현대시의 동물 재현에 나타난 신체 이미지 연구 - 최승호, 김혜순의 시를 중심으로

Abstract

Animal discourse is drawing attention not only in the social arena but also in the humanities arena.Animal rights have also emerged as a major topic of conversation in literature. This paper studies discuss the aesthetic strategies of animal reproduction in modern poetry. After modern literature, animals received attention in Korean poetry when environmental literature and ecological literature discourse were spreading. Against the backdrop of urbanization and industrialization that has been underway since 1960, a work that has prepared for the critical consciousness of modern civilization that indiscriminately damages nature and the vitality of nature has emerged. In the 1980s and 1990s, environmental literature and ecological literature began in earnest. Environmental literature criticized the destruction of the environment caused by modern times and revealed that human survival is threatened. Likewise Ecological literature critically raised the violence of humans and civilizations against animals, viewing them as living objects. However, they failed to capture animals as the other in that they are perceived as reproducible or as abstract objects of life. In comparison, since the 2010s, animals have emerged in modern poetry as fragmented or divisive images, not as backgrounds or objects. The sense of a poetic subject facing animals as the other breaks up the lyric of sameness and demonstrates a strategy of reproducing inhomogeneity and impersonality by moving forward from subjective emotions to affect. Choi Seung-ho's poems sensibly captured animals outside the boundaries of perception by showing images of bodies mutating through the form of connecting and connecting poetic images. The body of an animal in his poem was an unreplicable object that could not be defined as a fluid body, and it was expressed through multiple fragmented images. On the other hand, Kim Hye-soon's poem suggests the possibility of dismantling dualistic and genderized human-centeredness by showing the transition of the body and the emergence of a static body as a result. Kim Hye-soon's ‘-doing’ strategy ultimately breaks up the boundaries between humans and animals, moving toward self-rescue, or liberation of women and animals as minorities. The reproduction of animals as the other shown by the works of the two poets denies the identification and identity of the reproducing subjects and produces images of non-identical and plural bodies. This image of the body foretells the reconstruction of the body through the changes in the body that the animal as a batter is not the object of perception but the physical sensation that it causes. In this regard, it also suggests the posthuman discourse possibilities of companion humanities.