The poetry of Kim, Hae-soon showed multilayered and overlapped poetics. Instead of representing complicated realties, she used fractal imagination to create new realities. She showed complex world recognition understanding the totality of the object from various points of view, consciousness and voi...
The poetry of Kim, Hae-soon showed multilayered and overlapped poetics. Instead of representing complicated realties, she used fractal imagination to create new realities. She showed complex world recognition understanding the totality of the object from various points of view, consciousness and voices. Because this polyphony poetics revealed overlapped aspects of time, subjects and speakers, it is not easy to read her poetry. Kim, Hae-soon did write to show expansion of thinking by the body. To her, the "body" was the lens to look the world through, the way to state it, and the strategic mechanism to resist against it. In 『Poor Love Machines』, she suggested the way to involve and read the world like fractals. She traced the whole history of women with a way of "self-analogy of fractals(프랙탈 도형의 自己相似)", which was based on the stream of time. 〈The Rats〉 showed this kind of biological imagination and imagination based on the reversely evolved body well. This paper studied the poetry of Kim, Hae-soon from the viewpoint of "machine desire". In her poems, machine became the thing to desire, and the desire became mechanized. In other words, desire existed as a machine. They coexisted inseparately. "Desire is a machine, a collection of machines, an array of machines." In her poems, Ⅰ, as a poetic ego, was a death machine as well as machine desire. While one axis of 『Poor Love Machines』 was "machine desire", the other axis was "love machine". This desirous being was also longing for love. Reversely, the desire longing for love became the only dynamic to activate the being. So, every being became "poor love machine". Rerunning into poor love machines, this love machine was accompanied with "death". In her poems, desire, love, death and solitude were connected in a Rhizome way. She expressed this world as factories producing desire, love, death and solitude through the self living as the other in the self and self-replicating multilayered writing.
The poetry of Kim, Hae-soon showed multilayered and overlapped poetics. Instead of representing complicated realties, she used fractal imagination to create new realities. She showed complex world recognition understanding the totality of the object from various points of view, consciousness and voices. Because this polyphony poetics revealed overlapped aspects of time, subjects and speakers, it is not easy to read her poetry. Kim, Hae-soon did write to show expansion of thinking by the body. To her, the "body" was the lens to look the world through, the way to state it, and the strategic mechanism to resist against it. In 『Poor Love Machines』, she suggested the way to involve and read the world like fractals. She traced the whole history of women with a way of "self-analogy of fractals(프랙탈 도형의 自己相似)", which was based on the stream of time. 〈The Rats〉 showed this kind of biological imagination and imagination based on the reversely evolved body well. This paper studied the poetry of Kim, Hae-soon from the viewpoint of "machine desire". In her poems, machine became the thing to desire, and the desire became mechanized. In other words, desire existed as a machine. They coexisted inseparately. "Desire is a machine, a collection of machines, an array of machines." In her poems, Ⅰ, as a poetic ego, was a death machine as well as machine desire. While one axis of 『Poor Love Machines』 was "machine desire", the other axis was "love machine". This desirous being was also longing for love. Reversely, the desire longing for love became the only dynamic to activate the being. So, every being became "poor love machine". Rerunning into poor love machines, this love machine was accompanied with "death". In her poems, desire, love, death and solitude were connected in a Rhizome way. She expressed this world as factories producing desire, love, death and solitude through the self living as the other in the self and self-replicating multilayered writing.
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