오규원 시의 도시 사물성 연구 = The Urban Thingness in the Poetry of Oh Kyu-Won
저자
발행사항
서울 : 동국대학교 일반대학원, 2022
학위논문사항
학위논문(박사)-- 동국대학교 일반대학원 : 국어국문학과 2022. 8
발행연도
2022
작성언어
한국어
주제어
발행국(도시)
서울
형태사항
175 p. ; 26 cm
일반주기명
지도교수: 박형준
UCI식별코드
I804:11020-000000084706
DOI식별코드
소장기관
This thesis discusses the urban objectivity as the main image of Oh Kyu-Won's poetry in the 1970s and 1990s. For this purpose, the author classifies Oh Kyu-Won's urban objectivity into two periods. One is Oh Kyu-Won's early and middle poetry in the 1970s and 1980s, from a liquid modern perspective such as 'Things and Fields' and 'Non-places and Consumption', and One is a late 1990s poem that examines the duality of liquid modernity society, such as 'urban settlement and work' and 'real image of consumption space'. In this process, we are approaching the sociological meaning of the city objects of Oh Kyu-Won and autopoiesis, the self-generation aspect of Oh Kyu-Won's art. At this time, Zygmunt Bauman's 'liquid mordernity' concept as an external tool for sociological poetry writing and Deleuze's 'affect' as an intrinsic factor is used as an analysis tool.
Chapter 2 verse 1 expresses the modern city and the lonely human figure, such as 'high-rise building', 'Han River Bridge', 'road', 'apartment construction site', etc. It deals with the image taken. Kyu-Won Oh's poetry reveals the city's objectivity by adopting a method of 'silence' or 'rejection' in response to heterogeneity. He recreated the 'fear' of the modern city, such as injustice, irrationality, power, and defeat, through descriptions of 'objects and sites', which Zygmunt Bauman borrowed from Levi-Strauss' strategy of otherness and "spitting out and devouring" It is close to the example of transforming the principle into modern society, and it is also the point where the duality of other, space, and city objects is captured in Oh Kyu-Won's poem. On the other hand, this thesis examines the consumerist desires characteristic of non-places such as 'shopping center' and 'snack shop' and adjacent city objects in Oh Kyu-Won, changes in the value of aesthetic perception, and consumerist desires such as plastic surgery. The urban thingness and liquid modern characteristics that appeared in Oh Kyu-Won's poetry in the 1970s and 1980s are images that deviate from the solid social norms of the past. Kyu-Won Oh's exploration of contemporary cities organically arranges 'non-places and urban objects' to show the modern fluidized awareness of civilization. Non-places are related to the symbols of the times as ‘places as places’ such as “shopping centers” and “restaurants” and as ‘places that are not places’ such as “TV”, “FM radio”, and “newspapers”. Kyu-Won Oh's poems show the interrelationship between individual consumption needs and social phenomena, proving the liquid modernity, using “MIMI HOUSE” and “plasticized woman” as the poetic objects of 'non-place' characteristics that overlap but do not mix.
Chapter 2, verse 2 recreates consumption spaces such as 'apartment', 'Myeong-dong', 'alley', and 'a street stall' and media space such as 'video shop' and 'technopia' in Oh Kyu-Won's poem in the 1990s to settle into urban life. It deals with images that express the daily life of small citizens who have or are trying to settle down as urban objects. In addition, it is discussed that the urban objectivity of Oh Kyu-Won in the 1990s expresses the duality of contemporary social phenomena and anxiety in connection with the liquid modernity as a space of representation based on an aesthetic response. Poems such as 「Between Daebang-dong Choheung Bank and Housing Bank」,「One Piece」 and 「Video Shop」 correspond to beginning of the image of natural. It can be said to be an example of 'autopoiesis' created by combining knowledge. In the 1990s, Oh Kyu-Won's urban objectivity, the realistic image and the characteristics of the urban community given by the detailed description of trivial experiences, was expressed in the 'phenomena of existence itself' contained in the poem, and this reflects the germination that lead to the establishment of a 'the image of natural '
Chapter 3 examines the urban objectivity of Oh Kyu-Won in the 1970s and 1990s, focusing on the space and thought-image of affect. In Oh Kyu-Won's urban objectivity, Affect is a poetic implementation of poetic transition and continual transformation in the context of socio-cultural phenomena. In order to study Kyu-Won Oh's affect, Deleuzeian affec theory was chosen and discussed in terms of encounter with object [body], reciprocity between subject and object, thought-image, and affective space. In this process, the affect that appeared in Oh Kyu-Won's urban thingness in the 1970s and 1990s occurs between the subject-object of the ability to exist, which affect and be affected by neighboring images through encountering the body [object] as a medium. In Oh Kyu-Won's poetry, affect is not only expressed as a field of creation that crosses between humans and non-humans, but a large part of the images are dismantled, transformed, reorganized, and reconstructed, and present together with other objects as the existence of “present”. It composes a world of poetry that lasts as a time-space of warping that continues. By examining the poetry image from an affective level, the current method of objects in Oh Kyu-Won's poetry is not consequential, but a method of writing poetry that pays attention to events occurring through images of processes and movements. We discuss that we are heading towards an open world that is transformed into.
Chapter 4 examines personal history and historical awareness under the premise of 'recorded facts' and 'chosen reality' in Oh Kyu-Won's urban samul poems. His knowledge of history through the sociality of language and the impurity of language explains the relationship between language and historical facts as a 'chosen present'. In this process, Oh Kyu-Won's poems create an artistic and aesthetic effect that transforms the realism of history into a narrative image and reorganizes it into the universality of human life beyond the poetic dimension. Rather than interpreting events in history, Oh Kyu-Won makes scenes in a way of manifestation. From this, an individual's historical experience is recognized as the present capital letter 'I', and historical events that have existed are being reproduced as a poetic image as a 'selected reality' beyond time.
In Chapter 5, Autopoiesis, Diversity of autopoiesis Art, the development of photographs, photo essays, and cartoon criticism in the process of images examined above was viewed as autopoiesis as a consilience with other art genres. In this process, we discovered the similarity between the photo and raw image specimens published in the photo essay, and the similarity between comic book criticism and humorous image poetry, as well as photo essays and comic book criticism that had been omitted in Oh Kyu-Won's research so far, and used it as a new forum for discussion. it is meaningful
The significance of this thesis is that it overcomes the research trend that Kyu-Won Oh's research horizon has been focused on the study of the image of the day of the late poetry, and is based on the urban space and urban thingness of the modern society that penetrates from the early poetry to the late poetry. It has been reconstructed as Through this, it is revealed that the latent form inherent in a poet who has sensibly acquired the properties of a fluid modern society is combined with the peculiarities of urban thingness and socio-artistic characteristics related to the essence of the work of art created. It is expected to provide a new perspective on.
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