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???? ????? ¡®??affect¡¯?? ???? ???? ??? ¡®??affect¡¯? ??? ???? ????. ?? ??? ??? ??? ??affect? ??? ??? ? ?? ??? ? ??? ????? ??affect? ? ????? ????. ???? ?? ??? ?? ??? (?)???? ??????? ??? ??? ??? ??? ???? ??? ??? ??? ??? ? ??.
???? ??? ? ???? ?? ??? ??? ??? ???? ??? ???? ? ??. ??? ?? ??? ??? ??? ?????? ???? ?? ?? ?? ??? ??? ??? ??? ???? ??? ????. ? ??? ?? ??? ???? ???. ??? ???? ???? ???? ??? ??? ??? ?? ??? ??? ???? ??? ???? ??? ????. ??? ???? ?? ?? ???? ??? ??? ????. ???? ??? ???? ????, ?? ???? ???? ???? ???, ???? ???? ?? ??? ????. ?? ???? ¡®??¡¯? ???? ¡®?? ?? ??¡¯? ??? ???? ?? ?? ????? ??? ??? ???? ??? ??? ? ?? ??.
??? ????? ??? ??? ???? ????. ??? ??? ???? ???? ????. ??? ???? ?? ???? ???? ?? ???? ??? ??? ???? ????? ????. ¡®??¡¯? ? ??? ???? ????? ?? ??? ????. 1920?? ??? ?? ????? ??? ? ??? ???? ??? ?? ??? ??? ??? ???? ????? ??? ???? ??. ???? ???? ???? ? ??? ????? ?? ??? ?? ???? ??. ???? ??? ??? ¡®??(ÅKÆ÷/éLÆÚ) ??¡¯? ??? ??? ?????? ?? ??? ??? ??? ??? ???? ??? ????.

The Spinoza scholars' call for translating affectus as 'feeling' brings attention to the relationship between affect and lyricism. However, this choice tends to blur the distinction between affectus and lyricism, making 'affect' a more appropriate term for poetry studies. Examining the (dis)continuity between affect research and lyric analysis allows us to explore how the affect of anxiety shapes a uniquely Korean lyrical style.
An immanent reading of the poems of Kim Jong-sam and Lee Yong-ak can illuminate the reality produced by literature. It is essential to separate the anxiety of the poetic subject from the socio-historical context of the time. The absence of 'home' suggests The lack of literary style, causing the poetic subjects of these poets to wander. The staircase serves as a meeting place for Kim and Lee's subjects, where they express reality in either abstract or concrete forms. Their movements are rooted in a tradition shaped by other Korean poets. Lee Yong-ak¡¯s Peony calls to mind Kim Yeong-rang¡¯s Waiting, and Kim Yeong-rang¡¯s work recalls Kim So-wol¡¯s Waiting. Kim Jong-sam then follows Kim So-wol into this lineage. The themes of ¡®silence¡¯ in Lee Yong-ak and ¡®silent perfection¡¯ in Kim Jong-sam reflect a shared power of acting through silent, collective outcry.
The imagery of wandering illustrates the fluctuation of the power of acting. Anxiety serves as the affect that conveys the imagery of wandering. illustrating how Kim Jong-sam's Western orientation and Lee Yong-ak's Japanese orientation were attempts at crafting distinctive literary styles. ¡®Death¡¯ represents a moment that actualizes this communal orientation. The dialogic approach to Kim So-wol¡¯s 1920s poetry enables us to interpret the dialogue between Kim Jong-sam's and Lee Yong-ak's poetic subjects as part of this tradition. Through the legacy of Kim So-wol¡¯s Waiting, the two poets are constructing a path to traverse by carriage. The trend of 'organ replacement' or 'long replacement,' characteristic of postmodernity, both critiques Western modernity and reveals a uniquely modern vitality within Korean poetry.