박정만 시의 대지적 상상력

Abstract

With applying to Bachelard’s material imagination, it approached the imagination of rest ignited by the imagination of willpower and the death coming back to ground, through the images of ‘a hand’ and ‘a grave and a house’ that are the significant motives of ground imagination of Par Jungman’s poetry. To truly understand and sympathize one’s poetry, it needs to imagine the invisible side, which means the back of existence. The figuring out the stage of releasing inner potential things from oneself by an activation of material imagination and a ceaseless self-metamorphosis, it becomes the action to catch a poet’s the back of private unique existence. In Park Jungman’s poetry, relevant to material imagination, it can be classified a human’s willpower, such as the image of a hand working on material subjects, the image of mix, and the image of a smith, who gathers hardness and softness. Therefore, in the maintenance material, which is called ground, humans figure out that they are able to be them as a creation rather than a tragic being. However, the ground simultaneously detonates adversarial and thrusting imagination and has an imaginational function as a resting place where it can be protected against enemies. In Park Jungman’s poetry, the image of a grave concentrates on the power of night, such as ‘darkness’ and ‘drowsy sleeping,’ and the image has the characteristic of going back to motherhood. It is because that he surrenders to the absolute that an underground power has. Through ‘a grave,’ it dreams reproduction while it meeting with the life of the underworld-the image of privacy relative to the ground. Also, in Park Jungman’s poetry, ‘a house’ is the space that has the volition of settlement, such as that a silkworm builds only its “a secret room of a soul” in the tragic reality, interlacing of tear and death. From the space interlacing of contradiction and dishonesty, a house protects us. Death is not the end, and a house gives us comfort when we have a consciousness that we are dwelling. It is because that it is the image, which shows dynamic activation of a homecoming, returning to one’s home.