1950년대와 김춘수 시의 자율성 (Korean 1950s and Autonomy of Kim Chun-Su’s Poetry.)

서지정보

· 발행기관 : 한국언어문화학회
· 수록지 정보 : 한국언어문화 / 51호 / 5 ~ 25페이지
· 저자명 : 김점숙

초록

1950s, When other poets reflected on question of existence, Kim Chun-Su (From here on Kim) considered the experiment on language and the investigation on the problematic existence. Although Koreans experienced despair of the Korean War as a community, not all poets ought to write socially engaging works. That’s because the poetry is not ideology. Not only the poetry reflects on the reality but also dreams on freedom that is outside the reality. For this reason, it is awkward to include Kim’s poetry in the filed of the Korean 50s. On the other hand, the 50’s conditions enable us to study Kim’s work and the 50s as one bundle.
The objectivity of this article is to clarify autonomics and characteristics of Kim’s poetry in relation of the 1950s’ Korean poetry. In relation with the 50s’ Poetry in general, Kim’s poetic concern is based upon epistemological self-awareness. That concrete work flows through among the experiment with naming the object, establishing the relation between the object and the idea and investigating the existence. The main point this article regards the most is that Kim was the first poet that presented the object exist due to the language.
This fact is exposed in his most famous work “Flower.” The “Flower” reveals that the object or the being finally exists when it’s identified with name. The flower in the poetry is not just a flower but a signifier symbolizing the existence. This work is a philosophical poetry that displays relation between the word and the object. Through the “Flower,” a flower becomes a flower when “I” label the flower and therefore the flower finally becomes a meaning to the subject.
In “Prologue for the Flower,” Kim fulgurates his pessimism towards the absolute distance of media among the object – the idea – the words as “a bride who covered her face.” Therefore the being an unreachable existential distance is expressed as “flower” is “bloom and wither namelessly” on the “shaken branch of existence.”In “My God.” The absolute being and a pronoun “God” is objectized and overlaid with several strange words. The collision among un-humane tensions that produce the imagery discloses variously ubiquitous God. This observation expands the question of particular and individuality from epistemology to existentialism by showing the nature of existence is not limited by our vision but understood in different circumstantial relations.
In the 1950s when most poets express the despair that Korean war left behind, Kim Chun Su live out with his own poetic vision. This effort upgraded Korean poetry and distinguished him from the rest. This is the reason of this study and will be considered as meaningful in history of Korean poetry in the 1950s.

영어초록

1950s, When other poets reflected on question of existence, Kim Chun-Su (From here on Kim) considered the experiment on language and the investigation on the problematic existence. Although Koreans experienced despair of the Korean War as a community, not all poets ought to write socially engaging works. That’s because the poetry is not ideology. Not only the poetry reflects on the reality but also dreams on freedom that is outside the reality. For this reason, it is awkward to include Kim’s poetry in the filed of the Korean 50s. On the other hand, the 50’s conditions enable us to study Kim’s work and the 50s as one bundle.
The objectivity of this article is to clarify autonomics and characteristics of Kim’s poetry in relation of the 1950s’ Korean poetry. In relation with the 50s’ Poetry in general, Kim’s poetic concern is based upon epistemological self-awareness. That concrete work flows through among the experiment with naming the object, establishing the relation between the object and the idea and investigating the existence. The main point this article regards the most is that Kim was the first poet that presented the object exist due to the language.
This fact is exposed in his most famous work “Flower.” The “Flower” reveals that the object or the being finally exists when it’s identified with name. The flower in the poetry is not just a flower but a signifier symbolizing the existence. This work is a philosophical poetry that displays relation between the word and the object. Through the “Flower,” a flower becomes a flower when “I” label the flower and therefore the flower finally becomes a meaning to the subject.
In “Prologue for the Flower,” Kim fulgurates his pessimism towards the absolute distance of media among the object – the idea – the words as “a bride who covered her face.” Therefore the being an unreachable existential distance is expressed as “flower” is “bloom and wither namelessly” on the “shaken branch of existence.”In “My God.” The absolute being and a pronoun “God” is objectized and overlaid with several strange words. The collision among un-humane tensions that produce the imagery discloses variously ubiquitous God. This observation expands the question of particular and individuality from epistemology to existentialism by showing the nature of existence is not limited by our vision but understood in different circumstantial relations.
In the 1950s when most poets express the despair that Korean war left behind, Kim Chun Su live out with his own poetic vision. This effort upgraded Korean poetry and distinguished him from the rest. This is the reason of this study and will be considered as meaningful in history of Korean poetry in the 1950s.

참고자료

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