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초록

Oh, Kyu-Won aimed to describe not ‘the nature as the physical world’, but ‘the nature as something responded’ in his poetry. This description builds up the poetic meanings when the realistic situations and psychological shadow are added to it. The meanings built up like this are not the interpretive meanings in abstract form, but the representational meanings in sensuous form, which is revealed in the metonymic language system distinct from metaphor. By pushing it forward to the extreme, the poet presents the poetry showing an extreme of irreversible ‘truth’ that includes nothing except for the realistic description. From the extreme of ’truth’, the meanings of the ‘truth’ are generated from then. Even though the truth of poetry presents the ‘reality’, it has meanings more than ‘something realistic’. Just as shown in the proses and poetry by Oh, Kyu-Won, the poet pays attention to a medium of photograph. To Oh, Kyu-Won, the photograph was something that had the independent structure distinct from other representation systems. The photograph is the objective result of machine, which is automatically formed in the absence of humans. The referent in a photograph is ‘the realistic world’ ‘as it is’ with no given meanings as a trace of a being. ‘The viewpoint that could read the truth as the truth’ mentioned by Oh, Kyu-Won is through a camera lens that does not allow the intervention of humans’ consciousness. The contingency from details that is neither intentionally composed by a photographer nor explained by causality, causes the meanings of subjective subject. Thus, the world of existence which is the result of mechanical reproduction becomes a semantic image of vacant blank space that will be soon filled with something by audiences. The poetry of blank space containing the realistic world is not a transmitting sign that releases meanings, but a receiving sign that receives the subjective experience and imaginary consciousness of gazers. The concept of ‘metonymy’ mentioned by Oh, Kyu-Won penetrates all the principles of formation and reception level of poetry(photograph). Through the raw image poetry based on the photographic structure, the poet paid attention to the phenomenology of mind occurring between people responding to poetry(readers). Through the raw image poetry for the exclusion of abstraction, Oh, Kyu-Won eventually aimed to talk about not the reality, but the power of metonymic expansion as a psychological phenomenon of responding readers. This raw image poetry becomes an image of formation that breathes together with the world through the exchange of meanings in the relationship between operator and viewer. Such unfixed ‘living language’ is originated from the power of metonymy causing the aesthetics of blank space.