전후 한국시의 ‘현대성’과 그 계보적 가설 -김종삼 시를 중심으로-

Abstract

Jongsam Kim's poetry is well-known for its suggestion, omission, temperance and genuineness in Korean modern poetry history. This has postwar poets' epochal aphasia of representing reality as poetic indication deprived of significance as the essential ideology, within the tragic recognition called Korean war in the 1950s. Such is a case relevant to the entire literary men in the 1950s, including Suyeong Kim, Chunsu Kim and Jongsam Kim. They were the generation of crippled creative method that conceived, composed in foreign language (Japanese) and then put into native language. It was a natural outcome for the generation, which was fundamentally constrained from having skillful command of elegant rhythm and folkways, to unable to inherit ethnic native tongue or folk song. Except for some poets like Jaesam Park or Yongrae Park, it was some what of perforce for most poets to show sides slanted towards Modernism. Jongsam Kim among them shows original poetry form by inquiring into recognition of tragic ruined reality, awareness of poverty, alienation and death, as well as the existent issues. Defective construction, frequent sudden breaks of rhythm, omission and leap refusing rational analogy, and blanks. These are the will of the poet to 'discard old language and search for new language'. After being influenced by Rilke in relation to transcendental romantic volition of heading towards absurdity for cosmopolitans, absent consciousness in the ruins and the world of Nirvana-purity, it was related to the fascination with existentialism, western culture and the degree of music. Such fascination is incarnated again into aesthetic poetry form. It can be said that Modernism of Korean poetry in the 1950s found its stable composition by the 1960s. From Sowol and Manhae, the new flow of Korean poetry approached the new aspect of Korean Modernism with Suyeong Kim and Chunsu Kim, by denying feminism; ethnic transcendentalism; ethnicism within traditional tale of Midang; and naturalism of the Cheongrokpa. Suyeong Kim's poetry of denying reality and theme of dynamic poetic subject, Chunsu Kim's collision of provocative imagery generated from the extreme language experiment and inquiry into the essential function of language. One thinks Jongsam Kim stands in the middle of the two extremes. It is necessary to think about one slice of Jongsam Kim's anarchistic life among Suyeong Kim's anti-social attitude to life and Chunsu Kim's investigation of linguistic essence seen in Historical Nihilism. When the recency was pursuing self-perception, discovery of individuals and ordinary individual in the modernity of Korean modern poetry in the 1960s, Jongsam Kim's poetry shows depictive 'symbolism through imagery' which was never seen in Korean poetry before as well as 'aesthetic appreciation for blank and omission' through his unique linguistic form.