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This paper aims to explore the interrerationship between dramatic representation and cultural strategies of postcolonialism in the Korean poetry theoretically and practically. The results of the investigation are summarized as the following.
First, the paper investigates that Ko Cheong-Hee¡¯s poem <A poem rewritten by Jos¨¦ Rizal> based on the ¡®dramatic monologue¡¯ rerated with ¡®mimetic-representation¡¯ among dramatic representation, ¡®decolonization¡¯and ¡®abrogation¡¯ among cultural strategies of postcolonialism.
Second, it investigates that Kim Sung-Hee¡¯ poem <Love 8-the day Friday met Robinson Crusoe> based on the ¡®dramatic character¡¯ rerated with ¡®representation of representation¡¯(parody) among dramatic representation,¡®write back¡¯ and ¡®appropriation¡¯ among cultural strategies of postcolonialism.
Third, it investigates that Lee Ha-Seok¡¯ poem <America> based on the ¡®dramatic quotation¡¯ rerated with ¡®inward-representation¡¯ among dramatic representation, ¡®inward-write back¡¯ among cultural strategies of postcolonialism.
Fourth, the paper argues that Moon Byeong-Lan¡¯ poem <A dialogue with American dog and Korean dog> based on the ¡®dramatic dialogue¡¯rerated with ¡®mimetic-representation¡¯ among dramatic representation,¡®appropriation¡¯ and ¡®write back¡¯ among cultural strategies of postcolonialism.
In conclusion, it is claimed that the interrerationship between the forms of dramatic representation rerated with types of representation and cultural strategies of postcolonialism in the Korean poetry theoretically and practically.