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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The purpose of this paper is to reconsider the relationship between sensuousness and sentimentality in the poetry of Lee Jang-hee. Depending on the controllability of the poetic subject over the world and the controllability of sorrow associated with it, the poetry of sound and sensus in Lee Jang-hee are distinguished. The poetry of sound shows where the poetic subject loses control and is invaded by emotions. The passively heard sound shows a similar mechanism to the sorrow that invades the subject, as the sound is a passive thing rather than an active thing in Lee Jang-hee’s poetry. On the other hand, the poetry of sensus is written to control the world and the poetic subject himself. To overcome the existential state passively invaded by sorrow, the poetic subject constructs a sensuous poetic world that he can control. Ultimately, the poetic subject pursues to make his sentiment and melancholy "controllable", by reclaiming his subjectivity regarding the world. Whereas the poetry of sound is associated with the sense of passive sorrow, the poetry of sensus is associated with an existential project to overcome his melancholy and sorrow.
However, such an existential project repeatedly fails due to his uncontrollable melancholy and sorrow. Furthermore, attachment to sensus can be risky in that it becomes a way to confine oneself from the world. The obsession with sensuousness depicted in Lee Jang-hee’s poetry accompanies voluntary self-confinement, and as a result, contrary to its original intention, it deepens the isolation and melancholy of existence. The poetic subject, concealed within himself, proceeds to an aphasiological state of being. A loss of will to manipulate, gaze, and speak, shows the extreme melancholy state of the poetic subject. This explanation reveals the way how sensuousness and sentimentality could coexist in Lee Jang-hee‘s poetry and the reason why both sensuousness and sentimentality were eliminated from his poetry in the end. By examining the dynamic relationship between sensibility and subjectivity created by Lee Jang-hee’s poetry, this paper explains the existential project of Lee Jang-hee as a poet, and further, the existential meaning of sensuousness.
However, such an existential project repeatedly fails due to his uncontrollable melancholy and sorrow. Furthermore, attachment to sensus can be risky in that it becomes a way to confine oneself from the world. The obsession with sensuousness depicted in Lee Jang-hee’s poetry accompanies voluntary self-confinement, and as a result, contrary to its original intention, it deepens the isolation and melancholy of existence. The poetic subject, concealed within himself, proceeds to an aphasiological state of being. A loss of will to manipulate, gaze, and speak, shows the extreme melancholy state of the poetic subject. This explanation reveals the way how sensuousness and sentimentality could coexist in Lee Jang-hee‘s poetry and the reason why both sensuousness and sentimentality were eliminated from his poetry in the end. By examining the dynamic relationship between sensibility and subjectivity created by Lee Jang-hee’s poetry, this paper explains the existential project of Lee Jang-hee as a poet, and further, the existential meaning of sensuousness.
목차
국문초록
Ⅰ. 서론
Ⅱ. 통제되지 않는 ‘소리’와 세계를 통어하는 ‘감각’
Ⅲ. 유폐된 내면의 종착지, 감각의 후퇴와 무(無)의 세계
Ⅳ. 결론
참고문헌
Abstract
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