김현승의 『마지막 지상에서』에 나타난 은유 미학

Abstract

The purposes of this study are to explore in what metaphoric meaning system the Christian transcendence in Kim Hyun-Seung's late period poem, 『On the Last Earth』, takes form by employing Hrushovski's theory of frame of reference and to explain his perceptual expansion and esthetic renewal through this process. In chapter two, the metaphor of transcendent plant shown in his late period poems is discussed. In his poems such as <The Crisis When Spring Comes>, <the silent night of a soul>, transcendent movement is shown by describing human as plant. In fact, in his poems, <Trees> and <Leap in Argument>, transcendent desire is disclosed specifically. In chapter three, the metaphor of everlasting nature shown in his late period of poems is discussed. In his poems such as <Spring Water>, <Leap in Argument>, <New Year Prayer> and <Consciousness- the Face of Happiness>, transcendence or eternal nature is embodied with everlasting natural characters, 'spring water', 'river water', and 'sea water'. In chapter four, the metaphor of the divine mother shown in his late period poems is discussed. In his poems, <Shadow> and <Darkness comes to me>, 'darkness' is transferred to maternal god's body and in his another poem, <Maternal Love of Christmas>, transcendence is realized by being transferred the symbolic space of 'darkness' to maternal god's body. In short, in the poem of Kim Hyun-Seung, 『On the Last Earth』, the Christian transcendence is embodied by forming the metaphor of transcendent plant, the metaphor of everlasting nature, and the metaphor of the divine mother. Therefore, it is clear that the Christian transcendence in his late period poems is supported by his metaphoric thought.