의미 전복의 미학, 언어유희

Abstract

In this paper, Kim, chun-shu's poems are classified by three, early period, middle and latter. His early poems(1948-1959) are after both romanticism and an absolute notion because he is influenced by Rainer Maria Rilke and Edmund Husserl. His middle poems(1969-1999) are 'a Meaningless Poem' borrowing Action Painting Technique by Jackson Pollock. His latter poems(2001-2004) are published after his wife death. This paper studies the Elegy of fifty-one pieces(2002), his last anthology, and his poems published to January, 2004. This paper excludes the issues of study history about meaningless poem study as a poetry technique. This paper gives a spout on the aesthetic system of a language game in the latter poems. Though many scholars, Gadamer and so on, discuss the art of play space, this paper indicates the laugh of Kim, Chun-shu's poems as overturning means and a language game borrowing the carnival laugh by Bakhtin on the ground of 'the retreat of symbol' by Roland Barthes and the laugh overturning means by Julia Kristeva. The technique for escaping from a joke concept is a tool to illuminate the world free from dichotomy. Laugh includes the sound of silent. The language play in the Elegy of fifty-one pieces 1-9 generates a laugh by language game stopping the dichotomy mean. The laugh occurs from dispersing and reserving the meaning frame through logos clashes and fills each other. And then the laugh contemplates itself generated by illumination as a language. The language jumping into illumination from dichotomy achieves the aesthetic of laugh. The laugh of his poems includes the irrational uncertainty destroying the logic of language.