이상의 詩 연구

Abstract

이 논문은 이상 시에 나타난 언어유희의 특성과 언어유희의 수사학적 의의를 살펴보고 그것이 이상의 시 정신과 어떤 관련을 맺고 있는지를 고찰하는 데 목적이 있다. 이상이 활동했던 1930년대는 식민지 체제에서 싹튼 도시 자본주의가 이제 막 태동하고 있을 때였다. 이러한 혼란기에 카프를 중심으로 한 민족해방, 프롤레타리아 해방 운동이 예술 운동의 한 축을 이루고 있었고, 일각에선 순수문학을 주창하는 시문학 운동이, 그리고 근대화가 되어가는 도시의 문화를 세련된 언어로 그려내고자 했던 모더니즘 운동이 전개되고 있었다. 이상의 시적 특징은 1930년대의 상황과 무관하지 않지만 그렇다고 전적으로 사회 상황을 반영한다고는 말할 수 없다. 그의 시에는 현실에서 탈주하기 위한 온갖 불안과 죽음의 그림자들이 어른거린다. 그의 시에는 근대화된 도시를 살아가는 ‘모던 보이’의 도시적 감수성뿐만 아니라 개인 내면의 절망, 현실의 대립과 분열을 단숨에 뛰어 넘어서려는 초월과 해방의 의지가 깃들어 있다. 이 자유롭고 낯설고 새로운 시들이 빛나는 언어의 날개를 달고 하늘 높이 날아오를 수 있었던 것은 그의 웃음과 유희의 미학이 있었기에 가능했다. 그러나 이상의 유희와 웃음을 다룬 대개의 논문들은 이상의 시편들에서 언어유희가 필연적으로 어떻게 내용과 만나는지를 세밀하게 분석하지 못하고 있다. 뿐만 아니라 그의 유희 정신이 현실 초월의 욕망과 어떤 연결을 갖고 있는지를 발견하지 못하고 다만 피상적인 분석에만 그치고 있다. 이 논문의 Ⅱ장에서는 이상의 언어유희가 작품 안에서 어떻게 세부적으로 나타나는지를 파악하고자 주력했다. 이상의 언어유희 기법을 크게 ‘언어적 유희 기법’과 ‘시각적 유희 기법’으로 나누었다. 이는 그의 언어유희가 언어에 한정된 것이 아니라 기호와 숫자, 그림과 같은 도상적 이미지에까지 광범위하게 이르고 있음을 보다 분명하게 파악하기 위해서였다. 그리고 그 구체적인 기법으로는, 띄어쓰기 무시, 오자, 연상, 말꼬리 잇기, 반복, 반어와 패러디, 운 맞추기, 수와 수식의 사용, 도상 이미지 등이 있다. “절망은 기교를 낳고, 기교 때문에 절망한다.”는 그의 말처럼 이상의 시에 나타나는 언어유희의 핵심은 그것이 절망적인 현실을 초월하려는 의지의 산물이라는 점이다. 반복되는 일상, 피할 수 없는 죽음의 엄습 속에서 그는 절망한다. 그리고 그 절망을 다시 삶 속으로 돌려보내고, 가짜 현실 속에 돌아온 그 삶을 다시 조롱하는 악전고투의 악순환이 언어유희의 기교를 낳은 것이다. Ⅲ장에서는 절망을 헤집고 나온 기법과 기교의 틈을 들여다보고, 그 안에 깃든 절망의 내용들을 파악하고자 했다. ‘대립과 분열의 언어유희’, ‘성과 죽음의 언어유희’, ‘새로운 시도를 반영한 언어유희’가 그 내용들이다. ‘대립과 분열의 언어유희’에서는 안과 밖, 나와 아버지, 나와 아내, 수렴과 발산, 어린 아이와 노인 등의 대립 구도를 분열과 연결하여 고찰하였다. 두 개의 풍경들이 서로 병치되어 나타나지만 그것들은 서로를 은유하거나 확장된 다른 의미를 창조해 내기보다는 파편처럼 무질서한 환유적 속성을 갖는다. 그 분열과 대립의 황폐한 내면에서 언어유희는 어떻게 기능하는가를 분석하였다. ‘성과 죽음의 언어유희’에서는 죽음 쾌락 충동인 ‘주이상스’를 발견하고 그것을 드러내는 유희의 언어들을 분석하였다. 초월의 의지는 역설적으로 죽음을 지향한다. 죽음은 어떤 새로운 가능성이며 현실을 넘어서는 새로운 출구이기 때문이다. 소유할 수 없는 사랑, 채워지지 않는 욕망도 죽음을 꿈꾼다. 그러나 그 한계를 넘어서는 것은 불가능하다. 때문에 그 불가능한 죽음의 세계를 건너다보는 사람의 농담은 유쾌하면서 동시에 우울하다. 이들 성과 죽음의 시편들에선 에로스와 타나토스가 만드는 언어유희를 볼 수 있다. ‘새로운 시도를 반영한 언어유희’에서는 도시 근대화라는 배경 안에서 태어난 이상의 시들을 바라보았고, 그의 언어유희들이 도시적 감수성을 덧입고 새로운 시대에 대한 도전과 좌절의 형식으로 표출되고 있는 것을 발견하였다. 식민지의 근대라는 점에서 한계를 가지고 있었겠지만 도시화의 새로운 시대, 새로운 실험을 통해, 고착화된 관념과 현실을 뛰어넘으려는 의지는 그에게 새로운 표현방법을 요구하였다. 그 실천과 기법으로의 언어유희를 분석하였다. 이상 시에 나타나는 웃음은 행복과 화해의 웃음이 아니다. 조롱과 풍자와 아이러니가 죽음과 분열의 어둠을 뒤집어쓰고 광인의 공허한 웃음처럼 뛰쳐나온다. 광기의 언어는 낯설고 두려운 것이지만 오늘을 살아가는 현대인들에게 삶의 진실과 다양성을 새롭게 각성시킨다. 때문에 이상 시는 새로운 독법을 요구하고, 변화하는 현실에서 여전히 열린 텍스트로 존재한다. | The purposes of this study were to examine the characteristics of puns in Lee Sang's poetry and the rhetorical significance of the puns and to investigate what kind of connections they had with the poet's poetic spirit. The 1930s when he was active witnessed urban capitalism burgeoning out of the colonial system. In those days of turmoil, the art movement was overwhelmed by the liberation of the people led by KAPF and the proletarian liberation movement on one axis. On other axes, there were the movement of poetic literature, which insisted upon pure literature, and the modernist movement, which tried to describe the modernizing urban culture with sophisticated language. While the poetic characteristics of Lee Sang do have something to do with the situations of the 1930s, one cannot definitely say that they fully reflected the social situations. His poems are filled with all sorts of anxiety and shadow of death to escape from the reality of severance and discontinuity. They also contain his urban sentiment as a "modern boy" living in a modernized city and further his determination to transcend and liberate from the despair inside him and the confrontations and disruptions of the reality. His free, strange, and new poems were able to develop a set of shining wings of language and soar high into the sky thanks to his laughter and aesthetics of play. Most of the studies on his play and laughter, however, failed to analyze in details how puns met with contents in his poem and how his spirit of play was connected to his desire to transcend reality, merely covering the surface. Chapter II of the study focused on understanding how his puns were expressed in his works in details and divided his puns into verbal and visual puns to demonstrate more clearly that his puns extensively encompassed not only language but also signs, numbers, and iconographical images like pictures. He specifically adopted such techniques as ignoring the rule of spacing words, wrong words, association, word relay, repetition, irony and parody, rhyming, use of numbers and equations, and iconographical images. Just like he once said, "Despair gives birth to artistic skills, which make me desperate," the core of puns used in his poems is that they were the products of his determination to transcend the gloomy reality. He was frustrated by the repeating daily life and the surprise attack of inevitable death. Then he would return his despair into life and go back to the fake reality. It was the vicious cycle of his desperate struggles to mock his way of life that created the artistic skill of puns. Chapter III tried to look into the gap between the techniques and artistic skills that were surfacing out of despair and examine the content of despair inside. The contents include "puns of confrontation and disruption," "puns of sex and death" and "experiments of a new era and puns." In "puns of confrontation and disruption," confrontations between in and outside, me and father, me and wife, convergence and divergence, and children and the elderly were connected to disruptions. There were two different scenes in juxtaposition, but they had the attribute of disordered metonymy like broken pieces instead of becoming a metaphor for each other or creating a new extended meaning. The investigator analyzed how puns functions in the devastated inside of those disruptions and confrontations. In "puns of sex and death," the investigator discovered "jouissance" that is the pleasure and impulse of death and analyzed words of play to represent it. The determination of transcendence pursues death paradoxically since death represents a new possibility and a new exit beyond reality. Even love that cannot be owned and desire that cannot be fulfilled dream of death. However, there is no going beyond the limits, which is why one makes pleasant and depressing jokes when looking over to the impossible world of death. In Lee's poems about sex and death, eros and thanatos create puns. Finally, in "experiments of a new era and puns," the investigator illuminated his poems from the background of urban modernization and discovered that his puns took the forms of challenges and frustration with a new era, being wrapped around with an urban sentiment. Despite the limitations deriving from living in the colonial modern period, he tried to move forward beyond the fixed concepts and reality through a new era and new experiments and accordingly needed a way of expression. His puns were thus analyzed as the practice and technique of his attempts. In Lee's poetry, laughter does not represent happiness or reconciliation. It bursts out in his poems like a mad man bursts into empty laughter with mockery, satire, and irony covered with death, disruption, and darkness. The language of madness is strange and fearful but awakens modern people living today to the truth and diversity of life. Thus Lee's poetry still remains as the open text to demand a new way of reading in the changing reality.; The purposes of this study were to examine the characteristics of puns in Lee Sang's poetry and the rhetorical significance of the puns and to investigate what kind of connections they had with the poet's poetic spirit. The 1930s when he was active witnessed urban capitalism burgeoning out of the colonial system. In those days of turmoil, the art movement was overwhelmed by the liberation of the people led by KAPF and the proletarian liberation movement on one axis. On other axes, there were the movement of poetic literature, which insisted upon pure literature, and the modernist movement, which tried to describe the modernizing urban culture with sophisticated language. While the poetic characteristics of Lee Sang do have something to do with the situations of the 1930s, one cannot definitely say that they fully reflected the social situations. His poems are filled with all sorts of anxiety and shadow of death to escape from the reality of severance and discontinuity. They also contain his urban sentiment as a "modern boy" living in a modernized city and further his determination to transcend and liberate from the despair inside him and the confrontations and disruptions of the reality. His free, strange, and new poems were able to develop a set of shining wings of language and soar high into the sky thanks to his laughter and aesthetics of play. Most of the studies on his play and laughter, however, failed to analyze in details how puns met with contents in his poem and how his spirit of play was connected to his desire to transcend reality, merely covering the surface. Chapter II of the study focused on understanding how his puns were expressed in his works in details and divided his puns into verbal and visual puns to demonstrate more clearly that his puns extensively encompassed not only language but also signs, numbers, and iconographical images like pictures. He specifically adopted such techniques as ignoring the rule of spacing words, wrong words, association, word relay, repetition, irony and parody, rhyming, use of numbers and equations, and iconographical images. Just like he once said, "Despair gives birth to artistic skills, which make me desperate," the core of puns used in his poems is that they were the products of his determination to transcend the gloomy reality. He was frustrated by the repeating daily life and the surprise attack of inevitable death. Then he would return his despair into life and go back to the fake reality. It was the vicious cycle of his desperate struggles to mock his way of life that created the artistic skill of puns. Chapter III tried to look into the gap between the techniques and artistic skills that were surfacing out of despair and examine the content of despair inside. The contents include "puns of confrontation and disruption," "puns of sex and death" and "experiments of a new era and puns." In "puns of confrontation and disruption," confrontations between in and outside, me and father, me and wife, convergence and divergence, and children and the elderly were connected to disruptions. There were two different scenes in juxtaposition, but they had the attribute of disordered metonymy like broken pieces instead of becoming a metaphor for each other or creating a new extended meaning. The investigator analyzed how puns functions in the devastated inside of those disruptions and confrontations. In "puns of sex and death," the investigator discovered "jouissance" that is the pleasure and impulse of death and analyzed words of play to represent it. The determination of transcendence pursues death paradoxically since death represents a new possibility and a new exit beyond reality. Even love that cannot be owned and desire that cannot be fulfilled dream of death. However, there is no going beyond the limits, which is why one makes pleasant and depressing jokes when looking over to the impossible world of death. In Lee's poems about sex and death, eros and thanatos create puns. Finally, in "experiments of a new era and puns," the investigator illuminated his poems from the background of urban modernization and discovered that his puns took the forms of challenges and frustration with a new era, being wrapped around with an urban sentiment. Despite the limitations deriving from living in the colonial modern period, he tried to move forward beyond the fixed concepts and reality through a new era and new experiments and accordingly needed a way of expression. His puns were thus analyzed as the practice and technique of his attempts. In Lee's poetry, laughter does not represent happiness or reconciliation. It bursts out in his poems like a mad man bursts into empty laughter with mockery, satire, and irony covered with death, disruption, and darkness. The language of madness is strange and fearful but awakens modern people living today to the truth and diversity of life. Thus Lee's poetry still remains as the open text to demand a new way of reading in the changing reality.