김춘수 시의 추상으로의 변모와 세잔의 영향 연구

Abstract

The purpose of this study is identifying the way to write nonsense poetry by discussing the exact concept and meaning of vaguely defined pictorial methodology by Cézanne after focusing on the fact that Kim Choon-soo stated that he applied 'Cézanne style abstraction' in the process of his poetry transforming into abstraction during sketching from nature in his nonsense poetry theory. For this aim, this study identified that abstraction by Cézanne was used in the following manners in producing nonsense poetry by setting the first part of 「Cheoyongdanjang」 as a subject, which identified that Kim Choon-soo trained Cézanne style abstraction. Firstly, as Cézanne did not imitate reality in painting by reorganizing landscape, Kim Choon-soo either brought targets selectively or expressed a part of subject after exaggeration. In that sense, images in nonsense poetry are not unified and have fragmentary character. Secondly, poet either selectively choosing a certain part of subject or making exaggerated expressions means that viewpoint toward subject is not consistent and this reminds the fact that Cézanne destroyed the traditional perspective and looked at subject from various viewpoints. Images in poetry, as they are gathered from various locations, have relations to the real world in diverged aspect and appear awkwardly in poetry. In particular, nonsense poetry have unrealistic aspects by images with powerful dominance reflecting other images. This is similar to the reflection technique used in painting by Cezanne. Lastly, as Cézanne had shape of subject unrecognizable by painting over, existing images became extinct and existing description toward images was repeated since Kim Choon-soo brought about same images in poetry by repeating same sentences. Thus, nonsense poetry are not interpreted as a single meaning and does not indicate a scene of reality. As mentioned previously, Kim Choon-soo having utilized painting methods by Cézanne- reorganizing, reflecting, and painting over - is related to not representing but realizing subjects through such techniques. Kim Choon-soo was able to realize childhood world, which exists but could only be brought about by recollection, in poetry through 'Cézannestyle abstraction' since childhood world is reminded in several fragmented pieces and many memories are selectively repeated. Meanwhile, when taking into consideration the influence relationship between Kim Choon-soo and Rilke, the point that the pictorial methodology by Cézanne utilized by Kim Choon-soo is similar to the creative viewpoint by Rilke toward abstraction by Cézanne described in Letters on Cézanne enables rational assumption that Kim Choon-soo applied 'Cézanne style abstraction' in poetry after reading Letters on Cézanne. This implies the possibility to escape from the existing viewpoint of limiting the influence relationship between Kim Choon-soo and Rilke to initial period poetry or poetry in latter age and expand viewpoint.