시적 화자와 몰개성적 상상력

Abstract

Creating the narrator and audience in a poem, given that poetry is a fundamental form of dialogue, a narrator's choice of diction, attitude and tone towards the audience are an important text of poetic discourse. Bakhtin foreshadows his theory on dialogism and linguistics of utterance, with the notion that intertextuality interwined with postmodernism, displays the narrator's impersonal imagination which reflects his parodic view and polyphonic dialogism. A poetic narrator gains persona within a work, whereas it becomes personal if the narrator is synonymous with the author, and impersonal if he is an anonymous other. Impersonal imagination is a result of the notion that the real author is distinct from the poetic narrator including implied author. The narrator in Mi-dang's “Chunhyang Yumoon” is of course Chunhyang. However Mi-dang becomes an implied author through the words of Chunhyang and makes the poetic utterance. There are two kinds of impersonal imagination--primary imagination through the vertical correspondence and secondary imagination through horizontal correspondence. “Silence of the Nim” by Manhae is the former, “Cat of Byeokmo” by sulwon Hwang and “Ogamdo” by Sang Lee are considered as the latter. Futhermore, “Ogamdo” is, due to its radical modernity and avant garde aspects, considered to be a bridge to the deconstructive poetry and postmodernism. Poems “Simin” by Jiwoo Hwang, “Jesus of Nazareth” by Wondon Suh, “Video, Personal Computer” by Jaebong Ha have strong deconstructive and postmodernistic character. The revesal in the order and recognition of the opposite--death of the subject can be the life of the objective--is the product of impersonal imagination brought on by positive dynamics.