1920년대 초기 황석우 시의 비유 구조 연구

권유성(Kwon Yu-Seung) 국어국문학회 2006 국어국문학 Vol.- No.142

This study would explain structure of metaphor to have had Hwang, Suk-woo’s poems through the cultural context in early 1920’s. This study utilized positively recent study on early 1920’s. And solve a problem of the study that was already done, and this study will deepen it. 1920’s Hwang, Suk-woo’s poems started at ‘wasteland consciousness’ in early 1920’s. This was general recognition of intellectuals at that time. As they saw a this world to a wasteland, they would build the new world that got out of the present state. The new world was compared to ‘JangMiChon’(薔薇村) in his poems. Were the artistic world that ‘JangMiChon’ was absolute, and was sacred in his poems. So this space was a utopia saved from wastelands. A person guiding persona in a utopia is just ‘lover’ in his poems. A lover is a rescuer and be the world of a relief. ‘Christ’ is a sacred form of metaphor called ‘lover’. The world of art that he created has unique structure. The structure is circulation structure a rescuer and the object of a relief being changed. The moment that the circulation structure is finished is the moment that aesthetic modernity is finished. However, world of an art established at his poems was not the world stable so. The world is always as was accompanied by fear. The world is as it has changed in the confused world when the real intervenes. It is a figure of ‘wound lover’ to show this well. Hwang, Suk-woo’s poems showed the finished of aesthetic modernity in early 1920’s. And his poems showed a limit of aesthetic modernity too. In this meaning his poem can be called a result most important in early 1920’s.

1920년대 초기 미학적 기획으로서의 사회주의운동과 문학― 소야 윤자영(尹滋瑛)의 활동을 중심으로

권유성 ( Yu Seung Kwon ) 현대문학이론학회 2014 현대문학이론연구 Vol.0 No.58

This paper aimed to considering the aesthetic project and literary act of socialists in the early 1920`s. This paper specially focused on Yun, Ja-young who was typical socialist at the time. These people were not spotlight in the history of korean modern literature. Because they seem to standing between the literary and the non-literary. However they had lived in the formative period of korean modern literature, thus they are provided of exemplary case of that period. It was the meaning of Yun`s act that focused in chapter two. His act had not only the meaning of socialist movement but also aesthetic practice. Socialism have been the aesthetic as well as the social and political project in that time. For they wished to liberating of labor and aestheticizing of world at the same time. In this respect, Yun`s exile to Shanghai was not only his political decision but also aesthetic practice.It was the formal peculiarity of Yun`s poems in the early 1920`s that focused in chapter three. He made use of free verse and Sijo at the same time specially in the way back(回程). The form of free verse and Sijo coexist in this work. Free verse here acted as method that expressed of the concreteness of world and the inside of a poet. In contrast, Sijo acted as method that expressed of the idea of community. This double form was originated in the request that the concreteness of world and the idea of community were embodied in a work at once.

上海『獨立新聞』소재 朱耀翰 시에 대한 서지적 고찰

권유성(Kwon Yu-seung) 인문사회예술융합학회 2007 문화와 융합 Vol.29 No.-

『대한매일신보』소재 시가의 탈식민성 연구

권유성(Kwon Yu-seung) 한국시학회 2004 한국시학연구 Vol.- No.10

Daehan-Maeil-Shinbo's Shiga have unique status and meaning in Patriotic Enlightenment Period. Because Daehan-Maeil-Shinbo's Shiga is groping logic that can integrate these two intentions as well as is showing intention of anti-feudalism and foreign forces that was the most important problem in Patriotic Enlightenment Period. Logic that can integrate intention of anti-feudalism and foreign forces could be formed in place that can avoid formation of coloniality and -talbus ing feudality. Daehan-Maeil-Shinbo's Shiga emphasizes civilization through metaphor of ‘Disease', could keep away formation of coloniality by adhering to independent situation being based on nationalism. Furthermore could resist to it by finding in specific actuality inside and criticizes imperialistic countenance of new civilization. Although ‘Nationalism' was having ambivalence which act by chauvinism as well as central ideology of resistance, that is securing logic that can integrate intention of anti-feudalism and foreign forces have very importantmeaning.

1920년대 동인지문단 붕괴의 사회문화적 요인에 대한 일 고찰 - 감정통제 동학으로서의 신경쇠약담론을 중심으로 -

권유성 ( Kwon Yu-seung ) 배달말학회 2017 배달말 Vol.60 No.-

This study intends to demonstrate the process of collapse of coterie literary circles through socio-cultural context in 1920`s. After The 3.1 Movement, literature was the key dimension of new culture movement in Korea. And emotion was accepted as essence of it in this period. In this sense, the process of collapse of coterie literary circles related with discourses about emotion. The poems of coterie literary circles expressed mainly various emotions around love in 1920`s. But such emotions were not accepted as desirable thing in the socio-cultural context. Even these were blamed as decadent and diseased thing. Especially, such emotions were treated as the cause of neurasthenia. It was the middle 1920`s when neurasthenia as social matter. By the way, neurasthenia was perceived as adolescent or youngman problem. Because they were the subject of new culture. And love was marked as a important cause of neurasthenia. The love of youngman could bring about empathy fatigue, and it would negative influence on nation`s future. Therefore their emotions of love were necessary to control by proper degree. Through these process, properly controlled emotions were more refined emotion than otherwise.

이상화의 『빼앗긴 들에도 봄은 오는가』 재고

권유성(Kwon Yu-seung) 한국어문학회 2010 語文學 Vol.0 No.110

This study was going to reconsider of Lee Sang Hwa’s What Spring Comes Wrenched Field. For this poem has been interpreted by a narrow point of view as national resistance. But this poem seems to imply a different means as from another standpoint. This study reconsidered of this poem in a context when he wrote it. Then what most important thing is the journal The Gae-Byeok. For he mainly present his poems in this journal. By the way, The Gae-Byeok had transmitted a socialism actively around 1925-6. And Lee Sang Hwa also participates in socialist organization as PASKYULA and then KAPF. Accordingly in such context, I suggest that his poems are necessary to rethink. But it is not impossible to interpret of Lee Sang Hwa’s What Spring Comes Wrenched Field by a point of view as national resistance. Because The Gae-Byeok Vol. 70, including it, was published in enthusiastic national atmosphere. Besides, his poems were including abundant nationalist features. Nevertheless, Taken as a whole, I think it is desirable for this poem to be interpreted by class viewpoint. Then, the persona in it may be a spokesperson of the proletariat, and ‘wrenched field’ may imply what was taken away base by the ruling class. In such context, the ‘spring’ may imply people wish or resistance will.

1920년대 초기 예술지상주의 비판의 맥락과 의미

권유성 ( Yu Seung Kwon ) 한국현대문예비평학회 2014 한국문예비평연구 Vol.- No.43

이 글은 1920년대 초기 예술지상주의에 대한 비판의 맥락을 재구하고 그 의미를 살피기 위한 것이다. 1920년대 초기 예술지상주의에 대한 비판은 이광수로 대표되는 계몽적 지식인에 의한 비판과 주로 종합지를 중심으로 활동하고 있었던 사회주의경향 지식인들에 의한 비판으로 구분해 볼 수 있다. 이 시기 예술지상주의에 대한 비판의 맥락을 자세히살필 필요는 이후 문학사적 전개의 동력을 확인한는 것과 연관되어 있기 때문이다. 즉 동인지 문단의 가장 주요한 특징이 예술지상주의로 인식되고 있었다면, 그리고 1920년대 중반 이루어진 문단의 새로운 재편이 동인지 문단의 붕괴와 해체를 통해 가능했다면, 예술지상주의에 대한 비판의 맥락을 살피는 것은 그런 붕괴와 해체의 추동력을 살피는 것과 연관될 것이기 때문이다. 이광수의 예술지상주의 비판은 조선의 신문화 건설이라는 계몽적 맥락을 동인지와 공유한 상태에서 이루어진 것이었지만, 동인지가 근거하고 있었던 문예론에 접근할 논리를 결여하고 있었다는 점에서 근본적인 비판으로 이어지기 어려웠다. 즉 이광수는 동인지 문단이 근거하고 있었던 개인의 자유로운 감정 표현을 통한 신문예 건설이라는 부분을 간과한 채, 몇몇 동인들의 개인적인 일탈을 극단적인 언사로 비난하고 있었다. 따라서 그의 비판은 동인지 문단의 사회적 고립을 강화하는 하나의 계기 정도로 작용할 수 있을 뿐이었다. 반면 1920년대 초기 사회주의경향 지식인들에 의한 예술지상주의 비판은 이광수의 그것보다도 훨씬 근본적인 것이었다. 그것은 이들이 동인지 문단이 근거하고 있었던 예술의 근본 원리를 공유한 상태에서, 동인지 문단의 사회적 고립성과 문예의 구체적인 내용으로서의 감정 문제까지 그 비판의 범위에 포함시키고 있었기 때문이다. 이들은 근본적으로 예술 혹은 문예를 사회적인 소통 쳬계로 인식하고 있었고, 그런 인식 아래 사회적으로 공유될 만한 가치가 있는 감정을 문예가 다루어야 한다고 주장했다. 이와 같은 사회주의경향 지식인의 비판은 동인지의 내적 붕괴를 추동할 수 있는 논리였다. 그런데 이광수와 사회주의경향 지식인들의 예술지상주의 비판의 차이는 문예의 사회적 소통 체계를 구성하는 한 축인 독자 혹은 대중을 바라보는 기본적인 관점의 차이에서 기인한 바가 컸다. 이광수는 당대의 독자나 대중을 ‘소아’나 ‘병인’으로 보아 그들의 자발성이나 적극성을 인정하지 않았다. 그럼으로써 그는 사회적 소통 체계로서의 문예를 상상할 수 없었다. 그런 반면 1920년대 초기 사회주의경향의 지식인들은 문예를 기본적으로 사회적 소통 쳬계로 보고 있었는데, 그 바탕에는 독자 혹은 대중에 대한 신뢰가 깔려 있었다. 그들은 인간 개개인이 부조리한 사회 구조로부터 해방되어 자유로운 개성을 발휘하며 살 수 있는 사회를 희망했고, 그 과정에서 이들은 대중의 능동성과 자발성을 믿었다. 이런 독자 혹은 대중에 대한 신뢰가 존재하고 있었기 때문이 이들은 문예의 자율성을 일정 부분 인정하면서도 ‘문화적 교화’가 가능하다고 믿을 수 있었다. This paper aimed to considering the context and meaning of the criticism on art`s sake in the early 1920`s. In the early 1920`s, it could be investigated in two directions. The one is that presented by Lee, Kwang-soo who was thoroughly enlightening intellectual. The other is that presented by socialist intellectual who participated in socialist journal. The reason why it needed to be explored is that it could be confirmed the moments of literary change after that time. The criticism by Lee, Kwang-soo was sharing the context of movement for new-culture construction with 1920`s coterie magazine but it missed the focus of their literary theory. Therefore it only could enforced isolation of the writers of coterie magazine. In contrast, the criticism by socialist intellectuals was more profound than it. It was not only sharing the emphasis of literary emotion with them but also including the dimension of their isolation tendency and connotation of the notion of emotion. They claimed that literature need to deal with socially significant emotion, in other words sympathy, because they were recognizing that literature or art is the system of social communication. These are enough to weakening the ground of coterie magazine. By the way, it was the different point of reader or people that making the difference between Lee, Kwang-soo and socialist intellectuals. While Lee, Kwang-soo was not admitted the voluntary ability of people, the socialist intellectuals were not so. They positively believed what people have the possibility of themselves. So they could believe that it is possible to enlightenment of people through the literary autonomy.

정지용 시의 띄어쓰기와 리듬의 상관성 연구 -1920년대시를 중심으로

권유성 ( Yu Seung Kwon ) 한민족문화학회 2015 한민족문화연구 Vol.50 No.-

This paper aims to make clear the interrelationship between spacing words and rhythm of Jeong Ji-yong`s poems in the 1920`s. His poems were composed of peculiar spacing words. It was also very particular thing in the historical context of Korean modern poetry in the 1920`s. This study must have inferred that spacing words related with poetic rhythm. It was the peculiarity of spacing words that focused in chapter two. His poems spaced between an substantive and an expletive. It was the result that gave consideration for poetic rhythm. The ‘Jo(謠)’ among his poems had a formal characteristic of the regular and repetitive in time. Therefore it could be given definition of ‘visualization of song’. On the other hand, his works of free verse or prose poems also have similar spacing words but they were not the regular and repetitive in time. So it could be given definition of ‘visualization of rhythm.’ This peculiar spacing words influenced to his later poems but more or less transformed. It is likely to be considered in contexts of the late 1930`s.

1920년대 초기『每日申報』의 근대시 게재 양상과 의미

권유성(Kwon Yu-Seung) 한국시학회 2008 한국시학연구 Vol.- No.23

This study would explain the poetry of〈Maeil-Sinbo〉(每日申報) in Early 1920's. For the poetry of〈Maeil-Sinbo〉carry an important meaning in the process for Korean modern poetry. A newspaper differ from literary coterie magazine, because it makes possible the commucation between an intellectual and the public. Consequently, the poetry of Maeil-Sinbo was subdivided in the term of 'Maesin-Mundan'(每新文壇) and the latter term. In the term of 'Maesin-Mundan', major stream of poetry was consisted of 'Sinchesi'(新體詩) like a tone of 7.5 and free verse. By the way in the latter term, a free verse almost monopolized the space of a newspaper. And then poets were made distinction between a professional literary man and the public, which the latter took up larger portions. Nevertheless, a professional literary man have had an serious effect on the public. In this sense, Maeil-Sinbo served the learning place to the public. It was very important that <Maeil-Sinbo> infleunced on the formation of Korean modern poetry in Early 1920's. Especially the notion of 'Sinsi'(新詩) played an important role[part] in the formation of Korean modern poetry. This notion demonstrated that free verse must be the starting point of that. Nevertheless, This notion also kept the critical point that could not take a step forward 'national poetry'. Consequently, 'Sinsi'(新詩) encountered strong criticism during 1922-1923.

김소월 「시혼」의 이기론적(理氣論的)고찰

김지혜 ( Ji Hye Kim ),권유성 ( Yu Seung Kwon ) 한국문학언어학회 2010 어문론총 Vol.52 No.-

This study aims at clarifying that Kim, So-Wol`s poetics is based on LiKi(理氣)philosophy. And this is to show the distinction between Western ideas like Romanticism which is accepted by Kim-uk and So-Wol`s traditional poetics. The results are as follows. First, So-Wol is realized paradoxical sense which can find out positive meaning from negative thing and overcome Western dichotomy by LiKijimyo(理氣之妙) principal means that Li(理) as Hyungisanja(形而上者: metaphysical thing) and Ki(氣) as Hyungihaja (形而下者: physical thing)are neither divided nor united. Second, So-Wol emphasizes that immutable character of Sihon(詩 魂) on his poetics because he wants to show Li`s character as inevitable cause and right. As he authorizes Sihon(詩魂) ontological and axiological character of Li, Sihon(詩魂) has Good truth and thereby has good effect for society. Unlike Kim-uk`s romanticism, to display subjectivity on So-Wol`s poetics is based on LiKi philosophy has a effect for society, because the subjectivity has a moral sensibility. Last, like Li and Ki, Sihon(詩魂) is manifested on poetry by Umyoung(陰影), so poetry is valuated by not Sihon but Umyoung. But So-Wol contradicted himself by asserting that Umyoung(陰影) isn`t discussed merits and demerits. This is explained by considering LiKijimyo(理氣之妙). Ki is a manifestation of Li, therefore when we see poetry as Ki with view is based on authenticity, Ki is not a thing of judgement. But when we poetry with view is based on substantiality, Ki is a thing of judgement. In conclusion, So-Wol intended to include not only eternal nature but also substantiality on modern poetry with LiKi(理氣) philosophy.