백석 시에 나타난 감각에 관한 연구 - 촉각을 中心으로

Abstract

The study focusing on tactile sensation in Baek-Suk’s poems has the dualadvantage of analyzing aesthetic qualities and exploring how to writepoems. While the poets in the 1930s showed the poetic world emphasizingthe hierarchy of sight by strengthening the subjects of sight, Baek-Sukweakened it and showed the fine operation of senses using five senses. Theunique sense operation of Baek-Suk’s poems shows the transition andamplification of senses by the combination and exchange of five senses, i.e. sight, hearing, smell, taste and touch. This operation of senses makesBaek-Suk go forward toward an individual poetic world pursuing the equalcommunity order by overturning the subjects of sight. Baek-Suk’s poetic world was characterized by both the use of sensesshifting from sight to various senses and the conversion of subjects resultingfrom inconsistent tenses. Senses were amplified through the combination ofsight and touch, and the unique sentence description structure of inconsistenttenses in subject and predicate parts gives birth to the peculiarity of making‘others’ a subject by expanding senses. The conversion of subjects is theswitch from a visual subject to a flesh-sensing one through the blurredboundary between a subject and others. The flesh-sensing subject can besaid the one sensed by touch. In the process of shifting from sight to other senses, the combination and exchange of senses can be said the uniquesense operation shifting to fundamental touch. And the primitive world is realized through proprioception, ‘flesh’, by theencounter of a syntactical repetition technique and an iconic factor of apostposition and sentence in Baek-Suk’s poems. They emphasize a visualfactor, i.e. iconic factor, more than hearing represented by musicality. The‘iconic factor’ is closely associated with the syntactical repetition technique. The repetitive use of a postposition or syntactical repetition of the sentenceblurs the hierarchy of an individual object by arranging things or objects inparallel. While the poets strengthened the musicality of poems through thesyntactical repetition technique, it operates as a function of dismantling thecenter and realizing the primitive world through anti-perspective attentionrather than promoting or strengthening rhythmic sense. The tactile sensation functions at this moment. It is because the way ofmeeting between the subject and others is revealed focusing on tactilesensation in the dimension of integrated senses. The tactile sensation is anexperienced sensation recorded on ‘flesh’, i.e. skin or body. Baek-Suk’spoems select the way of awakening memories by combining and shiftingvarious senses. The way of recalling memories is a sense triggered by thebody. In Baek-Suk’s poems, the boundary of a subject and others is blurredand the horizontal world is formed. This is associated with the operation oftactile sensation. The anti-perspective landscape is shown through tactilesensation rather than emphasizing sight. The oneness of the subject andothers is amplified into tactile sensation by various overlapped, chainedsenses. In Baek-Suk’s poems, touch functions as a basic sense, which isunconscious and involuntary one recalled by the skin or flesh of the body. The operation of touch as a basic sense blurs the boundary of a subject andothers, and expresses the primitive world of senses. In other words, thestudy focusing on tactile sensation in Baek-Suk’s poems implies to extract aesthetic qualities, poetic energy and writing technique. In Baek-Suk’s poems, senses shift from sight to hearing, from sight totouch, and from hearing to touch, by the combination and exchange ofsenses in harmony with inconsistent tenses and syntactical repetitiontechnique. It is shown that the primitive poetic world is realized by aphenomenal field, ‘flesh’, in which a subject and others are combined.