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The purpose of this study is to analyze the nature of Yi Sang's time-space consciousness by means of tracing the manifestation and the nature of his major poems and to investigate how the time-space consciousness is connected to contemporary art and design as well as mediascape. Here the researcher focuses on the overall flow of Yi Sang's time-space consciousness beyond the partial speculation done by author's previous researches. For this inquiry, Yi Sang's major 50 poems have been reviewed by classifying the existence and nonexistence of time-space consciousness along with the moment of writing and publishing sequences. As an analytic method, the researcher has categorized the following three types: (1) strongly expressed, (2) partially related, (3) unrelated or ungraspable.
It is found that total 31 cases out of 50 major poems are made up of the time-space consciousness. Such a consciousness was manifested from the earliest poem published in 1931 and culm inated in a series of 「Sam chagaksulgaedo, 三次角設計圖」 and unfolded up to a series of 「Ogamdo, 烏瞰圖」. Finally it was burning dimly in 「Myoungkyoung, 明 鏡」 and faded out. A series of 「Samchagaksulgaedo, 三次角設計圖」 was a turning point in the context of this discussion because it is consisted of a kind of manifesto expressing a birth of new type of human existence followed by new time-space conception. Based on the various notions that he expressed, it is ascertained that Yi Sang deeply recognized modern physics like quantum mechanics and the theory of relativity as well as the theory of expanding universe too. It seems that he considered such a new time-space conception as a liberated area where he could run fast at full speed and escape from his existential life which originated in some trauma. Therefore this kind of thought was directly unfolded up to his consciousness of virtual space, which was expressed in the poetry language such as ‘a ray of light’ and ‘mirror’.
It is found that total 31 cases out of 50 major poems are made up of the time-space consciousness. Such a consciousness was manifested from the earliest poem published in 1931 and culm inated in a series of 「Sam chagaksulgaedo, 三次角設計圖」 and unfolded up to a series of 「Ogamdo, 烏瞰圖」. Finally it was burning dimly in 「Myoungkyoung, 明 鏡」 and faded out. A series of 「Samchagaksulgaedo, 三次角設計圖」 was a turning point in the context of this discussion because it is consisted of a kind of manifesto expressing a birth of new type of human existence followed by new time-space conception. Based on the various notions that he expressed, it is ascertained that Yi Sang deeply recognized modern physics like quantum mechanics and the theory of relativity as well as the theory of expanding universe too. It seems that he considered such a new time-space conception as a liberated area where he could run fast at full speed and escape from his existential life which originated in some trauma. Therefore this kind of thought was directly unfolded up to his consciousness of virtual space, which was expressed in the poetry language such as ‘a ray of light’ and ‘mirror’.
목차
Ⅰ. 서론
Ⅱ. 시공간 의식의 발현과 전개
Ⅲ. 시공간 의식의 성격과 해석
Ⅳ. 이상 시와 가상공간
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (15)
참고문헌 신청
1. [기타자료] - 朝鮮建築會 / 1933 / 『朝鮮と建築』 1930. 12號 / 1931. 7,8,10號 / 1932. 6,7,9,10號 / 1933. 5,6,7,8,11號
2. [단행본] - 萩原恭次郞 / 1926 / 死刑宣告 / 長隆舍書店
3. [단행본] - Lázlo Moholy-Nagy / 1947 / The New Vision 1928 fourth revised edition 1947 / G. Wittenborn
4. [단행본] - 김민수 / 1999 / 멀티미디어 인간 이상은 이렇게 말했다 / 생각의 나무
5. [단행본] - 김승희 / 1993 / 이상 / 문학세계사
2. [단행본] - 萩原恭次郞 / 1926 / 死刑宣告 / 長隆舍書店
3. [단행본] - Lázlo Moholy-Nagy / 1947 / The New Vision 1928 fourth revised edition 1947 / G. Wittenborn
4. [단행본] - 김민수 / 1999 / 멀티미디어 인간 이상은 이렇게 말했다 / 생각의 나무
5. [단행본] - 김승희 / 1993 / 이상 / 문학세계사
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UCI(KEPA) : I410-ECN-0101-2010-811-002579020