The aim of this study is to trace a history of the metapoetry which is very effective form to understand the states of genre-secession having been accelerated after the 80th in Korea. For this purpose, the poems of Oh, Kyu-Won are studied in the viewp...
The aim of this study is to trace a history of the metapoetry which is very effective form to understand the states of genre-secession having been accelerated after the 80th in Korea. For this purpose, the poems of Oh, Kyu-Won are studied in the viewpoint of the metapoetry.
At first, this study pays attention to the 'metapoetry', the critical form of the modem poetry. The 'metapoetry' was issued by the Dieter Lamping and has been discussed in Korea since the 80th. However the precedent discussions could not give the consistent standards for metapoetry and made some ambiguities to differ metapoetry from parody-poetry. To clarify this ambiguities, the metapoetry should not be considered as the radical form of the poems recently appeared, but as the characteristics of the poems themselves originally inhered in the genre of the poetry. Therefore this study defines the metapoetry (meta-poems) as follows; 'the poems written above the precedent texts' of 'the poem writing about the processes of the writing texts with the voices of the poet'. In addition, the definition is closely adjusted with the bounds of the precedent texts.
The chapters Ⅱ,Ⅲ and Ⅳ in this study are historical studies of Oh, Kyu-Won's poems, according to the early, middle and latest stage of his writing. Each chapter is divided into two parts, one shows the characteristics of the stage, the other analyzes the writing technique in the viewpoint of the metapoetry.
In the chapter Ⅱ, the meta-poetical characteristics of the poems in his early stage are studied. The poems in his early stage are 'the poems about the language'. In this poems, his efforts to decomposite the ideology are embodied to be the coordinate expression and the imitative quotation the ideology are embodied to be the coordinate expression and the imitative quotation with the pure trust in language.
The poems of his middle stage are characterized as 'meta-poems about the genre of poetry', in the chapter Ⅲ. In this poems the awareness about the corrupted realities which make it unattainable to revive the language and make the corrupted realities which make if unattainable to revive the language and make the existing genre of poems useless is shown. He reflects the situation with the critical-imitation and decomposites the genre of poems using the pastiche of the existing literary works or the advertisements.
The features of his latest poems are observed in the chapter Ⅳ. The 'metapoetry about poem-writing' is the main stream of this stage. He pursues the phenomena-writing in the doubt of the metaphorical thought, and makes his works be filled with the law-images which reflect the phenomena of the things themselves. The changes in his thoughts are observed in the metonymical languages and the opened structures of these poems.
The chapter Ⅴ is written to clarify the meanings of the metapoetry is the history of literature. The historical study shows the efforts of some poets, Kim, Chun-Su(in the 60th), Oh, Kyu-Won, Lee, Seung-Hun and Park, Sang-Bae(in the 70th) to have been resulted in writing the metapoetry. In th 80th, some poems of Hwang, Ji-Woo and Park, Nam-Chul contain the symptoms of the metapoetry , although these meta-poems only have the functions for a satire on the society. In the 90th, there are various meta-poems written by Jang, Kyung-Lin, Song, Jae-Hak, Sin, Hyun-Lim, Lee, Seung-Ha, Cho,Ha-Hye, Park, Sang-sun, Lee, Man-Sik and Pae, Yong-Tae and so on. They have parodied the works of another genre or non-literary genre, and tried a meta-writing. These historical studies of this study make it possible to describe the history of metapoetry in Korea.
His poems are very valuable because of his consistent minds for metapoetry from the first works, compared with the poems of other poets. Specially, the law-image and metonymical writing in his recent works show the future of the poetical arena in Korea. His meta-poems have the possibilities not to be fixed in a style through his self-reflective writings. Besides they make the sights of the readers be free enough to understand the texts. These are the values of his meta-poems. In addition, the value of this study is to clarify the location of his poems in the history of poems in Korea, under the concept of the metapoetry which was the unexploded field in the genre of poems.