고정희 장시의 창작과정과 특성- 「사람 돌아오는 난장판」을 중심으로 -

Abstract

In 1980s, the mode of mixed genres, which went beyond genre and media, emerged with the poetical parodies of popular ballads, Pansori, and Gut poetry, or shamanist ritural poetry. Especially, with the experiments of the various popular literature due to the emergence of epics in 1970s, Gut poetry, succeeding the popular literature, has its own significance among the poetry of the 1980s. I turn my attention to Koh Jung Hee's long poem, "Memorial Service for The Dead"(1983), which shows the dramatic property of the Gut forms in 1980s. Koh Jung Hee's early poems had their potentials as a long poem. She paved a way for the long poems through a series of some serial poems in her early days. In her long poems, there were the properties of transgressing genres trying to make parodies some other genres of arts, including Talchum, or Dances of Masks, Madangguk, or Plays on the Marketplace, and Gut, even though her early poems were mission poems to describe Christian beliefs. Her serious long poems are The Rituals for People Coming Back(1979), Mixed Fields of People Reviving(1983), and The Green Turf on the Grave(1989), reflecting her sense of death, which give us the important clues for understanding the core of the identification of her long poems. In this thesis, I try to identify the dramatic properties of her Mixed Fields of People Reviving, which is representing specifically scripts of the stage, the exact forms of dances, rhythm of songs, and utterings and Balim of Pamsory succeeding her own The Rituals for People Coming Back. Further, this poetry shows the proper of satire and humour to criticize the reality of this society with dialects of Chonla province. In this thesis, I try to find out and reveal how her poems were created and how her poems can be connected with the social reality of 1980s.