신동집 시의 수행성과 문학사적 위치 ― 음악, 악보, 시에 대한 상상력을 중심으로

Abstract

This article attempts to discuss the practical significance of Shin Dong-Jip's poetry by tracking the changes of his belief on the value of the act of writing in his life time period as a poet. Despite his long period of activity in literary filed, Shin Dong-Jip's poetry has been read only as a part of 'post-war poetry' of 1950s or as a circular performance of 'self-satisfactory ontology' of post-war era. This article aims to discover the specific position of Shin Dong-jip's poetry in the history of modern Korean literature by adding in the context of such research history a view of reviewing his overall time of writing poetry and discovering the performative value of "self-satisfactory" writing. This article first analyzes the trace of Shin Dong-Jip's poems that set the direction for his poetry from death to life, or from mourning to imaginary vision, focusing on his belief in 'music,' and discovers the point when he faced the incommunicate text of 'musical notes' as a field where such a imaginary retroversion becomes impossible. The point at which the textuality of ‘score’ is perceived is connected to the point where the poet starts exploring the practical meaning of the act of writing poetry while being aware of the limit and possibility of 'poetry' as a type of text. By identifying the relationship, this article attempts to reveal the practical value of the attitude of writing poetry that Shin Dong-Jip's poetry developed in the process of building the ontology of poetry in the actual world beyond the abstract exploration of human ontology. The performative character of the poetry of Shin Dong-Jip will help the readers to rediscover Shin Dong-Jip’s works in literary history while appreciating the poet's act of writing over 40 years.