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The author of this article makes the study of the space recognition in Kim Ji-ha’s poetry. The space recognition means the self - consciousness in a space. In poetry, it means the directivity of a poet shown by the mutual relations between literature and the realities of life.
Generally, it is thought that Kim Ji-ha is the poet consistent in a poetry, a thought and a life style in position of the crossing between historicity and feature of the times because his poetry and his attitude show three images concerning on him ; the image of a militant struggling against the reality of 70s, the image of a person with ecological thought coping with environmental crisis as the global issue of 80s, and the image of a culture campaigner to construct Shinsi(神市), a city which a mythic founder of Korea built in ancient times, around the second millennium. So, the reputation of his poetry has never gone beyond this boundary up to now.
In spite of the existing studies, this article focuses on the wanderer recognition and then, his space recognition is divided into three kinds such as Bulgwi, Migwi, and Gwimu. Bulgwi(不歸) means the disability to come back, Migwi(未歸) does no will to come back, and Gwimu(歸無) does the impossibility of no way to come back. And, this article develops by regarding a space as a original but lost one. The difference between this article and the existing studies on Kim Ji -ha as well as the studies on the space recognition of other poets’ poetry is the uniqueness of the poetic space in his poetry. A poet’s inner recognition is based on the subject - consciousness and directivity, linguistic features, emotional responds, the way of life, and so on. Besides, a philosophical view and features of the times as the external background of writings are at its base as well. These take both compound and unitary forms of spaces and they act on most poets as the intimate space recognition. In other words, the distance between space and space recognition changes the feature of space recognition. Unlike the former classification of a space, it is possible that his poetic space will be divided into three other kinds such as the space of an upset and disobedience, the space of reconstruction and the discovery of lives, and the space of fatal leap. However, it is impossible to explain the wanderer recognition(or homecoming recognition) piercing his poetry if the latter classification is applied.
Bulgwi, Migwi, and Gwimu seek after the return to the original forms of human beings and society(原始返本). So, his abstract space which wouldn’t be restored in reality despite of the trials to restore has partially religious features. This point appeared remarkably as well when he struggled against the political oppression of 70s. However, his religious features dealt with this article are not equal to two religions such as Jeungsangyo(甑山敎) and Donghak(東學) based on his thought, but come in touch with the wanderer recognition, which pursues ‘a restless journey’ instead of ‘a short trip’. Therefore, his space recognition developed by the wanderer recognition is extended universally according to the stream of time.
Generally, it is thought that Kim Ji-ha is the poet consistent in a poetry, a thought and a life style in position of the crossing between historicity and feature of the times because his poetry and his attitude show three images concerning on him ; the image of a militant struggling against the reality of 70s, the image of a person with ecological thought coping with environmental crisis as the global issue of 80s, and the image of a culture campaigner to construct Shinsi(神市), a city which a mythic founder of Korea built in ancient times, around the second millennium. So, the reputation of his poetry has never gone beyond this boundary up to now.
In spite of the existing studies, this article focuses on the wanderer recognition and then, his space recognition is divided into three kinds such as Bulgwi, Migwi, and Gwimu. Bulgwi(不歸) means the disability to come back, Migwi(未歸) does no will to come back, and Gwimu(歸無) does the impossibility of no way to come back. And, this article develops by regarding a space as a original but lost one. The difference between this article and the existing studies on Kim Ji -ha as well as the studies on the space recognition of other poets’ poetry is the uniqueness of the poetic space in his poetry. A poet’s inner recognition is based on the subject - consciousness and directivity, linguistic features, emotional responds, the way of life, and so on. Besides, a philosophical view and features of the times as the external background of writings are at its base as well. These take both compound and unitary forms of spaces and they act on most poets as the intimate space recognition. In other words, the distance between space and space recognition changes the feature of space recognition. Unlike the former classification of a space, it is possible that his poetic space will be divided into three other kinds such as the space of an upset and disobedience, the space of reconstruction and the discovery of lives, and the space of fatal leap. However, it is impossible to explain the wanderer recognition(or homecoming recognition) piercing his poetry if the latter classification is applied.
Bulgwi, Migwi, and Gwimu seek after the return to the original forms of human beings and society(原始返本). So, his abstract space which wouldn’t be restored in reality despite of the trials to restore has partially religious features. This point appeared remarkably as well when he struggled against the political oppression of 70s. However, his religious features dealt with this article are not equal to two religions such as Jeungsangyo(甑山敎) and Donghak(東學) based on his thought, but come in touch with the wanderer recognition, which pursues ‘a restless journey’ instead of ‘a short trip’. Therefore, his space recognition developed by the wanderer recognition is extended universally according to the stream of time.
목차
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2. 본론
3. 결론
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