1970년대 초 김지하 시에 구현된 폭력론의 맥락 - 예술론과 담시를 중심으로

Abstract

This article aims to examine the context of Kim Ji-ha’s theoretical practice by identifying the meanings of violence that are central to his poetics in the early 1970s and applying those layers to the texts he wrote at the time and their repercussions. The effort to find true beauty in the commonplace and develop it into an art form of resistance is the core of satire in Kim Ji-ha’s mind, and he developed artistic and poetic violence as a genre through the creation of ‘Damsi’ that inherited and modernized the spirit of folk songs. Therefore, this article analyzes the attributes implied in satire as a social literary form and the mechanisms of law, justice, and violence that intervene in ethical situations. Among them, ‘divine violence’ is linked to the sovereign power of the people in Kim Ji-ha’s poetry. They fundamentally subvert the objective and structural violence that is implemented in the daily operation of the political and economic system. The ending of “The Five Enemies” exemplifies this. Here, divine violence is not seen as a lack of narrative probability, but as a revolutionary force that creates a rift in the existing legal order, based on the statement that ‘the voice of the people is the voice of God’. Furthermore, the artistic and poetic violence envisioned by Kim Ji-ha is characterized by the establishment of a dynamic field that encompasses not only the reader but also the object of satire. By translating the methodology of satire into the ontology of his poetry, Kim Ji-ha bridges the gap between poetic theory and creation. This paved the way for Kim Ji-ha’s artistic and poetic violence to become not just a narrow rhetoric, but an aesthetic and political transformation, as it pushes for the acquisition of violence against reality.