1990년대 한국 여성시에 나타난 ‘액화’ 이미지 연구

Abstract

This study examines the image of “melting” in Korean women’s poetry in 1990s through the representation of “body” in poems of Kim Eon-hee, Shin Hyun-rim and Huh Soo-kyung. Kim’s poem shows physical process of liquefaction through an image of cutting. From this, a place called ‘body’ is filled with a sense of ‘fear’. Shin’s poem perceives continuity of time and preserves itself by separating liquid ‘body’ from the outside world. By this means, it pursues qualitative transformation. This can be called a chemical process. Huh’s poem contrasts ‘body’ and ‘mind’ and constantly reveals physical changes in the body and chemical changes in the mind. Through this process, it explains liquefaction phase of the body by liquefaction process of the mind. It reaches out to the existential question of loss and wound, which is a way of realizing one’s body as a ‘wound’. This ‘liquefaction’ process, where a subject’s perception and mobility of a poetic object come out, destroys solidity of the world, but does not replace it with anything else. Therefore, it has a characteristic of ‘abject’. A maledominated order defines all the outside world excluding itself as nature. Nature is impersonal. The liquefaction process is melting the world which has been structured as such. It is a process of deriving individuality from universality, and finding out one’s own self lost in the universal world. In other words, the liquefaction is not simply completed with the image, but determines the nature of a subject handling the image and an object captured by it. In the same context, a subject’s internal mobility causes that its sense detects liquidity of poetic object and captures such change. The liquefaction image continuously destroys the repressive world through these interactions.