김수영 시에 나타난 도시적 시선의 문제

Abstract

It is impossible to understand the modernity of Korean modern poetry without mentioning Kim Soo-yeong. Kim Soo-yeong is a poet who has broken through the aspect of modernity of Korean modern poetry with daring words and forms. In order to understand the modernity of Kim Soo-yeong's poetry, we need to watch the position of individuality and changes in sentiment he has shown in the new urban culture. Kim Soo-yeong has made the modernity of Korean modern poetry advance into a new dimension by discovering new urban sensibility called ‘sorrow’ in the heart of a city life. It is not simply a question of the space of poetic material but an important point of discovery to understand the sentiment and politics of Kim Soo-yeong's poetry. This paper is to reflect on how the symbolization of the city is constructed through what eyeing system. If city is viewed as a system of symbolization, what matters is the question of eyeing system in which the city is constructed. When Kim Soo-yeong is called an urban poet, it does not simply mean that he was born in a city and he showed his critical interest in urban civilization. He was a poet who dramatically showed the eyeing system in which he represented urban space. The birth and adventure of eye in Kim Soo-yeong's poetry is an important aesthetic standpoint penetrating his poetry world. The important space where his ‘dynamics of eye’ is generated is the streets of the city. In that place he is not simply a person who gazes urban landscape but becomes a being who rediscovers himself within the frame of eye. Kim Soo-yeong sets up his position as a subordinate and external stranger in the urban space. While he belongs to the urban inside, he sets up himself as an outsider of the city, and based on this setup, he creates the eyeing system in which he stares from the inside to the outside of the city. And the eye of outsider of the city moves as the eye of discovery finding new ethics of love on the inside of the city. This place is the point where the ethics of the stroller or urban observer is discovered. The eye that identifies the crowed on the streets which is the object of voyeuristic eye transforms into a process searching for life of the city from the things on the street. The eye that has taken voyeuristic posture toward urban landscape moves to the eye of an ethical discoverer that discovers ‘life’ on the inside of the city. The ethics of this eye arrives at the stage of ‘double eyes’ that capture the acceleration time and the historical time at the same time on the inside of the city. The poet Kim Soo-yeong who had been sensitive to the sorrow of the city was not limited to the melancholy of metropolis which is the aesthetics of western modernity because he discovered the possibility of new love and revolution in the colonialism and speed of Korean modernity. Kim Soo- yeong's poetry shows the inside and outside of urban time and space, the boundary of what is visible and invisible, and the question of eye that intervene in all these things with the poetic language. It is equivalent to the politics of an urban eye in the context of staring at the possibility of other lives on the inside of the city.