This study set out to search for the meanings of "leaves" depicted by Ki Hyung-do in his first and posthumous anthology of poems, Black Leaf in Mouth, and to measure the weight that he imposed on "leaves." It also aimed to categorize the meanings of "leaves" in his poems and see if language was give...
This study set out to search for the meanings of "leaves" depicted by Ki Hyung-do in his first and posthumous anthology of poems, Black Leaf in Mouth, and to measure the weight that he imposed on "leaves." It also aimed to categorize the meanings of "leaves" in his poems and see if language was given many different meanings in his poetry. Poets are immersed in finding new expressions all the time and actually succeed at it. Wheelwright called such new expressions tensive symbols. Writers need to make full use of tensive symbols that are not conventionalized and fixed culturally in order to bestow their own new meanings upon their literary works. Ki was no exception, trying to give his own new meanings to the language he used in his works rather than the meanings that had been passed down and used for years. He said any human beings had three to four branches with lush leaves. He saw leaves as the medium to connect nature and man and the outside world and ego and believed leaves represented the forms of nature and man. Leaves made their appearances in total 18 of 61 poems in his Black Leaf in Mouth and in four of his unpublished poems. This study focused on those works involving leaves in Black Leaf in Mouth in the attempt to understand the meanings he bestowed on leaves and his consciousness. Things with life have long been described to deliver positive meanings such as brightness and hope. Reminding people of green life force, leaves have naturally found their ways into the culture and literature of mankind for centuries with their positive meanings. Ki, however, didn't focus on the usual bright and positive images of leaves. Instead, he used leaves to represent the dark, unjust reality, weak life, and death rather than green life force of brightness and hope. But that doesn't mean that his leaves symbolized negative things all the way. By borrowing the existing cultural symbols, he said leaves could be hopes and sources. The source of hope and life represents the frustration of not being able to overcome the unjust reality. If he had not known the source of hope and life in the first place, the unjust reality would have not been as unjust as he felt. Hope was an ideal that he couldn't give up and, at the same time, reconfirmed the fact that he couldn't beat the unjust reality. Depicting the reality with no hint of prospect the way he felt and thought, he didn't suggest specific plans to overcome the reality and went on to focus on what's more fundamental than that. He wanted to show humanness that transcended times by focusing on the essential force that made up human life. He built a metaphor structure in the process of presenting the nature of plants as that of humans and giving meanings to it through leaves and matching the stages of plants' cycle with those of humans' life cycle through similarities between them. In his Black Leaf in Mouth that dealt with the situations of the 1980s, Ki chose not to express his determination to participate in the reality and to report it directly. Instead, he resorted to metaphors of many different natural objects to depict the wanderings of citizens and petit bourgeois. By comparing the structure of nature to "leaves," he showed the process of human life naturally and demonstrated that humans were not independent entities but organic ones living in nature and reality. Ki approached the criticism of reality and depiction of human life in different ways from other poets in the 1980s, which endows his poetry with significant value.
This study set out to search for the meanings of "leaves" depicted by Ki Hyung-do in his first and posthumous anthology of poems, Black Leaf in Mouth, and to measure the weight that he imposed on "leaves." It also aimed to categorize the meanings of "leaves" in his poems and see if language was given many different meanings in his poetry. Poets are immersed in finding new expressions all the time and actually succeed at it. Wheelwright called such new expressions tensive symbols. Writers need to make full use of tensive symbols that are not conventionalized and fixed culturally in order to bestow their own new meanings upon their literary works. Ki was no exception, trying to give his own new meanings to the language he used in his works rather than the meanings that had been passed down and used for years. He said any human beings had three to four branches with lush leaves. He saw leaves as the medium to connect nature and man and the outside world and ego and believed leaves represented the forms of nature and man. Leaves made their appearances in total 18 of 61 poems in his Black Leaf in Mouth and in four of his unpublished poems. This study focused on those works involving leaves in Black Leaf in Mouth in the attempt to understand the meanings he bestowed on leaves and his consciousness. Things with life have long been described to deliver positive meanings such as brightness and hope. Reminding people of green life force, leaves have naturally found their ways into the culture and literature of mankind for centuries with their positive meanings. Ki, however, didn't focus on the usual bright and positive images of leaves. Instead, he used leaves to represent the dark, unjust reality, weak life, and death rather than green life force of brightness and hope. But that doesn't mean that his leaves symbolized negative things all the way. By borrowing the existing cultural symbols, he said leaves could be hopes and sources. The source of hope and life represents the frustration of not being able to overcome the unjust reality. If he had not known the source of hope and life in the first place, the unjust reality would have not been as unjust as he felt. Hope was an ideal that he couldn't give up and, at the same time, reconfirmed the fact that he couldn't beat the unjust reality. Depicting the reality with no hint of prospect the way he felt and thought, he didn't suggest specific plans to overcome the reality and went on to focus on what's more fundamental than that. He wanted to show humanness that transcended times by focusing on the essential force that made up human life. He built a metaphor structure in the process of presenting the nature of plants as that of humans and giving meanings to it through leaves and matching the stages of plants' cycle with those of humans' life cycle through similarities between them. In his Black Leaf in Mouth that dealt with the situations of the 1980s, Ki chose not to express his determination to participate in the reality and to report it directly. Instead, he resorted to metaphors of many different natural objects to depict the wanderings of citizens and petit bourgeois. By comparing the structure of nature to "leaves," he showed the process of human life naturally and demonstrated that humans were not independent entities but organic ones living in nature and reality. Ki approached the criticism of reality and depiction of human life in different ways from other poets in the 1980s, which endows his poetry with significant value.
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