This paper considers how capitalism, the poet"s main theme, continues and transforms in mallang mallang han, Ham Min-Bok"s fifth collection of poems. Thus, the imagination of foreshore is stressed in this paper. Foreshore is not ...

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https://www.riss.kr/link?id=A76443017
2008
-
810
KCI등재
학술저널
369-394(26쪽)
0
상세조회0
다운로드다국어 초록 (Multilingual Abstract)
This paper considers how capitalism, the poet"s main theme, continues and transforms in mallang mallang han, Ham Min-Bok"s fifth collection of poems. Thus, the imagination of foreshore is stressed in this paper. Foreshore is not ...
This paper considers how capitalism, the poet"s main theme, continues and transforms in mallang mallang han, Ham Min-Bok"s fifth collection of poems. Thus, the imagination of foreshore is stressed in this paper. Foreshore is not only the imaginary signifiant in which the poet cogitates modernism and modernity, also the signified which means a kind of aesthetic alternative modernism or antimodernism. Therefore the motif of roads and shadow is outstanding in the middle of the poet"s thought.<BR> The image of roads is related to both unconsciousness and nature. In other words, the road as a medium of unconsciousness which forms the movement of sight from human beings" consciousness to the natural world, also the road of nature represented by clouds, trees, water, etc. The image of shadow functions as a medium which transmits a pity for peripheral subjects by considering the poetic device of darkness in which the poet distribute the emotion of longing effectively.<BR> The transmission toward roads and shadow should accompanies the emotion of longing for ultimate intension by necessity. The spacial movement from cities to roads and Kanghwa island is not only a kind of opportunity which could embrace the essence of shadow and natural roads, but also the place where the imagination of foreshore sets down.
목차 (Table of Contents)
카타르시스로서의 ‘이야기하기’ - 「소망」과 「나의 가장 나종 지니인 것」의 유사성과 차별성
매체에 따른 글쓰기 방식의 변화 고찰 - 1930년대 근대 매체의 실화 수용을 중심으로