‘흰 그늘’의 미학과 한국시의 향방(向方) - 김지하의 시와 미학사상을 중심으로 = The Aesthetics of ‘White Shadow’ and the Direction of Korean Poetry - Focused on Kim Ji-Ha’s Poems and Aesthetics

다국어 초록 (Multilingual Abstract)

Kim Ji-Ha’s aesthetics is based on life or universal life. The life has basic mechanism, ‘Cheon-Ji-In(Heaven, earth, and human being)’. There is a human between heaven and earth, that is, there are the heaven and earth inside the human. It means that the heaven’s extreme energy reaches my body, and I welcome heaven’s god into myself. As his concept of the life is caused by Donghak’s ideology, it is possible to add new analysis of human being. The thought of human means that the subject which is respected is toward myself, and it reveals the logic that the universe moves depending on the degree of my eagerness.
My eagerness aims at the birth of universal life. The human internal mind is placed at the center. As the human mind is not different with ‘heaven and earth’s one’, the mind follows the ethics of ‘the ways of heaven’. It says his aesthetics cannot be understood only with human basic aesthetic dimension, and the aesthetics and ethics are to be understood within integrated dimension. The union of aesthetics and ethics shows his concept of aesthetics is based on the tradition of ritual and music in eastern Asia. The ritual corresponds to the eagerness in human mind. In this context the unique aesthetics such as ‘Han’, ‘Sagim’, ‘Sigimse’, ‘Teum’, ‘Ut’, ‘Sinmyoung’, ‘shadow’, ‘white shadow’, and ‘Yul-Ryeo’ can be born. He is trying to find it in Korean folk art like ‘Pansori’, and ‘Talchum’, and organize it aesthetically.
As the aesthetics and ethics are seen in the life at the same time, he tries to see the superficial flower(aesthetics) as well as the hidden ‘fierce power of core(ethics)’. He thinks that the universe without fierceness and eagerness is nothing but the fake one losing its aura. It is not difficult to find the case without shadow, the ethics, in recent Korean poetry. The loss of the god, which is to be welcomed and respected, living in human mind and aura means the loss of universal life. If the human loses the mind in the world where heaven, earth and human are intertwined, they cannot meet the subtle, mysterious, exciting, and spiritual beauty that is different with rational and emotional one. The whole he is saying is ‘the white shadow’, and the systematic reveal is ‘the aesthetic of the white shadow’.
When we consider that the aesthetics based on life and universal life is regarded as universal discourse, it needs to be reconsidered to limit in the only ‘folk aesthetics’ or eastern Asian aesthetics. The aesthetics of the white shadow is desirable to be discussed in the field of universal discourse and in the dimension of human history for theorizing and practicing the aesthetics. It is clear his poems as the product of the white shadow and its aesthetic have a piercing eye and prospect to save the world indulging in the beauty “refined as optional and comfortable one” without pain and denial in “infestation of self-loving identity”. It needs more time to discuss the aesthetics of the white shadow, its keen insight and forecast more deeply.