90년대 여성 시인의 현실인식과 기법 -변종의 시학, 그 위반의 전략-

Abstract

The purpose of this paper is study on the Weltanschauung and Aesthetic form of the 1990's poetess. The 1990's poetess attempted aesthetic renovation by special poetic technique. Kim, sang-mi's first collection of poems, A hat makes man penetrate to the pith alienation of modern industrial society. Second collection of poems, Black shower-clouddistinctly show nonexistent and imperfection of language. Language have not thorough signifie and all kinds of text exist under the jurisdiction other text. Therefore all kinds of text are attribute of intertextuality. Kim, so-yeon's first collection of poems show tension inside and outside. Being of inside have violence, repression toward outside. She refuse ideology of inside―an androcentric society―point of view feminism. Like this her consciousness is given center arrangement a line of verse. Also, she is refused traditional poetry by pictorial arrangement a line of verse. Sin, hyeon-lim's poetry put photograph and picture to creative practical use. Photograph and picture are related to belonging equally to each poetic language. Therefore her poetry are 'inter-genre poetry' and diffuse a figurative literal meaning. Also, a rhetorical device of her poetry are metaphor. Metaphor of her poetry has a high power tension and suggestion. Finally, the kernel of Seong, Mi-jeong's poetry is allegory and irony. She intend to unique cognizance of life by strange subject matter. Specially, 「Love with bald head」and 「The Ugly Duckling」has a roundabout statement about irrationality of life. The former express irony of life, the latter criticize the instinct of imitation under capitalistic system. In a word, aesthetic form of the 1990's poetess refused tradition, authority, logic of majority. Therefore, the 1990's poetess expressed parody, pastishe, intertextuality, destructive poetic form, deconstruction of genre.