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초록· 키워드
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Oh Gyu Won is a poet who positively tested the limit in methodology of Korean modern poem. Thinking the issue of language in his poem, especially, the issue of image and idea, he ceaselessly searched new poetic methodology. He continuously quested the poetic methodology from the end of 1960s' to 2000s'. Tracing the initial poetics of Oh Gyu Won to its theoretic formation and development of logics, this dissertation intends to investigate the expanding course through which he reached the poetics of 'life image' after 1990s'. Through this investigation, the author attempted to uncover how Korean modern poetics theorized the issue of poetic modernity and autonomy of poetic language.
Though his initial poetics confirmed one possibility to overcome the ideology and abstractness of Korean poem from the 'trifle concreteness' of Kim Soo Young and 'meaningless poem' of Kim Choon Soo, he did not achieve the theoretic evolution to generalize and overcome them. However, the course of theoretic quest of Oh Gyu Won for methodology of 'de-ideology' already showed important commencement here in the Korean modern poem. In the second book of poetics, the quest of Oh Gyu Won for methodological issue acquired broader social context. This social context contacts further fundamental consciousness of issue, the autonomy and transcendence of art. This quests the profound and social meaning of methodology- the de-ideology of poetic language that he raised as issue through the work of Kim Choon Soo.
After 1990s', he made his space of poetics which was differentiated from the meaningless poetics of Kim Choon Soo by critically understanding the poetics centering around metaphor system and asserting poetics of metonymy system. Thus, his poetics eventually pursues the maximum of ‘transparency.’ It means the world that describes 'transparent phenomenon' of object instead of idea or thought. Reaching this poetics of ‘l living image’, he enters the stage where the poetics of 'de-ideology' that has been refined for dozens of years is consummated into poetics of ‘existence.’ It meant that he achieved the space that could theoretically or methodologically the meaningless poetics of Kim Choon Soo that he was conscious all the time. The poetics of Oh Gyu Won showed the possibility to overcome the dichotomy of realism/modernism that made the long confronting structure of Korean literature theory. Though Oh Gyu Won positively gave meaning to the value of autonomy in the literature as modernism, he was vigilant of understanding the world abstractly as fragmentary image. Further, even though he pursued the aesthetics of existence that reaches the object in realism and reality of matters, he adopted as important aesthetic task to overcome the plane reproduction of ideology and create ‘new reality.’ In other dimension, the poetics of Oh Gyu Won is understood as testing the extremity of aesthetic modernity of Korean poem and testing the possibility of de-modernistic aesthetics that transcends it.
Though his initial poetics confirmed one possibility to overcome the ideology and abstractness of Korean poem from the 'trifle concreteness' of Kim Soo Young and 'meaningless poem' of Kim Choon Soo, he did not achieve the theoretic evolution to generalize and overcome them. However, the course of theoretic quest of Oh Gyu Won for methodology of 'de-ideology' already showed important commencement here in the Korean modern poem. In the second book of poetics, the quest of Oh Gyu Won for methodological issue acquired broader social context. This social context contacts further fundamental consciousness of issue, the autonomy and transcendence of art. This quests the profound and social meaning of methodology- the de-ideology of poetic language that he raised as issue through the work of Kim Choon Soo.
After 1990s', he made his space of poetics which was differentiated from the meaningless poetics of Kim Choon Soo by critically understanding the poetics centering around metaphor system and asserting poetics of metonymy system. Thus, his poetics eventually pursues the maximum of ‘transparency.’ It means the world that describes 'transparent phenomenon' of object instead of idea or thought. Reaching this poetics of ‘l living image’, he enters the stage where the poetics of 'de-ideology' that has been refined for dozens of years is consummated into poetics of ‘existence.’ It meant that he achieved the space that could theoretically or methodologically the meaningless poetics of Kim Choon Soo that he was conscious all the time. The poetics of Oh Gyu Won showed the possibility to overcome the dichotomy of realism/modernism that made the long confronting structure of Korean literature theory. Though Oh Gyu Won positively gave meaning to the value of autonomy in the literature as modernism, he was vigilant of understanding the world abstractly as fragmentary image. Further, even though he pursued the aesthetics of existence that reaches the object in realism and reality of matters, he adopted as important aesthetic task to overcome the plane reproduction of ideology and create ‘new reality.’ In other dimension, the poetics of Oh Gyu Won is understood as testing the extremity of aesthetic modernity of Korean poem and testing the possibility of de-modernistic aesthetics that transcends it.
목차
Ⅰ. 오규원 시론의 문제적 성격
Ⅱ. 김춘수 시론의 수용 과정
Ⅲ. 언어 예술의 자율성과 그 사회적 차원
Ⅳ. 환유체계와 ‘날이미지’의 시학
Ⅴ. 오규원 시론의 문학사적 개입
참고문헌
Abstract
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