This thesis serves to disclose the newly produced definition of poetic spatial perception and expansion and renewal of perception which are discovered from it, by analyzing characteristics that are outlined in Korean modern sea-poetry. As discussion o... This thesis serves to disclose the newly produced definition of poetic spatial perception and expansion and renewal of perception which are discovered from it, by analyzing characteristics that are outlined in Korean modern sea-poetry. As discussion of the analysis of individual text and particular period has acquired noticeable results, this study points out distinguishing itself from existing sea-poetry studies as its main problem. Thus, this study does not only inquire the aspect of change of spatial perception in sea-poetry like existing spatial studies, but also intends to investigate a poet's inner consciousness along with artistic value of the sea-poetry, by doing an in-depth analysis of how poetic world is formed and unfolded in a poetic space. Making use of Gaston Bachelard's theory of La poetique l'espace in which poetic space acquires its value of expansion from expressing artistic value and inner consciousness, this study focused on revealing the creativity of perception in sea-poetry by disclosing how sea-poetry's multi-layered spatial perception is expressed. This article serves to grasp the differences of extensity according to chronological order while keeping in mind that a human's imagination can get out of chronological order. A poet's personal experience is made in contemporary reality. This reality is also formed in the part of the history, which all takes place in certain space. 'Sea' is the place which contains the best of changes of all lives' original form. Therefore, extensity research of 'sea' has to discuss genetic level which analyzes the meaning, structural level which determines the principle of poetic structure, and mythologically symbolic level which associates itself to universal human consciousness. Second chapter notes that in Ji Yong Jung , Yim Hwa, and Ki Rim Kim's sea-poetry, an idea is expanded and materialized by highlighting the space where oneself-reflective cause is prominent and reflecting the poet's mental state in the inner world of inviolability. Space is not only mere method of simple environmental portrayal in the imagery of sensuous objectification of the first verse, but also a symbolization of psychological space that is controlled by self-consciousness. Furthermore, it is important to remember that despair and hope co-exist, in the space of modern aim and reality subjugation in the second verse, while the expression of tension and conflict in reality reflects the poet's unconsciousness. Considering periodical desperation in 1930's, in the sensuous image of modernity, the poet's manner to pursue self-examination is shown materialized by condensing volition to disclose relationship between civilization-critical poem and reality in the spatial perception. Third chapter takes a look at how reconstructed mental space is formed by aiming at transcendental world after escaping the state of chaos, in the work of Chi Hwan Yu, Jeong Ju Seo, and Jae Sam Park. Prototypical symbol of life perception in the first verse takes prototypical symbol at spatial perception as an underlying vitality, and thus provides the evidence of expanding of a poem's meaning. If spatial difference stands for distance of realization in the philosophical reason of futility perception in the second verse, poet's spatial perception stands for a change. Universal unconsciousness of a human which desires an eternal life materializes through the crossing domain of horizontal and vertical space. In addition, mainly conservative side of extinction and adventurous characteristic are shown, in the symbolic transformation of creation and extinction in the third verse, because of serial cycle structure of space, and are ideas acquired from an awakening. Poetic space combines in relationship of original form and interacts, and thus secures the extensity of the intersection. In the fourth chapter and the sea-poetry of Hyang Jo, Choon Su Kim, Chung Seong Moon, withdrawing of inner consciousness and language experiment could be poetic experiment instead of passive escape, but poetic world has been shown to aim for reconciliation with identity through opposition. The poet's unconsciousness is integrated in transcendental idea of an individual free of surreal space during the process of actualization in the first verse. At the network of existential existence in the second verse, visual balance strictness is not what opens sensuous domain in tension and binding force of the object, but the formation of centrifugal spatial perception where the meaning of a poem is born. Furthermore, considering the embracing of visibility and invisibility in the third verse, transfiguration of spatial perception reflecting an aspect of independent life, in unification, constructs the world of identity. Although tension tends to weaken, mostly the structure of reconciliation is formed, expanding the meaning of the poem and intensifying tension. Among the three orientations of sea-poetry that are discussed in this article, identity is an explanation of ontological world perception itself, mental rebirth of positive vision they try to suggest under the realization of the world, and the last one is the outcome due to the author's discernment about the space of life.
|
