김구용 시 연구

Abstract

본고는 우선 김구용의 생애와 문학적 여정을 살펴 작품에 접근하는 길을 닦았다. 이어 시인의 세계인식으로서의 존재론적, 인식론적 관점과 미학적 기법이라는 두 가지 토대를 설정하여 김구용 시세계를 규명하는 실제적 통로를 찾았다. 세계인식의 토대와 기법을 면밀히 분석하는 과정을 통해 작품의 난해성을 해명할 수 있었기 때문이다. 김구용의 시는 현실을 가능한 곳까지 확장하는 존재론과 인식론을 토대로 한다. 현실의 범위를 실존 경험을 초월한 우주적 사태 전체로 이해하여 광범위하게 표현하는 것이다. 이는 만물의 모든 변화를 세계의 자체적 변화로 이해하는 들뢰즈의 내재적 존재론을 빌어서 해명된다. 모든 존재는 잠재성의 장 속에 잠재되어 있는데 잠재성의 장은 존재들이 현실세계로 발현되기 이전 상태로서 끝없는 흐름의 장이다. 따라서 현실적 맥락에서는 만날 수 없는 존재들이라도 잠재성의 장에서는 흐름을 공유하며 뒤섞여 있다. 김구용의 시는 일상적 맥락으로는 융합되기 힘든 방식의 매듭을 자주 지어주는데, 바로 이는 상충되는 존재들이 소통하는 잠재성이라는 기반을 통해 설명할 수 있다. 세계는 이유나 목적이 없이 생성을 거듭한다는 점에서 무의미이다. 그러나 김구용 시인에게 무의미는 허무나 허탈이 아니라 새로운 창조의 원동력이다. 또한 해체 역시 개별 개체들의 경계를 허무는 긍정적 의미를 지닌다. 주관과 객관의 경계가 무너질 때 자아는 확장되고 타자와의 직접적인 소통이 원활해진다. 이때 나는 새로이 태어난다. 그러므로 김구용 시인은 해체와 이를 통한 새로운 분절을 존재의 생성이라고 받아들이면서 생성의 풍요로움 자체에 주목한다. 그의 작품이 유장한 리듬과 속도감을 지니고 있는 것은 생성과 흐름이라는 우주 자체의 역동성을 최대한 살려가며 펼쳐 보이기 때문이다. 다음으로 김구용 시의 기법은 숭고 감각의 현현, 새로운 재현의 방법, 선적 상상력을 바탕으로 한다. 말할 수 없는 것을 말하고, 보여줄 수 없는 것을 드러내며, 들을 수 없는 것을 듣고자 하는 그의 시는 숭고의 감각을 통해 설명할 수 있다. 이성이 감지하는 무한의 세계와 이를 풀어낼 수 없는 상상력이 맺는 관계는 부정의 방식으로 현현된다. 그의 시는 현실에 아름다운 가상의 베일을 씌움으로써 실존의 어두움을 은폐하기보다는 상식의 과감한 일탈을 통해 실존의 극한으로 나아가고자 하였다. 이에 김구용의 시는 숭고의 체험을 현현, 새로운 미학의 경지를 보여준다. 그는 기존의 재현 방법을 떠나, 대상과 대상이 관계 맺으며 증식하는 무한 의미를 나타내는 데 주력한다. 이때 상식을 초월한 맺음, 이어짐은 기존 통사론을 뛰어넘으며 의미를 확장한다. 즉 김구용이 주력하는 재현의 방식은 언어와 현실이 맺고 있는 관계를 다양화하는 것이다. 이때 현실은 주체/대상 구조 바깥의 대상이 아니고 감정, 무의식, 상상, 욕망을 모두 포함한다. 이와 같은 재현 방식에 접근하려면 사물과 언어 사이에 설정한 보이지 않는 코드를 확인하는 것이 중요하다. 결국 김구용 시에서의 재현은 차이를 통해 생성되는, 생성 그 자체의 가장 直截한 표현이 되는 것이다. 대상에 대한 피상적 단정을 거부하고 직관을 기반으로 하여 본질에 접근하는 김구용 시에는 고도의 암시적 의미가 함축되어 있다. 이러한 특징은 현실 너머에 있는 실상을 투시하려는 선의 세계와 연결된다. 즉 그의 시는 선적 상상력의 反常合道의 이치를 빌어오는 것이다. 이는 자연스럽게 수사적 측면에서 역설과 아이러니의 활용으로 나타난다. 김구용의 시는 무분별을 추구하는 분별의 언어, 부정과 역설의 언어를 통해 경험과 기존의 사고나 관습을 뒤집어 존재를 날것으로 포획하려는 것이다. 이상과 같은 해명을 통해 볼 때 내재적 존재론과 흐름과 변화를 중시하는 시인의 세계관과 이에 대응하는 미학적 전략은 은 서구의 모더니티의 미학과 동양의 전통적 사유가 만나는 접점에 놓인다고 볼 수 있다. 한편 김구용의 시는 잠재 세계와 현상 세계를 포함한 실재 세계를 지향함으로써, 그간 한국 현대시가 보여준바, 시적 표현의 깊이를 한결 심화시켰다는 의미를 갖는다.|In this study, two standards has been set up in terms of ontology and epistemology views on the world and aesthetic technique in order to define the poetry works of Kim Gu-yong, the poet. Even though he had left a lot of remarkably pioneering works with the steady activities as one of the significant poets in 1950's, the studies have little conducted until now, on the ground of his inherent abstruse style of works. These two aspects, namely, the views on the world and technique are adopted in this study, in order to appropriately explain whether the abstruseness in his works arises from the inevitable consequences in pursuit of the poetic truth, Kim Gu-yong's poetry is based on the ontology and epistemology which extends the reality extremely. He tries to capture the wide range of the whole reality in his poetry, understanding the range of reality stretches beyond the existential experiences that people face. This attempt is especially based on the immanent ontology where the universe is believed to only go through its own changes instead of the theory of the transcendental ontology. The elements all presence lie in the endless flux in the field of virtuality. The tangible and intangible particles of the presence are substantially realized through several formations and changes once after released from the field of virtuality which is the preliminary stage before emerging as the reality. The field of virtuality can be explained as the chaos in full of liveliness that cannot be captured with any given rules, suggesting the complications and feasibility of infinite order. When the beings turns out to be inscrutable in the reality context, it goes down to the subconsciousness level to share the base of flux and to be involved with each other naturally like a knot. The hard knots to be united are frequently expressed in Kim Gu-yong's poems and he explains the communication between the conflicting beings very well using the field of virtuality. Kim Gu-yong set a high value on the abundance caused by the articulation. The most significantly differentiating point is his high attention to the very transforming moment from the release of subconscious flux to a specific phenomenon. The intrinsic and aesthetical rhythm and speed shown in his works is that he spreads and represents the dynamic attributes of the world such as formations and flow, minimizing the damage. In the context of his poetry, the world is meaningless in the point that it repeats the formations in itself without any specific purpose, but this meaninglessness is not perceived as the pessimistic nuance of nihilism but as the driving force toward all new creation. The concept of de-construction is also accepted as the positive meaning that breaks down the border of ego. The acquisition of the release by tearing down the border between the subject and object allows the ego to be extended further and capable of the direct communication with other persons. Through this way of recognition, the poetic ego is transformed to the aesthetic subject who accepts the other persons as the involved party in the life, sharing true communication with them. Kim Gu-yong expresses the qualitative attribute of time, in a unique style, as the driving force of flux. All beings not only participate in the repetition of time based on the identity of each memory. but also change creatively through the flux of formation. Time is described as that of immanence and infinitive in his poetry. And the identity acquired repeatedly in the time is expressed as the dynamic identity that endures the time flux and maintains the memory. Now, the definition of the aesthetics is rearranged and the concept of sublimity newly emerges because it is hard to explain the contemporary arts trend with the existing concept of the beauty. The sublimity is the concept ideal and appropriate enough to explain the aesthetic form and artistic sensibility entirely shown in Kim Gu-yong's poems. His poetic words are designed to speak unspeakable things, reveal invisible things and hear unhearable things and all those are explained through the structure of sublimity. He does not reach the transcendental status by experiencing it, but sensed the transcendence by holding the absolute certainty that there are nothing over the phenomenon. His poetic ego attempts to advance to the extreme existence through the destruction and passion rather than conceal the shady side of the existence by covering the beautiful virtual veil over the reality. This ontological conversion is another form of realization of sublimity by regarding the sole pursuit of the area of beauty finally leads to conceal the truth via virtuality. In this point, Kim Gu-yong's poetry works obtains the meaningful status pioneering the new stage of aesthetics by expressing the experience of sublimity. His way of representation completely rules out the classical principle of representation such as the imitation of the model. His method of representation is to diversify the truth in combination of the relative meaning of object. As he is constantly search for the new reality with no belief of any specific object as the reality, the reality to him is not something existing outside the subject/object structure but including all about emotion, unconsciousness, imagination and desire. After found and re-arranged, his reality becomes diversified infinitely in his works. The objects take the role of breaking down the existing way of representation, wandering in the poem rather than being defined in one meaning. Kim Gu-yong focuses on describing the solid relationships of represented objects in deviation of identity system. It is appropriate approach to checking out the invisible codes set between the object and words in order to understand his poems Since the representation is not limited to the relationships between the original and model, it is natural to occur the discrepancies among them. The representation functions limitedly without being arranged in a hierarchy, and moves across the hierarchy of event caused by the difference. In this case, the representation is new influence created by the relationships with themselves and revives as the new form of the field of possibility. Kim Gu-yong focuses on the diversifying the method of relationships, not interested in the possibility or impossibility. His poetic vision implies the high level of suggestion, released from the border, on the intuitive cognitive basis avoiding the superficial judgement and approach. This characteristics is connected to the world of zen in pursuit of penetrating the nature of world. The world of zen shows the paradox stationed where we should get back and reach the truth only through the words in spite of turning down the role of words. In terms of mutual imagination, Zen and Kim Gu-yong shares the point that the words is the ultimate tool to express the nature of world. The abundant paradox and infinite symbolism are commonly shown in light of rhetoric aspect in both of them. The intentional conflicting combination caused the extreme ironic expressions which is conducted in order to turn the ordinary thinking upside down. The confusing combination destructs the symbol and its various stages of cumulative meaning and the purpose of this strategy is to logically establish the uniqueness of the objects and to escape from the domination of the accumulated ordinary thinking and experience. The intention of Kim Gu-yong's poetry is to overturn the conventional thinking customs through the words of discretion without indiscretion and the words of infinitive and paradox. In this regard, Kim Gu-yong's poem extend the experience level of ordinary life to the infinite feasibility through various methods. When we get back to the ordinary and routine world after experiencing the transcendental feasibility in his poems, the life is expanded to more qualitative area. The conclusion is that Kim Gu-yong is the poet who opened up his own world of works establishing the reasoning system by deeply incorporating and sublimating religion, reasoning and aesthetics. The mainstream has been occupied by lyricism, realism and modernism in the Korea's field of poetry before he appears and establish new style of poet which extends the area of modern poem.