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Kim Haegyŏng was born in Seoul, Korea, on September 23, 1910, as the eldest son of Kim Yeun-chang and Park Se-chang.[4]
Yi's great-grandfather, Kim Hak-jun, held the rank of 'Jeong 3 Pum Dangsangwan' (정3품 당상관 관직: 도정; 都正) in the Joseon Dynasty. He lived in a very affluent household, but the annexation of Korea by Japan led to a decline in the family's fortunes.[how?][5] His father worked in letterpress printing for a palace before his birth, but after an accident that cut off his finger, he became a barber instead.[6] Yi Sang was raised by his uncle Kim Yeon-Pil (김연필; 金演弼) as an adoptive son since 1913, as Yeon-Pil and his wife had no children at the time of his birth. Later, however, Yeon-Pil took Kim Young-Sook (김영숙; 金英淑) as his concubine and the son she already had, Kim Moon-Kyung (김문경; 金汶卿), became a legal son of Yeon-Pil.[6] Yi spent time at his uncle's house even during his tenure as an official in the Government-General of Korea.
Yi Sang's had his primary and secondary education at Sinmyeong School (신명학교; 新明學校. 1917–1921), Donggwang School (동광학교; 東光學校. 1921–1922) and Posung High School (보성고등보통학교; 普成高等普通學校; 1922–1926. Donggwang School was merged into Posung High School in 1922.). He met his friend Koo Bon-Woong (구본웅; 具本雄) at Sinmyeong School. The Posung School record shows that he wanted to become an artist. However, because his uncle insisted, Yi chose to enter Gyeongseong Technical College (경성고등공업학교; 京城高等工業專門學校. 1926–1929) in 1926.[5] Yi majored in architecture and graduated from the college with 1st place honors in 1928. His first known use of his art name Yi Sang (이상; 李箱) was in the graduation photobook.[7] There is testimony that Yi's art name originated from the art box he received as a gift from Koo Bon-woong. Since the art box he received was made of plum wood, Yi Sang (李箱) is interpreted to mean 'plum wood box'.[8] Additionally, in his work 'Wings', he expressed his art name as 'Ri Sang' rather than 'Yi Sang'.[9][clarification needed]
In April 1929, with a recommendation from the college, he got a job as a public official (기수; 技手) in the architecture team of the Department of Domestic affairs (내무국 건축과; 內務局 建築課) of the Government-General of Korea. In November, he changed positions in the government to work as part of the building maintenance team of the Department of Secretariat and Accounting (관방회계과 영선계; 官房會計課 營繕係).[6]
In December 1929, he became a member of the Joseon Architecture Society (조선건축회; 朝鮮建築會; Joseon Geonchukhoe), which mainly comprised Japanese architects in Korea. Yi won first and third prizes in a design contest for the cover of Joseon and Architecture (朝鮮と建築; 조선과건축; Joseongwa Geonchuk), a journal issued by the Joseon Architecture Society.
Career
Most of Yi's works were produced during the 1930s.[10]
In 1930, he serialized his first literature work (a medium-length novel) December 12th (십이월십이일; 十二月 十二日) on the Korean version of the magazine Joseon (조선; 朝鮮), which was a magazine issued by the Government-General of Korea to promote their colony policies.[6]
In July 1931, Yi released the following six Japanese poems on Joseon and Architecture:
In October 1931, he released a set of seven Japanese poems under the name "Three-Dimensional Angle Blueprint" (三次角設計圖; 삼차각설계도). The title of each poem is Memorandum on the Line 1 (線に関する覚書１; 선에관한각서1), ···, and Memorandum on the Line 7.[6]
In March and April 1932, Yi released two Korean novels: Darkroom of a Map (지도의암실; 地圖의暗室) and Suspension of Business and Circumstances (휴업과사정; 休業과事情) on the magazine Joseon. He used different pen names on these two pieces: "Bigu" (비구; 比久) for the former and "Bosan" (보산; 甫山) for the latter.[6]
A series of seven Japanese poems under the name Building Infinite Hexahedral Bodies (July 1932) (建築無限六面角體; 건축무한육면각체):
Crow's Eye View was a set of 15 poems,[b] each titled from Poem No.1 (시제일호; 詩第一號) to Poem No.15 (시제십오호; 詩第十五號). Three poems from the series had an additional title: Poem No.8 Dissection (시제팔호 해부; 詩第八號 解剖), Poem No.9 Muzzle (시제팔호 총구; 詩第八號 銃口), Poem No.10 Butterfly (시제십호 나비; 詩第十號 나비). Some of the poems from Crow's-Eye View were parodies of his early Japanese work, Building Infinite Hexahedral Bodies.[6]
Jebi and Guinhoe
In 1933, Yi began coughing up blood due to tuberculosis, which forced him to quit his work as a public official. He opened a coffee house, Jebi, where he interacted with other writers and artists.[11]
In 1934, Yi joined the Guinhoe (구인회; 九人會; lit. League of Nine),[12] a literary organization formed on August 26, 1933, to pursue pure literature, as opposed to the KAPF (Korea Artista Proleta Federacio), an organization that pursued proletarian literature. The group recruited individuals associated with the cultural departments of daily newspapers, aiming for members who could withstand criticism from the KAPF. Mentioned individuals included Lee Tae-jun, Lee Moo-young, and Kim Ki-rim. To show its character as a literary circle, famous writers at the time such as Lee Hyo-seok, Jung Ji-yong, and Yoo Chi-jin joined the Guinhoe. However, although two individuals closely associated with the KAPF had established the Guinhoe to counter KAPF, the group's character gradually solidified into that of a simple social gathering. As a result, many of the early members of the group, including Kim Yoo-young, Lee Jong-myung, Lee Moo-young, and Lee Hyo-seok, withdrew. Park Tae-won and Yi Sang filled their vacancies. The Guinhoe then began to take on a direction different from its initial purpose. The increase in members with academic backgrounds, particularly those majoring in English literature, suggests that these individuals began to emerge as a force in Korean literature.[13]
In 1935, Yi had to close the Jebi due to financial difficulties, and he broke up with Geumhong. Cafe Tsuru and Coffee Shop 69 in Insa-dong were opened and transferred, and after managing Coffee Shop Mugi in Myeong-dong, he healed in Seongcheon and Incheon right after he closed it.
In 1936, Yi Sang edited the Guinhoe's magazine, Poetry and Novels (시와 소설; Siwa Soseol),[14] published by Changmunsa under the aegis of Koo Bon-Woong. His "Street Exterior, Street Passage" (가외가전; 街外街傳; Gaoe gajeon) was published in this journal. His short story "Diary Before Death" (종생기; 終生記; Jongsaenggi) and his personal memoir "Monotony" (권태; 倦怠; Gwontae) were published posthumously in Tokyo.[10]
In November 1936, Yi went to Japan.[why?] In February 1937, he was investigated by the Nishi-Ganda Police Station in Tokyo on ideological charges. After being investigated for about a month, he was released from prison due to worsening tuberculosis. Yi was hospitalized at the Tokyo Imperial University Hospital, and died on April 17 at the age of 28. His wife, Byun Dong-rim, moved to Japan immediately after hearing that Yi Sang was in critical condition. After Yi Sang died, she cremated his ashes and buried them in Miari Cemetery.[15] Later, according to Byun, she had asked him what he wanted to eat, and he died soon after leaving the words, "Sembikiya's[c] melon."[16] Park Tae-won, a fellow writer and friend of Yi's, mentioned the following: "He loved girls so much, loved alcohol, loved his friends, and loved literature, but not a half of that love went for his body. His death is named as death from illness, but isn't the essence of this death suicide? Such suspicions become intense."[17]
Literary relationships
Jung Ji-yong (鄭芝溶)
Jung Ji-yong is a founding member of the Guinhoe to which Yi Sang belongs. In 1933, he served as an editorial advisor to <Catholic Youth (가톨닉靑年)>, playing a major role in promoting Yi Sang's poems. With the help of Jeong Ji-yong, Yi sang published works such as "꽃나무" and "이런시" in Korean in <Catholic Youth>.
Park Tae-won (朴泰遠)
Yi Sang and Park Tae-won were born around the same time and both hailed from the four gates of Gyeongseong, now known as Seoul. This shared origin is an important clue to understanding their literary worlds.
Both Park Tae-won and Yi Sang were members of the Guinhoe (구인회; 九人會; lit. the Circle of Nine), which they joined in 1934. They first met at Dabang Jebi, a coffee house opened by Yi Sang in Jong-no 1(il)-ga. Their first meeting is estimated to have occurred in June or July 1933. Kim Ki-rim, another Guinhoe member, and Ko Un wrote that Jebi opened in July 1933, while Yi Sang's sister, Kim Ok-hee, mentioned June of the same year. The story of their first meeting is recounted in Park Tae-won's memoir for Yi Sang, "Yi Sang-ui Pyeonmo" (이상의 편모), written after Yi Sang's death. Park Tae-won was intrigued by Yi Sang as a poet and his poem "Movement" (운동; 運動).
Maintaining their relationship, Park Tae-won and Yi Sang collaborated with the newspaper "Joseon-Jungang-ilbo" to publish a series of Yi Sang's poems, "Crow's Eye View" (Ogam-do; 오감도; 烏瞰圖)", and Park's novel, "A Day in the Life of Novelist Mr. Gubo" (소설가 구보씨의 일일). Yi Sang also created illustrations for Park Tae-won's novel. Despite facing harsh criticism for the abstruseness of their literature, they continued their literary endeavors. After Yi Sang's admission to Guinhoe in the fall of 1934, they focused on the publication of the bulletin "Poet and Novel" (시와 소설).
They also shared literary themes in works like Yi Sang's poem "Movement" (운동; 運動) and Park Tae-won's short story "Bangranjang Juin (방랑장 주인; 芳蘭莊 主人)", both written in a single sentence. Park Tae-won's novels often repeat similar themes and patterns, one of which is "A Novel Report on Yi Sang's Private Life," including works such as "Aeyog" (애욕, 1934), "Bogo" (보고, 1936), "Yi Sang-ui Bilyeon" (이상의 비련, 1936), "Yeomcheon" (염천, 1938), and "Jebi" (제비, 1939).
The main character of the novel "Aeyog" (1934) is believed to be modeled after Yi Sang, hinted by Yi Sang's pen name "Hae-yung," who drew an illustration for "A Day in the Life of Novelist Mr. Gubo." "Jebi" (1939) is a novel based on the tea house 'Jebi' run by Yi Sang, illustrated by Park Tae-won.
Park Tae-won and Yi Sang were inseparable, sharing not only their literary endeavors but also their indulgences, depressions, and moments of decadence. Park Tae-won's house in Da-dong was a refuge for Yi Sang whenever he was beaten by Geum-Hong, who lived with him. However, their close relationship ended with Yi Sang's death in Tokyo.
[1][18]
Kim Ki-rim (金起林)
Kim Ki-rim, a poet and a newspaper reporter at the Chosun Ilbo, was one of the founding members of Guinhoe. Yi Sang was initially introduced to Kim by Park Tae-won. During their first encounter, they discussed Jules Renard, Salvador Dalí, and René Clair. Kim became interested in Yi because of their shared aesthetic affinity for surrealism.[19] Yi Sang designed the cover of Kim Ki-rim's poetry collection, "Gisangdo" (기상도).
Between 1936 and 1937, Yi Sang sent seven letters to Kim Ki-rim, which are still preserved today under the title 'To Kim Ki-rim'. During this period, Yi moved to mainland Japan and was close to death due to tuberculosis. These letters reflect Yi's everyday thoughts and experiences. For instance, in the fourth letter, Yi mentions René Clair, the French filmmaker, and criticizes his movie, "The Ghost Goes West." The letters also highlight their close relationship. Yi frequently discussed the progress of his works, such as "The Wings" (날개) and "Diary Before Death" (Jongsaenggi; 종생기; 終生記), requesting Kim's opinions on them. Additionally, Yi commented on a paper by Choi Jae-seo, a Korean literature critic, who criticized works like "The Wings (날개)".
After Yi Sang's death, Kim Ki-rim wrote a tribute titled "Memories of the Late Yi Sang" (고 이상의 추억). In this tribute, he recognized Yi's death as a "tragedy of a reduced-printed era," placing Yi's death within a historical context.[20][21] In 1949, Kim Ki-rim collected Yi Sang's works and published the first collected works, "Yi Sang Seon-jip" (이상선집; 李箱選集).
Koo Bon-Woong (具本雄)
Koo Bon-Woong was a painter and art critic who graduated from the Taiheiyo Art School(太平洋美術 學校). He first met Yi Sang at Sinmyeong School. Koo, who had a hunchback, attended school intermittently due to health problems and ended up graduating alongside Yi Sang, who was four years younger. Teased because of his hunchback, Koo developed a keen interest in art. Similarly, Yi Sang, who also had a strong interest in art, became friends with Koo, supporting and respecting him. This marked the beginning of their relationship, which continued into adulthood.
In 1933, to care for Yi Sang, who had quit his job as a public official due to illness, Koo Bon-Woong took him to Baechon Hot Springs in Hwanghae Province. Baechon Hot Springs is also known as the place where Yi Sang first met Geum-Hong. After Yi Sang's health slightly improved, he and Geum-Hong returned to Seoul (Koo returned before them) and opened a coffee shop called "Jebi". It is said that Koo Bon-Woong's painting, "Still Object with a Doll" (인형이 있는 정물, 71.4 cm x 89.4 cm), was displayed in this café.
After Jebi closed down, Yi Sang had no means of livelihood. He eventually found work as a proofreader at Koo Bon-Woong's printing press. There, with Koo's assistance, Yi Sang founded a literary magazine called "Poetry and Novel" (시와 소설), featuring works from members of Guinhoe. Although only the inaugural issue was produced due to a lack of active participation from the members, Yi Sang's postscript in the magazine shows that Koo Bon-Woong was a fervent supporter of Yi Sang's artistic activities.
Furthermore, Yi Sang's last lover, Byun Dong-Rim, was the younger sister of Koo Bon-Woong's stepmother. This somewhat unusual relationship was due to the fact that Koo's stepmother was not significantly older than Koo. Yi Sang and Koo were close, often spending time together at 'Ugodang,' Koo's studio and office, as coworkers. Yi Sang frequently drew pictures there. When Yi Sang was struggling with a series of business failures, Koo got him a job at a publishing company, Changmunsa, founded by his father in 1935. Koo Bon-Woong painted his friend Yi Sang in a well-known work called "Portrait of a Friend" (우인상).[22][23]
Relationships with women
In Yi Sang's poetry, women appear in various forms, but they commonly exhibit behaviors of fleeing from or becoming disconnected from the poetic speaker. This reflects Yi Sang's feelings of anxiety and alienation in his relationships with women. In his poems, women are always drifting away, leaving the speaker with a sense of loss and loneliness. This portrayal poetically expresses the complex relationships and inner conflicts Yi Sang experienced. The motifs of women in Yi Sang's poetry can be largely identified as three figures: Geum-Hong, Kwon Soon-ok, and Byeon Dong-lim. Particularly, women modeled after Geum-Hong tend to flee from the poetic speaker. Ultimately, the women depicted by Yi Sang can be interpreted as symbols of his deep-seated loneliness and sense of disconnection.
Geum-Hong (錦紅)
In 1933, 23-year-old Yi Sang first encountered Geum-Hong, who was a kisaeng (기생; 妓生), during a trip to Baechon Hot Springs (배천온천; 白川温泉) to recuperate from tuberculosis. They developed a romantic relationship and managed a coffee house called 'Jebi' on Jong-no 1st Street, Gyeongseong. Yi Sang designated Geum-Hong as the manager of the coffee house, and they lived together for an estimated two years. However, their relationship was tumultuous due to financial difficulties. Geum-Hong frequently stayed out, and Yi Sang would lash out at her by mentioning her previous life as a kisaeng. As a result, she would physically beat him and often run away from home, leading to their eventual breakup. Consequently, in September 1935, the coffee house Jebi closed down.
Their love story is depicted in Yi Sang's novel, 'Bongbyeolgi' (봉별기; 逢別記), which means 'A Story of Meeting and Parting'. Geum-Hong is also implicitly portrayed in his short story 'The Wings' (날개) under the name Yeon-shim-i (연심이), her real name. Furthermore, Yi Sang's poems reveal the dynamics between him and Geum-Hong. In the poems "危篤:追求" and "明鏡", Geum-Hong is always trying to escape from Yi Sang, which fills him with sorrow each time. However, in the poem "ㆍ素ㆍ榮ㆍ爲ㆍ題ㆍ" and the novel "The Wings", despite his sadness, Yi Sang does not deeply dwell on Geum-Hong's acts of infidelity and prostitution. These aspects highlight the unique nature of their relationship.
Gwon Sun-ok
After the failure of the coffeehouse Jebi, Yi Sang took over the café 'Tsuru' (Hangul: 쓰루, Kanji: 鶴) by mortgaging his parents' house. He recruited Kwon Soon-ok, who had worked as a waitress at another café, 'Angel'. Kwon Soon-ok was highly educated and had broad interactions with other writers, such as Jeong In-taek. While Yi Sang fell for her, their romantic relationship never fully developed. Jeong In-taek had a secret crush on her, leading to a love triangle. Jeong In-taek even attempted suicide to win her favor, and after this incident, Kwon Soon-ok and Jeong In-taek married. Ironically, Yi Sang presided over their wedding ceremony. Following Jeong In-taek's death, Kwon Soon-ok remarried Park Tae-won.[5]
Byeon Dong-rim (卞東琳)
Byeon Dong-rim (변동림), a writer introduced to Yi Sang by Gu Bon-woong, became his wife. Yi Sang and Byeon Dong-rim met in 1936 through this introduction. Only three months into their marriage, Yi Sang left for Tokyo alone, where his health sharply deteriorated. He was transferred to Tokyo Imperial University Hospital in a severe state, worsened by a sudden arrest. Upon hearing the news, Byeon Dong-rim traveled to Tokyo within two days. After just four months of marriage, Yi Sang passed away in her presence.
Their feelings towards each other can be traced through Yi Sang's "Tokyo" (Donggyeong; 동경; 東京) and Byeon Dong-rim's "Moonlight Heart" (월하의 마음; 月下의 마음). According to Byeon Dong-rim's essay "Moonlight Heart," shortly before his death, Yi Sang reportedly said he wanted to eat "Senbikiya's melon." Byeon Dong-rim went to buy the melon to fulfill Yi Sang's final request, but sadly, Yi Sang did not get to eat it.
In later years, Byeon Dong-rim reflected on Yi Sang's death, stating, "He lived a most brilliant, enchanted life. The 27 years he spent on this earth were enough time for a genius to fully blossom and then fade away."[5]
Perception and legacy
Yi Sang is renowned as perhaps the most famous avant-garde writer of the colonial era. His work experiments with language, interiority, and the separation from oneself and the external world. His poetry, in particular, was influenced by Western literary concepts such as Dadaism and Surrealism. Yi's background in architecture also influenced his work, often incorporating the languages of mathematics and architecture, including lines, dots, number systems, equations, and diagrams.[24]
His literary legacy is marked by his modernist tendencies, evident throughout his body of work. His poems reveal the desolate internal landscape of modern humanity. For example, "Crow's Eye View Poem No. 1" (오감도 시제1호) uses an anti-realist technique to condense themes of anxiety and fear. His stories dismantle traditional fiction forms to depict the conditions of modern life. The Wings, for instance, employs a stream-of-consciousness technique to express the alienation of modern individuals, who are fragmented commodities unable to connect with quotidian realities.[10]
Yi Sang did not receive much recognition for his writing during his lifetime. However, his works began to be reprinted in the 1950s. His reputation soared in the 1970s, and the Yi Sang Literary Award was established in 1977. In 2007, he was listed by the Korean Poets' Association among the ten most important modern Korean poets.[25] His most famous short story is "The Wings" ("Nalgae", Korean: 날개), and his poem "Crow's Eye View" is also well-known.
Yi Sang's works are complex and often use ambiguous expressions, sometimes employing words that do not conform to conventional grammar. Most of his early poems (including those published in "Joseon and Architecture" (朝鮮と建築), believed to be written until 1932) and parts of his Posthumous Note were written in Japanese. The translations may not fully capture the intended meaning of Yi Sang's original works. Therefore, to analyze his works accurately, it is preferable to understand them through the original texts rather than translations.
Some[who?] argue that it is worth considering quantum mechanics when interpreting Yi's works. Many of Yi Sang's works contain information related to physics. Quantum mechanics was first introduced to Joseon in 1936 in an article by Do Sang-rok, published in the monthly magazine "Jogwang"(1936. 03., 04., 월간지《조광》, 도상록). While quantum mechanics were not well-studied in Joseon, it is also possible that he learned about quantum mechanics from Japanese-language sources, given that he was fluent in Japanese and read many Japanese-language magazines. An article about Einstein's theory of relativity was also published in the first volume of Gongwoo, a magazine created by graduates of Gyeonseong Technical College.[26]
Gwangju Institute of Science and Technology(GIST) has a 'Yi Sang's Literature and Science' course, which specializes in the analysis of Yi Sang's literary works from the perspective of science and various languages.[27] Four papers on Yi Sang were published from the course.[2][28][3][29][4][30][5][31]
Published works
After his death, from 1937 to 1939, 16 of his posthumous works were released, including poems, essays, and novels. In 1956, nine more Japanese poems were found and their Korean translations were released.[32] In the following years, more draft notes in Japanese, which are almost certainly thought to be Yi Sang's for several reasons, were found, and they were translated into Korean and introduced from 1960 to 1976.[6]
Since 1960, a total of 26 works by Yi Sang have been discovered. Of these, 25 were published from Yi Sang's posthumous manuscripts acquired by critic Jo Yeon-hyeon. Regarding the discovery process, Jo Yeon-hyeon explained, "Some time ago, a student named Lee Yeon-bok from the night school at Hanyang University brought an old notebook to me. Although it was my first time meeting him, it was immediately evident that he was a literary enthusiast and particularly fond of Yi Sang. The notebook he presented was a draft book of Yi Sang's Japanese poems. Lee had found this notebook while visiting the house of his friend, Kim Jong-sun, who runs a furniture store. Kim's older brother had acquired the notebook, which had been used as waste paper, from an acquaintance who owned an antiquarian bookstore. About 90% of the roughly 100-page notebook was already damaged, with only about 10% remaining intact. Although Lee Yeon-bok was not proficient in Japanese, he was intrigued by the characters written in the notebook. He obtained the notebook and, after comparing it with various sources, including <李箱全集>, he surmised that it was an unpublished manuscript by Yi Sang and brought it to me."
According to Park Tae-won(박태원)'s eulogy [Yi Sang's flagella(이상의 片貌], "It was written because 30 series of「烏瞰圖」 were discontinued into 15 series. It was not announced at the time."
1938
문학과 정치
Literature and Politics
四海公論 July
1939
실락원
Paradise Lost
朝光 February
병상 이후
靑色紙 May
東京
文章 May
最低樂園
朝鮮文學 May
Letters, magazines, etc.
Year
Title
Translated Title
Publisher
Remarks
1936
동생 옥희 보아라
Read this letter sister Ohk-he
中央 September
Letter to send his sister Kim Ohk-he(金玉姬)
김기림에게 2
To Kim Ki-rim (2)
Letter to send Kim Ki-rim
김기림에게 3
To Kim Ki-rim (3)
김기림에게 4
To Kim Ki-rim (4)
김기림에게 5
To Kim Ki-rim (5)
김기림에게 6
To Kim Ki-rim (6)
김기림에게 7
To Kim Ki-rim (7)
김기림에게 8
To Kim Ki-rim (8)
안필승(안회남)에게
Letter to send Ahn Hoenam (安懷南)
남동생 김운경에게
To my brother Kim Un-Gyeong
Letter to send his brother Kim Un-gyeong(金雲卿)
1936
아포리즘
Aphorism
詩와 小說(Poetry and Novel) March
1939
文章 July
-
京城高等工業 - 專門學校 Photo album
Works in Japanese
Poems
Year
Series
Title
Translated Title
Publisher
1931
-
異常ナ可逆反應
朝鮮と建築 July
破片ノ景色
▽ノ遊戯
ひげ (李箱)
BOITEUXㆍBOITEUSE
空腹
鳥瞰圖
二人····1····
Two People ····1····
朝鮮と建築 August
二人····2····
Two People ····2····
神経質に肥満した三角形
A Nervously Obese Triangle
LE URINE
顔
運動
Movement
狂女の告白
Confession of A Crazy Woman
興行物天使
三次角設計図
線に関する覚書１
朝鮮と建築 October
線に関する覚書２
線に関する覚書３
線に関する覚書４
線に関する覚書５
線に関する覚書６
線に関する覚書７
1932
建築無限六面角体
AU MAGASIN DE NOUVEAUTES
AT A DEPARTMENT STORE
朝鮮と建築 July
熱河略図 No.2
診断 ０：１
二十二年
出版法
且８氏の出発
真昼――或るESQUISSE――
1940
-
蜻蛉
Dragonfly
乳色の雲
一つの夜
A Night
1956
隻脚
One Leg
李箱全集
距離(女去りし場合)
Distance (in case of leaving a woman)
囚人の作った箱庭
A Prisoner's Garden
肉親の章
Family Chapter
内科
Internal Medicine
骨片ニ関スル無題
No Title Related to Bone Fragments
街衢ノ寒サ
Street's Cold
朝
Morning
最後
Last
1960
(無題)
(Untitled)
現代文學 November
1931年(작품 제1번)
Year 1931(Work No.1)
1961
구두
Shoes
新東亞 January
어리석은 석반
現代文學 January
1966
(無題)
(Untitled)
現代文學 July
애야
1976
회한의 장
文學思想 June
단장
文學思想 July
與田準一
Jun'ichi Yoda
月原橙一郞
Japanese Wikisource has original text related to this article:
Presumed to be Yi Sang's work while participating in the magazine's editing
巻頭言2
朝鮮と建築 July
巻頭言3
朝鮮と建築 August
巻頭言4
朝鮮と建築 September
巻頭言5
朝鮮と建築 October
巻頭言6
朝鮮と建築 November
巻頭言7
朝鮮と建築 December
1933
巻頭言8
朝鮮と建築 May
巻頭言9
朝鮮と建築 June
巻頭言10
朝鮮と建築 July
巻頭言11
朝鮮と建築 August
巻頭言12
朝鮮と建築 October
巻頭言13
朝鮮と建築 November
巻頭言14
朝鮮と建築 December
1978
낙서
Scribble
李箱詩全作集 Art book
It is in the pictorial of the 全集(2). It reads, "Yi Sang's scribbles on the wall of Nakrang(낙랑). He soothes his anger here by drinking a drink." 'Nakrang(낙랑)' means a cafe called 'Nakrang Para(낙랑파라).' It also appears in the essay "The Newness of Nakrang Para(낙랑파라의 새로움)."
1976
낙서
Scribble
讀書生活 November
It is carried with Yi Sang's self-portrait on the inner cover of Jules Renard's 「The Power Notebook」. It was introduced by Im Jong-guk(임종국).
Three Poets of Modern Korea: Yi Sang, Hahm Dong-seon, and Choi Young-mi, Louisville: Sarabande Books, 2002. ISBN1-889330-71-X
Yi Sang, "Wings," translated by Walter K. Lew, in Modern Korean Fiction: An Anthology, eds. Bruce Fulton and Youngmin Kwon. NY: Columbia University Press, 2005. ISBN0-231-13513-0
Yi Sang, 20 poems, translated from the Korean by Walter K. Lew, from the Japanese by Edward Mark, in The Columbia Anthology of Modern Korean Poetry, ed. David R. McCann. NY: Columbia University Press, 2004. ISBN0-231-11129-0
Meetings and farewells : Modern Korean stories, Chong-wha Chung St Lucia QLD: University of Queensland Press, 1980. ISBN0702215538[35]
Yi Sang inspired numerous contemporary cultural works including video games, musicals, music and movies.
Films and TV shows
The Mystery of the Cube (건축무한육면각체의 비밀, 1999).[37] Directed by Yoo Sang-wook.
The Wings of Lee Sang (이상의 날개, 1968). A 59-minute romance short film produced by the Korea Art Film Company. The film was directed by Choi In-hyeon and features actors Shin Sung-il, Nam Jeong-im, Moon hee and Choi Bul-am.[38]
My dear KeumHong (금홍아 금홍아, 1995). A 96-minute feature film produced by Taeheung Film Company. Directed by Kim Yoo-jin, the film stars Kim Kap-soo, Kim Soo-chul, Lee Ji-eun, and Yoon Jeong-bin.[39]
Yi Sang and more (이상 그 이상; 李箱 그 以上, 2013). <Yi Sang and more> is the eighth installment of the 70-minute MBCdrama festival season 1, which aired on MBC from Nov. 28, 2013. The director is Choi Jung-kyu, actor Cho Seung-woo plays Yi Sang, and other actors such as Park Ha-sun, Jung Kyung-ho, and Han Sang-jin appear.
Musicals
Smoke(스모크, 2017). Produced by Double K Entertainment, draws inspiration from Yi Sang's "Crow's Eye View." It explores the lives of three characters who represent different facets of Yi Sang's persona. The musical's narrative and lyrics include direct references to Yi Sang's literary works, and it delves into the psychological and existential struggles depicted in his writings.[40]
Fan Letter(팬레터, 2016). First released in 2016, <Fan Letter> is a 160-minute musical produced by Live. The song was written by Han Jae-eun and composed by Park Hyun-sook. Based on the 1930s-era anecdotes of "Yi Sang," "Kim Yoo-jung(김유정)," and the "Guinhoe(구인회, 九人會)".
L'art reste(라흐헤스트, 2022). First released on September 6, 2022, <L'art reste> is a 110-minute musical produced by the Hong Company. The musical was directed by Kim Eun-young. The lyrics were written by Kim Han-sol, and Moon Hye-sung and Jung Hye-ji composed the song. "L'art reste" means "art remains" in French. It is based on a true story about a Western painter, Byeon Dong-rim, her first husband Yi Sang, and her second husband, Kim Hwan-ki.
Kkood bye, Yi Sang (꾿빠이, 이상, 2017). Organized by the Seoul Arts Center, <Kkood bye, Yi Sang> is based on the 2016 original novel[41] of the same name.
Other
A character named Yi Sang features in Project Moon's role-playing gameLimbus Company. This character is directly inspired by the real-life poet and embodies the enigmatic and avant-garde spirit of the original author. In the game, Yi Sang is portrayed as a talented scientist, mirroring the author's real-life career as an architectural engineer during the colonial period. The character's dialogues often reference Yi Sang's poems, such as "The Wings" and "Mirror," reflecting the profound themes of time and existence found in his works. A group by the name of "The League of Nine Littérateurs" also appears in the game, which is inspired by the Guinhoe. A handful of antagonists in the game are modeled after historical figures who were part of the Guinhoe, specifically those who engaged in pro-Japanese activities such as Yu Chi-jin and Park Tae-won, who characters Dongrang and Gubo are inspired by respectively.
Shin Haegyeong, a contemporary musician, frequently draws on Yi Sang's literary themes in his music. His stage name and several album titles are direct references to Yi Sang's works. For instance, his name is taken from Yi Sang's real name, Kim Hae-kyung. His album "My Reversible Reaction" is inspired by Yi Sang's poem "A Strange Reversible Reaction." At the end of the music video "And then", a phrase from Yi Sang's novel Bonbyeolgi, "속아도 꿈결, 속여도 꿈결" appears directly. His music often captures the melancholic and introspective tone of Yi Sang's poetry, creating a modern dialogue with the poet's legacy.[42]
^ abc"Yi Sang" LTI Korea Datasheet available at LTI Korea Library or "online". Archived from the original on September 21, 2013. Retrieved September 3, 2013.
^Yi Nam-ho; U Ch'anje; Yi Kwangho; Kim Mihyeon (2005). "Lee Hye-gyeong". Twentieth-Century Korean Literature. EastBridge Signature Books Series. p. 24. ISBN978-1891936456.
Lee, Byung-Soo (2013). "A Study on the Expression of French and Hypermodernity in the Poetry of Yi Sang". French Culture and Arts Research. 45: 129–152.
Kim, Jung-Soo (2007). "A Study on the Significance of the Lame Mirror in Yi Sang's Literature". Korean Modern Literature Research. 22: 145–174.
Sung, In-Soo. "Yi Sang's "The Play of the △, 1" through the Texts ▽, △, 1: Contexts". Korean Language and Literature. 163: 455–488.
Sung, In-Soo. "Interpretation of the Cross in Yi Sang's Poem "Boite · Boiteuse"". Korean Language and Literature. 166: 291–327.
Kim, Dae-Woong; Lee, Sang-Ok. "A Study on the Temporal Consciousness in Yi Sang's Poetry". Eomunhak. 133: 305–329.
Kwon, Hee-Cheol. "The Issue of Time in Yi Sang's Literature". Korean Modern Literature Research. 50: 149–185.
Lew, Walter K.; Henry H. Em; et al. (April 1995). "Portfolio: Yi Sang (1910–1937)". Muae 1 (1). New York: Kaya: 70–149. ISBN0702215538.
Im Hon-yong (1996). "Yi Sang". In Korean Culture & Arts Foundation (ed.). Who's who in Korean literature. Seoul: Hollym. pp. 518–520. ISBN1-56591-066-4.
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