식민지 지식인의 근대 풍경에 대한 내면의식과 시적 양식의 모색 - 1930년대 오장환의 경우

• 영문명: Internal Awareness of Modern Landscape and Search for Poetic Form by Colonial Intellectuals - The Case of Janghwan Oh in the 1930s -
• 발행기관: 한국문학회
• 저자명: 김용희(Kim Yong-Hee)
• 간행물 정보: 『한국문학논총』제43집, 229~258쪽, 전체 30쪽
• 주제분류: 어문학 > 한국어와문학
• 파일형태: PDF
• 발행일자: 2006.08.01

영문 초록

  Colonial intellectuals were learned people with a critical function regarding society due to the ‘knowledge’ they had, but at the same time, they were prone to become ‘dilettantes’ because of their knowledge. Most of all, ‘cultivation’ was a modern cultural concept and Kyongsung in the 1930s already enjoyed the sophistication of a cultural environment. Under such circumstances, the builders of Chosun"s modern literature of the 1930s focused their interests on completing modern poetry in a nationalistic form. Just as Kirim Kim mentioned internal reflection of ideology through form, modern poetry required establishment of form. If Seok Paik had hoped to recover ‘collective memories of a national community’ through ‘nationalistic dialect’, Jiyong Jung desired to search for ‘modern planning’ with interest in poetic words and a sense of language. As for Janghwan Oh of the same generation, despite his progressive socialistic ideology, he took interest in the ‘detailed’ description of routine articles in the reality of those days as well as the history of folklore. What is peculiar about the poetry of Janghwan Oh is that it shows the peculiar circumstances of colonial Chosun in the 1930s through the form of modern poetry. First of all, colonial Chosun"s micro-narrative was exposed when the mode of civilization called ‘ero, gros, nonsense’ became monopolized by literaries, secondly, both rupture of modern ego and aesthetic balance point were sought after through the ‘pause’ of romantic nihilism, and thirdly, city shops are listed in the description of urban street landscape to attempt a form of tedium and fatigue, as well as a metonymic approach.
  The self-awareness of colonial intellectuals is groping for a modern form of urban civilization through infringing description and pause of cultural discrimination, and through a slow noctambulant flow of landscape exposing tedium and fatigue. The interest of main players of the 1930s was focused on the issue of aesthetic form of modern Chosun poetry amidst the conflict between tradition and anti-tradition, modern ideas and anti-modernism. Janghwan Oh"s credo was socialist ideology, but his actual works are in modern fatigue and decadent nihilism of urban civilization and in the routine of a lumpen. The poetry of Janghwan Oh should be accepted as an extreme cultured experiment to reveal the reality of modern colonial Chosun, rather than be cut up as modernism and realism.

목차

Ⅰ. 들어가며
Ⅱ. ‘에로, 그로, 넌센스’, 문명의 방식과 방식적 전유
Ⅲ. 포오즈화와 데카당의 자기분열
Ⅳ. 권태와 피로, 환유와 느린 풍경
Ⅴ. 맺으며
참고문헌
〈Abstract〉

키워드

룸펜 근대시의 양식 에로그로넌센스 문명의 전유 우울증 포오즈화 디테일한 묘사 환유 양식적 실험 lumpen form of modern poetry ero gros nonsense monopoly of civilization depression paused detailed description metonymy cultured experiment