감각과 풍경 ―백석 시에 나타난 감각의 특징

초록

This thesis paid attention on the fact that the scenery described in Baek Suk's poems is not visual oriented. The scenery is not being described by subject's eye sight but formed with equal operation of the five senses. This become a basis to turn over the visual centralized order concept. Auditory, tactile sensation and olfactory sense replace the vision metastasizing to other senses. Baek Suk's scenery is not for visual, but it moves and sounds by itself. Thereby, senses are not the tool for reproduction of poetic objects but become starting fundamental of capturing the right poetic moment. There is no segregation of the subject from the real world in Baek Suk's scenery. The manifestation of the free and pure sense rise from perceptivity. The pure sense animates objects and furnish them with unique prestige. The objects easily migrate to others through the pure sense, then establish the mutation of their existence. In the territory of senses, there is no boundary among humans, animals and objects, and the harmony becomes realized between lives and ajiva through senses, where there is affluence of energies not with individualized characteristics but with anonymous lives. This energy is the real source to support the real collective world and becomes foundation for basic fulfillment. The latter part of his time, there come named subjects and stories into the territory of senses. Anonymous powers are being divided into the horizontal side of the history. But, the reason why we can still feel the worm feeling even in defragmented world is that the poems in the latter part are still alive over the other side, the territoy of senses. Unconsciously. Senses work as a giant magnetic field of lives. The recovery of the senses does mean the comeback of the others excluded by the subjects and will become a basic conduit for humans, objects, nature and the work to make harmonic lives.

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