김종길 시 연구―언술 주체의 양상에 따른 시적 효과를 중심으로―

Abstract

The purpose of this paper is to categorize the speaker of Kim Jong-gil's poem and to reveal the effect of the poetic shaping technique on the central object. Until now, Kim Jong-gil's works have been understood in connection with his life, along with formulas such as "exemplary", "Oriental", and "humanism", and in formal terms, the poet's aspect as a modern "imageist" has been emphasized. However, based on the analysis of Kim Jong-gil's subject of speech, this paper seeks to explore the formal characteristics and significance of the poem other than the meaning of Kim Jong-gil's imageism aspect from a different perspective. Accordingly, this paper categorizes the subjects of speech appearing in Kim Jong-gil's poem into three main categories. The first type is the subject who forgets himself by becoming one with the subject. In this case, 'I' and the central object become one, and the perception of 'I' is in the same vein as the object's perception. Due to the atomized poetic distance, time is spatialized into 'now here' and sensed by the poetic speaker. In the second type of half-harmony subject, poetry is uttered by a speaker who recalls the object. Therefore, the subject of speech has a high physical distance from the central object. In this case, since the half-harmony subject has a blurred but clear physical boundary with the object (because of the afterlife-underworld), it is characterized by the fact that "I," which does not perfectly correspond to the image created by the object in the work, is revealed as an expression. In the third case, in the contemplative subject, 'I', the subject of the speech act, does not appear in the text, but only the subject of the speech content is revealed. In this case, there is only a subject of speech who views the poem as a whole, and the images appearing in the work harmonize together. In most cases, Kim Jong-gil's subjects and objects have a psychologically close poetic distance, but he indirectly expresses it through restrained language forms. In this way, it is an important virtue of Kim Jong-gil’s works that no matter what intensity the subject intervenes in the poem, the emotions projected on the object and the description thereof are expressed in a trimmed form. In the end, it can be said that Kim Jong-gil's aesthetics are acquired through minimal interference from the subject of speech about the object.