근대시에서 ‘감각’의 용법

Abstract

Studies on the modern Korean poetry has regarded “sensibilities” as belonging to personal experiences, giving birth to a modern subject. In other words, “sensibilities” have been comprehended from a perspective of a subject's personal experiences of an object (or the world), rather than focusing on existential meaning of the “sensibilities” by themselves. During the modern period, “sensibility” has been often used as an opposing concept to common principles such as Confucian ideology or other external ideology; “sensibility” was even interchangeably used with “modernity.” For this reason, “sensibilityn” has been regarded as a threshold to aesthetics of modern poetry. The agreement was made that “sensibility” was a counterpart of “emotion” that traditional Romanticism emphasized. The arguments between Lim Hwa and Kim Ki-rim on Technicalism can be understood as a struggle between “emotion” and “sensibility.” Sensibility can be construed as a similar concept to mentalites, indicating underlying qualities of literature in a particular period. This applies to discourse on Kim Kwang-gyun's poem that captured changing sensibilities in a transformation of civilization. Except plain expression of emotions or crude display of ideology, most of the modern poem works share a common quality that they rely on visual images to express objects concretely, and that they convey poetic messages based on a series of images. In this case, aesthetic accomplishment of individual poem is judged by vividness of images or organic linkage of images. And yet, a study of images in a particular poet's work is insufficient to fully display peculiar significance of “sensibilities” as a threshold to aesthetics. Noting this, this research attempts to demonstrate that “sensibilities” were involved in production of modern subjects, while remaining as the core of arguments surrounding concept of poem.