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This article attempts to explore some autobiographical elements in the three novels written by Richard E. Kim: The Martyred (1964), The Innocent (1968), and Lost Names (1970). A diaspora writer, Kim finds his subject matter in the major historical events of Korea. In his first internationally acclaimed novel, Kim draws much on some incidents in his own personal and family history; its protagonist the Reverend Shin, for example, is modelled on his maternal grandfather, the Reverend Hak Bong Lee, who were not only persecuted but also executed by the North Korean Communists. Kim's active involvement with the Korean Army as a liaison officer during the Korean War, as well as the military coup detat led by General Park in 1961, provide material for his second novel. In the third novel, Kim borrows the characters, incidents and settings not only from his family history but Korean history as well. His own childhood experiences under the Japanese colonial occupation and the strong nationalist sentiments of his father, play a pivotal role in the third and last novel. At his best, however, Kim explores universal themes that are far beyond geographical as well as temporal limitations.
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It is becoming significant for individuals to find their own individual identities, as the today’s ongoing globalization has become much more complicated. A similar situation occurred when the British Empire influenced the world politically, economically, and culturally in the nineteenth century. In order to grasp human intrinsic identities, my thesis aims to use postcolonial theories to examine characters’ identities in a nineteenth-century British novel, Kipling’s Kim (1901). In Kipling’s Kim, I examine Kim, an Irish boy who experiences racial identity confusion by living in British India. Kim’s identity is ambiguous as his background is complicated: his parents are Irish, Kim was born in India, he was educated in a British school, and he participated in the Great Game. It would prove inadequate to try to see Kim’s identity based on binary oppositions, as Kim’s identity is neither British nor native Indian. Aside from simply being a person named Kim, Kim’s identity consists of being someone who has cultural hybridity. Through the main character of Kim, Kipling suggests that a Brit who understands the local Indian culture and society, as Kim does, would govern India with ease. Overall, Kipling’s Kim elaborates on why or how India should be governed by Britain and also seems to justify the British rule of India. In Kim, Kipling creates the main character of Kim, who has cultural hybridity and whose process of personal growth throughout the novel depicts Kipling’s ideas on how to govern India easily. In order to justify British rule in India, Kipling also depicts how British-Indian society was developed by Britain, also through the character of Kim. Looking into characters’ identities throughout nineteenth-century British novels helps modern readers who live in this complicated world to grasp human intrinsic identities.
본 논문은 소설가 김광주의 회고를 통해 1930년대의 상해 한인사회에 대해 살펴보았다. 김광주는 1929년 상해로 이주한 이래 중일전쟁이 일어난 1937년 피신까지 약 10년 동안 상해 한인사회의 다양한 인물들을 만나고 항일운동과 함께 문화 활동을 펼쳤다. 이를 통해 1930년대 상해에서의 김광주는 영화계의 젊은 신진 감독을 비롯해 연극계의 다양한 문화예술가들과 교유하였음을 알 수 있다. ``일제의 지배가 싫은 젊은 세대``인 자유로운 문화예술가들과의 교류와 ``보헤미안극사`` 활동을 통해 그는 시, 꽁트, 연극, 영화 등에서 다양한 체험을 하게 되었다. 물론 그 바탕에는 1930년대 상해 한인 민족운동을 이끌고 있던 김구·안창호·김두봉 등 지도자들 후원이 컸다. 더욱이 남화연맹에서 활동한 아나키스트들과의 교류는 그의 항일 민족정서와 함께 자유정신을 키우는데 큰 영향을 끼쳤다. 특히 해방이후 상해체험을 회상하는 그의 작품의 대부분이 나라를 위해 싸우다 죽거나 방랑생활을 하다 귀국하지 못한 동지들에 대한 그리움이 한 축을 이루고 있다는 점에서, 상해체험이 그의 작품 활동에 미친 영향은 매우 컸다. This paper discussed the Korean community in China Shanghai in the 1930s by the novelist Kim Gwang-ju`s recalls. Kim Gwang-ju is a refuge for about 10 years until the 1937 war took place while since moved to Shanghai in 1929 to meet the various figures of the Korean community in Shanghai unfolded cultural activities with the anti-Japanese movement. Even though his shanghai settlement and time of refuge records are seem to inaccurate, but it is a relatively considered as a objective and analytic memoir of his experience. Through this we can know that Kim Gwang-ju associated with the young director of movies, including the various cultural artists of theatrical world in 1930s Shanghai. Through the interchange with "the young generation of unconstrained cultural artists who do not want the Japanese domination" and the activity of "Bohemian Theater Company", he had various experience in poem, conte, play and movie. Of course, theses are based on the great support of leaders such as Kim-Gu, Ahn-Changho and Kim Du-bong who led the Korean Independent Movement in Shanghai. Furthermore, the interchange with anarchists who were active in the ``Namhwa-Federation`` has had a big impact to raise his nationalistic emotion and the spirit of freedom. From the perspective of the Korean modern national movement, the research of Kim Gwang-ju`s life first, additional research materials for his family, especially elder brother Kim Dong-joo is very necessary. Kim Dong-joo is a secret help sponsor of activities of the Anti-Japanese independence fighters in Manchuria, as well as a important person who connected with an agents of a Provisional Government. His life was believed to be the future of course, also we need to study in depth the role and position of the personal hospital. Secondly, it is necessary to examine the local shelter, etc. Activity of Kim Gwang-ju activities in Shanghai. In other words, while Kim Gwang-ju live a long time is needed for local excavations and historical research, such as the Activity where many literary works written by the school and toughness. This is expected to find signs of shanghai, including Kim Gwang-ju Korean culture, artists in the 1930s who exchanges with him.
In the beginning of the Korean modern literature since 1910's, Kim Eok played a crucial role as a translator for foreign literature and theory. During the acceptance of foreign literature, Kim realized the importance of translation and he is considered an intellectual who, as opposed to other contemporary translators, performed a bulk of translations from various countries. He was in the lead of balancing content and form, reforming he literary circles of translation in which there was abundance of arbitrary interpretations and content-concentrated translations. However, Kim Eok's translated works have been devalued by reason of erroneous and liberal translation of original works and inapt understanding. Researchers generally examine original and translated texts in tandem, after which they point out problems of the translations and attribute them to the translators' lack of capacity. The study of this paper presupposes that in-depth understanding of translated texts can be carried out only when the theory and practice of translation go in parallel. It argues that the negative evaluation for Kim's translations can be reconsidered through the study of theory. Kim argued for 'creative liberal translation,' and this paper investigates the formation and characteristics of this standpoint. This paper particularly looks into how symbolism, which Kim embraced, influenced Kim's view on translation. The acceptance of symbolism and the theory of translation are discussed in regard to the theory of translation maintained by Bejamin, a German literary critic who lived around the same time, in his book The Task of the Translator. The paper also examines Kim Eok's theory of translation in the sense that the act of translating foreign languages expands and deepens a mother tongue, which provides an opportunity to form and develop the self-identity. Kim's viewpoint on translation, which searches for the nature of poems, found modern poetic language for the Korean poetry, which was possible due to his exploration into language that represents this nature. Translating the western poems in the initial stage of modern literature implies admission and conveyance of heterogeneous culture, beyond simple written text, and creation of new culture. Kim Eok's translated works shows the creativity of cultural translation that is generated at the intersection of internal and external cultures. The literary world after 1920's, via translations, could realize the identity of modern literature by means of dialogue with others, i.e. dialogue between tradition and the West. Furthermore, it could have a foundation in creation of new culture. Along these lines of modern literature, Kim Eok's theory of translation presented ‘creative liberal translation’ and ‘creative translation’ as the task and direction for those who do the translation, including himself. It was an aspect of cultural action that Kim's theory evidently showed through translation.
The Diffie-Hellman Key Exchange scheme can produce a common session key between the two communicators, but its problem is that it makes a man-in-the middle attack possible. To solve problems like these, several protocols have been put forward, and the Simple Authenticated Key Agreement (SAKA) Protocol is among them. Seo-Sweeney suggested a SAKA protocol initially and the protocol has weakness that a malicious 3rd party can masquerade a valid user. Tseng suggested another protocol that advances this problem but this protocol can still be attacked when the messages in key verification phase are identical. Ku-Wang suggested a new protocol that advances this problem. Kim-Kim-Hwang also suggested a new SAKA protocol and confirmed that their protocol has same safeness and better performance compared to the other SAKA protocols. In this paper, we reanalyze the safeness of SAKA protocols and find out that Kim-Kim-Hwang protocol has not only better performance but also better safeness. Diffie-Hellman의 키 인증 기법에 대한 제 3자 공격 (man-in-the middle attack)에 강한 간단한 인증키 동의 프로토콜인 SAKA (Simple Authenticated Key Agreement Protocol)가 제안된 바 있다. SAKA는 초기에 Seo-Sweeney에 의해 제안되었으며 이 방법은 침입자가 중간에 메시지를 가로채서 정당한 사용자임을 가장할 수 있는 단점이 있다. Tseng은 이 단점을 개선한 방안을 제안하였는데 이것도 키 확인 메시지 두 개의 값이 같을 경우 공격을 받을 수 있음이 밝혀졌다. Ku-Wang은 Tseng 방법의 문제점을 개선한 알고리즘을 제안하였다 그리고 Kim-Kim-Hwang은 새로운 SAKA 알고리즘을 제안하고 이것이 기존 SAKA 프로토콜들과 안전성은 동일하면서도 성능이 개선된 것임을 밝힌바 있다. 본 논문에서는 안전성 분석의 재고찰을 통하여, Kim-Kim-Hwang의 방법이 기존 SAKA 프로토콜들보다 성능면에서뿐만 아니라, 안전성 면에서도 우수함을 밝힌다.
갑신정변에 실패한 김옥균 등이 일본으로 망명한 이후, 조선정부는 이들을 역적으로 간주하고 김옥균의 본국 송환을 위해 노력해 나갔다. 이러한 조선정부와 달리, 일본정부는 국사범을 보호해 일본의 인도적 행동을 드러내고 조선과의 협상카드로 김옥균을 이용하고자 했다. 따라서 번번이 일본국내법과 만국공법, 그리고 조일간 범죄인인도조약의 부재를 이유로 조선정부의 김옥균 송환 요구를 거절했다. 그렇지만 일본정부의 김옥균 비호 방침은 오사카사건 관련자들의 김옥균에 대한 회유 모색이 발각되고 조선정부가 장은규와 지운영을 파견해 김옥균을 암살하려 하면서 변화되었다. 이로 인해 김옥균의 일본체류가 일본국내 치안을 불안하게 만들고 외교 분쟁의 빌미를 제공한다는 사실이 표면화 되었기 때문이었다. 그러자 일본정부는 김옥균문제를 해결할 방안을 강구했는데, 공교롭게도 이때 스스로를 지키고자 한 김옥균의 행동이 일본정부를 더욱 자극했다. 일본정부는 1885년까지 망명 국사범의 보호라는 명분과 대조선 정책에서의 활용이라는 실리를 모두 얻고자 김옥균의 일본체류를 묵인했다. 그렇지만 점차 조?청 양국의 반복적인 송환 요구와 일본내 반정부세력과의 연계, 암살자들의 도일 등으로 김옥균을 내치외교의 걸림돌로 판단하게 되었다. 결국 일본정부는 김옥균의 공식적인 신변보호 요청을 계기로 추방을 결정해 오가사라와에 유폐시켰다고 하겠다. The Korean government had constantly promoted the repatriation of political asylum in Japan like Kim Ok-kyun(金玉均) who led a failed coup and fled to Japan. At that time, the Korean government recognized Kim was a threat to the regime and made the feelings of the people disturb. However, the Japanese government opposed the Korean government for they permitted Kim’s residence in Japan. By the way, the Japanese government’s policy had changed because of the discovery of the Osaka plot(大阪事件) with Kim Ok-kyun and an assassin dispatched by the Korean government. The Japanese government had to prevent a coup by the opposition with Kim Ok-kyun or the assassins would kill Kim in Japan. Therefore, the Japanese government had decided on Kim’s deportation from Japan because of the obstacles in diplomacy and sedition. Then Kim had consulted his personal problems with an Englishman belonging to the judiciary of Japan and moved to a hostel of France concession in Yokohama, leaving Tokyo. Kim then sued Ji un-yeong(池運永) in court. In addition, Kim asked for personal protection and asylum in Russia from the Speyer of Russian consul in Japan. However, Kim Ok-kyun’s formal request for personal protection antagonized the Japanese government and made his expulsion one of force. As a result, Kim Ok-kyun was confined to Ogasawara(小笠原) Island.
Der koreanische Dichter Hyon-seung Kim bekennt sich zu einem erheblichen Einfluß Rilkes auf seine Weltanschauung, insbesondere wegen Rilkes ernsthafter Haltung gegenu¨ber Leben und Kunst. In diesem Zusammenhang steht Kim unter dem starken Einfluß von Rilkes fru¨hen Werken wie Das Stunden-Buch und Das Buch der Bilder. Diese Werke behandeln wichtige Themen, die auch bei Kim ihren Niederschlag finden, das heißt Gott, Einsamkeit und Dichtung. Die Haltung des lyrischen Ichs bei Kim ist der Geba¨rde des lyrischen Ichs in Das Stunden-Buch sehr a¨hnlich. Der russische Mo¨nch in Rilkes Werk spricht aufs Knie fallend vor Gott Gebete, malt Ikonen und schreibt daru¨ber hinaus Verse. Diese fromme Haltung pra¨gt auch die des lyrischen Ich bei Kim. Ferner besteht große A¨hnlichkeit zwischen beiden Dichtern darin, dass die beiden in ihrer fru¨hen Zeit durch Gebet, also aus der Sehnsucht nach Gott, Verse schaffen. Man kann niemals bei Kim von der Einsamkeit im Herbst als literarischer Kulisse sprechen, ohne sich as Rilkes 「Herbsttag」zu erinnem. Trotzdem konnte Kim abda¨mmend gegen Rilkes Einfluß seine eigene Welt dadurch bewahren, dass er an der ihm eigentu¨mlichen Einsamkeit festha¨lt. Sein literarischer Verdienst findet sich dort, wo er mit Hilfe der Dinge und Ausdru¨cke solider Art seine existentielle Einsamkeit zu einem reinen poetischen Thema hat reifen lassen. Kims fester Glaube an die reine Einsamkeit entsprang seit Mitte der 1960er Jahre aus dem Mißtrauen gegen die christliche Gottheit und die fro¨mmelnden Christen. Unter diesen Umsta¨nden hatte er keinen anderen Weg, als nur auf das selbsta¨ndige Ich angewiesen zu sein. Zugleich hat er, wie seine Gedichte 「Absolute Einsamkeit」 und 「Solide Einsamkeit」zeigen, seine Einsamkeit positiv verarbeitet und ihr so einen Sin gegebenletzten Endes zu einer Ewigkeit, anders als Rilke, der auf jeden Fall seine Einsamkeit nur als Vorraussetzung fu¨r das Dichten betrachtet hat. Gerade hier hebt sich die originelle Seite der Einsamkeit von Kim gegen Rilke ab. In Hinsicht der sprachlichen Behandlung grenzen Kims Gedichte der absoluten Einsamkeit an Rilkes Dinggedichte in Neue Gedichte . Dieses Resultat ergibt sich daher, dass Kim seine dichterische Sprache wie ein Steinmetz meißelt, so dass er seine bloße Idee mit den soliden Ausdru¨cken bekleidet. Und dass Kim auf der Suche nach poetisch solider Gestaltung immer wieder auf sprachliche Pra¨chtigkeit und gefu¨hlvolles Pathos verzichtet hat, also dass er nach der "Poetischen Nu¨chternheit" gestrebt hat, bringt ihn noch mehr in die Na¨ch von Rilkes Dinggedichten. Aber Kim kehrte endgu¨ltig zu dem christlichen zuru¨ck, nachdem er Bluthochdruck erlitten hatte. Nach diesem Zwischenfall bereute er, dass er bisher - Gott aus dem Blick verlierend - zu dichterisch geneigt war. Natu¨rlich kann man auch in der literarischen Phase, wo er nur die absolute Einsamkeit verfolgt hatte, eine grundlegende Haltung mit Pra¨gung durch das christliche Ethos finden, Dies bedeutet, dass zu ihm die Einsamkeit eine Art Religion war. Also war seine Einsamkeit ein Prozess des christlichen Selbsterwachens. Wenn man die Tatsache in Betracht zieht, dass fu¨r ihn der Prozess der Einsamkeit eine Forsetzung des Dichtens war, so scheint seine Einamkeit ihr eigenes literarisches Dasein gefu¨hrt, moderne menschliche Bedingungen untersucht, und dadurch fu¨hlten sie sich menschlich gesteigert.
Kyun Jin Kim is one of very important modem theologians in Korea. He was president of Korean society of systematic theology and is now president of Korean society for Karl Barth's theology. He has served more than 30 years as professor of systematic theology at Yonsei university. He has made a big impact on Korean theology. I. Kyun Jin Kim' theological characteristics 1. Kyun Jin Kim's theology is a theology of the kingdom of God. Although soul salvation plays a big role in Kim' theology, the kingdom of God is the core of his theology. He has written his doctrine of systematic theology in the light of the kingdom of God. It is the purpose of his theology to establish the kingdom of God on the earth. 2. Kyun Jin Kim' theology is a messianic theology. According to Kim, it is important to know that Christ was the messiah. Kim denies that the concept messiah is interpreted only spiritually. He can be a political messiah, although he doesn't want to rule the world with coercive power. He is the messiah who saves not only our souls, but also the world and the earth. 3. Kyun Jin Kim's theology is a holistic theology. He is not interested in a biased theology. He loves holistic theological view. According to Kim, Korean Min Jung theology lacks this holistic view, although it shows us very important field to establish the kingdom of God. Ⅱ. Kyun Jin Kim's theological contributions 1. Kyun Jin Kim's first theological contribution to Korean theology is his five books of systematic theology. He accomplished his doctrine of systematic theology. His five books of systematic theology can be valued in Korean like Church Dogmatics of Karl Barth. 2. Kyun Jin Kim's theology is very academic. His theology is a very high level theology which can compete with european theologies. It is important to know that european theologians should learn from his theology. 3. Kyun Jin Kim's third theological contribution is his translation of many books of J. Moltmann. He translated into Korean the crucified God, Trinity and Kingdom of God, the Way of Jesus Christ, Sprit of life, the coming God etc. 4. Kyun Jin Kim's forth theological contribution is his contribution to the theology of life. He develops a very high level theology of life in Korea.
본 연구의 목적은 상해 경험이 있는 무용수가 Kim's body conditioning program 후 무용동작 수행 시 무용수의 신체 움직임 느낌을 통해 프로그램의 효과를 규명하고자 하였다. 본 연구의 목적에 따라 연구대상자들은 2007년 ADF(America Dance Festival)에 참석한 무용수들 중 Kim's body conditioning program 수업에 참석한 60명 중 6주간 수업에 결석하지 않은 31명을 대상으로 설문조사를 실시하였다. 연구 대상자들의 평균 연령은 22.06(±1.590)이며, 무용경력은 3년 미만이 54.8%로, 3년 이상이 38.7%이다. 조사 설문 내용은 무용전문가 3명과 의학전문가 1명, 설문조사 전문가 1명 등 5명으로 구성되어 설문조사 문항을 위해 협의, 의논하여 문항들을 선택하였으며, 자료 분석 방법으로는 기술통계의 빈도분석과 X2 분석 방법이 사용되었으며, 분석결과는 다음과 같다. 첫째, 전체적인 움직임에 대해 Kim's body conditioning program 수행 후 무용동작 수행 시 보다 편안함을 느낄 수 있으며, 원활하게 움직일 수 있다는 것으로 응답하였다. 둘째, 무용의 기본 동작에 대해 기본 브러쉬(brush) 동작, 그랑 바뜨망(grands battements) 동작, 데벨로뻬 (develope) 동작, 쁠리에 (plie) 동작, 아라베스크(arabesque) 동작에서 움직임 수행 시 편안함을 느꼈으며, 관련된 근육들에 움직임에서 원활하게 움직일 수 있었다고 응답하였다. 셋째, 무용수들의 Kim's body conditioning program 평가에서 이 프로그램은 전체적인 근력 및 하지의 유연성을 강화할 수 있다고 응답하였으며, 무용 동작 수행 시 움직임에 도움을 줄 수 있는 것으로 무용수들에게 도움이 된다고 응답하였다. 또한 이 프로그램이 무용수들뿐만 아니라 비전공자들에게도 필요한 프로그램이 될 수 있다고 응답하였다. 그러나 무용 표현 기술적인 측면에서는 높은 동의를 얻지 못했다. 이와 같은 결론을 통해 Kim's body conditioning program이 상해를 가진 무용수들에게 재활의 프로그램 중 하나로 제시될 수 있다. The purpose of this study was investigating about previously injured dancers' execution of movements and comfortableness after Kim's body conditioning program. 31 participants joined the six weeks of ADF of the year 2007 after undergoing Kim's body conditioning program. Contents of research were examined by three dance expertise, one medical doctor, and one research expertise. Frequency of descriptive statistics and X2 were used to analyze the collected data. The results were as follows. First, the 31 participants answered they were comfortable executing their movements and greater control over their muscle movements after Kim" body conditioning program. Second, they responded that they could comfortably execute their basic movements then previous to participating in Kim's body conditioning program and move their muscles more readily. Third, after undergoing Kim's body conditioning program, the participants answered Kim's body conditioning program can improve muscular power, become more flexibleness and help execution of movements. In addition, Kim's body conditioning program can help people who are not dance major. Kim's body conditioning program, however, cannot improve executing difficult dance movements. In conclusion, Kim's body conditioning program could be a rehabilitation program for previously injured dancers.
본고의 목적은 김우진의 시의식의 전개양상을 살펴보는데 있다. 김우진의 시의식은 ‘유교적 전통에 대한 거부와 순응의 태도’, ‘새로운 세계에 대한 동경과 열망’, ‘죽음의식과 그 역설적 의미’ 등으로 전개된다. 기존의 연구에서는 가부장적인 부친의 엄격한 태도와 일본 유학시절 김우진이 심취했던 표현주의 영향에 의해, 그가 유교적 전통과 인습에 대한 강한 저항과 거부의 태도를 보인 것으로 논의하였다. 그러나 전통과 인습에 대한 김우진의 태도를 단선적으로 저항과 거부의 태도만으로 설명할 수 없는 한계가 있다. 오히려 여러 작품과 일기 등에서 유교적 가정에서 장남으로 태어난 김우진은 유교적 도리를 실천하려는 태도를 보인다. 자아와 세계 사이에서 끊임없이 갈등했던 김우진은 특히 자신의 꿈의 원천이었던 어머니라는 매개체를 통해 새로운 세계로 나아가려는 시의식을 드러낸다. 5살 때 여읜 어머니에 대한 그리움과 동경은 김우진을 더욱 더 새로운 세계에 대한 동경과 열망으로 이끄는 강렬한 기폭제가 된다. 그러나 현실에서 부재한 어머니를 통해 새로운 세계에 도달할 수 없기에, 결국 김우진은 절망으로 치닫게 되며 이는 곧 죽음의식으로 나아가는 결정적인 동인이 된다. 김우진 시에서 죽음이란 단순한 육체적인 생의 마감을 뜻한 것이 아니다. 그의 시에서 죽음이란 곧 새로운 생의 시작이고 그 죽음을 통해 영원한 안식과 구원을 얻을 수 있다는 역설적인 의미를 뜻한다. 이러한 죽음에 대한 김우진의 고고한 역설적 진리는 결국 그가 29세의 나이에 스스로 생을 마감하게 하는 요인으로 작용하였다. 이와 같은 시의식을 살펴보면, 김우진은 희곡작가로 널리 알려져 있지만, 오히려 그의 삶과 문학은 시에서 보다 더 잘 표출되었다. The purpose of this study is to examine the aspect of development on the Kim Woo-Jin’s poetic consciousness. The poetic consciousness of Kim Woo-Jin is unfolded into ‘disapproval and conformity to Confucian tradition’, ‘admiration and longing for a new world’, and ‘the awareness of death and the paradoxical meaning.’ Previous research has suggested that he shows strong resistance and rejection to Confucian tradition and conventions due to his patriarchal father’s strict attitude and the influence of expressionism that Kim Woo-Jin engrossed during his study abroad in Japan. However, there are limitations that Kim’s attitude toward tradition and convention cannot be explained only by his attitude of resistance and rejection. Rather, Kim Woo-Jin, who was born as the eldest son in Confucian families shows an attitude to practice Confucian doctrine in his various works and diaries. Kim Woo-Jin, who constantly conflicted between himself and the world, reveals his poetic consciousness of moving into the new world, especially through the medium of his mother who was the source of his dream. The longing and admiration for his mother, who died when he was five years old, becomes a powerful catalyst for Kim Woo-Jin for a new world even more. However, as Kim cannot reach the new world through her absent mother in real life, he eventually goes to despair, which is the decisive driver of the awareness of death. In Kim’s poem, death does not mean the end of a simple physical life. In his poem, death means the paradoxical meaning that it is the beginning of a new life, and by its death it can obtain eternal rest and salvation. Kim Woo-Jin’s paradoxical truth about death eventually served as a factor that led him to end his own life at the age of 29. Examining his poetic consciousness, Kim Woo-jin is widely known as a playwright, but his life and literature are better expressed in poetry.