이용악 시의 몽타주와 대화성 연구

Abstract

This study reveals that the poetic persona’s voice constitutes a ‘dialogue’ with a point other than ‘here now’ by analyzing the ‘montage’ aspect of poetic utterance revealed in Lee Yong-ak's poetry. The poetic persona of Lee Yong-ak’s poems shows utterances that actively reveal his identity as a boundary, which forms dialogues as a generative relationship that talks to and sympathizes with ‘you’ beyond the position of a single identity. The aspect of the dialogue shown by Lee Yong-ak’s poems has an important significance in overcoming the criticism that the genre of ‘poetry’ remains in a monologue of a single subject. Specifically, the communication-oriented tone of the poetic persona is realized through the movement of the viewpoint on the poetic background, the variation of meaning through the point-level repetition of similar expressions, and the pluralization of the voice through quotation. The series of rhetoric shown by Lee Yong-ak presupposes a dialogue-oriented attitude and is implemented by montage as an editing aimed at the response between poetic frames. First, the poetic persona’s viewpoint shift is achieved by intersecting the tense of the predicate. In particular, it is noteworthy that a temporal interval is inserted in describing the content the speaker directly experienced, the content it has crossed, and the scene it is facing. This is because not only the narrative is embodied through dialogue between the present and the past, but also a structure is formed in which the persona can actively communicate with the characters in the described event. Second, the use of the incremental repetition technique shows the dynamics of meaning formed within the structural perfection of a poem. The persona’s utterance, which repeats a similar sentence structure while subtly transforming and expanding each expression, forms a structure that speaks to ‘you’ at the same time as embodying an appealing voice. Repetition of poetic expression with a margin of meaning creates a dialogue between what was uttered earlier and what was uttered later, deepening the poetic meaning. Third, the aspect in which the poetic persona directly quotes and reinterprets the words of ‘you’ clearly shows the polymorphism and dialogue orientation of the voice. This dialogue, which takes place by repeating its own voice the story of ‘you’ that the persona is(or was) facing, can be said to be a structure of consideration not to compress the lives of the participants into one interpretation. The montage, which establishes the composition of ‘we’ facing each other, connects and extends the viewpoints of ‘you’ and ‘I,’ expanding the time and space inside the poem and coexisting with each other. The creation of such a friendly dialogue is extended to ‘dialogticity’ rather than just a few scenes in his poetry world, becoming a point that shows the significance at the present time of Lee Yong-ak’s poetry well.