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The repetition and enumeration are the important techniques of Kim Soo-Young's poem. The repetition is shown not only the repetition of the same words or sentences but a morpheme, words and phrases, conclusive ending of a word The repetition and enumeration techniques are shown from the beginning to the latter period of his poem. He uses the repetition positively and intentionally in his poem, and completes as a kind of techniques. Especially the repetition is his poetic treatment to the imminent political changes after 4 . 19. The repetition and enumeration charge the extension of the poem.
The polyphonic aspects of his poem are based not on the conversational structure but on the mood 'I‘ intentionally introduced to stand face to face with the times. It includes the other voice of the times. The internal conversation with the other person's language in his sentence is the essential constituent of the polyphony.
4 . 19 was the effusion of the resistance energy of the huge idealism and the eruption of the autogenous life to him. He was critical, resistant and negative to the all kinds of oppression caused by the center or the dictatorship. So he experienced the extra-centered exhalation by the autogenous resistance of the people. He experienced the delight-the breakdown of power's singifie and the oppressive order of rank-and described the overthrow of position between top and bottom, high and low, the power and the people by the speed like waterfall, and the straight talking language. Also he described the place where all order, rules and systems are collapsed. It embodied Bakhtin's world of carnival. In the world of carnival, languages ejected explosively. Also the a boundary between the ego and the others collapsed, and it has a tendency to be dynamic and creative.
habitual static expressions of the actual description are not existed in his dynamic language. He moved to the another form of the poem. Like a revolution and the active variation of the people's world view, he tried to change into the permanently incompleted being. His works left the exit to the future. His poems are holding the future-changing him and starting new history-, so his poems are not closed. His poems are opened to the future, and changed into the internal movement of being itself.
The polyphonic aspects of his poem are based not on the conversational structure but on the mood 'I‘ intentionally introduced to stand face to face with the times. It includes the other voice of the times. The internal conversation with the other person's language in his sentence is the essential constituent of the polyphony.
4 . 19 was the effusion of the resistance energy of the huge idealism and the eruption of the autogenous life to him. He was critical, resistant and negative to the all kinds of oppression caused by the center or the dictatorship. So he experienced the extra-centered exhalation by the autogenous resistance of the people. He experienced the delight-the breakdown of power's singifie and the oppressive order of rank-and described the overthrow of position between top and bottom, high and low, the power and the people by the speed like waterfall, and the straight talking language. Also he described the place where all order, rules and systems are collapsed. It embodied Bakhtin's world of carnival. In the world of carnival, languages ejected explosively. Also the a boundary between the ego and the others collapsed, and it has a tendency to be dynamic and creative.
habitual static expressions of the actual description are not existed in his dynamic language. He moved to the another form of the poem. Like a revolution and the active variation of the people's world view, he tried to change into the permanently incompleted being. His works left the exit to the future. His poems are holding the future-changing him and starting new history-, so his poems are not closed. His poems are opened to the future, and changed into the internal movement of being itself.
목차
1. 서론
2. 반복 기법과 시적 효과
3. 언어 소통의 맥락과 명령어의 사회적 맥락
4. 결론에 대신하여
Abstract
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