기형도 시의 시작(詩作)원리로서 기억의 재현양상 연구－이성복 초기 시와의 비교를 통해

Abstract

This study aims to detect the idiosyncrasy of Ki Hyeong－do, in terms of poem composition, by exploring how memory is being reproduced in Ki’s work. To this end, it was necessary to examine the process of how the memory, which remained as an independent time for the individual, is being incorporated into the current perception, in which the speaker’s sense of time, and the flow thereof, become more tangible. This paper presents the discussion by comparing and contrasting Ki’s work with Lee Seong－bok’s poetry. Bergson’s theory of time was also brought in to delineate such discussions. In particular, attentive recognition, and the theory about the three processes thereof, provided an essential instrumental framework to this study. A review of Ki’s poetry, one by one, showed two characteristics in the principle of poem composition. First, poems that displayed centripetal and centrifugal processes seemed to focus on “framing”, in other words a visual realization or reproduction of memory. Lee Seong－bok’s poetry, on the other hand, seemed to create a particular, idiosyncratic image by means of “poetical testimony” and “poetical description”, which illustrates one of the attributes of modern poetry that unravels the poetical language in the form of “ambiguity”. Therefore, the fact that Ki releases the personal memory－－which is in an analogical relationship with the current perception－－through visual framing, and successfully conveys details about the current perception of the poem, is one attribute that sets Ki’s style of composition apart from others. Moreover, early works of Ki and Lee express, in its entirety, the relentless rotation of different memories along with the poetical present. These works had such a distinctiveness even with their clear narrativity. Ki’s poems showed that the current perception and the past memory were rotating each other in a cinematic frame, which, as a result, formed an image organized by cinematic editing. Through this, Ki seemed to unleash, in a creative manner, the details of the current perception. On the other hand, early works of Lee－－poems that display centrifugal and centripetal process of attentive recognition, as well as those with rotational processes－－, can be summarized as a strange imaging that utilizes the sense of language. This also is a very idiosyncratic aspect of poem composition, but is in stark contrast with Ki’s poems that encompass a sense of cinematic images.