김춘수 시의 회화 이미지 차용에 따른 시작법 연구

Abstract

The aim of this study is to examine the patterns of unconsciously poetic imagery that arise in the process of recontextualization due to the intermedia between poetry and painting. The study intends to show that poetic language and imagery are visualized effectively to express the unconsciousness of the subject through visual techniques such as juxtaposition, collage, long shots, and close-ups. Ultimately, the study sheds light on how those visual techniques ranging from painting to cinema function as major mechanisms for understanding modern poetry. For the purpose of this study, poetry by Kim Chunsu, which takes painting as its source text, will be used. That is because Kim Chunsu’s poetry, which is derived from painting, was not just written as simple appreciation of the source text or a subjective reinterpretation of it, but rather embodied poetic achievement in which poetic form and content are balanced through the intermedia techniques of expression. Since Kim Chunsu’s poetry derived from painting used collage and montage as its key techniques, it was a semantic act entailing variations or distortions of poetic forms. Borrowing existing images means producing new meanings by taking those images from one context and placing them in another context. Poetic imagery derived from painting and cinematic techniques, therefore, has intermedia characteristics, in that it transforms existing literary forms into various techniques of expression and creates subjective meanings.