고정희 시에 나타난 패러디 연구

Abstract

A study on the parody in poems of Ko Jung-hee

Kim Mi-young Advisor : Prof. Ra Hee-duk Ph.D. Department of Literature & Creation Graduate School of Chosun University

Ko Jung-hee(1948～1991) was a representative woman poet who established herself as a poet in 1975 and wrote actively in the 1980s. She opened up a new feminist aesthetics through criticism on and resistance to the ruling class. Although a short creation period of time, she left considerable poetries(11). It could be possible because her concern at the times and diversified poetic methodology was connected with tireless journey of creation. In the period of time when Ko Jung-hee wrote, people's self-awareness and resistance was on the sharp rise amidst the turbulent waves of politics and society. Her recognition of reality served as an opportunity to explore a new literary response. In particular, leading feminist poems based on feminism, she introduced a parody as a new style experiment different from a classical lyric and it was established as the core methodology for criticism of reality. As a result, she introduced a traditional style based on a popular view of the world into her poems and succeeded it creatively according to the times. She also used her poems for literary grief over the death of 'May Gwangju'. Her parody was used as a central technique of poetry creation to advocate feminism for women, the subject of sexual repression, and criticize religion being silent on the violence of power. A parody in Ko Jung-hee's poetry appeared generally and widely in writing poetry and can be classified into four types based on an original text: a theatrical text, a classical literature text, a Christian text, and a modern literature text. First, a theatrical text parody enhanced the value of popular arts and incorporated the function of literary grief through a narrative poem based on traditional Korean exorcism rituals and a long poem of a memorial ritual for historical death. Second, a classical literature text parody succeeded a genre based on the rhythm and form of classical poetry and criticized a traditional woman image through a woman speaker and made a new interpretation. Third, a Christian text parody evoked relationship between religion and literature in reality perception based on Christian existentialism and enhanced consciousness of engagement by the authority and dignity of the Bible. Finally, a modern literature text parody criticized reality and intended to reveal a social role as a practical literary man by parodying well-reputed works and events. Parody types of Korean modern poetry are divided into an imitative parody that succeeds an original text, a critical parody that reinterprets an original text critically, and a pastiche parody that extracts and combines an original text neutrally. Ko Jung-hee's parody mainly includes imitative and critical parody types. Because unfortunately she died in 1991 when a pastiche parody began to be created, it is not possible to find such type in her poems. Ko Jung-hee's theatrical text and classical literature text parodies can be viewed as an imitative parody since they accepted exorcism and succeeded a genre. Christian text and modern literature text parodies can be viewed as a critical parody since they attacked ideological attribution of well-known works such as the Bible or modern poetry in a certain distance and revealed the engagement of reality. However, this division is not absolute because Ko Jung-hee criticized women's repression and discrimination as a feminist through the classics with women speakers and grieved the death of 'Gwangju' through narrative poems. Her poetry which revealed her view of world should be viewed as a critical parody even if it contains theatrical texts. Ko Jung-hee's outcomes of using a parody for her poetry are the following three points. First, her poetry contributed to a diversified form such as grafting traditional versification into modern poetry and extended acceptance of materials such as a shamatic song, a folk song, and Sijo. Second, while she succeeded a tradition in a favorable position, she enhanced a critical function by focusing new interpretation or adaptation of original texts. Third, she parodied familiar structures to readers to strengthen close relationship between texts and readers and establish the position of an active reader. While the researches on Ko Jung-hee have mainly focused on feminism, her biography as a Christian and Minjung theology poet, and themes through analysis of poetry, there is a little discussion on creation methods using a satire and a parody. That is the reason why this study gave attention to a parody found in Ko Jung-hee's poetry. It is expected that this study will contribute to the re-illumination of her practical position and the implant of new understanding of creation methodology.