전쟁/종군 세대의 ‘평화론’과 그 시학적 전유 - 1960-70년대 김종삼 시문학을 중심으로

Abstract

This article examines the memory/evidence of “terrible” reproduced by Kim Jong-sam (1921-1984) in his psalms in the 1960s and 1970s and understands the poetic principle and meaning of “peace” that has become an issue as a poetic approach to it. Based on Kim Jong-sam’s literary history, which fled to South Korea during the liberation period and climbed to the war period, the tragic historical experience of the war generation went beyond the daily, subjective, and personal symbolic system and was broadened into historical, objective, and social horrors. In particular, Kim Jong-sam's unique Holocaust motif is in line with the announcement period of the Korean War specimen, so attention is being paid to how reality perception and literary attitude intersect when he focuses on wartime violence. This is because the images and shapes of the experiences of the Korean War develop differently in Kim Jong-sam’s poem. However, there is a very realistic poem that attempts to historize the massacre from the perspective of the accuser among the poems that visualize the violence and death of the war. Like the sound from the darkness, the specimen of historical testimony led to the motif of the Auschvich. What Kim Jong-sam tried to show us is a trace found in the Holocaust’s contemporary image, a historical trace found in complex temporality, such as Didi-Weberman’s concept of remaining. More importantly, in Kim Jong-sam’s poem, he mentioned that he was fascinated by Rilke’s symbolism at a time when wars began to appear repeatedly. The aesthetic representation of Rilke, where Kim Jong-sam is revered, is revealed while constantly evoking the testimony or memory of the war and insight into the history of the horrors through the metaphor of the tragic war. In other words, the poem of peace repeated in Kim Jong-sam’s Psalm of War was derived individually and sporadically like a sign of tragic history. Kim Jong-sam’s theory of peace actively expressed as an imagination and image is different from that of ordinary concepts. It shows the poetic possibility of self-narrative as well as the voices of others who do not want to forget the ‘devastations’ of war/kill.