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The meaning of symbols to be constructed for falling down includes nihility. It has been collapsed by the symbol play, specially laughs to integrate the signifiant effectives. We can jump the dichotomy of meaning and awake its contradiction through laughs. Just like the Franois Rabelais’laughs have both yes and no, laughs give us a ladder to jump Logos. Laughs have the eternal color of nihility. In the postscript of The Angels in a Mirror, poetry, the following is mentioned. “My wife’s breath has seeped into all the eighty-nine poems of this poetry. I feel it really. My feeling has the truth.”The signifiant activities full of the feeling restore the poetic talker’s wife parted by the death. The Angel that Les lsakovich Shestov says lives in the Mirror and see him. He and his wife become angels through laughs for the symbol paly to bring. In this poetry, the poet uses a half rest as the symbol to fall down sticking meaning. The half rest joins life to death using laughs for bridgehead. The half rest expresses that the poetic talker’s wish to meet his wife ‘in a bank path’and the present time not to meet her both clash and help each other. The half rest aggravates the survivor’s missing for his wife and maximizes the universality of life that the survivor can live only with waiting. The present time that the poetic talker ruminates on the past with his wife and on the present during her being absent, comes both the Henri Bergson’s time and the carnival time which life and death coexist. The angels are transformed aesthetically as they go and come from the heaven to the earth again and again. His wife becomes an angel and lives in the poetic talker’s life. He feels her body as she is. The angels in his poems come a poem, his wife, and grief simultaneously. This article studies the laughs that the poetic soul’s symbol play creates in The Angels in a Mirror, poetry in the latter term. This paper manifests the aesthetic character of laughs in focus on the symbol play which brings the mirror space change-that the poetic talker exchanges with his dead wife and so destroys the boundary between the survivor and the dead-, the carnival time of the half rest, or the aesthetical metamorphoses of angels. This paper that lights on the laughs’aesthetics will open the new study about Chun-Shu Kim.


The meaning of symbols to be constructed for falling down includes nihility. It has been collapsed by the symbol play, specially laughs to integrate the signifiant effectives. We can jump the dichotomy of meaning and awake its contradiction through laughs. Just like the Franois Rabelais’laughs have both yes and no, laughs give us a ladder to jump Logos. Laughs have the eternal color of nihility. In the postscript of The Angels in a Mirror, poetry, the following is mentioned. “My wife’s breath has seeped into all the eighty-nine poems of this poetry. I feel it really. My feeling has the truth.”The signifiant activities full of the feeling restore the poetic talker’s wife parted by the death. The Angel that Les lsakovich Shestov says lives in the Mirror and see him. He and his wife become angels through laughs for the symbol paly to bring. In this poetry, the poet uses a half rest as the symbol to fall down sticking meaning. The half rest joins life to death using laughs for bridgehead. The half rest expresses that the poetic talker’s wish to meet his wife ‘in a bank path’and the present time not to meet her both clash and help each other. The half rest aggravates the survivor’s missing for his wife and maximizes the universality of life that the survivor can live only with waiting. The present time that the poetic talker ruminates on the past with his wife and on the present during her being absent, comes both the Henri Bergson’s time and the carnival time which life and death coexist. The angels are transformed aesthetically as they go and come from the heaven to the earth again and again. His wife becomes an angel and lives in the poetic talker’s life. He feels her body as she is. The angels in his poems come a poem, his wife, and grief simultaneously. This article studies the laughs that the poetic soul’s symbol play creates in The Angels in a Mirror, poetry in the latter term. This paper manifests the aesthetic character of laughs in focus on the symbol play which brings the mirror space change-that the poetic talker exchanges with his dead wife and so destroys the boundary between the survivor and the dead-, the carnival time of the half rest, or the aesthetical metamorphoses of angels. This paper that lights on the laughs’aesthetics will open the new study about Chun-Shu Kim.