초록 열기/닫기 버튼
The poetry of Mo Yun-sook has been mainly discussed in terms of public discourse but not very often in the sense of private dimensions or the inner logic of imagination. This study aims to examine Mo’s poetry in private dimensions and explore the inner structure of imagination. Eschatological imagination and nature orientation are two axes in Mo’s poetic world. Prophetic eschatology in her early works is significant in that it criticizes Japanese colonial rule and offers vision of liberation. Existential eschatology shown in her middle years connotes self-salvation of the private subject, but has a potential side-effect, serving as anesthesia to conceal the absurdities in the real world. The eschatology in her posthumous works demonstrates the process of overcoming the fear of death, but shows limitation, indulging in solipsism. Mo’s eschatological imagination is consistently nature-oriented. In her early poems the image of nature is public, combined with the image of a liberated fatherland, but in her middle years, it conveys the meaning of existential heaven. Nature in her posthumous poems implies a paradise where the poetic subject can rest in peace. after her death. Nature in Mo’s poetry represents an ideal world which is absent from here and now. The poetic subject is committed to narrowing the gap between the unreachable ideal of nature throughout her life. This nature orientation fuels the poet’s verse-making until the last moment.
키워드열기/닫기 버튼
Mo Yun-sook, nature, prophetic eschatology, existential eschatology, death, liberated fatherland, existential heaven, paradise
