- 영문명
- The Self-Portrait Transfiguration Process in Seo, Jung-Ju"s Poetry
- 발행기관
- 어문연구학회
- 저자명
- 유혜숙(Hye-suk Yu)
- 간행물 정보
- 『어문연구』語文硏究 第55輯, 473~496쪽, 전체 24쪽
- 주제분류
- 어문학 > 한국어와문학
- 파일형태
- 발행일자
- 2007.12.30
국문 초록
영문 초록
This thesis is to study the self-portrait transfiguration process appeared in the ‘mirror-image" poetry throughout his early poetry to later poetry.
The poet(Seo, JungJu) had expressed ‘Anima" image as his own female self in his poetry. The self-portrait transfiguration process as a his own self-protype is a key to understand his poetry. The self-portrait transfiguration process shows divided self-portrait images caused by divided self-consciousness in his early poetry. The reason is that one lacks inner self-introspection to put together the diverse images latent in his self.
After the early poetry, he, with ‘Anima’ image like ‘Sister image", copes with disruption of self. The unfriendly elements, such as ‘anger and worry’ and ‘sorrow and cry’ in the life are seen to be merged in the ‘Anima’ image like ‘Sister image’, that is, in the images of reconciliation and communication. It unifies two conflicting worlds and leads to mutual understanding of two. The same case with ‘Mother(maternal grandmother) image’.
The self-portrait transfiguration process-‘divided self’→‘elder sister’→‘mother(maternal grandmother)’-throughout his poetry life shows the salient striking mark of ‘psychic medium’. It unifies two conflicting worlds and leads to mutual understanding of two. The one thing we come to know throughout the process is the poet himself is a kind of ‘psychic medium’. As H？lderlin says, a poet is the one who carries the divine message. The poet(Seo, Jung Ju) had tried to reconciled with the dark and negative side of life, not to confront the dark side of life. This attitude toward life has its origin with his life not to consider conflicting and hostile things like ‘life and death’ and ‘purity and impurity’ as a separate thing, to consider conflicting elements in life as deeply connected each other.
But the transformation of ‘the earthy’ into ‘the airy’, as Bachelard says, demands the intervention of ‘the fire’. The fire in his(Seo, Jung Ju) poetry is presented with the image of love that serves as ‘psychic medium’ to cope with humbleness and darkness of life.
The poet, gazing the flowering process of an orchid rooted in the opaque and hard ‘rock’, put stress on the vitality of flowering that leads the poet the new stage of changing ‘the opaque state’ into ‘transparent state’. Through the love of ‘Master singer’ who does not turn aside the filthiness of feces and urine urn and comb up his hair in front of it, he shows a divine power to cross ‘life and death".
As the poet sees ‘death’ as an extension of life, he can buy the thing(forsythia) of the dead man without hesitation. And with this action he can meet both grandmother of this world and grandfather of the world beyond. Again, he can make certain his self-portrait as ‘psychic medium’ throughout the identification with ‘forsythia’ that mediates both this world and the world beyond.
The poet(Seo, JungJu) had expressed ‘Anima" image as his own female self in his poetry. The self-portrait transfiguration process as a his own self-protype is a key to understand his poetry. The self-portrait transfiguration process shows divided self-portrait images caused by divided self-consciousness in his early poetry. The reason is that one lacks inner self-introspection to put together the diverse images latent in his self.
After the early poetry, he, with ‘Anima’ image like ‘Sister image", copes with disruption of self. The unfriendly elements, such as ‘anger and worry’ and ‘sorrow and cry’ in the life are seen to be merged in the ‘Anima’ image like ‘Sister image’, that is, in the images of reconciliation and communication. It unifies two conflicting worlds and leads to mutual understanding of two. The same case with ‘Mother(maternal grandmother) image’.
The self-portrait transfiguration process-‘divided self’→‘elder sister’→‘mother(maternal grandmother)’-throughout his poetry life shows the salient striking mark of ‘psychic medium’. It unifies two conflicting worlds and leads to mutual understanding of two. The one thing we come to know throughout the process is the poet himself is a kind of ‘psychic medium’. As H？lderlin says, a poet is the one who carries the divine message. The poet(Seo, Jung Ju) had tried to reconciled with the dark and negative side of life, not to confront the dark side of life. This attitude toward life has its origin with his life not to consider conflicting and hostile things like ‘life and death’ and ‘purity and impurity’ as a separate thing, to consider conflicting elements in life as deeply connected each other.
But the transformation of ‘the earthy’ into ‘the airy’, as Bachelard says, demands the intervention of ‘the fire’. The fire in his(Seo, Jung Ju) poetry is presented with the image of love that serves as ‘psychic medium’ to cope with humbleness and darkness of life.
The poet, gazing the flowering process of an orchid rooted in the opaque and hard ‘rock’, put stress on the vitality of flowering that leads the poet the new stage of changing ‘the opaque state’ into ‘transparent state’. Through the love of ‘Master singer’ who does not turn aside the filthiness of feces and urine urn and comb up his hair in front of it, he shows a divine power to cross ‘life and death".
As the poet sees ‘death’ as an extension of life, he can buy the thing(forsythia) of the dead man without hesitation. And with this action he can meet both grandmother of this world and grandfather of the world beyond. Again, he can make certain his self-portrait as ‘psychic medium’ throughout the identification with ‘forsythia’ that mediates both this world and the world beyond.
목차
1. 序論
2. 本論
3. 結論
참고문헌
Abstract
2. 本論
3. 結論
참고문헌
Abstract
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