특집 문학과 언어 : 김수영 시의 한시적(漢詩的) 구조의 병렬 반복 연구 = A Study on Parallel Repetition of Chinese Poetic Structure in Kim Soo-young`s Poetry

다국어 초록 (Multilingual Abstract)

The aim of this study is to analyze the form of the parallel repetition of Chinese poetic structure in Kim Soo-young`s poetry. First, the form of parallel repetition of Chinese poetic structure is divided into two parts, the beginning and the end. It consists of 4 stanzas for introduction, development, turn and conclusion, which are regarded as the structure of the traditional Chinese poem. According to the way of description of Chinese poetry, Kim Soo-young mentions a certain situation in the beginning and expresses, concretely, the subjective emotion which is suitable for the situation in the end. Lullaby and In One`s Pajamas are good examples for this description. In Lullaby, he depicts a baby`s cute look and the subjective emotion of the narrator who is looking at the baby. In the poem, In One`s Pajamas, he satirizes the weakness and pretension of a lower-middle class citizen with the fragmentary talk of everyday affairs. Second, the form of the changed Chinese poetic structure can be divided into the flexible parallel repetition and the contracted parallel repetition. (1) The form of the flexible parallel repetition is made up of 5 stanzas, but it is summarized in 4 stanzas through consideration for the repetition of syntactic structure which appears superficially. Deviating from the schematic pattern, he shows many different variations. There are Dead Soul, From a Distance and Waterfall as examples of this form. He expresses the strong will toward freedom through a connection between the beginning and the end in Dead Soul, the mental frustration through the cognition of pain in From a Distance, and strong belief and integrity through the vertical visualization of propriety in Waterfall. (2) The form of the contracted parallel repetition indicates that a poem has 3 stanzas by contracting two stanzas of turn and a conclusion into 1 stanza. In an Onion Patch and Wilderness are good examples of this form. Kim Soo-young illustrates the phenomenological cognition of change and the phenomenon of love through the gradation and the structure of paradoxical proposition in In an Onion Patch. He faces reality through the structure of inner conversation and the visual rhythm in Wilderness. Third, the form of symmetrical parallel repetition indicates both the symmetry of the beginning and end as well as the relationship formation through combination and response as the fusion structure of mutual conflict and collision. Snow and Summer Garden are good illustrations of this form. Snow portrays the conscious recognition of the intellectual in action who rejects the daily repetition of a lower-middle class citizen through the metonymic structure of contiguity. As a variation of conflict structure, Summer Garden demonstrates the scornful and negative attitude of self-recognition under the pain of inner conflict and with reproach upon indecision.