고정희 초기시의 음악적 모티프 수용 양상

Abstract

There were many research achievements about poetry of Goh Jeong Hui during the past twenty years. These are abundant in quantity but poor in width and imagination. Therefore, this writing was written in the intention to seize the hidden features of poetry of Goh Jeong Hui in a different way. It’s about true that discussions about her poetry were focused on the latter poetical works because of her status as a forerunner of korean feminist poet. But discussions premised on certain ideologies may reduce the extension and the connotation of her dynamical poetic world. So, in this writing, I focused on early poetical works. For me to handle these, firstly, I accepted a theme or method of musical motifs. In her early works, we can often see these. Firstly, I investigated the context of recipience of western music in korea after modern era and recipience to Goh Jeong Hui. After that, I classified western music into classical music and christian music. And, especially, I discussed classical music in the dimensions like romantic wander, dark age and diaspora, poetic appropriation of musical form. We can regard this writing as meaningful to suggest another point of view to understand poetic world of Goh Jeong Hui discussed in the ideological frames like feminism, post-colonialism etc. Further, we can find another significance of this writing in the regard that this writing tried to reflect the way of existence of arts in contemporary society beyond relational aspects between literature and neighboring arts.