1920년대 연애시와 사랑의 정치학

진순애(Jin Soon-ae) 한국비평문학회 2009 批評文學 Vol.- No.32

This paper shows a study on the Eros-poetry of the 1920s and the politics of love which is a code for the politics of the pluralism against the modern monism. Then this paper figured out the Eros-poetry of the 1920s was the poetry intended to be against the modern monism. The Eros-poetry is different from the Love-poetry. The eros stands for the love between mand and woman, but the love stands for the human’s desire for something. Especially, the eros of the 1920s of Korea stood for the free love, romantic love, and the western style love. Furthermore, the love between man and woman is based on the Narcissism, the Eros-poetry of the 1920s is the Love-poetry used as a metaphor for the poet’s Narcissism. So the love of Lee Sang Hwa’s poetry is used as a metaphor for his Eroticism-Narcissism, the love of So Woel’s poetry is used as a metaphor for his Archetypical Narcissism, and the love of Man Hae’s poetry is used as a metaphor for his Feminism-Narcissism. These are not only representative of the modern-poetry in the early of Korean Modern, but also the origin of the Eros-poetry in the 20th of Korea.

일본 오산선림(五山禪林)의 염시(艶詩)에 대한 일고찰

최귀묵 ( Choi Kwi-muk ) 한국문학치료학회 2015 문학치료연구 Vol.36 No.-

이 논문에서는 일본의 五山禪僧이 창작한 염시의 양상과 창작 배경을 살피고, 염시 창작의 이론적 배경을 비판적으로 검토했다. 나이 든 禪僧이 젊은 美少年(僧)에 대해서 은밀한 思慕의 情을 전하기 위해서 창작한 시를 염시라고 한다. 염시는 禪林의 男色문화(동성애)와 깊은 관계가 있다. 논의를 통해서 얻은 결과 가운데 특히 중요하다고 생각하는 것은 다음 네가지다. 첫째, 오산의 염시는 오산선림의 전반적인 기강해이의 산물이다. 둘째, 오산의 염시는 한시와 민족어 노래의 교섭을 보여주는 좋은 사례다. 일본 시가문학의 중심 제재인 `사랑`은 염시라는 이름으로 한문학에 침투했다. 셋째, 선시와 염시의 작품 세계는 `安心`과 `牢愁`만큼이나 거리가 멀었다. 염시는 본성상 `번뇌`의 표현일 수밖에 없다. 넷째, 염시 성행은 선시론과 선사상으로 정당화되기 어려운 일탈현상이었다. This study examines the background and various aspects of the composition of love poetry written by Gozan monks(五山禪僧) in Japan, and critically reviews the theory of the composition of love poetry. Love poetry refers to poetry written by old monks to express affection(情) and love(思慕) toward beautiful boy(美少年) monks. Love poetry is deeply related to homosexuality in Zen temples. The following are the four most important points among the results of the discussion. First, love poetry is the result of an overall relaxation of discipline in Gozan Zen temples. Second, the love poetry of Gozan is a good example of a mixture of Chinese poetry and ethnic songs. “Love,” the core motif of Japanese poetry, penetrated into Chinese literature under the name of love poetry. Third, the distance between Zen(Buddhist) poetry and en-poetry was further than the distance between “relaxation(安心)” and “grief”(牢愁). Love poetry is inherently an expression of “agony.” Fourth, the popularity of love poetry was a break away that was difficult to justify according to Zen thought and poetic theory.

중국 고대의 ‘사랑’ 개념과 사랑시의 주제 ― 先秦에서 唐代까지의 사랑시를 중심으로

金俊淵 ( Kim Joonyoun ) 중국어문연구회 2022 中國語文論叢 Vol.- No.111

This paper attempted to analyze love poetry in China and investigate the concept of love in ancient China, the main themes of love poetry, and the typicality and emotions of love poetry by period. For this, a representative poems were selected and a topic modeling study was conducted by analyzing the TF-IDF index. Topic modeling is a statistical model for identifying the subject of a particular text. TF-IDF is a method of approaching the subject of poetry by analyzing the frequency of poetic words. Since there are no separate documents collected only from ancient Chinese love poems, this paper selected 164 love poems several documents by period and made separate documents for TF index analysis. The documents for IDF index analysis were made into 942 poems contained in three documents containing about 300 poems by period. For these poems, I secured a list of the top 50 TF-IDF indices for topic modeling. In ancient China, love is a concept closely related to the social system of marriage. Therefore, it is difficult to explain with modern love theory that values only the emotional aspect. As the theme of ancient Chinese love poems shifted from Pre-Chin(先秦) to Tang(唐) Dynasty, the theme of ‘breakup’ was strengthened rather than ‘passionate love’. Overall, ‘思’ which means ‘missing’, was found to represent the characteristic aspect of ancient Chinese love poetry. Sub-topics of love poetry include ‘Breakup’ and ‘Worry’. This is not because the concept of love has changed, but rather because the perception that love poetry should also be the result of intellectual actions has become stronger. The typicality of love poetry of each period was explored by dividing 164 love poems by period and examining the TF-IDF index. Pre-Chin’s love poems are characterized by many works that sing pure love, and female speakers are the mainstream. Although women appear as the main characters in the love poems of Han-Wei and Six Dynasties, it is evaluated that indirectness or figurativeity has increased in that most of the poets were men. The breakup quickly emerged as a major theme and the description became more delicate. In love poetry of the time, the ingredient of resentment was strengthened, and the theme of betrayal was often mentioned. It is also noteworthy that ‘tears’ was frequently used. Among the top 50 words in the TF-IDF index, those that do not overlap with each period were analyzed to see how the expression representing the emotions of love poetry changed. As a result, the role of ‘heartache(傷)’ in the Pre-Chin, ‘worry(憂)’ in the Han-Wei and Six Dynasties, and ‘resentment(恨)’ in Tang dynasty stood out. Pre-Chin’s love poems often expressed heartbreaking emotions that he/she could not be with his/her beloved. The love poems of Han-Wei and Six Dynasties dealt with the worries of the wife or husband who were engaged in staying alone due to separation or bereavement. The love poems of the Tang dynasty have been embodied several times in which they resent and lament the situation in which love is difficult to achieve amicably.

고정희의 『아름다운 사람하나』에 나타난 사랑의 의미

이은영(Lee, Eun Young) 한국언어문학회 2015 한국언어문학 Vol.94 No.-

Go Jung Hee started her literary career in 1970 and leaved 11 books of poetry until 1991. Recently, A variety of critical approaches have been tried for her poetry. While Go Jung Hee's poetry dominantly covers feminist approach, christian world-view, and discursion for poetic form, but there is also criticism for reality watching the pain of the people. Go Jung Hee's poetry has the love and tolerance for the weak. This paper studies The beautiful one person. The poet names the poetry as the love poetry and highlights the nature of love poetry through remaking. The purpose of this work is to find the climax of poet's love from the last poetry revealing the honest inner feeling of the poet. Especially, we borrow Alain Badiou's discussion for love to understand the meaning of love for poet to tell. In her poetry, the speaker liken the feeling of love to the light and water, and shows the meaning of the only two in depth. Through the appearance that loving people look at each other and experience the world, poetry shows the love that becomes the center of the world. While these intense emotion brings the feelings of loss and sadness which is caused by the loss of love, but the speaker tries to achieve solidarity rather than retreat from love. The speaker make one to expect the value of love through the eye which is toward for the world and others at the peak of loss.

近世 韓·中·日 女流 詩人의 사랑시에 대한 ‘트랜스 동아시아적’ 접근

나누리,김수미,김준연 한국중국언어문화연구회 2024 한중언어문화연구 Vol.- No.71

본 논문은 근세 한·중·일 여류 시인의 사랑시를 비교 고찰한 것이다. 한국의 조선 중기, 중국의 명말청초 시기, 일본의 에도 시대 등 역사적으로 가까운 시기에 동아시아 삼국에서 사랑시 창작으로 일정한 성취를 거둔 여류 시인을 두 명씩 선정해 이들의 시 세계를 살펴보았다. 남성에 비해 창작 환경이 크게 열악했던 이들 여류 시인들이 이러한 제약을 극복할 수 있었던 배경을 살펴보고, 사랑시를 통해 표출하고자 했던 정감 세계를 심도 있게 고찰하였다. 이들은 공통적으로 남성에 비해 사랑의 감정을 충실히 표현하는 특징을 보여주었다고 평가된다. ‘트랜스 동아시아’라는 시각에서 접근할 때 이들의 사랑시는 유교라는 사상과 한시라는 문학 장르의 교차점에서 제각기 특수한 개성과 여건에 따라 일률적이지 않은 다양성을 보여주었다. In this paper we examined the love poems of female poets who were active in the three countries of Korea, China, and Japan during the same period, and analyzes the results from the perspective of “Trans East Asia.” In the modern era in East Asia, social discrimination against women in various aspects such as class and status was extremely severe. However, it is noteworthy that love poems by female poets have been transmitted in a context where literary production was almost monopolized by men. Heo Nansulhun's love poems, mainly expressed her longing for pure and beautiful love. She often imitated the poetry of Tang Dynasty poets. The love poems of Yi Maechang, another female poet of the Middle Joseon Dynasty, are characterized by their directness in expressing emotional states. She did not imitate Chinese poetry, but rather used common expressions. Liu Rushi's love poems often depicted the life of a traveling courtesan, trying to achieve love through an imaginary space. Another poet, Wang Wei, showed boldness in her love poems by directly expressing her love for men. Ema Saiko put a lot of her affection for Sanyo into love poems, and Sanyo coached Ema's poetry, confirming the love between them. Another female poet, Yanagawa Goran, wrote many love poems while traveling with her husband, expressing her feelings for him. This study comprehensively examined the love poetry of Korean, Chinese, and Japanese women poets from a trans-East Asian perspective. First, we show that despite the confinement of Confucianism, Korean, Chinese, and Japanese women poets achieved certain accomplishments in creating love poems. Next, they focused on the common literary genre of Classical Chinese poetry. While all of their love poems actively embraced the literary tradition of Classical Chinese poetry, but they also exhibited a variety of personalities due to differences in status and creative environment.

장애인 시에 나타난 대상애(對象愛) 고찰 — 구상솟대문학상 수상작을 중심으로

맹문재 한국문예창작학회 2019 한국문예창작 Vol.18 No.3

이 논문에서는 구상솟대문학상을 수상한 작품들을 텍스트로 삼고 장애인시에 나타난 대상애를 살펴보았다. 그 결과 장애를 겪고 있는 시인들은 자신을 위해 헌신하는 어머니, 아버지, 아내에 대한 고마움과 아울러 형제, 자식에 대한 사랑을 전하는 가족애를 보여주었다. 또한 자신의 경험을 바탕으로 주거 문제, 골목 상권 문제 등을 통해 공동체 가치를 추구하는 사회애와, 전쟁에 반대하고 인류의 평화를 지향하는 인류애를 보여주었다. 이와 같은 장애인 시의 대상애는 신체 장애나 정신 장애로 인한 고통과장애로 말미암은 사회의 편견을 극복한 자기애(自己愛)가 확대되고 심화된것으로 볼 수 있다. 신체적・정신적 아픔으로 인한 절망감이나 좌절감에 함몰되어 자기 자신은 물론 다른 사람을 원망하거나 증오하지 않고 오히려 포옹하는 성숙한 세계인식을 내보인 것이다. 장애인 시인들이 시작품을 통해 자기 자신과 함께 다른 사람들을 사랑하는 것은 큰 의미가 있다. 장애인 시인들이 시작품에서 호명하는 가족이나인연의 상대는 객관적인 기호가 아니라 그들이 기꺼이 사랑하는 이름들이다. 그러므로 장애인 시의 대상애는 장애인과 함께하는 다른 장애인들은 물론 비장애인들에 대한 진심어린 사랑의 표현으로 볼 수 있다. 비장애인이 주류인 우리 사회에서 장애인은 함께하기 어려운 존재로 여겨지고 차별받고 있다. 따라서 장애인의 일상생활 및 사회 참여를 제약하는폐쇄적인 문화를 극복해야 하는데, 장애인 시의 대상애가 그와 같은 방향을제시해주고 있다. 자기 자신은 물론 다른 사람을 적극적으로 끌어안으며 장애인으로서의 정체성을 확립하고 사회 구성원으로서의 권리를 인식하며 제역할을 추구하고 있는 것이다. In this paper, we used works that winning work of KoosangSotdae Literature Award as text and looked at the object-love that appeared in disabled poetry. As a result, I could see the gratitude and the love of the mother, father and wife who devoted themselves to her suffering disability, and the love of the family who loved their brothers and children. Based on his experience, he could also see social love singing community values and humanity’s pursuit of peace against war. This type of object-love in disabled poetry can be seen as a widening and deepening of self-love that overcame social prejudice, which is caused by suffering and disability caused by physical or mental disabilities. It is an expression of a mature world perception of embracing not only one’s own self but also others, immersed in despair or frustration caused by physical and mental pain. It is very meaningful for disabled poets to love others with themselves through their product. The relative of family or association that disabled poets call out in their opening product are not objective symbols but the names they are willing to love. Thus, the object love of disabled poetry can be seen as an expression of sincere love for the other disabled, as well as the non-disabled. In a society where the non-disabled are the mainstream, the disabled are considered difficult to get along with and are discriminated against. Therefore, it is necessary to overcome a closed culture that restricts the daily lives and social participation of the disabled, with the object-love of disabled poetry showing such a tendency. He actively embraces himself and others, establishing his identity as a disabled person, recognizing his rights as a member of society and playing his role.

조선후기 사대부 부인의 애정시 표현양상과 문학사적 의미 ― 김삼의당 애정시를 중심으로 ―

한성금 ( Han Seong-geum ) 한국시가문화학회(구 한국고시가문화학회) 2019 한국시가문화연구 Vol.0 No.44

이 논문은 조선후기 사대부 부인인 김삼의당의 애정시 표현양상과 문학사적 의미를 고찰하였다. 김삼의당 부부의 애정적 삶의 바탕에는 막힘없는 소통이 큰 역할을 했다. 그들의 소통의 기반에는 과거시험을 통한 ‘가문세우기’의 남편의 역할과 ‘남편 내조’와 ‘가정 꾸리기’라는 아내의 역할에 대한 서로의 인정과 공감이 있었다. 다음으로는 지적 대화를 통한 수용과 존중이 있었다. 그들은 상대가 절망에 빠졌을 때 용기를 주는 믿음의 대화가 있었고 자신의 주장이 옳다고 여길 때는 전고를 활용하여 치열하게 논증하는 토론의 장이 있었다. 또한 별리 상태에서는 서로를 그리워하면서도 격려하고 수용하는 존중의 소통이 있었고 때로는 집앞의 작은 자연을 보면서 감성을 교류하고 확장하는 공감의 소통이 있었다. 삼의당 한시의 애정표현 방식은 규범과 정감의 애정화답이다. 삼의당은 유교적 규범 안에 사유하려고 노력하였고 규범적 시로 표출되었다. 그러나 그녀의 규범적인 삶 뒤에는 남편과 떨어져 지내면서 자신의 아픔과 그리움을 숨김없이 표출한 정감의 시가 있다. 이러한 삼의당의 과감한 애정표현은 사대부 부인이라는 신분을 고려할 때 솔직한 여성의식을 드러냈다는 데 의미가 있다. 또한 부인에 대한 애정표현을 남편도 드러냈는데 주로 수창시와 편지를 통하여 교감을 하였다. 이와 같이 삼의당의 애정시에 드러난 여성의 위치와 자존감, 애정표현의 과감성은 사대부 여성에 대한 편견을 깨는 일이며 남편의 부인에 대한 애정시 또한 조선후기의 사대부와는 차별성을 지닌다. This study speculated on expressing aspects of love poetry by Kim Samouidang, a high official’s wife in the late Joseon period and its meaning in literature history. It was thought that she had high sense of self-esteem and could express true feeling as a woman in her poetry unlike other women from noble family. Kim Samouidang’s poetry was based on active communication with her husband. They respected and sympathized with each other. She never complained of financial difficulty in the household as the couple gave a more focus on each other’s appreciation and sympathy rather than making his family prosperous and supporting her husband and family members. Also, they accepted and respected each other through intelligent conversation. They had debates when each of them believed his or her opinion was right and they encouraged each other even when they were depressed. They felt emotional while seeing natural scenery in front of the house and communicated each other on it even though they were separated in distance. Samouidang’s love poetry was characterized by questions and answers on norms and emotional feeling. She tried to think within Confucian regulations as a high official’s wife, which was expressed in her regulation poetry. However, she felt sorry and missed her husband as she was separated from her husband even though her poetry was normative and expressed such feeling honestly in her poetry. Her poetry had meaning in that she expressed her love honestly though she was a high official’s wife. Also she showed love with her husband in Soochang poetry and letters sent to her husband, which broke prejudice in the late Joseon period.

인드르지흐 호르제이시(Jindrich Horejsi)의 프롤레타리아 시 연구

권재일 ( Jae Il Kwon ) 세계문학비교학회 ( 구 한국세계문학비교학회 ) 2008 世界文學比較硏究 Vol.22 No.-

Jindrich Horejsi`s first collection of poetry Music in the Square (Hudba na namesti; 1921) is one of the first Czech Proletarian poetry with Josef Hora`s collection Working Day (Pracujici den; 1920). Horejsi`s first collection has many characteristics of Czech Proletarian poetry such as the contrast between the rich and the poor, the exploitation of the proletariat by bourgeoisie, suffering of the proletariat and the proletariat`s class consciousness, collectivism and solidarity among the working class, and belief in the better future and social revolution. These proletarian subjects are introduced into the lyric poems like "Spiders of the City" (Pavouci mesta), "The Game room" (Herna), "Verse" (Verse), "The Street" (Ulice), "Music in the Square". The second collection The Coral Necklace (Koralovy nahrdelnik; 1923) introduces a new type of love poetry or proletarian love poetry into the Czech modern poetry combining the theme of love with the theme of ideology. This kind of love poetry is realized in poems like "The Coral Necklace", "Song" (Pisen), "Melody" (Melodie), etc. However, poems of the latter part of the collection are close to the proletarian types of the first collection. Poems like "The Beggars" (Zebraci), "Rhythm" (Rytmus), "The Automobile" (Automobil), Annunciation (Zvestovani), and "In Memory of Alexandr Blok" (In memoriam Alexandra Bloka) are good examples. The third collection Day and Night (Den a noc; 1931) is Horejsi`s last collection of poetry as well as the last work of Czech Proletarian poetry itself. Of course this collection includes also non ideological poems, i.e. pure lyric poems as in his two previous collections. In addition, this collection has two ballads: one social ballad based on traditional Czech folk ballad "Marie Korenova" and one charming romantic ballad "Lady from the Ocean" (Pani z namori). In spite of this Horejsi defines this collection as a proletarian poetry dedicating the first poem of the collection ("Za Jirim Wolkrem") to the great Czech proletarian poet Jiri Wolker and the last poem ("Za Vladimirem Majakovskym") to the great Russian revolutionary poet Vladimir Majakovsky. Horejsi made a considerable contribution not only to Czech proletarian poetry but also Czech poetry in general as one of the first poets as well as the last poet of Czech proletarian poetry. He produced a considerable number of good poems like "Music in the Square", "The Lovers" (Milenci), "An Accident in the Street" (Uraz na ulici), above all "Flower Saleswoman" (Prodavacka ruzi) from the first collection securing the artistic quality in his tendency poetry and also pure lyric poetry like "Conversation" (Rozhovor), "Nostalgia" (Tesknice), and romantic ballad "Lady from the Ocean". Horejsi`s proletarian love poetry, for example, "The Coral Necklace", "Song", and "Melody" are also unique in the history of Czech modern poetry.

『님의 沈黙』의 기획 의도와 심미적 연금술로서의 시쓰기

김문주(Kim, Mun-joo) 한국비평문학회 2017 批評文學 Vol.- No.65

이 논문은 한용운의 『님의 침묵』이 계몽적 의도 속에 기획된 시집임을 밝히고, 시집에 담긴 의도와 만해에게 시쓰기의 의미가 어떤 것인가를 해명하고자 한 글이다. 1926년 5월에 탈고된 『님의 침묵』은 당대의 (문학) 대중들이 열광하였던 자유-연애의 정념을 방법적으로 차용함으로써 ‘님’, 그리고 님에 대한 사랑이란 ‘행위로서의 자유’ 속에 실현되는 것임을 형상화 하고 있다. 이 논문은 시집에 그려진 ‘님’의 이미지가 동성적(同性的) 성격을 띠고 있고, 님이 나와 분리된 별개의 존재가 아니라 나를 추동하는 내적(內的) 존재로서 형상화되어 있음을 주목하였다. 시집에서 ‘님’은 ‘나’를 자각하고 불러일으켜서 부정적인 조건들을 넘어서게 하는 존재로서 기능하고 있다. 한편 『님의 침묵』은 근대적 정념으로서의 사랑을 본격적인 주제로 삼은 시집으로서, 당대인들이 열망하였던 자유-연애의 관념을 비판적으로 갱신하고자 한 의도가 내장되어 있다. ‘자유-정조(貞操)’는 이를 단적으로 드러내는 조합어로서, 여기에서 ‘정조’는 사회적 관습에 의해 강요된 타자의 정념, 개인을 가두는 강제된 구속이 아니라 ‘나’를 굳건한 주체로서 성장시키는 내발적인 주체의 정념이다. 만해는 ‘정조’나 ‘복종’ 등의 봉건적 가치를, 평등과 자유에 기초한 사랑의 정념으로 갱신하였으며, 전통적인 여성 화자를 통해 자유연애로 상징되는 근대성에 대한 비판과 극복의 전망을 제시하였다. 당대의 여타 시인들과 달리 한용운이 새로운 시적비전을 제시할 수 있었던 것은 그가 부정적 상황을 과정적 현실로서, 한층 더 높은 긍정성의 발전적 계기로서 상상하고 사유할 수 있었기 때문이다. 이는 시적 비전으로서만이 아니라 그의 시쓰기에도 적용되는 원리로서 한용운에게 시쓰기는 부정의 현실을 인내하며 너머의 현실을 상상하는 심미적 노동으로서 기능한다. 『님의 침묵』의 심미적 비전과 현실의 전망은 분리되지 않으며, 이 시집을 추동하고 있는 시인의 통찰력은 현실을 결과가 아닌 과정으로서, 정적인 것이 아닌 동적인 세계로서 사유하는 비전에서 기인한 것이다. This paper is written to state in detail that 『The Silence of Love(Nim)』of Manhae Han Yong-un is a poetic works intended for enlightenment and to clarify the meaning of writing poetry for poet. 『The Silence of Love』completed in May 1925 embodies that ‘Nim’ and ‘Love for Nim’ is existence which is realized in ‘freedom as an act’ by borrowing the passion of free love which the (literature) public those days were enthusiastic about. In that sense, this paper focuses on two things. One is that the image of ‘Nim’ drawn in the poetry has a feature of the same sex. The other is that Nim is embodied as an inner being which leads ‘I’, not a separated being from ‘I’. ‘Nim’ functions as a being which leads ‘I’ get over negative conditions by being aware of ‘I’ and awakening. On the other hand, 『The Silence of Love』 has an intention to critically renew the idea of free love that people those days longed for because it is the collection of poetry based on love as modern emotions. ‘Free-chastity’ is a combination word which directly express it. Here, ‘chastity’ is not a compulsory constraint which confines the emotion of the other forced by social custom and individual, but it is shaped as a spontaneous emotion that grows ‘I’ as a firm subject. Manhae renews the feudal values such as ‘chastity’ or ‘obedience’ with the emotion of love based on equality and freedom. Through the female narrator, poet suggests the criticism about modernity symbolized as a free love and prospect for overcoming. Unlike other contemporary poets, the reason why Han Yong-un was able to suggest new poetic vision was that he could imagine and think the negative conditions as procedural reality and as a developmental chance of much higher positivity. It is not only a poetic vision but also applies to his writing poetry. Therefore, to Han Yong-un, writing poetry makes him endure the negative reality and functions as an aesthetic work that imagines reality beyond. Aesthetic vision of 『The Silence of Love』 is not separated from the prospect of reality, and poet’s insight which leads this poetic works come from the vision that think reality as a progress, not a result, as a dynamic world, not static.

시의 모더니티 추구와 그 정치화

이성혁(Lee Seong-Hyuk) 한국시학회 2004 한국시학연구 Vol.- No.11

Modern poetry is against abstraction of modernity and, at the same time, has difficult problems that it should not be behind times which modernity brings and thus can achieve poetry’s modernity. Kim Soo-Young’s poetics portrays attempts to achieve poetry’s modernity, by discovering new realities of life and aesthetic methods through ‘looking squarely’. He criticizes poetry which poses as something modern without conscience incarnated by a poet, because that poetry has only ‘pseudo-modernity’, modernity that lost tensions of times. The conscience that he mentioned can be revealed by maintaining one’s will to death to the end. To him, writing poems is to enter spheres of absolute freedom, and then poems’ space brings time to face the subject’s death. He says that the true newness and eternity of poetry can be achieved by the subject’s death, and, as a result, poetry of future is the unknown. However, he begins to think about integration of poetry and action as he discovers ‘poetic actions’ among the youth through an 4ㆍ19 demonstration. After this, he insists that freedom should be re-quired against conservative realities through adventures putting freedom(poetry) into the world, and poetry should continue to attempt to accomplish love and revolution in the realities of life. This is a process and work which incarnates prose into poetry and tries to find modernity of poetry through tensions between love and death. Through this pursuit of poetry’s modernity, poetry causes social unrest and resistance and is finally changed into politicalized.