순수시의 계보와 한계 -시론과 시의 상관관계를 중심으로-

권혁웅 ( Hyuck Woong Kwon ) 민족어문학회 2014 어문논집 Vol.- No.71

이 논문은 한국 현대시에서 순수시를 표방한 논의 곧 순수시론의 의의와 한계를 그 시적 성과와 함께 검토하는 것을 목적으로 삼는다. 순수시란 언어 바깥에 어떤 것을 상정하지 않고 화자나 저자에 종속되지 않으며 사물을 명명하거나 표상하지 않고 의미의 매개물로 격하되지 않는 것을 자신의 이상으로 삼는다. 이것은 순수시가 무(無)의 산물이라는 뜻이며, 자신의 이상을 실현할 수 있는 수단을 결여하고 있음을 뜻한다. 순수시는 실현불가능성을 조건으로 삼는다. 김춘수의 무의미시에는 참여시와 대비되는 운동으로서의 순수시, 불순한 관념의 오염을 차단한 존재론적 순수시, 실제의 의미를 정지시킨 의미론적 순수시의 세 차원이 겹쳐 있다. 첫 번째 순수시는 그 자신을 오염된 대상으로 간주하고 있다는 점에서, 세 번째 순수시는 언어 내부에서 자연발생적으로 출현하는 의미를 차단할 수 없다는 점에서 모순이다. 두 번째 의미의 순수시, 곧 말들의 배합이나 충돌이 만들어내는 소리의 결, 전언을 배제한 기표들이 만들어내는 제2의 의미로 구축되어 있는 시가 순수시의 본질에 가장 가깝다. 오규원의 날이미지시는 그 논리적 근거를 무의미시와 야콥슨의 언어 모델에서 구했다. 오규원은 김춘수의 의미(=관념=불순)/무의미(=존재론=순수)라는 도식을 언어의 두 축인 은유, 환유에 연결 짓고, 전자를 부정하고 후자를 추구하는 시론을 정립하였다. 그런데 실제의 날이미지시에는 관념이 배제되어 있지 않으며 주체의 해석(혹은 그것의 유력한 수단인 은유)이 추방되어 있지도 않다. 오규원이 이런 시론을 구축하게 된 것은, 어조가 만들어내는 환영의 효과를 제거하기 위해서인 것으로 보인다. 이승훈의 비대상시 역시 무의미시의 연장선상에 있다. 그는 시에서 구체적인 대상을 배제하고자 했는데, 이것의 논리적 귀결은 모든 현실, 대상, 자아의 소멸이며, 그로 인한 불안의식의 전면화다. 그런데 “시적인 것도 없고 시도 없다”는 주장은 순수시의 맥락에서는 벗어난 것이다. 순수시는 언어 바깥에서 자신의 존재근거를 구하지 않는다는 점에서는 비대상시와 동일하나, 바로 그 ‘구하지 않음(무)’에서 실존적이고 독자적인 자신의 본질을 정초하기 때문이다. 성찬경의 밀핵시는 의미의 밀도를 최대한으로 추구한다는 점에서 앞의 논의들과 차별된다. 그러나 그 결과로 언어의 침묵에 최대한 가까이 다가간 일자시가 출현한다는 점에서는 동일한 순수시의 맥락에 있다. 그런데 일자시가 추구하는 어감, 어상, 뉘앙스와 같은 의미가 이미 오염되어 있다는 점, 일자시에 이른 후에도 수많은 각주를 필요로 한다는 점에서 밀핵시 역시 자신의 이상을 실현불가능성에 걸어두고 있다는 점이 드러난다. This thesis aims to examine the significance and limitations of pure poetry and poetics in modern Korean poetry. Pure poetry believes it ideal that poetic words are not downgraded to the mere vehicle of meaning, neither being subordinate to a narrator or an author, nor calling or representing an object. These conditions suggest that pure poetry lacks the means to realize its ideal. The nonsense poetry of Kim Chun-su have three overlapping layers of pure poetry: pure poetry as opposed to society-participatory poetry; ontological pure poetry that blocks contamination of impure concepts; and semantic poetry, which stops real meaning. The closest to the essence of pure poetry is the second type of poetry which consists of another meaning conveyed by the signifiant; Signifiant, in this case, excludes the tone of sound or the message in the poem as an integration of the context of the poem, resulting from the combination or collision of poetic words. Oh Kyu-Won connected the diagram of meaning (=concept=impure) versus meaninglessness (=ontology=pure) of Kim Chun-Su to the axes of metaphor and metonymy. He established his poetics denying the former and pursuing the latter. Oh Kyu-Won’s raw image poetry, however, does not exclude concept or expel interpretation (or metaphor as a strong vehicle of it) of a subject. Lee Seung-Hoon tried to exclude a specific object and came to the following conclusion: “There is nothing poetic, nor is there a poem.” Pure poetry is like Beedaesang (objectless) Poetry given that it does not seek the rationale for existence outside the language. Pure poetry is different, however, in that it establishes its existential and independent essence through “not seeking.”Sung Chan-Kyung pursued the maximum density of meaning. However, the fact that connotation, nuance and appearance of word sound sought after by Ilja (one letter) Poetry are already contaminated and Ilja Poetry requires countless footnotes reveals that Milhaek (meaning of poetic words being highly condensed) Poetry has its ideal at an unattainable level.

순수시(純粹詩) 시론을 넘어: 김춘수 시론에서의 폴 발레리 시론의 전유

오주리(Juri Oh) 한국동서비교문학학회 2021 동서 비교문학저널 Vol.- No.57

Chun-su Kim understood the essence of French symbolism as Platonism. The concept of Platonism’s Idea is inherited by Baudelaire’s poetics of artificial paradise and Mallarmé and Valéry’s metaphysical exploration of the self. The concept of pure poetry as poetry that is composed of only musical elements excluding all elements other than poetry was artistically realized in Baudelaire’s poetry, starting with Poe. The first use of the phrase “la poésie pure” in Valéry’s poetics was found in “Avant-propos à la Connaissance de la Déesse”. Next, in Valéry’s prose “Situation de Baudelaire”, he thought that Mallarmé developed Baudelaire’s poetry with perfection and poetic purity. In Valéry’s prose “Propos sur la Poésie”, he pointed out that the expression of excitement was incidentally pure. In Valéry’s prose “Nécessité de la Poésie”, he emphasized the importance of intellect in poetizing and the importance of abstract thinking. Furthermore, he asserted that poetry should be inevitably narcissism. Finally, in Valéry’s prose “Poésie Pure”, it was emphasized that pure poetry should be an inaccessible ideal. Chun-su Kim described in detail the pure poetry that built up abstract thoughts into the poet’s inner world through the musical language in Poetics. Chun-su Kim analyzed Valéry’s poetry in Sense and Nonsense, and criticized Valéry’s poetry for failing to reach the ideal of pure poetry in that it was speculative. Valéry’s poetics of pure poetry was adopted in Chun-su Kim’s poetry. When Chun-su Kim created the works of the musical and philosophical pure poetry, it was same as Valéry’s. On the other hand, Valéry’s poetics of pure poetry was criticized in Chun-su Kim’s poetics, when Chun-su Kim wrote an autobiographical epic that embraced Korean tradition and history. In conclusion, Chun-su Kim created a new poetics beyond poetics of pure poetry by appropriating Valéry’s poetics.

1930년대 ‘순수’, ‘서정’에 대한 의미 고찰 : 1930년대 문예지를 중심으로

남진숙 培材大學校 人文科學硏究所 2009 人文論叢 Vol.26 No.-

This work is focussed on the meaning of the pure and the lyricims related to the pure lylic poetry(순수서정시) in 1930`s through literary magazines(『시문학』, 『문예월간』, 『문학』, 『시원』). This study will provide valuable aid for those who are in search of information about the pure lylic poetry since 1930`s. The meaning of the pure laregely can be categorized into three parts in this paper. First, it generally pursuits the security of literary originality which is seperated from socitey, reality, political affairs and so on. Also, poetry itself is rearded as a independent being and means the pure that has not impurities in it. Second, it means the most instinctive emotionlal state which is created by the poet's imagination and embodied the feelings under the condition of that abstractive elements are eliminated from it. Third, it is to confirm the homogenetiy of korean people through korean language. In other wrords, to express Korean people's feeling means the pure. This means that the ego in the pure is in the open world and palys a important role as a barrier against the criticism that the pure escaped from the real world. On the other hand, first, the lyricims generally means revealing people's unrestrained and exaggerated enthusiasm and feeling, and includes the point that it is the most noble sprit. It seems that people of the age implicitly undertstand the meaning of the lyricism. Second, it is overlaped with the pure and contains bothe individual feelings and people's feelings. Third, it means a organic life that is full of vitality and moves as if living creature Putting all accounts together, in 1930`s the menaing of the pure lyric poetry is found that it is mixed with in texts and passages though in some parts it can be clearly dictinguished between the pure and the lyricims. Because it does not make marked poetic theory in the lyric poetry genres from the beginning, people who are pursuit the pure lylic poetry used the mixed meaning. To prove these surmises, literary magazines and newspaper puplished in 1930`s and poet's works have to be made a detailded study. This study will be carried out next time.

『중등국어교본』의 시 텍스트 연구 -집필진과의 관련성을 중심으로-

강석 ( Seok Kang ) 청람어문교육학회 2009 청람어문교육 Vol.39 No.-

This study researched thorough what tendency the poetry texts of `junior high school Korean textbook` has. Especially, it is focused on how the author, Tae jun Lee`s literary trend acts on the poetry texts. Previous studies have primarily showed that the researches regarded `Junior high schools Korean textbook` as a tendency to pure literature of Right and left joint work nationalism. However, these analyses reflect regardless of the relevance to the authors, or overlooking the poetry`s different tendency. Tae jun Lee is the vice chief of `Chosun Auther Alliance` and also one of the Munjang. Nationalism poetry is vice chief of `Chosun Auther Alliance`, and Tae jun Lee contains the poetry which has values of pure texts. Although some of the poetry texts such as `come back my precious` and `pioneer` have the value of nationalism, most of them are Pure/Fine poetry, which have the value of Munjang`s. Some researches regarded the tendency of Pure/Fine poetry as the result of the U.S. government` require, considering the chaotic social circumstances at that time, however, that could come from overlooking the reflections of the author`s intentions. In conclusion, the poetry texts of `junior high school Korean textbook` consist of Munjang`s Pure/Fine poetry influenced by the authors in the central part and nationalistic poetry under the influence of the day.

근대시 형성기 `순수`의 재구성

정은기(Jeong, Eun-Ki) 한국시학회 2016 한국시학연구 Vol.- No.45

『근대시 형성기 ‘순수’ 담론 고찰』(이후『순수 고찰』)은 근대시가 형성되어가는 과정 속에서 ‘순수’ 담론의 양상을 살피는 것을 목적으로 한다. 이 과정에서 순국문, 순문학, 순문예, 국수(國粹) 등을 근대계몽기의 용례로 설정하여 ‘순-’의 의미를 분석하였다. 이는 근대성을 표상하는 기표에 해당했다. 이러한 논리는 단재의『천희당시화』와 최남선의 신시를 통해 구체화되고 있음을 살펴보았다. 1910년대는 이광수의 ‘순문학적 목적’과 김동인의 ‘순예술화한 사회’의 비교를 통해 ‘순수’ 담론이 하나의 단일개념이 아니라, 자아의 내면과 공동체의 성립을 동시에 담보해야 이중구조를 지니고 있음을 살펴보았다. 상징주의를 통해 수용한 자유시 역시, 개인의 호흡을 중시하면서도 민족적 리듬을 담보할 수 있어야 했다. 근대시에 대한 체계적인 모색은 1920년대에 접어 들어서야 가능했다. 김억은 ‘순정한 서정시가’라는 용어로 근대시를 요청하고 있었다. 이는 ‘언어에 대한 존중’과 ‘향토성 추구’를 전제 조건으로 하고 있었다. 이는 근대시가 조선어를 매개로 성립되어야 함을 의미하는 것이다. 이때 시를 조직하는 원리로서의 율(律)이 민족을 변별하는 핵심자질로 기능하고 있었다. 그리고 근대시가 도달해야 하는 ‘순정한’ 상태를 근대적 주체의 내면이율의 원리에 의해 시형과 완벽하게 조화를 이룬 상태라 가정했다. 그리고 이를 소설의 언문일치와 비교하여 ‘율문일치’라는 개념으로 설정하였다. ‘Study on discussion of ‘purity’ during the formative period of modernstyle poetry’ (‘Purity’ discussion) aims to investigate the process the ‘Purity’ discussion while a modern-style poetry was being formed. "Purity" was analyzed through defining a pure Korean literature, pure literature and nationalism(國粹) as the usage of modern enlightenment period. This was a signifier for the representation of modernity. The logic was solidified with Chunheedangsihwa, Dan-Jae and Sin-si, Choi, Nam-Sun. It was analyzed through the comparison of "Purpose of pure literature", Lee, Kwang-Soo and "Society becoming high art", Kim, Dong-In in 1910s that ‘purity’ discussion was not a single concept, but the dual structure that guaranteed the establishment of the inner-self and the community at the same time. Free verse accommodated through Symbolism also had to focus on an individual"s breathing and guarantee the ethnic rhythms. Systematic searching for a modern-style poetry was possible just in the 1920s. Kim, Eok requested for the modern-style poetry as the term of "pure lyric poetry". It meant that "Respect of the language" and "Folk feature" were preconditions, and the modern-style poetry must have been established via the Korean language. At this time, Rhythm(律) as the principle of poetry"s part was a key feature, distinctive qualities of this nation. Futhermore, it was assumed that "pure" state the modern-style poetry had to reach meant a perfect combination between the inner-self of the modern subject and versification by the rhythm"s principle, and it was defined as "the unity of rhythm and writing" compared to the concept of the unity of speech and writing.

자유민주주의 체제의 시정신

이상호(Lee Sang-Ho) 한국시학회 2004 한국시학연구 Vol.- No.11

Purity is the nature of poesy in a democratic society, meaning that artistic aspects of poetry is the most valuable. Based on this assumption, the present paper examines the nature of pure poetry in terms of autonomy and individuality, sociality and universality, and eternity and globality. First of all, the autonomy and individuality of poetry are concerned with artistic characteristics of poetry. That is, poetry gets its individuality only when it is free from politics, political parties, and utility. Secondly, the sociality and universality are concerned with ideas and objects poetry attempts to express. It means that reality for people would be the object of pure poetry as far as such reality arouses one’s sympathy. Thirdly, the eternity and globality are concerned with the limit of poetry, which means that pure poetry should be always valuable to everybody beyond time and space. Thus, pure poetry should deal with common problems everybody might have. By doing this, folk poetry becomes world-wide poetry. We can tell that poesy of rightists is pure poetry, which is world-wide poetry as well as folk poetry. We thus think that the rightists’ perspectives on poetry are more persuasive than leftists’ perspectives having illiberality, exclusivism and factionalism.

한국의 근ㆍ현대시와 정치

오세영(Oh Sae-Young) 한국시학회 2008 한국시학연구 Vol.- No.22

Modern Korean poetry intrinsically has had close relations with politics, active and passive, including both positive and negative meaning, for the past hundred years. Not only activist poetry, which is a direct intervention into politics, but also pure poetry, which excluded political agendas from its text, was not entirely free from politics. Thus to understand modern Korean poetry, it is essential that we examine the relationship between poetry and politics. As a result of the close relationship between poetry and politics, modern Korean poetry has come to bear the following characteristics: the spread of the idea that poetry is a political instrument or a reflection of political awareness, the idea that a model poet should be a patriot, critical discourse that emphasizes mainly the content and subject matter of poetry, schematic understanding of poetry, rationalization of politically needed poets and poetry, the division of the literary world into different factions, and popularity of prose-like poetry. The two main reasons for such closeness between politics and modern Korean poetry are as follows. First, it was due to the continuation of past tradition. During the Chosun Dynasty of five hundred years, Korean literature was essentially a political instrument, and such attitude toward literature can be said to have been inherited to modern Korean literature. Second, the hundred years of modern Korean history was a time of political turmoil, and intellectuals were always called upon to take a political stand. As a result, modern Korean poetry either actively took part in politics or rejected politics altogether, and either way, literature could not be entirely free from politics. In that aspect, whichever stand or attitude the poet took, his/her poetry was thus, political.

박용철 시에 나타난 ‘기술’의 문제

김학중 국제비교한국학회 2024 비교한국학 Comparative Korean Studies Vol.32 No.3

본 연구는 박용철 시에서 ‘기술’과 관련된 문제를 중심으로 이것이 박용철 시 세계에 어떤 영향을 주고 있는지 살펴보고자 하는 시도이다. 여기서 ‘기술’은 근대적 기계문명을 추동하는 힘으로 이로 인해 초래된 주체의 파편화와 이미지 상실 문제적 양상은 박용철의 시에서 주요한 특성을 야기하는 것으로 보인다. 이러한 문제적 지평을 분석하고, 이에 대한 박용철의 시적 대응과 사유를 조명하려는 작업이 본 연구의 목적이다. 본 연구는 이것이 박용철의 시에서 ‘순수시’의 지평을 여는데 기여하고 있다는 것을 밝히고자 한다. 박용철에 대한 시적 연구의 경로들은 일반적으로 ‘순수시’와 연관되거나 ‘낭만성’과 그것을 추동하는 ‘고향 상실감’에 대한 것들이 대부분이다. 하지만 박용철은 현대시가 마주하는 난관 중에 ‘기술’이 있음을 인식했다. 근대는 과학에 빚지고 있으며 결국 그러한 과학을 우리 앞에 현시하는 것은 ‘기술’임을 박용철은 잘 알고 있었다. 무엇보다 이러한 근대의 힘은 식민지인 조선을 지배하는 힘이기도 했다. 박용철은 그런 점에서 ‘기술’의 문제가 매우 중요한 문제라는 점을 알고 있었다. ‘기술’의 문제가 중요한 문제라는 점을 알고는 있었지만 박용철은 자신의 시 세계의 중심에 이러한 문제를 두지는 못했다. 오히려 이 문제는 그의 시론에서 잘 나타난다. 그럼에도 불구하고, 박용철의 시에는 근대 ‘기술’에 의해 초래된 주체의 파편화와 주체의 이미지 불가능성이 나타난다. 특히 이러한 경향은 그의 단시형 시편인 「해후」, 「인형」 등에서 두드러지게 나타난다. 이들 시에서는 계량화되고 객체화된 세계 속에서 주체의 이미지가 파편화되고 더 나아가 상실되는 문제적 지점들이 잘 재현되어 있다. 박용철은 ‘기술’의 문제를 발견하고 이를 드러내는 것에 멈춘 것이 아니라 이 문제를 시적 영토에서 본질적으로 극복할 수 있는 방안을 사유한다. 그것은 ‘기술’로 인해잃어버린 ‘이미지’를 재창출하는 것이다. 그것은 ‘지속 시간’을 통해 상실한 ‘이미지’를 회복하려는 시도로 나타난다. 때문에 박용철은 이를 해결하기 위해 과거의 ‘이미지’로 회귀하여 ‘이미지’를 지금 여기에 도래시킬 수 있는 가능성을 탐침하기에 이른다. 우리가 박용철의 시에 현저하게 나타나는 ‘순수’와 ‘전통’의 ‘이미지’들을 마주하게 된 이유가 여기에 있다. 이 불가능한 시도들을 통해서 박용철은 자연물의 ‘이미지’들 속에 잔존하고 있는 ‘지속 시간’의 ‘이미지’를 감지했다. 더 나아가 이를 미래적 ‘이미지’로 연결하려는 의지를 보인다. 그 대표적인 ‘이미지’가 ‘배’의 이미지이다. 여기까지 살펴볼 때, 박용철이 추구한 ‘순수시’의 지평은 단순히 시의 본질적인 지평에 놓인 순수를 지향하려는 예술적 태도만으로는 환원되지 않는다. 오히려 ‘순수 시’는 근대 체계 자체와 식민지 근대의 근본적 문제를 명민하게 인식하고 그것이 야기하는 문제를 돌파하려 하는 과정에서 발견한 것이라 할 수 있다. 그런 점에서 ‘순수시’는 근대적 문제를 돌파한 끝에 성취한 시적 사유의 결정체라 할 수 있다. This study examines the issue of ‘technology’ as a central theme in the poetry of Park Yong-chul, exploring its impact on the broader contours of his poetic world. In this context, ‘technology’ is understood as the driving force of modern mechanical civilization, which precipitates the fragmentation of the subject and the loss of imagery-phenomena that emerge as defining characteristics in Park’s poetic oeuvre. By analyzing this critical dimension and illuminating Park Yong-chul’s poetic responses and reflections, this research aims to demonstrate how his engagement with the issue of ‘technology’ contributes to the articulation of a distinct horizon for ‘pure poetry.’ Previous scholarship on Park Yong-chul has predominantly associated his work with the themes of ‘pure poetry,’ ‘romanticism,’ and the ‘sense of loss’ linked to the displacement of ‘home.’ However, Park recognized ‘technology’ as one of the essential dilemmas confronting modern poetry. He acknowledged that modernity, grounded in the advances of science, manifests itself primarily through ‘technology.’ Furthermore, he was acutely aware that this modern force also served as a mechanism of domination over colonial Joseon. Consequently, Park identified ‘technology’ as a significant and unavoidable issue. While Park Yong-chul recognized the importance of the ‘technology’ problem, he did not position it at the core of his poetic discourse. Instead, this issue is more explicitly addressed in his poetic theories. Nevertheless, his poetry vividly reflects the fragmentation of the subject and the impossibility of sustaining a coherent image of subjectivity under the influence of modern ‘technology.’ These themes are particularly pronounced in his shorter poems, such as Encounter and Doll, which depict a quantified and objectified world where the subject’s image becomes irretrievably fragmented and ultimately lost. Park Yong-chul’s engagement with ‘technology’ extended beyond its recognition and representation; he actively sought to address this issue through the medium of poetry. His resolution involved reimagining and restoring the ‘image’ lost in the wake of ‘technology.’ This effort is manifested as an attempt to recover the lost ‘image’ through an exploration of ‘duration’ (la durée). To this end, Park turned to the past, reclaiming ‘images’ from tradi tion and seeking to bring them into the present, thereby reconfiguring their relevance. This is why his poetry prominently features ‘pure’ and ‘traditional’ imagery. Through this seem ingly paradoxical endeavor, Park discovered remnants of ‘duration’ within natural imagery and strove to connect these to the creation of future-oriented ‘images,’ exemplified most notably by the recurring ‘image of the boat.’ Ultimately, the horizon of ‘pure poetry’ that Park Yong-chul pursued cannot be reduced to a mere aesthetic inclination towards poetic purity. Instead, it reflects a profound and critical engagement with the fundamental contradictions of modernity and the colonial condition. ‘Pure poetry,’ in this sense, emerges as the crystallization of poetic thought—a product of Park’s efforts to transcend and resolve the existential and epistemological crises posed by modernity.

1930년대 시문학파 · 모더니즘의 감정 환경– 서구 번역시 환경에서 본 김영랑·김기림 연구

주현진 충남대학교 인문과학연구소 2015 인문학연구 Vol.51 No.1

This paper studied on the status of various poetry’s methodology during the 1930s in the general korean literature. For overcoming "the uncontrolled emotions gushing" and the poor content of the 1920’s poetry, several poets of the 1930s tried to realize the modernity of Korean poetry through pure poetry and modernism such as Kim Young-ran and Kim Gi-rim. In this case, this study attend to understand the intertextuality’s relationship between Korean first modern poetry and Occidental modern poetry such French symbolism and english modernism, introduced in Korea at that time. However, it’s a widely acknowledged fact that Occidental poetries’ translation, such as Verlaine, Baudelaire, Yeats, Byron, influenced on the birth of the Modern Korean poetry. Korean literature in the first half of the last century could not be free from the framework of literary translation. So the emergence of lyrical speaker in the works of Kim Young-ran and the suppressing of emotions in the works of Kim Gi-rim, these are modern literary efforts realized by the both. Especially, one of the first modernists Kim Gi-rim tried experimental architecture in literature such as Imagism. By the way, their modern representations in literature were surely influenced by many translations, screening wave of the Occidental literature at that moment. We can see that some evidences in Kim Young-ran’s poetry such as romanticism themes and non-eloaquent emotion’s emergence, also in Kim Gi-rim’s modernism such as romanticism portent such as hope of utopia and themes. In this case, study of the first modern Korean poetry should be focused on the inter-textual relationship with Occident modern poetry’s translation. 이 논문은 한국 현대시의 진정한 탄생이라고 평가받는 1930년대 한국시의 다양한 방법론적 시도가 일반적인 문학사에서 갖는 의의와 그 위상에 대하여 생각해 보는 것이 목적이다. 1920년대 시가 보여준 “무절제한 감정 분출”과 “내용의 편중성”을 극복하려는 문학적 의지로서 1930년대 출현한 시문학파, 모더니즘, 생명파 등의 시인들이 보여준 노력은 한국 현대시사의 새로운 시작으로서 문학사적 중요한 의의를 갖는다. 그렇지만 서구시의 번역이 태생적 환경인 한국 근대시는 지난 세기 전반기동안 번역문학의 틀로부터 자유로울 수가 없다. 그런 까닭에 순수 서정시의 위상을 구축한 시문학파의 김영랑, 주관적 감상을 자제하는 서정적 화자를 출현시키며 이미지즘의 추구를 통해 시의 건축성을 실험한 모더니즘의 김기림, 이 시적 확대에 대한 탐구는, 한국 근대시라는 틀에서 뿐만 아니라, 당대의 가장 영향력 있는 문학 환경일 수밖에 없었던 서구 근대문학과의 상관성이란 견지에서 해석해볼 필요가 있다. 때문에 본 연구는 1920년대부터 1930년대에 이르기까지 가장 주목받았던 서구 문학경향에 입각하여 김영랑의 순수 서정의 원천이 자리한 지점을 탐색해보았다. 또한, 김기림의 모더니즘이라는 이름으로 드러나는 사물의 세계에 대한 피상적인 흥분이 왜 모더니즘의 핵심인 현대성의 특성들로 연결되지 못하는가에 대해 탐색해보았다. 따라서 김영랑의 순수 서정이 차분한 목소리로 표출되기는 하지만, 서구 낭만주의적 서정성과 근대문학 특히 베를렌의 시에 표현된 불가해한 감정과 뒤섞여 있음을 이해할 수 있었다. 그리고 김기림의 모더니즘의 피상적 사물 세계를 받치고 있는 것은 낭만주의자 호모 로맨티쿠스의 공허한 이상과 심정이란 것을 알아낼 수 있었다. 이러한 연구 결론에 의거하여, 한국 근대시의 진행과정을 면밀하게 분석하기 위해선 앞으로 서구 번역시와의 상호텍스트적 비교 연구가 더 확대되어야함을 요청하게 된다.

신동문 시론詩論 연구

임승빈 청주대학교 인문과학연구소 2016 人文科學論集 Vol.52 No.-

The purpose of this thesis is to identify Shin, Dongmoons' poetic theories, who was one of the representative participation poets in 1960s, namely his thought about poetry. In the beginning he tended to express a aesthetic tendency of pure lyric by various western poetic theories including European symbolism and was greatly absorbed in Seo Jung-Ju's poetry in the nation. Shin Dongmoon's pure lyric such as this was turned into the active participation literary theory through the Korean war, 4.19 revolution, and the 5.16 Coup D`etat. He thought that these were the wars by the modern civilization which threatened human existence and the modern arms, the pure lyric was not only meaningless in the ironic society but irresponsible evasion of reality. So he stood his ground that the poetry which was not based on the reality and didn't have the realistic usefulness couldn't be the poetry. He placed emphasis on the realistic life such as 'now-here' and the practical action. He though that these could make our lives specific much more easily than the speculative and abstract notions which the literature was quickly sucked into. Accordingly he thought the poetry should be the action itself involved in this society immediately. By the way his thought like this was similar to Ancient Greek Epicureanism and philosophy of the existentialism of F. W. Nietzsche or J. P. Sartre. In short his poetic theory was that the true poetry should be conducted as the practical action by practical intelligence. And the end of his writing career was never due to external pressure. That's because this meant not 'no writing' intentionally but 'could not writing'. He didn't write poetry because he was a perfectionist and had mysophobia and was not allowed to get 'productive idleness'-relaxation needed to create poetry. And he thought that as poetry was for the realistic life, it was very important to live life to the full under his condition and such a life could be poetry as well.