김수영 시집의 구성 체계 연구 -『달나라의 작난』에서 『달나라의 장난』으로의 이행과 편제 원리 -

초록

This study aims to investigate the structural principles of Kim Su-young’s only lifetime poetry collection, 『Play in the Moon Country』(Dalnara-ui Jangnan), by highlighting the bibliographic significance of its prototype, the unpublished draft manuscript 『Play in the Moon Country』(Dalnara-ui Jaknan). By addressing the empirical issues of “textual establishment” and “poetic organization,” this paper analyzes the “systemic discrepancies” occurring during the transition from the draft to the final publication to clarify the poet’s aesthetic decisions and existential implications. The specific research directions are as follows: First, the transition of the collection’s title from Jaknan (作難/作亂) to the standard term Jangnan transcends simple orthographic correction; it represents a poetic resolution as a “record of predicament,” reflecting the absurd reality and perplexing existential state the poet encountered immediately after his release from a prisoner-of-war camp. Second, while adhering to the overarching principle of “reverse chronological order of production” stated in the afterword, the structure of the collection demonstrates a strategic transformation by dismantling the “Part” system of the draft and rearranging it into a “Part 4-1-3” sequence. Third, by placing eleven recent works at the forefront, the poet emphasizes contemporary immediacy, while concluding the collection with the pre-war poem “Rabbit” to retrospectively incorporate his early poetics, thereby achieving temporal convergence and aesthetic integrity. Finally, this study confirms that the poem “Flower,” an exception to the reverse chronological order, functions as a reflective bridge mediating between the new and the old, ensuring the organic unity of the entire collection. This research holds academic significance in reaffirming the status of Dalnara-ui Jangnan as an authoritative edition supervised by the poet himself, thus overcoming the material limitations of handwritten manuscripts. Ultimately, this study empirically demonstrates that Kim Su-young’s poetic world is a product of an aesthetic struggle, meticulously ordered through incessant revision and self-censorship.

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