기형도 시의 이미지 연구

다국어 초록 (Multilingual Abstract)

This study attempts to gain a comprehensive understanding of Ki, Hyung-do’s poetic world through overall integration of existing studies only partially addressing poetic images. Numerous critics have already agreed on conventional evaluations surrounding Ki, Hyung-do’s poems such as ‘the thorough negativity,’ ‘the consciousness of death’, and ‘a tragic perspective on the world.’ However, it should not be concluded that such interpretation is simply driven by his early death and his literary embodiment of unhappy family life. In this regard, this paper sheds light on Ki, Hyung-do’s poetic world through common images in his poems on the premise that poem is the manifestation of poet’s imagination and poetic images.
A study on poetic images is to identify the objects mirrored in images, inner résonance during the utilization of objects for poetical manifestation, and aesthetic characteristics of such mental action’s close harmony. This clearly illustrates an interaction between language and imagination. In other words, a study on poetic images looks at both denotative and connotative aspects inherent in poems. In this respect, this study delves deeply into poetic images manifested in Ki, Hyung-do’s works through individual categorization into ‘image of time,’ ‘image of space,’ and ‘image of nature.’
If our time is classified into natural and empirical ones, literary time can be construed as an empirical time. Poetic images embody what poets have acquired through an empirical time. Ki, Hyung-do’s internal consciousness is reflected in some typical images of time such as ‘night,’ ‘winter’, and ‘spring.’ ‘Night’ creates dark and negative values while dominating the light. ‘Winter’ also refers to the time facing the death under the extinction of life. In most poems, ‘spring’ usually signifies the advent of hope, but it is no more than a painful time with the stoppage of cycle for Ki, Hyung-do. The time he experienced in the past is reproduced into poetic images through linguistic evocation.
Space is an intrinsic form which constitutes our human life. But, it finds its unique identity beyond simple backgrounds in the sphere of literature where numerous values are intertwined with one another. In Ki, Hyung-do’s poems, certain spaces are also closely connected with the inner state of a poetic self. First, ‘home’indicates the space for perception of fundamental absence caused by loss of maternity. And ‘distance’ is presented as the space where people still wander about without settling down anywhere even after they become an adult. ‘City,’ a more social space than ‘home’ and ‘distance,’ reveals the tragic state of individual being who is locked without any communication with others.
If a human belongs to a finite being, nature can be seen as an infinite eternity. In nature, the cycle of life leads us to explore the origin of materials. When it combines with the imagination of a poet on such a quest, it can be expressed as colorful poetic images. ‘Wind,’ ‘tree,’ and ‘water’ are frequent poetic transfigurations across Ki, Hyung-do’s poems. Here, these natural objects appear as a dying vitality due to their loss of vertical ascending hopes. In this process of fall and descent, the poetic self is dismantled with its inner side becoming desolate.
An analysis of images in Ki, Hyung-do’s poems verifies that poetic images are quite distinct from a simple perception. As an embodiment of poet’s experiences, poetic images reproduce the past and express the poet’s internal consciousness through interaction between imagination and language. In Ki, Hyung-do’s poems, the prevalence of tragic perspective on the world and consciousness of death is therefore driven by his reproduction of personal experiences, poetic images, and imagination. Against this backdrop, this paper can offer an in-depth interpretation of Ki, Hyung-do’s poetic world from an objective viewpoint.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 문제제기 및 연구사 검토 1
• 2. 연구목적과 연구방법 9
• Ⅱ. 이미지의 유형과 특성 17
• 1. 시간 이미지 17
• 1) 밤 : 유폐와 부정 18
• 2) 겨울 : 생명력의 소멸과 죽음 23
• 3) 봄 : 순환의 정지 29
• 2. 공간 이미지 36
• 1) 집 : 부재와 결핍 37
• 2) 길 : 상실과 방황 45
• 3) 도시 : 고립된 자아의 비극성 52
• 3. 자연 이미지 59
• 1) 바람 : 내면적 황폐의 비가시성 61
• 2) 나무 : 죽음과 생명의 가시성 66
• 3) 물 : 변신과 해체의 형상 72
• Ⅲ. 결론 79
• 참고문헌 83
• ABSTRACT 88