‘보기’-감각을 통해 이루어진 김수영과 꾸청의 ‘참여 의식’ 비교

다국어 초록 (Multilingual Abstract)

The purpose of this study is to compare Kim Su-young with Gu cheng, a Chinese poet representing modernism, and lay the ground to compare the two in several aspects. First, they faced a similar background of society. After ‘4․19’ in Korea and ‘the Cultural Revolution’ in China, the two nations had different systems as capitalism and socialism each; however, only the names were different, but both were under dictatorship. It made the poets’ consciousness of participation rise to describe reality. Second, aside from that background of society, the two poets transcended the borders of genres or concepts like ‘realism’ or ‘modernism’ with their critical view and realized ontological ‘participation’ already. They were more faithful to their own awareness of reality as well as poetic sense, and with this keen sense of criticism, they realized aesthetics in the poetry of participation. Kim Su-young deems that the true poetry of participation is not about the theoretical concept in which ‘the poetry of participation’ has originated from but the substantiality itself which is already internalized in unconsciousness. In other words, he sees that the true aspect of the poetry of participation is not the ideology as a concept preceding political ideology but what does not even have to be defined as a genre with the behavior itself. Gu cheng also did not separate politics from aesthetics and saw ‘the consciousness of participation’ was one of the prerequisites. When it comes to beautiful poems, he says aestheticity is not the only condition but participation for the sake of ‘participation’ is not the goal, either. He thinks that aesthetics is a preceding condition in the relations between politics and aesthetics but political consciousness is also essential and the combination of them forms the power to change the world. Writing the poems of participation combined with aesthetics, both Kim Su-young and Gu cheng stuck to ‘seeing’, and here ‘seeing’ implies a lot of things. It is not mere ‘seeing’ but the manifestation of subjective power involved in rebuilding the world. Also, the view they sees is what gets to be reconstructed by being dismantled and turned over under the internal criteria not just remaining hidden, and it is the most essential prerequisite for participation.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. ‘보기’-감각을 통해 발현되는 ‘참여 의식’
• Ⅲ. ‘풍경’의 변전과 이미지의 재 전유
• Ⅳ. 결론
• 참고문헌
• 논문초록

참고문헌 (Reference)

• 1 장석주, "풍경의 탄생" 인디북 2005
• 2 허세욱, "천재와 미치광이 사이: 꾸청에 대하여" 한국문연 9 : 1998
• 3 홍자성, "중국당대문학사" 비봉출판사 2000
• 4 우성, "중국 몽롱시의 가치 지향" 산맥 5 (5): 2007
• 5 꾸청, "잉얼1" 실천문학사 1997
• 6 박유하, "일본근대문학의 기원" 민음사 1997
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• 8 주은주, "시각과 현대성" 한나래 2003
• 9 자크 랑시에르, "미학 안의 불편함" 인간사랑 2008
• 10 사르트르, "문학이란 무엇인가" 삼성출판사 1975
• 11 유재홍, "문학의 정치" 인간사랑 2011
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• 13 꾸청, "나는 제멋대로야" 실천문학사 1997
• 14 방민호, "김수영과 ‘불온시’ 논쟁의 맥락" 서정시학 24 : 2014
• 15 김수영, "김수영 전집2, 산문" 민음사 2003
• 16 김수영, "김수영 전집1, 시" 민음사 2003
• 17 강웅식, "김수영 시론 연구-'현대성'과 '부정성'의 의미를 중심으로-" 상허학회 11 : 6-197, 2003
• 18 진은영, "김수영 문학의 미학적 정치성에 대하여 －불화의 미학과 탈경계적 정치학－" 한국문학연구학회 (40) : 497-526, 2010
• 19 김행숙, "‘시적인 것’과 ‘정치적인 것’ -김수영의 시론 ｢시여, 침을 뱉어라｣를 중심으로" 국제어문학회 47 (47): 9-34, 2009