ScholarWorks@중앙대학교

초록

Han Gang’s novels are often referred to as “poetic prose,” with the poetic characteristics of her narrative language being the main focus of discussion. However, Han Gang’s poetry, which is an important source for directly examining her poetic qualities, has not been included in this discussion. This paper focuses on Han Gang’s poetry collection, “I Put the Evening in a Drawer”, and examines the process by which Han Gang approaches poetic subjects through her poetry, constantly attempting to place the body and pain outside of language. Han Gang’s poetry continuously attempts to block the senses. By covering the eyes, not speaking with the mouth, and not listening with the ears, the senses do not function as they normally would. The poet perceives the body as something that permeates and cannot be defined. The body has no form, and the flesh cannot have boundaries that exclusively recognize the intrusion of other beings. Furthermore, Han Gang’s poetry often uses images of empty spaces within the body, or images of air or water pulsating together, to show how the body resonates through certain mediators. In Han Gang’s poetry, sadness and pain vibrate as if nearby objects were shaking together. This means that, just as the body has no boundaries, pain and sadness also have no boundaries, and that one pain does not remain within the individual but can be connected from one body to another. Han Gang’s poetry is useful for understanding Han Gang’s literature as a whole, but it is also significant in terms of showing a unique physicality among women’s poetry. It is important to analyze Han Gang’s poetry because it allows us to confirm the characteristics of her relationship with objects and her speech, which are consistently shown in her writing, including both poetry and novels.

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