카오스모스 시학과 김지하 담시의 구조형성방식 -「비어(蜚語)」와 「똥바다」를 중심으로 = Chaosmos poetics and Kim Ji-ha`s lay structure-forming method

다국어 초록 (Multilingual Abstract)

This study intends to explore into the Kim Ji-ha`s lay structure-forming method in terms of chaosmos poetics. The chaosmos poetics refers to a method that integrates the accidentality, indeterminacy, probability, ambiguity and muti-valuableness which modern poetics addresses with art and attempts to expand the poetics horizon to the interdisciplinary sphere in order to understand the essence of the equivocality which modern poetics seeks. The development of the modern science on chaos and complexity made one poetics possible, which could be a tool which would metaphorically look to the complexity, density and texture of literary texts with a chaosmos poetics represented by discontinuity, complexity and self-organization theories. This coincides with an assertion that poet Kim Ji-ha has claimed that popular songs(minyo, or folk song, pansori, or traditional Korean narrative song, gakseolitaryeong or singing beggar`s ballards and Baebaengi gut, or Baebangi`s shaman ritual, etc) are the art genre showing the thought of the representative chaosmos and self-organization while steadily promoting the poetics of chaosmos and self-organization since the release of the selfproclaimed narrative poetry. In this study, the reason why I chose the chaosmos poetics as a tool for the poetic approach to Kim Ji-ha texts, deviating from the prolongation that has been only evaluated as a reference code which popular literature reflects reality is because I looked to a point that I could simultaneously examine the reference, ambiguity, complexity and multi-layeredness which his lay texts carry. This could be a little attempt that tries to explore into the paradoxically thesis-antithesis aesthetics of chaosmos vs order and order vs. order which is sensed in Kim Ji-ha lay from the perspective of poetics. The Kim Ji-ha lay which were investigated via chaosmos poetics represented by discontinuity and complexity, self-obstructive pattern, and self-organization principle, seem to be deviated from a curved and linear storyline via an encounter of discontinuity and complexity but have their-own multi-layeredness that both shapes order and serves to wholeness. This is both an organization of the lay via a paradoxical thesis-antithesis process of the so-called order in chaos and a mani -festation of the new poetic creation beyond the limit of the unisexuality which the past popular literature held, simultaneously giving rise to an effect that enforces a message much more. And Kim Ji-ha lay show a language technique through the conflict and mix of contradictory meanings via a oxymoron, which brings about an effect that demonstrates the texture of satires in a layeredness way. It would be a poetic lay-forming way which generates the third meanings as a result of the heterogeneity of different languages being converged each other. Thus, the multi-meaningfulness of the text is formed and readers perceive their contemporary multi-layered circumstances. Further, the differently separate stories which consist of a lay seeks a self- organ -ization on their own and are integrated into a wider sphere, which is connected to the logic of the self-organization of as if simple objects are combined each other by using an energy and transformed into a complex thing, accidental elements functioning as a necessary mechanism. As it were, each element seeks a self-organization via an interaction of discon -tinuity and complexity in the mechanism. Hence, the dichotomical confrontation scheme of the ruling/the ruled, the suppressing/the suppressed and power class/the populace that have been read in the Kim Ji-ha lay texts thus far would be newly read with a ceaseless language experiment of opening and closing via the inter -ference and conflict of such separation and combination.