2000년대 서정시의 전개와 도시 표상 - 신용목의 시를 중심으로

Abstract

'Lyricism' was an important issue in the so-called Futurism-Neo-Lyricism debate that heated up after the emergence of Futurism in the 2000s. Distinguished from his futurist contemporaries who presented avant-garde poetry, the poet SinYongmok was recognized as a new leader of Neo-Lyricism in the 2000s. Although he was primarily labeled as a lyric poet, he showed characteristic traits such as his mastery of conceptual language and his poetic subject's movement from nature to the city. It's a personality that's part 2000s futurism and part lyrical poetry. Along with his contemporaries, SinYongmok was in a significant position to foresee new possibilities for the diversity of Korean poetry in the 2000s, especially lyric poetry. In the transition period of lyrical poetry in the 2000s, when most people project their inner lives through urban spaces, the poet, who was born in the 1970s and deeply shared his childhood experience in a rural community, mainly reflected natural objects in his early works with a unique lyricism. At the same time, he spearheaded the movement of lyrical subjects to the “city” as a practical living space since the 2000s. In this sense, SinYongmok can be seen as a 'bridge generation' in the genealogy of Korean lyric poetry, bridging the gap between pre- and post-urbanization, between nature and urban space. As the lyrical subject moves from the natural to the urban, it is meaningful to examine the ways in which SinYongmok gradually embraces urban representations in his poetry in each of these periods, and in doing so, we can see a characteristic aspect of the development of lyric poetry in the 2000s. Even after the 2000s, when cities became universal living spaces, only lyric poetry has traditionally internalized the natural world as a source and setting for lyrical sentiment, and this itself has been recognized as a genre feature. In contrast, in the late 2000s, SinYongmok made a drastic change beyond the methodological explorations based on the traditional lyric poetry form that he had shown until his second collection. It can be argued that an important methodological device of lyric poetry in this transition period was the active reflection of urban representations.