제주 4․3 시의 그로테스크와 민중 미학 －2000년대 김경훈 시의 미적 특징과 그 의의－

Abstract

Kim Kyung-hoon became a poet in 1992 by publishing a poem in Unification Literature and Unification Arts. This medium aims to overcome the mechanism of killing caused by colonial contradictions and to aim for the imagination of reviving for national liberation. Kim Kyung-hoon applies this politics of the 1980s to poetry based on the Jeju April 3 incident. In two books of poetry he published in the early 2000s, he tries to approach the truth of the Jeju April 3 incident by featuring the perpetrator and the murdered (ghost) as speakers. His poetry was too violent and blatant. The perpetrator was enthusiastically immersed in the play of murder, and the victim had to confirm his lethargy by watching the scene of the exclusive violence. His grotesque aesthetics of downgrading the body and damaging the body are the products of national oppression that tried to cover up the truth of the event. In other words, it is the so-called “return to the repressed.” In the late 2000s, his poetry approaches a more popular aesthetic. He writes poems about the stories of those who survived the Jeju April 3 incident. He tries to confirm their singularity by putting their ‘name’ in his poem. He tries to regain the basis for the lives of the survivors by confirming the lost time of the Jeju April 3 incident as a “original point.” He emphasizes that the survivor lived a ‘righteous life’. In the narrative poem published in 2012, he synthesizes his own 4․3 poems of Jeju. This narrative poem takes an anti-American plot that points to the United States as the dark side of the incident. He presents a heroic figure who dies as a decolonist subject against the desires of imperialism. The fact that this poem was submitted in a series of anti-American and anti-base movements after the 2000s is more important than the literary completeness of this poem. At this point we can see the continuity of political poetry in the 1980s.