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초록· 키워드
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Kim Choon-soo was, among other things, a poet who was clearly aware of the inherent limitations of language but constantly tried to overcome it. And for Kim Choon-soo, the limit of this language was also the limit of the world. He was pushed to the edge of reality by history and ideological violence, but finds forgotten individuals in this tragic world and returns to the center of painful history with them again. This study analyzed this world by applying Jacques Ranciere’s concept of ‘part des sans parts’. This concept is a principle and a process of realization that reconstructs those who have nothing to make up the majority of society into political entities.
Kim Choon-soo, who had passed the turbulent times of the Korean War and the liberation period, shows various aspects of the world under the context of violence in history and ideology. First of all, his early poems adhere to the double-contradictory state and tragic worldview. During this period, his poetry uses a tense confrontation between the two poles to create cracks in the existing symbolic order and discover the ‘personal’ hidden in it.
Kim Choon-soo then goes through one change, which is important in reaching out to the universals through the “world of his own,” or inner side. This interior is not a combination of the self and the world that could be seen in existing lyric poetry, or through the notion of impermanence, transitory. Through the tragic worldview, we were able to discover the “personal” hidden in it, but it was too much to move on to a “new history”(the universals). Therefore, he is not just calling out the marginalized who are moving away amid the tension of confrontation, but realizing the limitations of such language and accepting its grief, creating an existential space for the others individuals) to stay intact. What’s notable then is that these things are being done within “the world of oneself,” or within the poet’s. To remember those excluded from reality and stay with them, Kim Chun-soo is similarly excluded from history, opening up his own inner side, which has no effect.
The second change is the meaningless poetry. Kim Choon-soo says, “The meaningless poetry is realism, and further realism, which is to reconstruct landscapes and objects to create a space to relate to the others by excluding ideas.” The violence of ideology and history, which Kim Choon-soo has consistently rejected, dissolves individuals’ voices. In this situation, meaningless poetry excludes ideology and reconstructs the existing order that supports the landscape and the object to see what had been hidden. What is not heard, what is intertwined with noise, makes it sound as the language of the poem. In other words, Kim Choon-soo did not flee from the center to the edge of the political one, but returned from the edge to the center again. A meaningless poetry’s space is a place where the concealed one is trimmed into a visible shape, which foretells the arrival of the others. We can only face the incoming the others after going through the process of being conceived through the senses inside my body. Now his poems are directed at individuals, the others. Thus, history as the universals is transformed into a history of individuals.
Kim Choon-soo, who had passed the turbulent times of the Korean War and the liberation period, shows various aspects of the world under the context of violence in history and ideology. First of all, his early poems adhere to the double-contradictory state and tragic worldview. During this period, his poetry uses a tense confrontation between the two poles to create cracks in the existing symbolic order and discover the ‘personal’ hidden in it.
Kim Choon-soo then goes through one change, which is important in reaching out to the universals through the “world of his own,” or inner side. This interior is not a combination of the self and the world that could be seen in existing lyric poetry, or through the notion of impermanence, transitory. Through the tragic worldview, we were able to discover the “personal” hidden in it, but it was too much to move on to a “new history”(the universals). Therefore, he is not just calling out the marginalized who are moving away amid the tension of confrontation, but realizing the limitations of such language and accepting its grief, creating an existential space for the others individuals) to stay intact. What’s notable then is that these things are being done within “the world of oneself,” or within the poet’s. To remember those excluded from reality and stay with them, Kim Chun-soo is similarly excluded from history, opening up his own inner side, which has no effect.
The second change is the meaningless poetry. Kim Choon-soo says, “The meaningless poetry is realism, and further realism, which is to reconstruct landscapes and objects to create a space to relate to the others by excluding ideas.” The violence of ideology and history, which Kim Choon-soo has consistently rejected, dissolves individuals’ voices. In this situation, meaningless poetry excludes ideology and reconstructs the existing order that supports the landscape and the object to see what had been hidden. What is not heard, what is intertwined with noise, makes it sound as the language of the poem. In other words, Kim Choon-soo did not flee from the center to the edge of the political one, but returned from the edge to the center again. A meaningless poetry’s space is a place where the concealed one is trimmed into a visible shape, which foretells the arrival of the others. We can only face the incoming the others after going through the process of being conceived through the senses inside my body. Now his poems are directed at individuals, the others. Thus, history as the universals is transformed into a history of individuals.
목차
국문초록
Ⅰ. 들어가며
Ⅱ. 역사와 개인의 종속관계
Ⅲ. 이중적 모순 상태와 비극적 세계관
Ⅳ. 무상성의 내면
Ⅴ. 개인들의 역사
Ⅵ. 나가며
참고문헌
Abstract
참고문헌 (27)
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