실향 의식과 존재적 실존 -홍윤숙의 『麗史詩集』 연구-

Abstract

Collection of Yeosa’s Poems(『여사시집』) is one of the monumental book of poetry in the history of Korean women’s poetry. Nevertheless, it has never been dealt with in depth. This paper examines Yoon-sook Hong’s first poetry collection from a microscopic point of view and re-examines the meaning of literary history in this poetry book. The subject has a unique place identity. She has ‘placelessness’ identity as a displaced person, but on the other hand she has topophilia for ‘now-here’. The ‘wandering subject’ connected with the identity of the displaced person turns ‘non-place’ into ‘place’ enjoying ‘now-here’. Instead of pursuing possession-recovery of her hometown, she enjoys ‘now-here’. The ‘wandering subject’ can be understood as an aspect of the being existence in that she is a being that does not own a place but enjoys it. Hong shapes the existential consciousness in various aspects through the imagination of love, the image of the tree and the image of the family. She offers ‘patience’ as a condition of the being existence. The subject, through patience, reaches the being existence, and the being existence is identified with the persevering subject. Patience is a means and an end. The enjoyment of the being shown by the ‘persevering subject’ represented by the image of the ‘tree’ is developed into imagination that emphasizes ‘now–here’. The poetic subject, while enjoying ‘now-here’, refuses to be absorbed into everyday life and seeks escape from daily life. In the realm of daily life, time is constantly dying and shelling. The poetic subject recognizes the void of everyday life, and takes the posture of ‘resoluteness’ to escape from it. This ‘resolute subject’ struggles with time that is wasted meaninglessly and tries to break free from everyday life. The ‘persevering subject’ regards the life of ‘now–here’ as important. On the other hand, the ‘resolute subject’ places importance on guarding against sinking into daily life. The imagination of the being existence in this poetry book, has a complex nature that emphasizes the enjoyment of ‘now–here’ but on the other side, suppresses falling into helpless and insensitive everyday life. This poetry book and Kim Nam-jo’s life(『목숨』) are two high peaks of post-war modern Korean woman’s poetry. As Kim’s life was written in a short period of time, it is filled with works of a single color, while Hong’s book contains psalms of various colors. While Life has spiritual and sentimental aspect, Hong’s poetry has relatively intelligent color.