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現代詩의 難解性에 대하여 : 그 要因究明과 克服을 위한 論議
柳謹助 단국대학교 대학원 1981 學術論叢 Vol.5 No.-
Two difficulties in modern poetry due to the feature of a special age and the method of expression by specific poet. I would like to stress the application of the original power of actual experience intuitive recognation than theory and searching of Korean emotion for the method of conquest in the difficulty of modern poetry. The first factor of the difficulty in modern poetry is that poet downfall to servant of consciousness after industrial society development; The second factor is due to mobilizing of potential power of language by all intellectual means because limitation of expression. At last, solutions of the difficulties in modern poetry are following. First, the poetry must be written by sincerity of poetry of poetry. Second, Korean Emotion must be searched by poet in believing the possibility of Korean language, oriental must be used through intuitive action of understanding.
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柳謹助 충남대학교 대학원 1974 論文集 Vol.3 No.-
It is the problem of the love of Ethos and the time of Ethos that from the basis of the poetic world of Suh Jung Joo consistently. The origin of his early poetry is drained from an active force outflowed from the wanderings of primitive and instinctive thirst for love. Although it's generally indicated that his early poetry is anti-traditional, European, behavioristic and immoral for this; but because active force, coming from fundamental wandering of love, is consumed by an external outburst, failing in spiritual sublimation to a higher degree. The world of his poetry itself could never be un-native and un-traditional, but considering the the circumference of that period, the stupidity in 'Hwa Sa' and Anti-Sun in 'The Leper' the result from an enervated life of intelligentia at that time, are perfect reflections of simple, timeless conception of time and the attitude toward time in earthly approximation, Which are cut off from the daily and real time, under the condition of Korean spirit. At his stable period the problem of love, confined in instinct because of consumption of active force in his early works, gets relief by itself by setting at the shadow of consumed remembering emotion and supplying the longing spiritual framework. And also this problem of love frees itself from the horizental, plain and still conception of time in early works and connects the time of this world and another world through poet's intuitive panning; the link of love with the bending, cyclical time suggests that the metempsychosis is nothing but a refraction of time. In his sublime period the idea gets to the naught of creative plasticity with developmental rising; as the result the high oderless, colorless world of love such as an emotional shadow of consumed love in his stable period, a bright moonlight without any traces of waves and star. From this, two facts can be induced. One thing, it is more sublimate result of the oriental renunciation which keeps a certain distance between poetic substance itself and the subjects. And the other, owing to his ability to think and intuitive perceptibility, the mind of the poet stably resides and settles at the oriental world of naught and the eternity of reality, without any refractions of time and waverings of eyesight once seen at his stable period. But the problem still occurs from the fact that such problem of love and time has a considerable relations with the situation of traditional Korea and the poetic diction of his poems is a concreate example of this. There are two factors that sublimates his poetic liserature to present supreme state. First one is the poet's indomitable will and poetic mind which strive for one world consistently fixing the traditional element or coloring for the basis of poetic mind through the introspection of attendance of the history. Another one more important than former, is the reality of Korean circumference around him ,which forces him to mold the lurid, eternal, Korean incarnation.
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怡山 金珖變 詩 硏究 : 意識 空間의 의미 구조를 중심으로
柳謹助 中央大學校 人文科學硏究所 1996 人文學硏究 Vol.25 No.-
AbstractPoet Kwang Sup Kim was born in the early stage of Mordern Korean Literature and lived astrenuous life in the barren land of colonized and war-torn Korean peninsula. Kim was, however, aconsistent leading figure in the world of Korean poetry. The purpose of this paper is to reread and reinterpret Kim's poetry as a whole in a different way that most previous literary scholars, critics and poets have not yet taken1. This study basically includes all poems of Kwang Sup Kim published by Ilji-sa in 1974. I, however, select some important poems that are widely read for the sake of probability and consistency of this paper. the concrete methology of this study is based on theories of empiricism, imagination and metaphor. My reading strategy is also provided by Edmund Husserl's phenomenology.2. The result of this study is as follows :a) Poems of Kim's early and middle period: The strong consciousness of Korean nationality and race is represented due to the close space consciousness of oppression and repression in the colonized country. in other words, the closed and repressive dynamic tensility in the real world finally led to Kim's intention to the original existence of "nym"(an everlastingly symbolic ideal lover) through the world of tranquiity and contemplation.b) Poems of the last Period : Some Poems such as "Spring" transcend the original existence of "nym", represent dynamic circularity, and confirm Kim's identity beyond the existence.c) One characteristic of Kim's poetry is that time consciousness cannot be separated from the life consciousness. Many temporal terms such as moment/eternity,limitedness/unlimitedness, time, clock in Kim's early poems obssesively represent contemporal linearity as an existential condition. In contrast, dynamic time consciousness in his later poems is closely related to his inevitable time consciousness. this means that the poet arives at the transcendental space of consciousness through his experience of life and death.d) Another characteristic of Kim's poetry is very excellence of imagination and metaphoric structure as a poetic method. The imagination of this kind results from Gaston Bachelarard's dynamic imagination that can transform the objects at its disposal. the magnificent metaphoric structure is also closely interrelated to this imagination
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