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초록

Kim Soo-young and Kim Chun-soo develop a new writing a poem methodology through strategies of ‘figurative’ and ‘abstract’, the development of these opposing ideological structures is commonly centered on ‘tension’. Given that the two poets were conscious of and criticized each other in terms of ‘tension of words’, this study newly synthesized the views they took in the formative composition of ‘figurative’ and ‘abstract’ centered on ‘tension’. Attention to this tension is to look at both senses and intelligence, visible and invisible, sense and nonsense at the same time, and to note that language has the power to make it see truth, not truth itself. In the poetics “Sense and Nonsense”, Kim Chun-soo matches his own nonsense poetry with Merleau-Ponty's philosophy, which understood Cezanne's paintings focusing the intersection of senses and intelligence. Kim Chun-soo's aim for an abstract world that is being created in the relationship between sense and intelligence is in connection with Kim Soo-young's poetry, which embodied the ‘tension of words’. Kim Soo-young returns to the figurative that the idea of ‘mixing’ of the old after experimenting with abstractions from the figurative of theatrical characteristics. This is embodied in the aspect that mental things are awakened through sensory imagery, and ideas are awakened through imaging of human behavior. The abstract strategy accepted by Kim Chun-soo from Cezanne (in Merleau- Ponty's philosophy) is to pursue reality by giving up the means to reach reality as an abstract of non-identity. Having experienced the violence of the closed world by the illusion of identity, he sought a language of true freedom through a reality embodied as a crossroads of relationships. Through the discovery of Giacometti which is the visual phenomenon on the retina and interpenetration of objects and space, Kim Soo-young identifies the dimensions of a new reality that bring out the opposite of what is true (the old). The transformation to the new figurative is rhetoric that avoids the violence of censorship and at the same time pursues a step in context, in which he learns the essence of poetry, which stands on the tension between the two poles of progress and concealment. For Kim Soo-young, a powerful poem is on top of the tension between the two extremes, where the urge to achieve ‘meaning’ and the urge not to achieve ‘meaning’ collide. Kim Chun-soo feels distressed while abandoning the meaning and tries to prove the ‘world of meaning through experiences of nonsense’ through the process of abstraction. For the two poets, the pursuit of ‘nonsense’ means that there is only the action of tension, but no one works. In the end, “meaning” and “meaningless” are placed in order to imply the possibility of opening the world of meaning through the action of relying on each other's relationship, not on the matter of presence and absence.