??? ??? ??? ?? - ???? £¼??? ?£¾? ???? (A Form of Perception and a Mode of Art - Focused on Lee Cheong-Jun¡¯s £¼the Door to Time£¾)

Lee Cheong-Jun makes an argument of the way human and arts exist. In this process he considers of that the way how human exists can be shown as the way arts exist. He thinks that the existence is shown by the perception. In order to show a variety of features of human being perfectly, someone tries with instrumental relationship such as notion or idea. But it cannot but fail. Lee shows this fact with pictures taken by a camera absolutely. Recognizing that the picture is destined to stop the object when it shows it, he falls in more serious consideration. However he doesn¡¯t give up and finds the method at the end. It¡¯s embodying the place of perception by moving body.
The method he suggests is like the surface of the earth, which encompasses both of life and arts. Shown in the flow of time he refers, the past doesn¡¯t exist only as itself, but includes the concept of continuity from the past to the present and the future. He goes into the sea where tragic disaster happens by moving the body. As a result it becomes the chance to find the door to future. In addition it is also trace coming from the past, not disappearing, and left. If he intends to say it, the method as escaping and hiding the ¡®Gwangju Democratic Uprising¡¯, left as injury and debt in his mind, is embodied as an art. It says that his viewpoint about human, history and arts is not experiential, physical, but phenomenological. The matter about the form of perception and the mode of arts, and the way human exists and the form arts exist is a force of his literature. And it is also in the time that flows to the future of Korean literature.

Lee Cheong-Jun makes an argument of the way human and arts exist. In this process he considers of that the way how human exists can be shown as the way arts exist. He thinks that the existence is shown by the perception. In order to show a variety of features of human being perfectly, someone tries with instrumental relationship such as notion or idea. But it cannot but fail. Lee shows this fact with pictures taken by a camera absolutely. Recognizing that the picture is destined to stop the object when it shows it, he falls in more serious consideration. However he doesn¡¯t give up and finds the method at the end. It¡¯s embodying the place of perception by moving body.
The method he suggests is like the surface of the earth, which encompasses both of life and arts. Shown in the flow of time he refers, the past doesn¡¯t exist only as itself, but includes the concept of continuity from the past to the present and the future. He goes into the sea where tragic disaster happens by moving the body. As a result it becomes the chance to find the door to future. In addition it is also trace coming from the past, not disappearing, and left. If he intends to say it, the method as escaping and hiding the ¡®Gwangju Democratic Uprising¡¯, left as injury and debt in his mind, is embodied as an art. It says that his viewpoint about human, history and arts is not experiential, physical, but phenomenological. The matter about the form of perception and the mode of arts, and the way human exists and the form arts exist is a force of his literature. And it is also in the time that flows to the future of Korean literature.