지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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These days a poet may associate with ghostly beings. He may compensate his wait, and make a spiritual journey to collect time by contacting them and having a conversation with them. In this way, Derrida's deconstructual world enters the ghostly world. Nevertheless, these two worlds do not have a big difference, nor does the latter overcome the former. Both can be lacking in a strong passional sensibility of an 'organless body,' which Deleuze called a 'world-egg' or 'cosmetic embryo.' The issues of deconstruction have become a game of signification, which has been discussed. only in 'literary writing'. Also, the ghostly has come into fashion in the meaninglessness of signs caused by an overproduction of writing.
In the Korean literary world, the discussion of deconstruaual poetry began more than a decade ago. But a deconstructual discourse at that time was nor made in today's developed reality of the internet. It has been only a few years since communication through computers has become a large part of everyday life. Although 'the crisis of paper-made books' is no more than a prophecy, we still cannot ignore it when we consider the prosperity of the internet. Many literary people feel the pressure of this crisis.
Poets write a poetry in a shallow language that resembles loquacity and sophisticated street language. And now there cannot be found any effort or gesture to deconstruct or criticize a text sincerely in the name of 'deconstruction'. On the contrary, there is a archeological tendency to stick to papers, pencils, and letters, which are the means of classical writing. Just as sacredness disappears, devastated affection develops into weird psychology.
In the present, there is no true 'Ttudori(wanderer) poet.' We have the portrait of the Kisaeng 'Ttudori(wanderer)' poet, Hwang-gin-yi, whom Mi-dang pursued in his poetry, Paik-suk's 'Yurang(wandering),' Chung-gi-yong's travel, and Oh-chang-hwan's 'Pangrang(roaming),' who were all in the process of pursuing questions of the self and trying to find the troth in a degraded world. Kim-gi-rim called these poets 'modern sufferers,' and some poets of the early modem time called their way, in a romantic: tone, 'a blood-stained path of pilgrimage.' But we are living in an era when that kind of labeling is awkward. Although during the last few years, a few young poets died before their time, we are living in a time when their deaths not a big deal. These deaths are mourned quietly within the literary world and disappear like deaths of ordinary men. In today's media, these events are insignificant. A poet's death is overshadowed by ground-breaking spectacles, events, and gossip in the newspaper, a broadcast, or online.
Words cannot contain the depth of life in this era of high-speed information. Time-taking meditation and day dreaming are being swept aside by this new torrent of information. Today's poets are in a situation where their words are facing a new fate. To some poets, this seems to be the 'wonderful new world,' but to others, it is a situation they extremely detest and have to criticize.
Nowadays, our modern city consists of houses that 'Pama,' the Greek goddess of Rumot, lived. A huge net of mass-media made this city house of Rumor. Noh-hye-kyoung creates imaginary places as 'the house of Rumor,' which characterizes the modern city. In her "Multimedia Baby Chazangga(a lullaby)," she writes a fantastic comedy about a thin peel-like modern life. One is able to see through the ghostly charater of Rumor, and criticize the vainly wasting lifestyle that gets possessed by it. Kim-sang-mi simplifies the ghost Rumor and describes it as 'a dark night,' which is surrounded by other people's eyes. That darkness is made up of the Other's 'Nukduri(mourning),'She writes, "Nukduri is similar to wrapping paper/Without undoing the package/Nobody knows what is inside."(from《A Group of Black Shower》)
But there are strong movements which expect positive values horn the development of mass-media, as W. Bejamin and H. M Enzensberger have previously noted. It is valuable to expect the birth of a new kind of art by these movements. When the printing culture was invented, there were also many critical and doubting opinions. Nevertheless, the development of a new type of writing has made great summits of modern literature.
In the Korean literary world, the discussion of deconstruaual poetry began more than a decade ago. But a deconstructual discourse at that time was nor made in today's developed reality of the internet. It has been only a few years since communication through computers has become a large part of everyday life. Although 'the crisis of paper-made books' is no more than a prophecy, we still cannot ignore it when we consider the prosperity of the internet. Many literary people feel the pressure of this crisis.
Poets write a poetry in a shallow language that resembles loquacity and sophisticated street language. And now there cannot be found any effort or gesture to deconstruct or criticize a text sincerely in the name of 'deconstruction'. On the contrary, there is a archeological tendency to stick to papers, pencils, and letters, which are the means of classical writing. Just as sacredness disappears, devastated affection develops into weird psychology.
In the present, there is no true 'Ttudori(wanderer) poet.' We have the portrait of the Kisaeng 'Ttudori(wanderer)' poet, Hwang-gin-yi, whom Mi-dang pursued in his poetry, Paik-suk's 'Yurang(wandering),' Chung-gi-yong's travel, and Oh-chang-hwan's 'Pangrang(roaming),' who were all in the process of pursuing questions of the self and trying to find the troth in a degraded world. Kim-gi-rim called these poets 'modern sufferers,' and some poets of the early modem time called their way, in a romantic: tone, 'a blood-stained path of pilgrimage.' But we are living in an era when that kind of labeling is awkward. Although during the last few years, a few young poets died before their time, we are living in a time when their deaths not a big deal. These deaths are mourned quietly within the literary world and disappear like deaths of ordinary men. In today's media, these events are insignificant. A poet's death is overshadowed by ground-breaking spectacles, events, and gossip in the newspaper, a broadcast, or online.
Words cannot contain the depth of life in this era of high-speed information. Time-taking meditation and day dreaming are being swept aside by this new torrent of information. Today's poets are in a situation where their words are facing a new fate. To some poets, this seems to be the 'wonderful new world,' but to others, it is a situation they extremely detest and have to criticize.
Nowadays, our modern city consists of houses that 'Pama,' the Greek goddess of Rumot, lived. A huge net of mass-media made this city house of Rumor. Noh-hye-kyoung creates imaginary places as 'the house of Rumor,' which characterizes the modern city. In her "Multimedia Baby Chazangga(a lullaby)," she writes a fantastic comedy about a thin peel-like modern life. One is able to see through the ghostly charater of Rumor, and criticize the vainly wasting lifestyle that gets possessed by it. Kim-sang-mi simplifies the ghost Rumor and describes it as 'a dark night,' which is surrounded by other people's eyes. That darkness is made up of the Other's 'Nukduri(mourning),'She writes, "Nukduri is similar to wrapping paper/Without undoing the package/Nobody knows what is inside."(from《A Group of Black Shower》)
But there are strong movements which expect positive values horn the development of mass-media, as W. Bejamin and H. M Enzensberger have previously noted. It is valuable to expect the birth of a new kind of art by these movements. When the printing culture was invented, there were also many critical and doubting opinions. Nevertheless, the development of a new type of writing has made great summits of modern literature.
목차
1. 속도의 글쓰기와 글쓰기의 피로
2. 사이버적인 글쓰기의 특징
3 .해체적인 시와 유령적인 시
4. 하이퍼텍스트 시의 실패와 사이버 로봇 시인의 가능성
5. 사이버매체의 충격과 시의 변모
참고문헌
ABSTRACT
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