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99

The aesthetics of dispersive eyes in Oh, Jang-hwan's and Park, In-hwan's poetry

Kim, Ji-sun

This study is to find out the common qualities of Oh, Jang-hwan's and Park, In-hwan's poetry. They had made the aesthetic effort to overcome the difficulties of unstable period. The era that they had lived in was 'the era of Independence and the Korean war'. They were well aware of the declining situation at the time as the leading intellectuals. Korea in 1930's and 1950's was confused by Foreign intervention. There was an anxious mind and affliction about the era in their criticism of poems and poetry.

Oh, Jang-hwan and Park, In-hwan received the different evaluations in their poetry. In short, it is generally said for Oh, Jang-hwan' poetry to turn from decadence into critical realism. On the other hand, it is generally said for Park, In-hwan to turn from realist in early poems into modernist in the later. But their criticism of poems reveal that it is true poetry to evoke the echo over pain and anguish of their own era.

First of all they have common consciousness in the phase of embodying the unstable position of poetic subject. The eyes of poetic subject is dispersive in their poetry. Those are not centripetal. Their poetry derive the sensibility of anxiety and the dissolution of consciousness from the fragmental eyes. It is very important at the point of representing 'Reality of the world'.

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And then the eyes of subject in their poetry gaze vulgar bodies. Vulgar body in their poetry show in prostitute, diseased bodies, an alcoholic and etc. Through it is exposed to curious feelings by vulgar bodies, we won't fall into fetishism. It is a possibility of negative poetry. The negative consciousness in Oh, Jang-hwan's and Park, In-hwan's poetry differs from decadent and nihilism. There are an casual potentiality to find out after the subject has extremely denied himself.

key Words: the poet's position, the reality of infertility, poetic subject, dispersive eyes, vulgar body

2012 2 15 2012 3 10 2012 3 15 .

1. 2. , : 3. , 4. Abstract