장석남 시의 은유와 환유 구조 연구

Abstract

Jang Seok-nam freed himself from the overly ideologic principle of the 1980s and settled as the representing new lyricism poet focusing on the practical use of rhetorics especially through imagination. The harmonical mind of uniting materials phenomenally apart is the characteristic of Jang's poems, which tries out the mixing of the sky and land, universe and ego through the associating process frequently crossing time and space, and forms a multi-level meaning system of metaphors through fantasy. Therefore, this thesis will take five poems that are commonly focused on the space of ‘courtyard’ and the material ‘tree,’ and analyzed them through the ‘Frames of References’ theory. This process confirmed that the method of metaphor and metonym is not simply a aesthetic equipment but operates as a principle that penetrates the intrinsic essence of literature. The speaker in the opem looks up at the sky by stretching his imagination in order to transcend the limited space of reality, but ultimately shows the ontological transition of becoming a subject of Jang's poetry is the result of reflecting the universal view and the moral awareness as a whole. It reflects the poet's urge of wanting to move toward transcendence while embracing reality, and aiming the heavens but wanting to hold on to the earth. Moving on from abstraction to substantialism, this is one of the conclusions of Jang's poetic journey. The form of love the poet shows here is harmonizing himself with another by dissolving his hardened self, and this incites the poet to write poetry that internalizes the reality of his daily life, and makes him deal with the obstinate reality. The vision of Jang Seok-nam's new-lyric poetry puts the source in the everyday reality that seemed like contradicting relations, is what keeps it apart from the traditional lyrical poets.