황동규 시집 『어떤 개인 날』의 성장 모티프와 미래 지향성 이미지 = A study on growth motifs and futuristic imagery in Hwang Dong-Gyu's poetry collection, One Fine Day

다국어 초록 (Multilingual Abstract)

This paper aims to closely identify the growth motifs and futuristic images in Hwang Dong-Gyu's poetry collection One Fne Day(󰡔어떤 개인 날󰡕). And we also wanted to criticize previous discussions that lumped One Fne Day and An Elegy(󰡔悲歌󰡕) together and called them the “first period”(제1기) as a convenient attempt to establish a generalization of the category. Furthermore, we sought to develop a new analytic framework and methods of interpretation to compensate for their inability to faithfully explain the different nature of the two.
The frequent shifting of the poetic subject's position between active and passive and the manifestation of 'active passivity' in Hwang Dong-Gyu's poetry seems to form the basis of its literary significance and problematic nature. This context means that One Fne Day has shown clues to resolve and overcome the long-standing problem of "overcoming Han(恨) and passive feminism" in Korean current affairs. The myriad conjugations of the second-person pronouns that appear throughout One Fne Day, as well as the various settings and devices that represent the imaginary dialogues between "I" and them, can be understood to be the basis of the "theatricality" or "poetics of masks" in Hwang's poetry as a whole.
Therefore, One Fne Day can be clearly defined as not only a core monad(單子) in which the various phases and changes of Hwang's poetry are already wrinkled, but also as encompassing a broader level of monadology(單子論). Thus, it can be argued that the various analyses that this paper has uncovered and specifically presented in One Fne Day have set the essential requirements that subsequent discussions of Hwang Dong-Gyu must take into account.