김수영 시의 역설 의식 연구

Abstract

The paradox in the poems of Kim Soo-yeong was not used merely as technique but served as a perspective towards the worlds and phenomenon and futhermore worked as a methodology for perception. As the essence of objects are perceived as ambiguous and complicated forms, rather than being perceived as single and two-dimensional forms, the paradox may take on useful functions in integrating the experiences of the poet and achieving poetic uniformity. Kim Soo-yeong looked into the conflicts between his ego and reality and examined the conscientiousness as a poet while revealing problems of reality surrounding him through the medium of paradox. In a poem titled <Thief>, he revealed his realization and criticism towards impaired conscience paradoxically by comparing the thief breaking into the house and sins of poetic ego. In the <Lingering Imagery>, he presented an extension of his criticism towards the society that did not guarantee freedom, thereby completing paradoxical structures in his poem, in respect of the irony that trapped him with his own lies. In the <History of Korean Literary History>, he presented paradoxical structuralization of the voice from his poetic ego that realized the secular and violent reality and strived to break through. By contract, his poems titled <Thinking of the Room> and <Modern Bridge>, he showed a historic insight through paradox. In the <Thinking of the Room>, he expressed a positive belief in history through paradoxical attitude of winning by losing, an attitude that takes failure in revolution as a significant achievement. Such belief developed into a ‘love’ embracing both confusion and conflict through combination of contradictory values in <Modern Bridge>. In the <Variation of Love>, he made a paradoxical presentation of his realization that the ‘love’ was achieved by great historic adversities and sacrifices through the prism of small and trivial objects. Kim Soo-yeong attempted to keep track of the essence in the phenomenon of the world from fundamental standpoint, rather than perceiving it as it is seen. Thus, he sometimes figured out that conflicting and differential characteristics seen from relative standpoint became equivalent or reversed when they were observed from absolute perspective. Moreover, that could be a methodology for perception based on premise of absolute belief in righteousness and truth.