현대시 읽기를 위한 이론

시에 관한 이론은 왜 필요할까? 시를 연구하는 학자나 비평가라면 몰라도 이론을 아는 것이 시를 이해하고 감상하는데 도움이 될까? 이론은 오히려 시를 자유롭고 솔직하게 감상하는데 방해가 되는 게 아닐까? 중고등학교 때 시를 낱낱이 해부하던 경험 때문에 시에 대한 호감을 잃어 버린 사람들이라면 더더욱 이론에 대한 거부감을 가질 수 있다.

시를 읽고 감상하는 것이 마음의 일이라면, 시의 겨험을 이해하고 해석하는 것은 머리의 일이다. 시에 관한 이론은 시가 다른 종류의 언어예술과 어떻게 다른지, 어떤 원리에 의해서 시적인 효과가 발생하였는가를 이해하기 위해 알아야 할 지식이다. 그러나 이러한 지식은 단순한 지식에 그치지 않고 더 나아가 어떻게 우리 삶을 재현하고 또 새롭게 창조하는지에 대해 이해할 수 있게 이끈다.  

저 : 윤지영

동의대학교 한국어문학과 교수. 1995년 중앙일보 신춘문예 시부문에 당선되었으며 대학에서는 현대시 관련강의 및 영화와 문학 관련 강의를 주로 하고 있다. 시집으로는 『물고기의 방』, 『굴광성 그 여자』가 있고, 평론집 『서정과 환상』, 연구서 『한국 현대시의 주체와 담론』와 『시와 마음읽기』 등을 집필했다.

제1부
제1장 시란 무엇인가?
1. 시와 시 아닌 것·································································13
2. 시의 기원과 이론적 장르로서의 시······································15
3. 역사적 장르로서의 시와 우리 시의 전개·······························21
4. 시에서 시적인 것으로·························································27
제2장 좋은 시란 무엇인가?
1. 좋아하는 시와 좋은 시·······················································32
2. 좋은 시를 판단하는 4가지 기준···········································35
3. 시의 감상과 분석 방향·······················································52

제2부
제3장 시는 대화다
1. 시인과 독자······································································61
2. 화자의 정의와 시인과의 관계··············································65
3. 화자와 비슷한 다른 개념들·················································68
4. 시 읽기와 화자의 구성 방법················································71
제4장 화자와 어조
1. 화자의 유형에 관한 문제····················································78
2. 어조의 정의와 유형화 방법·················································80
3. 화제와 어조: 정서적 거리에 따른 태도·································81
4. 청자와 어조: 위계에 따른 태도············································87
5. 화자와 어조: 이중성에 따른 태도········································89
제5장 어조의 종류
1. 아이러니···········································································92
2. 역설·················································································97
3. 아이러니와 역설의 복합적 효과········································· 101
4. 패러디와 패스티시··························································· 106

제3부
제6장 시는 낯설게 하기다
1. 시의 언어에 대한 오해들·················································· 115
2. 일상 언어의 특징····························································· 117
3. 일상 언어의 낯설게 하기·················································· 123
제7장 기의를 낯설게 하기
1. 기의를 낯설게 한다는 것의 의미········································ 126
2. 이미지············································································ 130
3. 비유··············································································· 145
4. 상상력과 동일성의 시······················································ 162
제8장 기표를 낯설게 하기
1. 기표를 낯설게 한다는 것의 의미······································· 166
2. 언어의 형태를 낯설게 하기··············································· 168
3. 언어의 소리를 낯설게 하기··············································· 172
4. 언어의 종합적 효과로서의 리듬········································ 182