근대시의 서정성과 여성성-1920년대 초기 시를 중심으로

Abstract

This paper looks into the variation of lyric and its relation with femaleness in modern poetry in the early 1920s, which introduced the aesthetic and epistemological of the western modernity. The poems in this period classified as the kind of Romantic poetry with excessive sentimentality and egotism was a product of the project of constructing the modern universal self as an aesthetic subject. Also, these poems produces the modern lyric of which the poetic self was in discord with the world in the birth of 'the author as an isolated individual' from the world unlike the lyric of premodern period seeking for the harmony of man and the world, while using the femaleness as dominant poetic device. First of all, the poems in the literary megazines, Pehuh and Baekjo revealing the excessive ideality of the poetic self with the modern dichotomy take female images, such as mother, lover, and voluptuous woman as a medium of supplementing the lack of modern male ego. The poems of Kim So-wol and Han Yong-un shows the traditional characteristics of female such as female speaker, tone, and rhyme. However, the cognitive mechanism of the femaleness in Kim So-wol's poems reveals the gap of existence composed of reason, the 'otherness' of modern universal self, while the femaleness in Han Yong-un's poems(especially the image of strong and masochist woman) is appropriated as a cognitive tool of overcoming the hierarchical present reality and reaching the transcendental state. The relationship between modern lyric concealing the masculinity and femaleness presents the gender system operating inside as well as showing the various voices produced in the construction of modern universal self in poetry.