『기상도』(1936)와 『황무지』(1922) 비교 : 쇠바퀴(Wheel)의 상호텍스트성을 중심으로

초록

The study of The Waste Land (1922) and T. S. Eliot’s literary criticism helps to figure out the works of Korean modernist Kim Kirim in 1930’s. Kim confessed that his long poem, The Weather Map (1936), is inspired by The Waste Land. Both works share the poetic style that deconstructs the nature of the poem by jumping from one manners and styles to another. It is arguable that The Weather Map acquires an equivalence to compare with The Waste Land. Although both works were composed during the period of high modernism that came after the end of World War I, the geographic spaces where each lyric speaker positions himself and portrays is distant from each other; whereas The Waste Land’s background is London during and after World War I, The Weather Map is set in the semi-colonized Shanghai and the colonized Seoul in the 1930s. Both works need to be compared with the “incommensurability” of their spatial differences in mind. In this paper, I focus on the symbol of the Tarot card, “The Wheel” among the intellectual accounts of various symbols that appear in The Waste Land. Eliot’s use of the symbol of “the wheel” presents the subject of the rise and fall of civilizations throughout history. Kim intertextualizes this “wheel” in the seventh chapter of The Weather Map, titled “The Song of Wheel,” and uses shifts in the weather as a metaphor for the “circulating civilization.” This paper will examine how the poetic motif of “The Wheel” in The Waste Land has been transmitted and transferred to The Weather Map.

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