1960-1980년대 한·중 모더니즘 시의 지향성 비교연구 - 《현대시》와 《오늘》 동인을 중심으로 -

이미옥(Lee, Mi-Ock) 동북아시아문화학회 2020 동북아 문화연구 Vol.1 No.64

This thesis compared the directivity of Korean and Chinese modernism poetry of the 1960s to the 1980s focusing on the coterie 《Modern Poetry》 of Korea and the coterie 《Today》 of China. Behind the comparison of these two motives are the April 19th Revolution of Korea and Tiananmen Square protests of China, which were important turning points in the preparation of modernity. The two revolutions were the first democratic revolutions since liberation and they had a symbolic effect on modern history and literary history and this connected with movements for modernism of the West and gave birth to unique thoughts of modernism. The coterie magazines 《Modern Poetry》 and 《Today》 were created to allow people to voice their thoughts and establish their literary positions after the first democratic revolution failed after liberation in an atmosphere of national censorship. Their greatest role was to create autonomous literary fields in which attempts could be made for pure poetic explorations in a time when realistic participation was desperately needed and to secure diversity. Modern poetry coteries particularly pry into the unconscious, or in other words, the inner consciousness and their goal was a combination of lyricism and modernity. Their internal world was in the form of individual illusions created through language and the illusions they pursue were progressed with as explorations into pure individual unconsciousness and not as reflections of reality or participation. Also, they accept modernism techniques but establish their own poetics instead of settling for a single form of esthetics and they promoted active language experiments. The psalms of coteries can be distinguished from the ‘internal worlds’ of previous poems of modernism from aspects that they are the acquisition of self-sustaining internality that possesses modernistic material foundations. Compared to this, modernism poetry of China actively utilized modernism from aspects of technique but there are many aspects of reality reflection from aspects of content. Chinese poets read books related to modernism in secret through underground reading and this became nourishment for the creation of modernism poetry. They borrowed various modernism techniques such as metaphors, montages, and automatic techniques to reveal the contradictions of suppressed realities and this was called “misty poetry” and appeared as contemporary literary thought. Ultimately, misty poetry is another name for engagement poetry that borrows modernism techniques and its modernism is similar to historical modernity that is based on historical reality.

1930년대 시문학파 · 모더니즘의 감정 환경– 서구 번역시 환경에서 본 김영랑·김기림 연구

주현진 충남대학교 인문과학연구소 2015 인문학연구 Vol.51 No.1

This paper studied on the status of various poetry’s methodology during the 1930s in the general korean literature. For overcoming "the uncontrolled emotions gushing" and the poor content of the 1920’s poetry, several poets of the 1930s tried to realize the modernity of Korean poetry through pure poetry and modernism such as Kim Young-ran and Kim Gi-rim. In this case, this study attend to understand the intertextuality’s relationship between Korean first modern poetry and Occidental modern poetry such French symbolism and english modernism, introduced in Korea at that time. However, it’s a widely acknowledged fact that Occidental poetries’ translation, such as Verlaine, Baudelaire, Yeats, Byron, influenced on the birth of the Modern Korean poetry. Korean literature in the first half of the last century could not be free from the framework of literary translation. So the emergence of lyrical speaker in the works of Kim Young-ran and the suppressing of emotions in the works of Kim Gi-rim, these are modern literary efforts realized by the both. Especially, one of the first modernists Kim Gi-rim tried experimental architecture in literature such as Imagism. By the way, their modern representations in literature were surely influenced by many translations, screening wave of the Occidental literature at that moment. We can see that some evidences in Kim Young-ran’s poetry such as romanticism themes and non-eloaquent emotion’s emergence, also in Kim Gi-rim’s modernism such as romanticism portent such as hope of utopia and themes. In this case, study of the first modern Korean poetry should be focused on the inter-textual relationship with Occident modern poetry’s translation. 이 논문은 한국 현대시의 진정한 탄생이라고 평가받는 1930년대 한국시의 다양한 방법론적 시도가 일반적인 문학사에서 갖는 의의와 그 위상에 대하여 생각해 보는 것이 목적이다. 1920년대 시가 보여준 “무절제한 감정 분출”과 “내용의 편중성”을 극복하려는 문학적 의지로서 1930년대 출현한 시문학파, 모더니즘, 생명파 등의 시인들이 보여준 노력은 한국 현대시사의 새로운 시작으로서 문학사적 중요한 의의를 갖는다. 그렇지만 서구시의 번역이 태생적 환경인 한국 근대시는 지난 세기 전반기동안 번역문학의 틀로부터 자유로울 수가 없다. 그런 까닭에 순수 서정시의 위상을 구축한 시문학파의 김영랑, 주관적 감상을 자제하는 서정적 화자를 출현시키며 이미지즘의 추구를 통해 시의 건축성을 실험한 모더니즘의 김기림, 이 시적 확대에 대한 탐구는, 한국 근대시라는 틀에서 뿐만 아니라, 당대의 가장 영향력 있는 문학 환경일 수밖에 없었던 서구 근대문학과의 상관성이란 견지에서 해석해볼 필요가 있다. 때문에 본 연구는 1920년대부터 1930년대에 이르기까지 가장 주목받았던 서구 문학경향에 입각하여 김영랑의 순수 서정의 원천이 자리한 지점을 탐색해보았다. 또한, 김기림의 모더니즘이라는 이름으로 드러나는 사물의 세계에 대한 피상적인 흥분이 왜 모더니즘의 핵심인 현대성의 특성들로 연결되지 못하는가에 대해 탐색해보았다. 따라서 김영랑의 순수 서정이 차분한 목소리로 표출되기는 하지만, 서구 낭만주의적 서정성과 근대문학 특히 베를렌의 시에 표현된 불가해한 감정과 뒤섞여 있음을 이해할 수 있었다. 그리고 김기림의 모더니즘의 피상적 사물 세계를 받치고 있는 것은 낭만주의자 호모 로맨티쿠스의 공허한 이상과 심정이란 것을 알아낼 수 있었다. 이러한 연구 결론에 의거하여, 한국 근대시의 진행과정을 면밀하게 분석하기 위해선 앞으로 서구 번역시와의 상호텍스트적 비교 연구가 더 확대되어야함을 요청하게 된다.

1930년대 시문학파,모더니즘의 감정 환경 -서구 번역시 환경에서 본 김영랑,김기림 연구

주현진 ( Hyoun Jin Ju ) 충남대학교 인문과학연구소 2015 인문학연구 Vol.51 No.1

이 논문은 한국 현대시의 진정한 탄생이라고 평가받는 1930년대 한국시의 다양한 방법론적 시도가 일반적인 문학사에서 갖는 의의와 그 위상에 대하여 생각해 보는 것이 목적이다. 1920년대 시가 보여준 "무절제한 감정 분출"과 "내용의 편중성"을 극복하려는 문학적 의지로서 1930년대 출현한 시문학파, 모더니즘, 생명파 등의 시인들이 보여준 노력은 한국 현대시사의 새로운 시작으로서 문학사적 중요한 의의를 갖는다. 그렇지만 서구시의 번역이 태생적 환경인 한국 근대시는 지난 세기 전반기동안 번역문학의 틀로부터 자유로울 수가 없다. 그런 까닭에 순수 서정시의 위상을 구축한 시문학파의 김영랑, 주관적 감상을 자제하는 서정적 화자를 출현시키며 이미지즘의 추구를 통해 시의 건축성을 실험한 모더니즘의 김기림, 이 시적 확대에 대한 탐구는, 한국 근대시라는 틀에서 뿐만 아니라, 당대의 가장 영향력 있는 문학 환경일 수밖에 없었던 서구 근대문학과의 상관성이란 견지에서 해석해볼 필요가 있다. 때문에 본 연구는 1920년대부터 1930년대에 이르기까지 가장 주목받았던 서구 문학경향에 입각하여 김영랑의 순수 서정의 원천이 자리한 지점을 탐색해보았다. 또한, 김기림의 모더니즘이라는 이름으로 드러나는 사물의 세계에 대한 피상적인 흥분이 왜 모더니즘의 핵심인 현대성의 특성들로 연결되지 못하는가에 대해 탐색해보았다. 따라서 김영랑의 순수 서정이 차분한 목소리로 표출되기는 하지만, 서구 낭만주의적 서정성과 근대문학 특히 베를렌의 시에 표현된 불가해한 감정과 뒤섞여 있음을 이해할 수 있었다. 그리고 김기림의 모더니즘의 피상적 사물 세계를 받치고 있는 것은 낭만주의자 호모 로맨티쿠스의 공허한 이상과 심정이란 것을 알아낼 수 있었다. 이러한 연구 결론에 의거하여, 한국 근대시의 진행과정을 면밀하게 분석하기 위해선 앞으로 서구 번역시와의 상호텍스트적 비교 연구가 더 확대되어야함을 요청하게 된다. This paper studied on the status of various poetry``s methodology during the 1930s in the general korean literature. For overcoming "the uncontrolled emotions gushing" and the poor content of the 1920``s poetry, several poets of the 1930s tried to realize the modernity of Korean poetry through pure poetry and modernism such as Kim Young-ran and Kim Gi-rim. In this case, this study attend to understand the intertextuality``s relationship between Korean first modern poetry and Occidental modern poetry such French symbolism and english modernism, introduced in Korea at that time. However, it``s a widely acknowledged fact that Occidental poetries`` translation, such as Verlaine, Baudelaire, Yeats, Byron, influenced on the birth of the Modern Korean poetry. Korean literature in the first half of the last century could not be free from the framework of literary translation. So the emergence of lyrical speaker in the works of Kim Young-ran and the suppressing of emotions in the works of Kim Gi-rim, these are modern liter ry efforts realized by the both. Especially, one of the first modernists Kim Gi-rim tried experimental architecture in literature such as Imagism. By the way, their modern representations in literature were surely influenced by many translations, screening wave of the Occidental literature at that moment. We can see that some evidences in Kim Young-ran``s poetry such as romanticism themes and non-eloaquent emotion``s emergence, also in Kim Gi-rim``s modernism such as romanticism portent such as hope of utopia and themes. In this case, study of the first modern Korean poetry should be focused on the inter-textual relationship with Occident modern poetry``s translation.

전환기 한국 현대시의 시 세계

윤여탁(Yoon Yeo-Tak) 한국시학회 2009 한국시학연구 Vol.- No.25

This study focused on aspects of development of Korean modern poetry, from the liberation of Korea in 1945 to the 1950s, and its world. during this period, Korean modern poetry illustrated various poetic seeks and glimpses. These researches became a foundation of Korean modern poetry’s literary growth. Above all, the literary conflict between the left and right was appeared immediately after the liberation of Korea, and this conflict developed itself as ‘ideological realization in literature’. Additionally, Korean modern poetry’s a wide variety of attempts after Korean War were sufficient to prepare subsequent growth and revival of Korean modern poetry. Specifically, a variety of poetry - realism poem, lyric poem, modernism poem and poem about war - was created and developed into later Korean modern poetry. Various creation of modern poetry on this period was able to be a solid ground of reconsideration about a current tendency of modern poetry’s research and education which is mainly focused on the modern poetry centered on 1930s and contemporary poetry centered on 1960. Through this study, this period’s creation of modern poetry had not only enough affluence to exceed poetical and literary realization produced before and after this period, but also enough capacity to be a role of bridge between these two before and after periods. Therefore, this aspect should be accepted into the study and education of modern poetry, and this new point of angle is another reason why this period’s poetical accomplishment have to be reconsidered.

제도로서의 기구 ; 특집논문 : 1950년대 후반 시단의 재편과 현대시 개념의 논리 -<한국시인협회>(1957~1962)를 중심으로-

박연희 ( Youn Hee Park ) 한국문학연구학회 2011 현대문학의 연구 Vol.0 No.43

이 논문은 조지훈을 중심으로 <한국시인협회>(이하 시협)가 구성되는 과정을 통해 1950년대 후반 독자적인 시단(詩壇)의 재편 양상을 살펴보고자 하였다. 조지훈은 ``예술원 파동`` 이후 문단이 분열되거나 전문 분과 기구의 창설이 증가하는 등 문화계의 전환기적 흐름과 맞물려 시협을 구상하고 결성하였다. 특히 시협은 해방후 이른바 ``문협 정통파``가 주도하던 전통서정시의 계보에 포함될 수 없었던 모더니스트들을 그 운영조직과 기관지의 지면을 통해 적극적으로 제도 안에 편입시켰다. 전통시와 모더니즘시가 대립되는 시단의 구도를 염두에 볼 때 이는 전통시와 모더니즘시를 포괄하는 새로운 한국시의 가능성을 시사한다. 그러나 조지훈은 무엇보다 ``한국적인 것``의 특수성을 강조하며 ``서정시``로 대변되는 현대시 개념을 설정하였다. 이는 모더니즘시를 타자화하여 전통서정시의 외연을 확장하려는 문학권력의 또 다른 제도화, 이념화의 산물이다. 이처럼 서정시의 미학성과 정치성을 논리로 삼았던 조지훈의 현대시 개념은 김수영의 제1회 ``시협작품상`` 수상이라는 제도화 과정을 통해 본격화되었다. 시협은 문단이력, 문학성향, 세대 등 작품 외적 요소를 배제한 범문단적인 문학상을 표방하면서 세련된 방식의 시 전문단체를 지향하였다. 따라서 제1회 시협상은 현대시의 전범이 될 만한 작품을 선정함으로써 전통시와 현대시의 논쟁을 불식시키고자 했던 그 입장이 충분히 반영될 수밖에 없었다. 김수영의 시는 1950년대 중반까지만 하더라도 자주 언급되지 않았으며 최일수가 독특한 모더니즘시로 평가했을 뿐이었다. 김수영의 수상은 「눈」이 인간, 자연, 동양이라는 전통서정시의 표상에 근접하여 이에 대한 각론이 활발하게 진행되던 시기와 겹친다. 다시 말해 김수영의 수상 작품은 전통과 현대의 통합 가능성을 시사한 텍스트로 독해되었고 조지훈의 현대시 개념의 논리를 이행하는 데 활용되었다. This paper aims to study the independently reorganizational aspects of the Korean poetical circles in the late 1950s through the process of the organization of the Korean Poets Association (Si-Hyup hereinafter) with Cho Jihoon as a central figure. After the ``shock of the art academy (the Yesul-won)``, Cho Jihoon planned and organized the Si-Hyup following the transition period of the Korean cultural circles such as the division of the literary circles and the increasing establishment of the special sub-committees. Particularly, the Si-Hyup, after the Korean Liberation, actively incorporated the modernism writers who could not be included in the traditional epic poem`s genealogy that has been dominated by ``the orthodox writers of The Korean Writers Association`` into its new organization through their appearance on the literary magazine and the operational activities within the organization. Considering the structure of the poetical circles had been in confrontation between traditional and modernism poetry, this shift suggests the new possibility of Korean poetry embracing the traditional and modernism poetry. Above all, by emphasizing the unique characteristics of Koreanness, Cho Jihoon set up the notion of the modern poetry represented as the ``lyric poetry``. This is the product of another institutionalization and idealization to extend the denotation of the traditional lyric poetry with making the modernism poetry into the Other. The Cho Jihoon`s conception of the modern poetry which was based on the logic of the aesthetics and politics of the lyric poetry began to appear in earnest when Kim Suyoung was rewarded the first Si-Hyup Best Writing as the course of the institutionalization. The Si-Hyup claimed to stand for the pan-literary awards which excluded the external aspect of the works, such as the literary careers, literary tendencies and kinds of generation, and moved toward the specialized organization of poetry with the sophisticated style. Therefore, the first award of the Si-hyup could not but to fully reflect the Cho Jihoon`s position that tried to calm controversy between the traditional and modern poetry by selecting the exemplary works of the modern poetry. The poems of Kim Sooyoung were not mentioned frequently in the poetical circles until the mid-1950s and only a literary critic, Choi Ilsoo put a high valuation on his uniqueness of modernism poetry. The Best Writing Award of Kim Sooyoung matched up the period that his poem Non has come to close to the symbols of traditional lyric poetry, that is, human, nature, and the East, and an active itemized discussion on each subject was taking place within the literary world. In other words, his works for best writing award were appreciated as the text that implied the integrating possibility between tradition and modernism, and used for fulfilling the logical conceptions of the modern poetry in Cho Jihoon.

시의 모더니티 추구와 그 정치화

이성혁(Lee Seong-Hyuk) 한국시학회 2004 한국시학연구 Vol.- No.11

Modern poetry is against abstraction of modernity and, at the same time, has difficult problems that it should not be behind times which modernity brings and thus can achieve poetry’s modernity. Kim Soo-Young’s poetics portrays attempts to achieve poetry’s modernity, by discovering new realities of life and aesthetic methods through ‘looking squarely’. He criticizes poetry which poses as something modern without conscience incarnated by a poet, because that poetry has only ‘pseudo-modernity’, modernity that lost tensions of times. The conscience that he mentioned can be revealed by maintaining one’s will to death to the end. To him, writing poems is to enter spheres of absolute freedom, and then poems’ space brings time to face the subject’s death. He says that the true newness and eternity of poetry can be achieved by the subject’s death, and, as a result, poetry of future is the unknown. However, he begins to think about integration of poetry and action as he discovers ‘poetic actions’ among the youth through an 4ㆍ19 demonstration. After this, he insists that freedom should be re-quired against conservative realities through adventures putting freedom(poetry) into the world, and poetry should continue to attempt to accomplish love and revolution in the realities of life. This is a process and work which incarnates prose into poetry and tries to find modernity of poetry through tensions between love and death. Through this pursuit of poetry’s modernity, poetry causes social unrest and resistance and is finally changed into politicalized.

한국의 근ㆍ현대시와 정치

오세영(Oh Sae-Young) 한국시학회 2008 한국시학연구 Vol.- No.22

Modern Korean poetry intrinsically has had close relations with politics, active and passive, including both positive and negative meaning, for the past hundred years. Not only activist poetry, which is a direct intervention into politics, but also pure poetry, which excluded political agendas from its text, was not entirely free from politics. Thus to understand modern Korean poetry, it is essential that we examine the relationship between poetry and politics. As a result of the close relationship between poetry and politics, modern Korean poetry has come to bear the following characteristics: the spread of the idea that poetry is a political instrument or a reflection of political awareness, the idea that a model poet should be a patriot, critical discourse that emphasizes mainly the content and subject matter of poetry, schematic understanding of poetry, rationalization of politically needed poets and poetry, the division of the literary world into different factions, and popularity of prose-like poetry. The two main reasons for such closeness between politics and modern Korean poetry are as follows. First, it was due to the continuation of past tradition. During the Chosun Dynasty of five hundred years, Korean literature was essentially a political instrument, and such attitude toward literature can be said to have been inherited to modern Korean literature. Second, the hundred years of modern Korean history was a time of political turmoil, and intellectuals were always called upon to take a political stand. As a result, modern Korean poetry either actively took part in politics or rejected politics altogether, and either way, literature could not be entirely free from politics. In that aspect, whichever stand or attitude the poet took, his/her poetry was thus, political.

현대시와 현대시조의 소통 ―리듬과 형식적 특성을 중심으로―

이경영 한국비평문학회 2011 批評文學 Vol.- No.41

This thesis observed the communication of modern poetry and modern sijo in the aspect of rhythm and formal characteristics possessed by modern sijo. Modern poetry and sijo are sub-genres of poetry that have been generally perceived as separate domains. As poetry is a genre that simultaneously possess instantaneity and compression, it appears that modern poetry and sijo would easily share areas with contact points. However, modern poetry and sijo have been generally perceived as completely different genres and there have hardly been any studies that have studied the influential relationship or communication between the two types of poetry. When observing the issue in relation to communication, we can generally consider two types of communication. The first type is communication with readers, while the second is communication between genres. First, communication with readers can be viewed as the following. Poetry tends to become more difficult and complicated in the present day, a time when web lifestyle is generalized through computers and advanced digital technology. In this regard, the method of using poetic rhythms to write poems based on de-mechanism juxtaposition and repetition or taking interest in short or daily poetry that can be enjoyed in everyday life can eventually attract people to poetry by changing the attitude of people that secretly consider poetry a difficult type of literature. Furthermore, this aspect also influences communication of modern poetry and modern sijo. The parallel sijo rhythm possessed by modern sijo is related with the biological rhythm of Koreans. Writing and abbreviating a short modern poetry help us to learn that it is difficult to be completely unrelated with the format of parallel sijo. Furthermore, the characteristics of spatial structure possessed by modern editorial sijo presents a point of contact in which modern sijo can easily encounter modern poetry. The weakness of modern poetry in its structural or rhythmic aspect can be complemented by the strengths of editorial sijo to appropriately combine realism and add dialect to provide enjoyment. This will approach readers more effectively to widely open doors to communication. Methods for achieving smooth communication of modern poetry and modern sijo are clearly not that far away. The two genres can achieve significant development if the characteristics possessed by the two genres become more distinct and creation principles and techniques for using such characteristics can be developed to expand inter-communication and achieve efficient internal and external communication.

한국 시(가)의 근대성의 논리

문혜원(Mun Hye-Won) 한국시학회 2008 한국시학연구 Vol.- No.21

Park Choel-Hee's Study on the History of Korean Modern Poetry, Choe Hyun-Sik's The Side of the Myth, Kim Ok-Sung's The Mysticism and Religious aesthetics of Modern Poetry search for the mental or poetic bases of Korean poetry. The bases are the influence of the traditional poetry, nationalism, a religious spirit. Park regards that modern free verse is joining that is liberal of 'Saseolsijo', expressing private emotion. Choe thinks that Nationalism is an important basis that composing Korean poetry and explains how it is expressed. Kim establishes a religious spirit to important subject that explain Korean poetry, and studies that is embodied by certain form. These men start from question for starting point at concept of 'modern poetry' and 'modernity'. It is subject of these study that is what of modernity or when appear the modern poetry. They agree that characteristic of 'modernity' is expressing liberal mind and private affection. But, Park thinks that it is content of poetry. The other side, Choe and Kim expand this to concept that 'The aesthetic autonomy'. Park criticizes preceding studies that establish departure point at modern poetry as 'Sinsi'. He enters Sijo's type and development by the example, emphasizes that formation of modern poetry was attained on effect of Western literature and reciprocal action inside of traditional discourse. It is finding link ring between classic literature and current literature. Choe is beginning discussion from the poetry of flowering period that accomplish border of classic literature and current literature. But, he starts to presuppose cutting between those. Park finds a form of free verse in Sijo, Choe agrees by silence which Sijo is degradation genre that break with free verse. Kim supports opinion which establish the 1920 to starting point of modern poetry. This is similar with Choe's situation in that respect of grasping on important element of modernity 'The aesthetic autonomy'. But, there is difference at point that Kim catches the 1920 by origin of modern literature while Choe takes period that nationalism happens by flowering time and starts discussion about 'modernity'. These studies are doing by ultimate target that establish particular one subject and explain the History of Korean modern poetry. These offer various and deeply sights that explain Korean poetry, and extend horizons of study on Korean modern poetry.

시의 혁명과 시적 혁명 : 심미적 아방가르드와 ‘온몸의 시’로서의 아방가르드

김승희(Kim Seung-Hui) 한국시학회 2007 한국시학연구 Vol.- No.20

Avant-garde art brought the energy of a full transformation to Korean poetry, which was bogged down in traditional lyrical conventions. The impulse provided by the avant-garde, violating the standard artistic norms, produced many experimental texts in a quest for constant renewal. Studies of the avant-garde in Korean poetry have so far mainly been conducted in terms of Modernism. Taking the tendency toward Dadaism found in the early poems of Im Hwa or Jeong Ji-Yong in the 1920s, the influence of Futurism and Cubism in the concrete or visual and numerical poems by Yi Sang in the 1930s, surrealist texts expressing in prose the flow of the unconscious by free association and the absence of spacing between words, or the surrealist poetry of Jo Hyang in the 1950s, etc. the specific avant-garde artistic quality is defined. However, although the texts and poetic theories of the poet Kim Su-Yeong in the 1960s are clearly avant-garde, they present slight differences from the previous forms of avant-garde poetry. In his 'full-bodied poetics' or his 'anti-poetics,' Kim Su-Yeong rejected the forms of literature that were Modernist only in technique, advocating at the same time a text into which physicality had been integrated and a revolution of society. Kim Su-Yeong's antipoetics is very similar to the poetics of negation of Julia Kristeva. She linked the conflict between the symbolic and the semiotic and the physical to the production of text as she explicated the nature of avant-garde poetry. She stipulated that avant-garde texts do not simply violate the standards of previous aesthetics, they rather express a challenge to the symbolic structures governing society as a whole, as a revolutionary dream. Invoking the theoretical positions of Julia Kristeva, it is proposed to express this distinction by terming the avant-garde poetry that simply violates aesthetic norms 'a revolution in poetry' and the poetry that calls for a radical transformation of society as a whole, as Kim Su-Yeong's 'full-bodied poetry' does, 'a poetic revolution.' In his "Full-bodied Poetics," Kim Su-Yeong wrote "Poetry is not written with the head, nor with the heart, but with the whole body." He went on the say, "Modernity in poetry should not be pursued by poetic techniques but with the whole body." That is to say that the advanced poetry dreamed of by Kim Su-Yeong demands the integration into the text of the physicality that had been eliminated by the symbolic. That (the physicality of the pre-oedipal conflict) endows the text with a vigorous conflictual rhythm or libidinal energy and, although paradox and irony produce a confusion of meaning, at the same time they also introduce the dream of a revolution attacking and rejecting previous systems. A subject that disturbs and threatens a subject that has been secure in the order of previous systems, producing a divided subject, gives rise to dreams of a new world, one that does not as yet exist. Therefore Kim Su-Yeong came to assert that: "all advanced poetry is subversive poetry." It is also possible to affirm that this is very close to a practice of what Kristeva called 'poetic revolution.' Seen in this way, it becomes possible to include the ballads of Kim Ji-Ha, such as Ojeok (Five Thieves), or the calls for anti-capitalistic detachment or bohemian freedom of a Kim Jong-Sam or Cheon Sang-Byeong, and the feminist confessional poems of the 1980s, among earlier examples of avant-garde poetry.