고전시가와 바다의 표상성 - 현대 바다시의 인식론적 원천 -

Abstract

Research on sea poetry conducted so far has focused on expanding the scope of sea poetry, including materials, themes, and images related to the sea. In this study, we examined sea poetry by focusing on the representation of the sea in Korean poetry. Regardless of the East or West, the sea was recognized as a space of hardship and disaster. In Western medieval literature, the sea was recognized as a space of chaos and evil opposing God and order, and it was not until modern times that the sea was discovered as a resort that it was transformed into a positive image of a space of romance, freedom, healing, and life. Zhuangzi saw the sea as a symbol of inclusivity and homeostasis in that it is the destination of all rivers, and Laozi defined the sea as the king of all rivers and saw it as a symbol of the lord. And in Confucianism, its meaning was expanded to the symbol of civilization. The above representations are found widely in Korean classical poetry, from the works of Choi Chi-won to the poetry literature of the late Joseon Dynasty. In addition, in classical Korean poetry, the sea was recognized as ‘a place where everything disappears’, focusing on the fact that all rivers reach the sea and their individuality disappears. Korean modern poetry inherited the symbolism of the sea as inclusiveness, homeostasis, and the place where all things disappear. In modern poetry, inclusiveness and homeostasis are presented as human virtues and also symbolize hometown and mother. And the symbolism of ‘the place where all things disappear’ meant the extinction of life, youth, passion, etc. Since this representation cannot be found in Western literature, the representation of the sea used in classical poetry can be said to be an important epistemological source of modern korean sea poetry.