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초록

Kim Hyun's criticism of ‘What is a poem?’ comes at the same time as the question of ‘Who am I?’ and the process of finding ‘I’. This is to look at ‘I’ by turning the mind toward the target (outside) inwardly. This self-awareness leads 'I' to discover the way and attitude of 'I' to the object, and to find a new 'I'. It was an important task for Kim Hyun, who has experienced a history of self-loss and self-dividuation by the other, to establish my own identity in Korean literature from the West. The desire to find one's own identity in the other's relationships stems from early criticism in the 1960s, when Kim Hyun was seeking critical self-consciousness. Kim Hyun's official critical activities start with finding answers to questions about ‘poetry’ and ‘I’ from the division and confusion of the self torn bilaterally. For Kim Hyun, Chaos and undecided life is not a confrontation with order, but a origin and source for a new ‘I’. The question of ‘I’ which began with division and gap, makes us realize ‘the desire for du Mal’. The desire for du Mal, which deftly melts the present of the other into the present of the self and makes the other a past, is converted into a ‘real desire for encounter’. True ‘encounter’ with the other allows ‘I’ to stop subjective action and form a new attitude of gaze. At this time, the identity of ‘I’ is not a fixed entity, but a process of continuous self-formation through the activities of ‘encounter’. Kim Hyun's new attempt was intended to be based on the fact that I and the world exist through the encounter of ‘I-You’ or ‘encounter’ as the basis for existence and as a precedent for everything. According to Kim Hyun, the problem of ‘encounter’ depends not on the status of being inside and outside, but on the consciousness of ‘whether you feel trapped or liberated’. The question of a new ‘I’ through ‘encounter’ means liberation from the ‘I’ restriction. If Kim has seen the narcissistic history of self-expansion in a Western mirror, he checks his ‘empty mind’ in an Oriental mirror, symbolizing empty. The Oriental mirror is an ‘empty mind’, so it does not reject the existence of the other and fully accepts it and reflects it, but does not try to keep it. An empty mirror in which objects are reflected through the condition of contact, and objects disappear when the conditions are expired, indicates that the encounter between the subject and the other is an incomplete phenomenon. In other words, the cause of ‘encounter’ is related to ‘Emptiness’, which has only the action that occurs when the subject comes into contact with the object and has no substance. As ‘encounter’ takes place as an activity of the relationship, the subject becomes the becoming, not the substance. Through an empty mirror, a symbol of the Emptiness, Kim Hyun suggests that the subjectivity of ‘I’ is created in ‘encounter’ that fully accepts but does not keep the other. And the activity of this encounter refers to the relationship itself that transcends the individual substance. Kim's criticism work is not setting the ‘I’ and ‘the world’ as entities, but is heading to how to open up the way ‘I’ and ‘the world’ meet –the way the relationship arises and disappears.