김시종의 ‘재일’과 제주 4․3의 시적 형상화

Abstract

The primary purpose of this paper is to summarize the meanings and implications of Kim Si-jong's poetry under the context of the April 3 Jeju Uprising. That is, the study intends to investigate how his linguistic consciousness and existential consciousness deepened with assertive intent of ‘Jaeilhada [在日する]’, residing in Japan’ meet with the historical consciousness that testifies the April 3 Jeju Uprising with attention paid to the emphasis placed on the independence and identity of 'Jaeil' beyond the oppression and closure of ethnic or national ideology. First, the study noted that his poetry revealed poetic orientation as part of 'criticism' to find the basis of 'Jaeil'. That is, Kim Si-jong struggled to establish the right-minded direction of his poetry as one of the 'Jaeil' poets on the basis of the Ono Tozaburo’s poetics as 'criticism' that manifest the ideological orientation as 'denial' and 'resistance'. In other words, he believed that the poetic orientation as 'criticism' that reasons and criticizes the reality should be established as an attitude of new lyric beyond the melodic direction shown by the traditional lyricism with nature used as a topic. This led to the most meaningful poetry and the direction of poetics that practice the lifelong task of having to overcome the underlying guilt and anxiety of April 3 Jeju Uprising. Second, the study has examined Kim Si-jong’s works that poetically portrayed the memory of April 3 Jenu Uprising. The images of April 3 Jenu Uprising depicted in his poetry are mostly indirect and implicit projection leaning toward other comparable incidents committed by the era of violence instead of revealing direct characteristics with emphasis on the sense of presence. As a result, Kim Si-jong and his poetic embodiment of April 3 Jeju Uprising are characterized by the voice of resistance against the unjust times in a rather symbolic and figurative manner, which is a result of critical reflection on his distressed destiny of having to live hiding his pain and suffering from the tragic history of April 3 Jeju Uprising that redefined his life and poetry as if they were his original sin.