지훈 시의 시기 구분 문제와 중기시의 의의

Abstract

This paper examines the characteristics and its meaning of mid-term poems as a bridge connecting the early and later poems of Cho Ji-hoon. To this end, the period division of works will be re-established as a preemptive action. Existing studies failed to approach the poetic structure as they followed the period division of life that the poet himself attempted, and had the problem of overlooking the fact that there was a poetic conversion in which continuous and discontinuous intersects between the dark ages before liberation and the turbulent times after liberation. The purpose of this paper is to take a critical stance on viewing poetry from the 1950s until his death as continuous and consistent and to uncover its discontinuous aspects to identify the structural features and significance of Cho Ji-hoon's mid-term poems. In this paper, early poems were approached by dividing into three types, limiting the period from the time they were started to the period of Woljeong Temple in Odae Mountain. First, the poems of the Baekji group are based on the separation between subject and object and the dissonance with the world, which reveals a divided sense of self. Second, the munjang group reveal an aesthetic awareness based on the confusion of subject and object and the assimilation with the world. While the above two series of poems commonly pursued technicalism, the poems of the "Gosa" series feature anti-technicalism. Cho Ji-hoon's early poems feature a sense of distance to the real world and a aesthetic distance to the object without the poetic subject intervening as much as possible. The poetic subject based on a fixed standpoint outside the work takes an attitude of appreciating the object by keeping a certain distance from the world, or only reveals the ideological ontology of nature through objective description of nature. The beings in nature are interconnected and nature is represented by aesthetic virtual image, which lies in a state of harmony and reconciliation. The works from the early to late 1940s, which can be called mid-term period, show the spirit of adapting to nature or the world and trying to ultra-polarize it by engaging in conflict and dissension with the world(nature) and deviating from the perfunctory attitude based on aesthetic distance. The most distinctive feature of the poems of this period is the emergence of the unmarked subject “I” at the surface of the work, revealing the existential sorrow stemming from the “contradiction of experience.” Unlike nature in its early days in a world where “micro-virtual” or totality is implemented, nature in mid-term periods is in an imperfect state that implies an instrument of negativity by the reflection of the principal being involved.