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In the early 20th century, an intense poetic imagination on liberty and independence that Koreans aspired after the Japanese occupation was developed through Han Yong Un. In the progress of the maturing industrial society of the late 20th century, the strong poetic imagination on and insight into liberty was developed through Kim Su Young.
Since 1970s, such poets as Shin Kyung Rim and Kim Ji Ha have explored a new genre of poetry : Minjung (People's) poetry. However, Kim Su Young can be rightly cal1ed one of the most representative poet who played the leading role in the development of modem industrial society, the April 19 Democratic Revolution being its climax.
Kim Su Young's poetry on liberty develops by three phases : the first phase is characteristic of the liberation from the prison camps, when he sought after freedom from daily life and vocations. The second phase is characteristic of the recognition of history acquired from the failure of and disappointment at such Revolution referred to as April 19, and May 16 which occurred after the April 19 Revolution. In the April 19 Revolution, freedom was identified with revolution. The third phase is characteristic of the recognition of the roots of tradition, through which he reached the self-affirmation, as shown in his proclamation, "History is good no matter how dirty it may be." At this stage, he wrote a poem, "Guhdaehan Ppuri'' ("An Enormous Root"), and moving forward from it, wrote "Sarangeui Byunjugok" ("Love's Variation"), in which he came to understand even thorns of rose as love.
In this sense, the ultimate Kim Su Young aspired to reach through his poetry is to be called the poetics of love as well as the poetics of liberty. His anticipation that the day when the stone pits of peaches and of apricots are crazy for love will come means that he recognized the power of greater love even in the failure of April 19 and in the despair from May 16. In his posthumous poem, "Grass," Kim Su Young found out the motive and power of history from roots of grass. As shown in this poem, the poet who acquired the lesson of history from the failure of April 19 and May 16, acknowledged that his solitude and sorrow were newly transformed into a refreshment and powerful vitality through "the poetics of the whole body." The awareness of liberty and its expansion, as shown in Kim Su Young's poetry, make a landmark that clearly evinces the age of Korean modernization and industrialization, moving from the 1950s toward the 1960s.
Since 1970s, such poets as Shin Kyung Rim and Kim Ji Ha have explored a new genre of poetry : Minjung (People's) poetry. However, Kim Su Young can be rightly cal1ed one of the most representative poet who played the leading role in the development of modem industrial society, the April 19 Democratic Revolution being its climax.
Kim Su Young's poetry on liberty develops by three phases : the first phase is characteristic of the liberation from the prison camps, when he sought after freedom from daily life and vocations. The second phase is characteristic of the recognition of history acquired from the failure of and disappointment at such Revolution referred to as April 19, and May 16 which occurred after the April 19 Revolution. In the April 19 Revolution, freedom was identified with revolution. The third phase is characteristic of the recognition of the roots of tradition, through which he reached the self-affirmation, as shown in his proclamation, "History is good no matter how dirty it may be." At this stage, he wrote a poem, "Guhdaehan Ppuri'' ("An Enormous Root"), and moving forward from it, wrote "Sarangeui Byunjugok" ("Love's Variation"), in which he came to understand even thorns of rose as love.
In this sense, the ultimate Kim Su Young aspired to reach through his poetry is to be called the poetics of love as well as the poetics of liberty. His anticipation that the day when the stone pits of peaches and of apricots are crazy for love will come means that he recognized the power of greater love even in the failure of April 19 and in the despair from May 16. In his posthumous poem, "Grass," Kim Su Young found out the motive and power of history from roots of grass. As shown in this poem, the poet who acquired the lesson of history from the failure of April 19 and May 16, acknowledged that his solitude and sorrow were newly transformed into a refreshment and powerful vitality through "the poetics of the whole body." The awareness of liberty and its expansion, as shown in Kim Su Young's poetry, make a landmark that clearly evinces the age of Korean modernization and industrialization, moving from the 1950s toward the 1960s.
목차
1. 한국 현대시와 시적 과제
2. 반공포로의 자유와 비애
3. 혁명의 열정과 자유
4. 거짓과 진실로부터의 자유
5. 자유의 이행과 사랑의 시학
참고문헌
Abstract
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