서정주 시의 구심적 공간 메타포 연구

Abstract

In this study, by analyzing spacial metaphor of centripetalism that appears in Midang's poems in the middle and later period using the Hrushovski's theory of the frame of reference, the researcher examined newly produced poetic meaning and tension, and extension and renewal of his recognition being revealed thereby. In Chapter 2, the researcher discussed the metaphor of 'inner' space that appears in his poems such as <Gukhwa Hyangki>(Fragrance of a Chrysanthemum) and <Sonamu Soken>(Inside a Pine Tree), etc. In his poem <Gukhwa Hyangki>, heterogenic space frames of reference such as ‘inside fragrance of a chrysanthemum’(fr1), ‘sky’(fr2), and ‘inside room’(fr3), and in his poem <Sonamu Soken>, space frames of reference such as ‘inside a fine tree’(fr1) and ‘the Republic of Korea’(fr2) are combined as metaphoric relations and have mutual reactions and thereby returning to hometown becomes concretized. Such spacial metaphor of ‘inside’ shows an aspect of transferring from plants' space to human's space. In Chapter 3, the researcher discussed spacial metaphor of 'bent' appearing in his poems such as <Hanran Eul Bomyeo>(Watching a cold orchid) and <Gok>(Bent), etc. In his poem <Hanran Eul Bomyeo>, heterogenic space frames of reference such as ‘the empty sky’(fr1), ‘another province’(fr2) and ‘Pyungyang’(fr3) interact, forming metaphoric sequences and thereby suggesting 'returning to hometown'. But in his poem <Gok>, four heterogenic layers such as ‘bent road’(fr1), ‘orchid’(fr2), ‘force’(fr3), and ‘monster serpent’(fr4) form metaphoric sequences and thereby suggest paradoxical force that is immanent in being bent. Although this concretizes Midang's optimistic and affirmative attitude for life, on the other side of it, extremely realistic and negative aspects also exist. In Chapter 4, the researcher discussed spacial metaphor of 'a hole' appearing in his poems such as <Beuiin Geumgarakji Gumeong>(A hole of a gold ring), <Nimeun Jumusigo>(My honorable person is sleeping), and <Nae anae>(My wife), etc. In his poem <Beuiin Geumgarakji Gumeong>, various layers' frame of reference such as ‘a hole of a gold ring’(fr1), ‘the ocean’(fr2), ‘sky’(fr3), ‘mind’(fr4), and ‘inside a wind instrument’(fr5), and in his poem <Nimeun Jumusigo>, heterogenic space frames of reference such as ‘corner of a pillow’(fr1), ‘sky’(fr2), and ‘hole of a pure gold ring’(fr3) interact, forming metaphoric sequences and thereby concretize conquest of separation or endless love. Especially, spacial metaphor of 'a hole' is based on space of centripetalism by means of 'condensation', but in the aspect that this again drives centrifugal space by means of ‘extension’, this is distinguished 228 어문론총 48호 from spacial metaphors of ‘inside’ and ‘bent’. As such, spacial metaphor of centripetalism in Midang's poems in the middle and later periods is indicated as spacial metaphors of 'inside', 'bent' and 'a hole'. In general, spacial metaphor of centripetalism produces various layers' frame of reference and forms metaphoric sequences, and by means of interactions of frames of reference, poetic meaning and tension are created. At this time, frames of reference with multi-layers are Midang's complex thoughts with various layers, and the course of their changes shows extension and renewal of his recognition well.