In this thesis, the general understanding and context in regards to the Jung Ji-Yong's poetry have been sought through the study of the aspects of perception of the nature and the phase of poetic figuration that is shown with Jung Ji-Yong's poems. The discussion of this paper is stirred, with the given nature of perception that is shown in Jung Ji-Yong's poems, it was an occasion to realize the inside and ...
In this thesis, the general understanding and context in regards to the Jung Ji-Yong's poetry have been sought through the study of the aspects of perception of the nature and the phase of poetic figuration that is shown with Jung Ji-Yong's poems. The discussion of this paper is stirred, with the given nature of perception that is shown in Jung Ji-Yong's poems, it was an occasion to realize the inside and identity of the poet and he perceived the nature as a poetic task and strategy that consistently emanated from the early days of his poetic creation to his latter period. The concept of nature and research scope associated with it have been set in order to conduct this study. The phenomenology of imagination of Bachelard was used for the methodology in this study as well as the view of landscape from Garatani Gojin. The landscape aesthetics of Nakamura Yoshio, the theory of landscape in the phenomenology and the theory of time and space of Bergson have been presented. The nature in the poems in the early days of Jung Ji-Yong is mainly represented and focused on one's hometown. The hometown appears in two layers. Firstly, the nature as the fundamental space of the human existence, the objects in the nature and the nature itself show the state of happiness and unity with the inside of thyself in this case. The desire of ideal I, which does not recognize others, is fixed to the inside of the conceptual nature unity and the closed nature-friendly image. Secondly, the nature as the space possessing the value from the definition of the others on the modern civilization. The nature appears as the images of the transformed nature and one's hometown as an imaginary community as opposed to the nature by experiences. The place where I, who have longed for an imaginary hometown as a lost land, have arrived through the wanderings and the memory of the recollection is the sea. This is an open door to the unknown world. The sea in the poems of his early days was a romantic space where the inner world and the emotions of the poetic self were deeply influenced. The nature of the representation in his poems in his early days is only a medium as a symbol to represent the inside of I. I do not perceive the peculiar power of the nature and the gaze of the world as object. The nature that has become the other, which is the poetic subjects that came across on the way to the nature as a concrete target, have deviated from transcendent nature. It is a pursuit of desire to confirm the subject and recognize the object. Wandering persona, who was thrown into the modern society, set the world and the nature to the object in order to rise against going through an unstable identity and to state a question as well as a pursuit to rise to position of the subject. Analyzed in the poems, such as「바다 5」, 「바다 1」 and「琉璃窓 2」, which are in sink with a relations mode towards the world and the operations of sense and sensibility and the unfolding mode of desire. In the children's verses of the early days of the poet Jung Ji-Yong, the persona do self-consciousness nature as self reflection of the world of consciousness as opposed to sensing the world. In the poems that adopted sea and city space as subject matters, such as the nature, have appeared to become the observational objects. Although poetic emotions go together with an observative gaze, a completely different aspect from the trend of early days' poems is shown. Through the analysis of「湖面」, 「겨을」 and 「밤」, Jung Ji-Yong's unique methodology of poetic creation, in which natural objects are observed and sensible dynamics of the images, has been identified to be mature in full swing. His effort to reveal dynamism of the images by describing the world cruelly and objectively was a relatively consistent poetic intention. This desire paradoxically demands to fix the dynamic and complex images of the objects in visual composition as well as an addition to making an abundant imaginary possibility that the images of objects have poetic value. A 'window' and a 'perspective' have appeared in that process. The window simultaneously represents a sensible opening towards a target and a severance of existence. The perspective makes the concrete individual abstract that the target has set in order to tie the target in the vision of a subject. It also deploys the target in universal units and scales. 「바다 2」is positioned at an extreme of such a methodology. 「바다 2」shows a process of self-restraint that I, who has grabbed nature and has attached under the vision of the subject and have essentially come across. Jung Ji-Yong looks at the picture of the sea and the scratch of sense. He discovers another image, which is the earth and the sea as live creatures. The injury of sense, which was his poetic aim, is the organic nature that has risen in the place where its limitations were revealed and the images of its power possessing another poetic possibility and meaning. The poems of Jung Ji-Yong in his latter period are the records of self-reflection that he walked into landscape and experiences in its creation and hiding. Travel is only an escape from daily life. Landscape is discovered by humans, who have lead non-daily lives and who have left labor. He participates in the landscape, which is a so-called nature. He begins to draw a landscape that is created accordingly. The landscape of his poems in his latter period appear as a journey of exploration. They are recorded in the body of the poet. Mt. Geumgang is the space where the meaning has been covered by so many texts. The poems of Jung Ji-Yong walk into the inside of Mt. Geumgang, while they deviate from a metaphysical model which Mt. Geumgang contained. Mt. Geumgang is born as the landscape created and is recorded in the poet's body. Landscape is the place where incidents take place under the middle layer time. Scenery is the place where continued time opens a horizon, which is the world related to others through human's body. The natural landscape appeared in「毘盧峯」, 「玉流洞」and 「白鹿潭」 is not limited or fixed to a object at the backdrop of isolated sense of a subject. The landscape is the field of sense that is mutually summoned and opened through an active intervention and a participation in the landscape by a moving persona's gaze. The dynamism, which the landscape contains, was discussed in the time and space aspects. Through an analysis of「九城洞」and「長壽山」, the natural space was confirmed to be time and space as an incident that is generated along with a time factor, which is human's experience, rather than represented space. The time and space of Jung Ji-Yong's poems in his latter period are actualized by landscape of creation and communication. They are not created by silence and no time attributes, they are also transposed with time attributes in which the landscape internalizes the rhythms of nature that continues and circulates. Key Word : Jung Ji-Yong, nature, landscape, time, space, sense, sensibility, subject, others, Perspective.본 논문은 정지용 시에 나타난 자연 인식과 시적 형상화의 양상을 고찰함으로써 정지용 시에 대한 통괄적인 이해와 맥락을 구하고자 하였다. 정지용에게 ‘자연’은 시 창작의 초기부터 후기까지 일관되게, 시인의 내면과 정체성을 자각하는 계기이자 시적 과제와 전략으로서 인식되었다는 점은 본고의 논의가 촉발되는 계기이다. 이 연구는 근대 인간에게 새롭게 인식되고 지각되는 자연의 양태를 분석한 후, 현상학에서의 풍경미학, 공간을 추상적․보편적 구조로 환원하는 것이 아니라 지속과 생성의 시공 개념으로 받아들이는 베르그송의 시공간론, 이미지 현상학 등을 방법론적 도구로 정지용 시세계의 궤적을 추적했다. 정지용 초기 시에서의 자연 표상은 자아의 내면을 재현하기 위한 상징으로서의 매개에 불과할 뿐이며, 자아는 자연이 가진 고유한 힘과 대상 세계의 시선을 인식하지 못한다. 즉, 초기 시에서 시적 자아는 대상 세계를 감각한다기보다 의식 세계의 투영으로서 자연을 자아화한다. 그러나 시적 자아가 고향의 외부에서 고향과 고향의 외부를 의식하게 될 때 발견되는 것은 주체와 주체의 내면, 그리고 타자화된 자연이다. 대상으로 인식된 자연과 그 이미지들은 정지용의 감각적 구도 속에 포착되어 역동적으로 되살아난다. 그러나 대상을 주체의 시각상에 묶어두려는 원근법은 대상의 구체적 개별성을 사상시키고 보편적 단위와 척도로 대상을 배치한다. 정지용의 「바다 2」는 자연을 움켜잡아 주체의 시선 아래에 부착하려는 자아가 필연적으로 마주치게 되는 자기 속박의 과정을 보여 준다. 그러나 정지용은 이 海圖와 감각의 생채기를 바라보는 동시에 살아있는 생명체로서의 지구와 바다를 발견한다. 그 힘의 이미지는 또 다른 시적 가능성과 그 의미를 내장하고 있다. 정지용의 후기 시는 시인이 ‘풍경’ 속으로 걸어 들어가 그것의 생성과 은폐를 경험하고자 하는 자기 성찰의 기록이다. 풍경은 중층적 시간 아래 사건이 발생하는 장소이다. 지속하는 시간이 인간의 신체를 통해 타자와 관련된 세계라는 지평을 여는 곳이 풍경이다. 「毘盧峯」과 「玉流洞」, 「白鹿潭」 등에 나타난 자연 풍경은 주체의 고립된 감각을 배경으로 하나의 대상으로 한정되거나 고정되지 않는다. 이동하는 화자의 시선이 경관에 능동적으로 개입하고 참여함으로써 상호 소환되며 열리는 감각의 장이 풍경이다. 「九城洞」, 「長壽山」 등의 분석을 통해 자연 공간은 표상 공간이라기보다 인간의 체험이라는 시간적 요소와 함께 생성되는 하나의 사건으로서의 시공임을 확인했다. 이에 따라 정지용 후기 시의 시공간은 정적과 무시간성이 아니라 생성과 소통의 풍경으로 구현되며, 자연의 리듬을 내재화하는 풍경이 지속하고 순환되는 시간성으로 치환된다.
In this thesis, the general understanding and context in regards to the Jung Ji-Yong's poetry have been sought through the study of the aspects of perception of the nature and the phase of poetic figuration that is shown with Jung Ji-Yong's poems. The discussion of this paper is stirred, with the given nature of perception that is shown in Jung Ji-Yong's poems, it was an occasion to realize the inside and identity of the poet and he perceived the nature as a poetic task and strategy that consistently emanated from the early days of his poetic creation to his latter period. The concept of nature and research scope associated with it have been set in order to conduct this study. The phenomenology of imagination of Bachelard was used for the methodology in this study as well as the view of landscape from Garatani Gojin. The landscape aesthetics of Nakamura Yoshio, the theory of landscape in the phenomenology and the theory of time and space of Bergson have been presented. The nature in the poems in the early days of Jung Ji-Yong is mainly represented and focused on one's hometown. The hometown appears in two layers. Firstly, the nature as the fundamental space of the human existence, the objects in the nature and the nature itself show the state of happiness and unity with the inside of thyself in this case. The desire of ideal I, which does not recognize others, is fixed to the inside of the conceptual nature unity and the closed nature-friendly image. Secondly, the nature as the space possessing the value from the definition of the others on the modern civilization. The nature appears as the images of the transformed nature and one's hometown as an imaginary community as opposed to the nature by experiences. The place where I, who have longed for an imaginary hometown as a lost land, have arrived through the wanderings and the memory of the recollection is the sea. This is an open door to the unknown world. The sea in the poems of his early days was a romantic space where the inner world and the emotions of the poetic self were deeply influenced. The nature of the representation in his poems in his early days is only a medium as a symbol to represent the inside of I. I do not perceive the peculiar power of the nature and the gaze of the world as object. The nature that has become the other, which is the poetic subjects that came across on the way to the nature as a concrete target, have deviated from transcendent nature. It is a pursuit of desire to confirm the subject and recognize the object. Wandering persona, who was thrown into the modern society, set the world and the nature to the object in order to rise against going through an unstable identity and to state a question as well as a pursuit to rise to position of the subject. Analyzed in the poems, such as「바다 5」, 「바다 1」 and「琉璃窓 2」, which are in sink with a relations mode towards the world and the operations of sense and sensibility and the unfolding mode of desire. In the children's verses of the early days of the poet Jung Ji-Yong, the persona do self-consciousness nature as self reflection of the world of consciousness as opposed to sensing the world. In the poems that adopted sea and city space as subject matters, such as the nature, have appeared to become the observational objects. Although poetic emotions go together with an observative gaze, a completely different aspect from the trend of early days' poems is shown. Through the analysis of「湖面」, 「겨을」 and 「밤」, Jung Ji-Yong's unique methodology of poetic creation, in which natural objects are observed and sensible dynamics of the images, has been identified to be mature in full swing. His effort to reveal dynamism of the images by describing the world cruelly and objectively was a relatively consistent poetic intention. This desire paradoxically demands to fix the dynamic and complex images of the objects in visual composition as well as an addition to making an abundant imaginary possibility that the images of objects have poetic value. A 'window' and a 'perspective' have appeared in that process. The window simultaneously represents a sensible opening towards a target and a severance of existence. The perspective makes the concrete individual abstract that the target has set in order to tie the target in the vision of a subject. It also deploys the target in universal units and scales. 「바다 2」is positioned at an extreme of such a methodology. 「바다 2」shows a process of self-restraint that I, who has grabbed nature and has attached under the vision of the subject and have essentially come across. Jung Ji-Yong looks at the picture of the sea and the scratch of sense. He discovers another image, which is the earth and the sea as live creatures. The injury of sense, which was his poetic aim, is the organic nature that has risen in the place where its limitations were revealed and the images of its power possessing another poetic possibility and meaning. The poems of Jung Ji-Yong in his latter period are the records of self-reflection that he walked into landscape and experiences in its creation and hiding. Travel is only an escape from daily life. Landscape is discovered by humans, who have lead non-daily lives and who have left labor. He participates in the landscape, which is a so-called nature. He begins to draw a landscape that is created accordingly. The landscape of his poems in his latter period appear as a journey of exploration. They are recorded in the body of the poet. Mt. Geumgang is the space where the meaning has been covered by so many texts. The poems of Jung Ji-Yong walk into the inside of Mt. Geumgang, while they deviate from a metaphysical model which Mt. Geumgang contained. Mt. Geumgang is born as the landscape created and is recorded in the poet's body. Landscape is the place where incidents take place under the middle layer time. Scenery is the place where continued time opens a horizon, which is the world related to others through human's body. The natural landscape appeared in「毘盧峯」, 「玉流洞」and 「白鹿潭」 is not limited or fixed to a object at the backdrop of isolated sense of a subject. The landscape is the field of sense that is mutually summoned and opened through an active intervention and a participation in the landscape by a moving persona's gaze. The dynamism, which the landscape contains, was discussed in the time and space aspects. Through an analysis of「九城洞」and「長壽山」, the natural space was confirmed to be time and space as an incident that is generated along with a time factor, which is human's experience, rather than represented space. The time and space of Jung Ji-Yong's poems in his latter period are actualized by landscape of creation and communication. They are not created by silence and no time attributes, they are also transposed with time attributes in which the landscape internalizes the rhythms of nature that continues and circulates. Key Word : Jung Ji-Yong, nature, landscape, time, space, sense, sensibility, subject, others, Perspective.본 논문은 정지용 시에 나타난 자연 인식과 시적 형상화의 양상을 고찰함으로써 정지용 시에 대한 통괄적인 이해와 맥락을 구하고자 하였다. 정지용에게 ‘자연’은 시 창작의 초기부터 후기까지 일관되게, 시인의 내면과 정체성을 자각하는 계기이자 시적 과제와 전략으로서 인식되었다는 점은 본고의 논의가 촉발되는 계기이다. 이 연구는 근대 인간에게 새롭게 인식되고 지각되는 자연의 양태를 분석한 후, 현상학에서의 풍경미학, 공간을 추상적․보편적 구조로 환원하는 것이 아니라 지속과 생성의 시공 개념으로 받아들이는 베르그송의 시공간론, 이미지 현상학 등을 방법론적 도구로 정지용 시세계의 궤적을 추적했다. 정지용 초기 시에서의 자연 표상은 자아의 내면을 재현하기 위한 상징으로서의 매개에 불과할 뿐이며, 자아는 자연이 가진 고유한 힘과 대상 세계의 시선을 인식하지 못한다. 즉, 초기 시에서 시적 자아는 대상 세계를 감각한다기보다 의식 세계의 투영으로서 자연을 자아화한다. 그러나 시적 자아가 고향의 외부에서 고향과 고향의 외부를 의식하게 될 때 발견되는 것은 주체와 주체의 내면, 그리고 타자화된 자연이다. 대상으로 인식된 자연과 그 이미지들은 정지용의 감각적 구도 속에 포착되어 역동적으로 되살아난다. 그러나 대상을 주체의 시각상에 묶어두려는 원근법은 대상의 구체적 개별성을 사상시키고 보편적 단위와 척도로 대상을 배치한다. 정지용의 「바다 2」는 자연을 움켜잡아 주체의 시선 아래에 부착하려는 자아가 필연적으로 마주치게 되는 자기 속박의 과정을 보여 준다. 그러나 정지용은 이 海圖와 감각의 생채기를 바라보는 동시에 살아있는 생명체로서의 지구와 바다를 발견한다. 그 힘의 이미지는 또 다른 시적 가능성과 그 의미를 내장하고 있다. 정지용의 후기 시는 시인이 ‘풍경’ 속으로 걸어 들어가 그것의 생성과 은폐를 경험하고자 하는 자기 성찰의 기록이다. 풍경은 중층적 시간 아래 사건이 발생하는 장소이다. 지속하는 시간이 인간의 신체를 통해 타자와 관련된 세계라는 지평을 여는 곳이 풍경이다. 「毘盧峯」과 「玉流洞」, 「白鹿潭」 등에 나타난 자연 풍경은 주체의 고립된 감각을 배경으로 하나의 대상으로 한정되거나 고정되지 않는다. 이동하는 화자의 시선이 경관에 능동적으로 개입하고 참여함으로써 상호 소환되며 열리는 감각의 장이 풍경이다. 「九城洞」, 「長壽山」 등의 분석을 통해 자연 공간은 표상 공간이라기보다 인간의 체험이라는 시간적 요소와 함께 생성되는 하나의 사건으로서의 시공임을 확인했다. 이에 따라 정지용 후기 시의 시공간은 정적과 무시간성이 아니라 생성과 소통의 풍경으로 구현되며, 자연의 리듬을 내재화하는 풍경이 지속하고 순환되는 시간성으로 치환된다.
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