팬데믹 이후 생태적 상상력과 창작실제 : 「반려해변」외 60편 중심으로

다국어 초록 (Multilingual Abstract)

Ecological Imagination and Artistic Practice After the Pandemic “Focusing on Companion Beach” and Sixty Other— Han Kyung-sook Advisor : Prof. Kim Jung-il, Ph.D. Department of Creative Writing Graduate School of Gwangju University This study examines how the relationship between humans and the more-than-human world has been reshaped in the radical transitions of the 2020s, marked most prominently by the pandemic and the accelerating climate crisis. The pandemic emerged as an epistemic rupture that unsettled not only everyday life but also the foundations of modern civilization, compelling a renewed contemplation of the ties between humans, nonhumans, and their shared environments. In this context, the motivation for the poetry discussed here is defined not through the familiar tropes of recovery or healing, but through an inquiry into reflection and relational ethics. Chapter 1 outlines the impetus and theoretical groundwork of this study. It considers how ecological and social fractures revealed in the pandemic era demand new sensitivities in literature—sensitivities grounded in interdependence, vulnerability, and the shifting conditions of existence. By tracing the limits of anthropocentric worldviews, the structural violence inflicted on nature and others, and the fragmentation of the modern subject, the chapter frames these crises as essential points of departure for poetic thinking. Poetic language is approached not as a representational tool but as a sensorial technique that enables renewed modes of encountering human and nonhuman beings. Through analyses of representative works, including Companion Beach, the study shows that ecological imagination is not a simple admiration of nature but an ontological stance that recognizes the world as a dynamic mesh of relations. Chapter 2 explores specific modes of poetic creation—“the imagination of water,” “the imagination of the body,” and “the imagination of summer”— to investigate ways of perceiving and narrating the world anew. Ecological imagination refuses to reduce nature to scenery or object; instead, it interprets the world as a “living field” in which humans, nonhumans, and environments co-constitute one another. Literature thus becomes a site where sensory arrangements are redistributed. At the same time, the chapter acknowledges potential risks in contemporary ecological writing, such as an overreliance on imagery or weakened structural critique. Drawing on deep ecology, biocentric ethics, and theories of circularity as critical foundations, the study argues for the necessity of moving beyond anthropocentrism toward expanded ethical and aesthetic sensibilities. The emergence of nonhuman subjects, relational perceptions, and intensified linguistic experimentation in post-pandemic literature illustrates how ecological imagination has become a guiding principle in an era of civilizational transition. Chapter 3 examines sixty poems, including Companion Beach, to illuminate both the possibilities and the limitations of ecological literature in practice. Ultimately, this study proposes that ecological imagination functions not as a form of sentimental natural lyricism but as a literary and ethical framework that prompts renewed reflection on humans and the world in a post-pandemic age. The poet—any poet writing in this era of ecological crisis—is positioned as a recorder of “languages of change,” translating ecological ethics into sensory experience and envisioning futures of coexistence. Keywords: ecological imagination, pandemic, ecological ethics, eco-literature, poetic creation, more-than-human

목차 (Table of Contents)

• 제 1장 창작 동기와 이론적 배경 1
• 제 1절 창작 동기 1
• 제 2절 생태적 상상력과 문제의식 3
• 제 3절 팬데믹 이후와 생태문학 7
• 제 2장 창작 방법 13
• 제 1절 ‘물’의 상상력과 감각의 은유적 재배치· 13
• 제 2 절 ‘몸’의 상상력과 치유에 이르는 서사적 구조 26
• 제 3 절 여름의 상상력과 언어적 변주 36
• 제 3장 「반려해변」외 창작 작품 60 편· 52
• 제 1절 「반려해변」외 19 편· 52
• 반려해변 53
• 물탱크에서 사는 사람 54
• 아프리카 55
• 냄새 57
• 바닷속에 가라앉은 섬 58
• 루이보스 안에 상어· 60
• 마을로 온 북극곰 61
• 위로 62
• 오로라 잎사귀가 기어오를 때 63
• 내 눈은 땅 아래 기억을 봐 65
• 무인도· 66
• 고래 이야기 67
• 아침 햇살이 누워있을 때 68
• 손에 움켜쥔 물방울 보내기 69
• 낙하 71
• 업사이클링 73
• 냉장고를 열면 섬마을 냄새가 난다 75
• 물에 뜨는 달처럼 77
• 오늘 일기예보 78
• 가거도· 79
• 제 2절 「나는 아이의 입속에 들어가」외 20 편 81
• 나는 아이의 입속으로 들어가· 82
• 내 몸의 풍경들 83
• 기린의 심장 84
• 내가 가진 구멍마다 꽃잎들이 흐른다 86
• 내 몸의 살 속에 몰입한 탄소들 87
• 흰쥐 89
• 달의 뒷면_공존 90
• 바닥 91
• 계절이 사라진 도시에서는· 92
• 내가 가장 아무것도 아니었을 때· 93
• 모죽 95
• 어느 날 아침 풍경 97
• 내 서랍 속에 사는 갈매기 98
• 까맣게 늘어나 질겨진 것들에 대하여 100
• 오렌지는 토성이다 102
• 감염 103
• 설맹 104
• 구름대담· 106
• 눈 속의 깊은 잠 109
• 버려진 피아노 2111
• 이석증 耳石證_ 달팽이가 귀에서 나온다 113
• 제 3절 「여름날 우리는 외」 19 편 115
• 올해는 장마가 오래 머물 거라 했어 116
• 여름이 휘어갈 때 폭염은 118
• 변기는 어떤 비밀을 먹었을까 120
• 여름날 우리는 122
• 옥상 텃밭 124
• 맑은 하늘 한 덩어리 125
• 악몽에서 일어난 일과 결말이 바뀐 악몽 속 사막 127
• 버려진 피아노 1128
• 하늘 달팽이· 130
• 눈사람 둘 131
• 달 속에 고니 한 마리· 132
• 일관성에 관한 이야기· 133
• 청둥오리· 135
• 그 많던 옷은 어디로 가는 걸까 137
• 베터리가 돌아간다 도어락이 열린다 139
• 사과는 멍든 상처 하나 없이 141
• 미세먼지 맑음 143
• 우리는 지쳐가지만· 145
• 운다 146
• 공중에 집들이 밤을 깨운다 148
• 참 고 문 헌 150