earticle

영어

This paper aims to identify a death-consciousness shown in Kim Soo-yeong’s poetry. To Kim Soo-yeong, death is a continuous theme and topic of literature. Basically, he perceives death as one of the forms of silence. Silence is communication from the absence of a response, and, at the same time, a different form of grief and alienation. Such a death-consciousness of Kim Soo-yeong is further concretized through a poetic motif, namely, face. To Kim Soo-yeong, face is a place of consciousness that internalizes an essence, and it also serves as a measure of value that predicts and confronts death. Also, Kim Soo-yeong even further extends the sense of alienation toward death through fatigue and the sense of loss due to urban living. The sense of alienation is also closely coupled with an emotion called monologue, and, ultimately, it stems from the awareness of self-denial by a poet who perceives everything in daily life as an enemy. Such an awareness of self-denial is a transformation of contradictory love that needs to recognize enemies rather as a partner. Self-denial started from the concept of an enemy is one side of death Kim Soo-yeong wants to pursue ultimately. Enemies in her work make a poet lonely, but rather it serves as a medium to make her death-consciousness clear. This explains that a poet’s desire works nervously so grief and alienation are transmitted to death. Kim Soo-yeong’s self-denial brings about the result of contradictory love that rather should be perceived as a companion being through enemies. In addition, love is a symbol of one’s belief that it is one of the expressions of desire, and simultaneously, spreads to death, according to Kim Soo-yeong. To him, a desire contrasted with love enables the switch with his fatalistic death. The secrecy of a flower, which is embodied at this moment, well represents the extinctive consciousness of the poet. In particular, seeds in work is a material to show a poet’s desires for fulfilling a narrator’s lack from death. Through a flower, desires are creating organic relationship with Kim Soo-yeong’s death-consciousness and entering live silence immanent in Kim Soo-yeong’s overall work. Grief, alienation, and the awareness of denial as such eventually end up being an aesthetic feature called death, and they accomplish an important literary field in Kim Soo-yeong’s literature.