry collection titled 『Evening that a Cat Returns』. Song Chan-ho`s writing a poem was begun from the recognition on the limitation of the real world, agony, namely, death. An analysis of 『Red Eye, Camellia』, which was attempted the harmony of inter-contradiction collisions between the essay on metaphysics dubbed ``search for existence`` and the aesthetic formalism dubbed ``prison of language`` can become an opportunity available for materializing Song Chan-ho`s poetic direction. 『Red Eye, Camellia』connects ‘concreteness of existence’ and ‘central deconstruction of a meaning,’ which were shown in the above two poetry collections, directly with reality, and simultaneously makes ``opportunity of a new change`` of getting over own limit, thereby offering a clue on a state of poetic language that is being reflected in the poetry collection after this. This will be the outcome that the image of ``camellia`` and ``mountain scenery`` in 『Red Eye, Camellia』functioned as a symbol of including implicit and ambiguous meaning of revealing a poet`s consciousness, thereby having materialized ``aesthetic idealism`` of denying paradise and realistic life as ``ideal world.``『Red Eye, Camellia』played a bridging role in materializing and revealing poetic directivity as well as comprehending a meaning of the whole in Song Chan-ho`s poems. Accordingly, this study has significance in tracing the poetic directivity in a poet Song Chan-ho who is implementing own poetic world by making imagination intervene with facing the moment of poetic recognition, through analyzing the process of a poet`s recognition and conceptualization on poetic subject focusing on the poetry collection 『Red Eye, Camellia』.

참고문헌 (Reference)

1 송찬호, "흙은 사각형의 기억을 갖고 있다" 민음사 1989

2 김석환, "최승자 시텍스트에 나타난 ‘시’의 기호작용(Signification) 연구" 한국현대문예비평학회 (39) : 131-158, 2012

3 윤호병, "아이콘의 언어" 문예출판사 2001

4 요코야마 고이츠, "십우도·마침내 나를 얻다" 들녘 2001

5 이윤택, "세계 살해를 꿈꿀 권리: 새로운 시인을 기다리며 2, In 흙은 사각형의 기억을 갖고 있다" 민음사 1989

6 장순용, "선이란 무엇인가?(십우도)" 세계사 1991

7 송찬호, "붉은 눈, 동백" 문학과지성사 2000

8 이승훈, "모더니즘의 비판적 수용" 작가 2002

9 이 안, "말의 감옥에서 말의 정원으로" 2012

10 김경란, "네모에서 동그라미로, 그리고 동그라미 속의 네모 또는 네모속 동그라미로, In 우리 시대의 시인" 시와반시 2002

11 김인옥, "김지하 시『애린』에 나타난 ‘심우도’의 상징과 변용" 한국현대문예비평학회 (37) : 31-60, 2012

12 송찬호, "고양이가 돌아오는 저녁" 문학과지성사 2011

13 김춘식, "검은 머리 동백, 시인의 숙명적인 부조리, In 붉은눈, 동백" 문학과지성사 2000

14 곽암, "十牛圖" 한국불교연구원 1995

15 송찬호, "10년 동안의 빈 의자" 문학과지성사 1994