¡º???¡»? ??? ?? ? ??? ??? ?? (Defining Shanghai and Typhoon by Exploring the Structure of Kisangdo)

? ??? ???? ?? ??? ???? ????? ??? ??? ??? ? ?? ??? 1930??? ???? ? ???? ¡º???¡»? ???? ??? ?? ?????. ¡º???¡»? 7?? ???? ????? ??? ??? ?? ???? 4? ?? ??? ???. ? 1?? ??? ?(1,2,?)? ??? ??(3?)?, ?2?? ??? ?? ? ??(4?, 5?)?, ? 3? ? ??? ??(6?)?, ? 4?? ??? ??(7?)? ???. ? ??? ????? ?1?? ??, ? 2?? ??, ? 3?? ?, ? 4?? ??? ???? ???. ???? ??? ?? ???? ??? ???? ?? ????? ??? ??? 7?? ?? ??? ???? ??? ??? ? ???. ???? ??? ??? ?? ???? ??? ??? ?? ??? ??? ??? ??? ??? ???? ? ? ?? ???. ?? ??? ???? ?? ?? ?? ??? ?? ?? ??(???)? ???? ?? ?? ??? ???? ??? ??? ?? ????. 1930?? ??? ??? ?? ???? ???? ???? ?? ?? 300? ?? ?? ???? ??? ????? ??? ??? ????? ????. ?????? ????? ??? ??????? ??? ??? ??? ??? ????? ??? ??? ?? ???? ???? ?? ??? ?? ?? ??? ??? ??? ???? ??? ???? ? ? ??. ?? ??? ?? ??? ??? ??? ??? ??? ??? ????? ???? ????? ??? ??? ??? ???? ???? ¡®???¡¯?? ??? ??? ????. ¡º???¡»? ¡®??¡¯? ????? ??? ????? ????? ???? ?? ???? ??? ??? ??? ??? ??? ??? ???. ??? ¡º???¡»? ??? ???? ???? <???? ??>? ?? ??? ????? ???? ????? ??? ????? ? ? ??.

In this study, Kim Kirim¡¯s poem Kisangdo, written in the format of a symphony composition, was explored. Kisangdo is set in the 1930s, a period that saw much social turmoil after experiencing a period of enlightenment and coercive spread of modern culture by Japan.
Although Kisangdo is a long poem, consisting of seven chapters, it is a connected whole without any divided narrative framework, which is similar to the structure of four chapters of a symphony composition. The seven chapters of Kisangdo can be divided into four different themes: the first theme starts from before the typhoon(chapters 1, 2) and extends till the occurrence of the typhoon(chapter 3); the second theme is the damaging northing typhoon(chapters 4, 5); the third theme is the lull of the typhoon(chapter 6); and the fourth theme is the extinction of the typhoon(chapter 7). If the four themes were compared with the different times in a day, the first theme would be morning, the second theme twilight, the third theme night, and the fourth theme late night, the period before sunrise. This analogy addresses the criticism that the poem has received for the lack of consistency in its seven chapters treated like a symphony¡¯s composition. The symphony- composition-like structure allows the poet to lay bare his anxiety and conflicts, as he travels with the typhoon through time and space. As Kim mentioned in the poem¡¯s preface, he set Kisangdo in Shanghai to show the different aspects of modern civilization. A cosmopolitan city, Shanghai is made up of joint US-UK International Settlement and French concession, with a population of more than 3 million. It is also home to modern civilization. Shanghai shows the diverse aspects of human life, as big, colonial, capitalist city where a pleasure-seeking culture and imported goods brought from outside coexist with the poor and impoverished local people. This juxtaposition shows the extreme facets of the colonized city life in Shanghai during the period in which Kim lived. The typhoon in the poem is a metaphor for the societal tensions brought by the symbols of a modern society. This situation led to the composition of Kisangdo, which forecast the typhoon and reported its route. The typhoon in the poem reflects the poet¡¯s rage and anxiety against his world being invaded by capitalistic and aggressive policies. Finally, the conclusion of Kisangdo, ¡°Iron Wheel¡¯s Song,¡± reveals Kim¡¯s pledge of soaring as a poet in a frontier colony.