송욱 시의 육체 형상화 방식과 ‘생명’ 시학 - 시집 「유혹」에서 「해인연가」 연작까지의 작품을 중심으로 -

Abstract

The purpose of this article is to examine Song Wook’s poetic journey from collection of poems Yuhuk to serial poetry Haeinyeonga focusing on ‘life consciousness’ as a fundamental problem consciousness. Previous research has been paying attention to ‘body’ as a theme penetrating Song Wook’s poetic world, but it has not received much attention that ‘life consciousness’ is interspersed in the background of his various experiments surrounding ‘body’. Song Wook tried to move toward a world where human and nature are united through ‘body’, represented by ‘naked body’ in his early poems, and showed a consciousness of trying to break free of space-time constraints and join others on a cosmic level. This is due to his experience of Showa Culturalism in japan at the end of the japanese colonial period, but Song Wook embodied this as a question of ‘life’ in Korean society after the war. More specifically, he tried to satirize the Korean society, which is marked as ‘Pseudo-modern times’ through the symbol of the grotesque body in his serial poetry Hayeojihyang, which is based on the structure of confrontation between the qualities of ‘anti-life’(death) and ‘life’(living). In this regard, his consciousness of social criticism was in a two-sided relationship with his consciousness of life. In fact, Song Wook tried to create an alternative space to heal the world marked by anti-life by restoring the network of human-natural relations from the Haeinyeonga. In particular, he wanted to portray a world in which the uniqueness of an object harmonizes with the life order of the entire universe through the time of the ‘second genesis’ and the ‘body’ on the cosmic level. Therefore, Song Wook’s persistent poetry of ‘life’ is significant in that it is related to the awareness of problems surrounding the post-war Korean society and is linked to the physicality that runs through his poetic world.