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A study on transboundary thought in Jeong Hyeon-jong’s poetry

  • Korean Language & Literature
  • 2025, (129), pp.83~108
  • Publisher : Korean Language & Literature
  • Research Area : Humanities > Korean Language and Literature
  • Received : January 31, 2025
  • Accepted : March 26, 2025
  • Published : March 31, 2025

Jinyoung Seo 1

1서울대학교

Accredited

ABSTRACT

This paper attempted to examine Jeong Hyeon-jong’s transboundary thought through the images and statements in his poetry. Jeong Hyeon-jong’s poetry is fundamentally discussed from the perspective of a sign of denial and resistance to the structure of reality and the discipline and control operating within it in the context of the 1960s. In Jeong Hyeon-jong’s poetry, the subjects and objects that do not stay in any one space but move and flow aimlessly embody the poet’s thoughts of constantly moving outward rather than being fixed in one world. And the poet’s desire to break down the boundaries between extreme differences, oppositions, and meanings was expressed in poetry by mixing conflicting objects with each other in liquid form or interlocking them in a semantically circulating structure. The poet’s imagination, which seeps into liquid and melts solid solidity, transforms the poor, vain, and alienated things flowing in the middle and surrounding areas into vibrant things with new energy. In addition, in Jeong Hyeon-jong’s poetry, opening the end of the corner that keeps “falling down” the being and shaping it as the starting point of a new beginning, or completely transforming it into an amorphous free gas, could be seen as a more active aspect of transboundary thinking. The way things that move through boundaries mutate into something new reveals the energy of creation and change that begins anew at the end, along with paradoxical statements such as “true wings trapped in the feet,” and shows the resistant mobility of the subject trying to break through the boundary. The use of parentheses in Jeong Hyeon-jong’s poetry also shows the meaning of resistance to the way of speaking toward a single meaning, and the description within the parentheses suspends the single gaze and voice of the poetic subject and opens up the meaning of the poem to various transformations and possibilities. It plays a laying role. In this way, it clearly shows that the borderless poetic space newly created by the poet’s imagination is a construct of willful thinking that implies criticism and resistance to the realistic social structure that limits and oppresses the conscious and physical negativity of the subject.

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