박서원 시의 아이러니적 주체와 모순어법 -초기작을 중심으로

Abstract

This paper examines the independent aesthetics of Park Seo-won’s poetry, which has been discussed in the context of 1990s women’s poetry. Her poems are seen as an utterance of neurosis and an example of poetry writing from a female perspective. They exhibit a poetic possibility that cannot be reduced by the utterance of neurosis. This is consistent with the subversive nature of women’s writing and cannot be generalized.   The linguistic order adhered to by Park’s works is seen as an oxymoron in this paper. An oxymoron is a rhetorical device that creates tension by pairing words that are contradictory and cannot be integrated. However, the oxymoron in Park’s works results from the utterance of a split subject, and represents the point at which the poetic subject is located in language. This can be called the boundary, or specifically, a place where all things contradictory remain unintegrated, and not a value-neutral line that separates the subject and object, self, and other, and inner and outer consciousness. In Park’s poems, there is another self that views oneself from above the boundary. This meta-ego is an ironic subject in that it views itself as a perceivable entity, at the same time, is aware of its separation from self. This subject gazes at its separation, and executes the possibility of integration only within that gaze. The ironic subject embraces and maintains pain, and accepts this as its calling. The oxymoron is the ironic subject’s only method of utterance oxymoron. Since signification of this utterance is not possible, it can be called the writing of the body. The artistic nature inherent in the utterance stems from the fact that it is a form of writing where the self is an offering and one’s own death is sought.