1950년대 두 개의 모더니즘 비교 연구 : 조향과 송욱을 중심으로

진순애 ( Soon Ae Jin ) 한국현대문예비평학회 2006 한국문예비평연구 Vol.0 No.21

박용래 시의 동일성의 시학

진순애 ( Soon Ae Jin ) 성균관대학교 인문과학연구소 2003 人文科學 Vol.33 No.-

김광균 시의 자연과 모더니티

진순애(Jin Soon-ae) 한국시학회 2001 한국시학연구 Vol.- No.5

This paper is approached by the point of view why Kim Kwang-Kyun's poetry is modernistic poetry, Especially I researched that Kim Kwang-Kyun's description of nature is not so much classical as modernistic. The nature has been not only the key object but also the key subject on the way of writing lyric poem. But the nature in Kim Kwang-Kyun's poetry is not the key subject but the key object. Because the nature in Kim Kwang-Kyun's poetry is designed with artificiality for the modernistic poetry. Kim Kwang-Kyun studied his poetry was not so much lyric poem as modernistic poetry, Furthermore, he thought that the modernistic poetry was made rather than creating by rhetorical device as synaesthetic expression. Consequently the nature in his poetry was made from mindlessness, and his tragic ego was concealed under the mindlessness. That is, his poetry was not identical nature by assimilation but independent nature by description of image, But the nature in some of his poetry was not only artificial but also tragic projected as his empathy, Nevertheless this style of his poetry was also modernistic, because of his paradoxical and ironic rhetoric, and his separated ego which stood for tragic Ich-in-Welt. This paper clarified that Kim Kwang-Kyun's poetry settled on a genealogy of modernistic poetry in 1930s as the rhetorical devised nature without assimilation. Furthermore, his poetry settled on antinomic genealogy, which one genealogy of them was lyric poem as nature object, and the other was modernistic poetry as nature object. Nevertheless the nature objected by rhetoric in Kim Kwang-Kyun's poetry belonged to modernism rather than traditionalism. The difference between lyric poem and Kim Kwang-Kyun's poetry or modernistic poetry was the modernistic rhetoric, for example paradoxical and ironic rhetoric, mindlessness, narcissist ego, and separated ego am so on. To put it concretely, it was the devised nature with artificiality.

정지용 시의 내적 동인으로서 童詩

진순애(Jin Soon-Ae) 한국시학회 2002 한국시학연구 Vol.- No.7

Jeong Ji-Yong’s children’s verse was written in the middle of 1920’s when was the time for the children’s verse, Sijo(時調), and folk song all around the nation. We can find the world of folk custom in the Jeong Ji-Yong’s children’s verse like them in the folk song. Because he wrote the children’s verse through the motives of the world of folk custom. That is, his children’s verse is consisted of the essence of his childhood and that of the nation as the world of folk custom stands for the essence of his childhood and the nation. So we can’t accept his children’s verse only for the children. The world of his children’s verse is connected with all his poetry, for example the poetry of Imagism and BaekRokDam(白鹿潭) . It is the purity as his poetry’s essence that controls all his poetry from the beginning to the end. Concretely the motives of the folk custom in his children’s verse are composed of the last red-ripe persimmon for the crow, his sister’s wedding, the grandfather’s traditional raining suit, shooting star’s legend, and so on. These motives are unchangeable pure objects under the changeable living. The motif of the nature which stands for the rhetoric of the symbol world is also unchangeable pure objects as same as the folk custom. Accordingly Jeong Ji-Yong’s children’s verse as his poetry’s essence is connected with all his poetry. As a result, Jeong Ji-Yong sang the children’s verse including his personnel world of the archetype and the archetype imagination of our nation. Especially the world of the children’s archetype is same as the archetype of the nation in the 1910s-1940s. I supposed that his purpose on the children’s verse through the archetype imagination was for the transcendence in his, and nation’s reality. Even though the archetype imagination stands for the going back to the past, which was one of the transcendental methods in the era oppressed.

이 상의 글쓰기 전략과 자기검열

진순애(Jin, Soon-ae) 한국비평문학회 2015 批評文學 Vol.- No.56

자기검열은 현실원칙을 지키기 위한 통제적 기제로서 개인의 심리학적인 태도를 좌우한다. 일제강점기 작가들의 글쓰기에는 심리학적인 자기검열 외에 정치적 검열에 대처하는 목적적인 자기검열 또한 작용했다. 이 상의 글쓰기 전략에도 이와 같은 양가적 자기검열이 작용한 것으로 보아 모더니스트로 평가되어온 이 상의 작품이 역사와 사회 및 시대의 결과물이라는 관점을 견지했다. 일제강점에 의한 그리고 일제강점에 대한 대응으로써 이 상의 전략적 글쓰기라는 관점이다. 전략적인 이 상의 글쓰기는 장르해체, 금기위반, 주술성 그리고 피휘가 주도된 것으로 파악했다. 이 상은 전통적인 시형식의 해체와 반사회적인 위반행위를 자기검열의 글쓰기 전략으로, 그러면서도 근대의 이율배반성처럼 원형세계 또한 지향하여 정치적 검열에서 벗어나려는 자기보호를 의도했다. 장르의 전통형식을 해체하여 장르진화를 목적했다면, 사회문화적으로 금지된 성의 타락상을 표출하고 조상숭배를 거부하여 반사회적 태도를 취했다. 곧 자기를 파괴한 역설적 전략으로 자기보호를 의도하면서도 주술로써 원형세계와의 공감의식을 표명한 이중적 지평의 글쓰기를 행한 것이다. This paper shows the study on the strategy used in LeeSang"s writing which is operated with two self-censorships. One is the intentional self-censorship to escape from Japanese colonial censorship, the other is the psychological self-censorship. LeeSang wrote the writing with the conflicting character and a wide variety of euphemism which are disguised for the strategic self-protection. In his writing the negative character and the affirmative character appear. The negative characters have the schizothymia character and the anti-social character, and the affirmative character has the shaman character. These euphemism and disguised characters were a response to the colonial rule of Japan LeeSang refused the traditional lyric and violated taboo. But paradoxically, he aspired to one"s childhood as eternity and the original archetype world which is estranged from modern time. That is to say, his writing called avant-garde and post-modernistic evaluation was written for the purpose to refuse the characteristics of the unreasonable modern time and escape from Japanese colonial censorship.

〈시문학파〉 연구

진순애(Jin Soon-Ae) 한국시학회 2003 한국시학연구 Vol.- No.8

This paper shows the purity of the lyric of 〈Simunhakpa〉 in the early of the 1930’s. The purity of the lyric of 〈Simunhakpa〉 stands for the something on the form not the substance, which excludes the social problem, the historic matter, the economic problem, the political problem, and etc. 〈Simunhakpa〉 had tried to write the lyric consisted of their own emotion, speech, and rhythm which become the necessary condition for the pure lyric. Also the other condition for the pure lyric is to be through the medium of the nature as the pure world without the artificial power. The purpose of the 〈Simunhakpa〉 was to be for their Idealism by the denial of reality, which is connected to the romanticism that lies at the root of the idealism. The romanticism self lies at the root of the pure self of human beings. The pure self enjoys freedom for the creation in the pure world like nature. So the main motif of the lyric of 〈Simunhakpa〉 is nature which is one of the traditional motives. Nature is not only traditional motif but also modern motif, because it lies at the root of our human life. Especially the empathic nature by the poets is the nature revived by the Humanism for the perfection of their self, that belongs to the poets. Concretely, Kim YoungRang expressed his pure self of a narcissism through the nature as his mind’s mirror. Jeong JiYong expressed his pure self of a Homo Ludens through the nature as an object. Sin SeokJeong, Heo Bo, and Park YongCheol expressed their pure selves of the revolved self through the nature as the origin. Kim HeonKu, Lee HaYoon expressed their pure selves of the recollective self through the nature as the memory. In the result, the significant of the pure lyric is to be for the autonomous arts same as the nature of arts. So the lyric of 〈Simunhakpa〉 lies at the root of Korean modern poetry history as the nature of autonomous lyric.

1920년대 연애시와 사랑의 정치학

진순애(Jin Soon-ae) 한국비평문학회 2009 批評文學 Vol.- No.32

This paper shows a study on the Eros-poetry of the 1920s and the politics of love which is a code for the politics of the pluralism against the modern monism. Then this paper figured out the Eros-poetry of the 1920s was the poetry intended to be against the modern monism. The Eros-poetry is different from the Love-poetry. The eros stands for the love between mand and woman, but the love stands for the human’s desire for something. Especially, the eros of the 1920s of Korea stood for the free love, romantic love, and the western style love. Furthermore, the love between man and woman is based on the Narcissism, the Eros-poetry of the 1920s is the Love-poetry used as a metaphor for the poet’s Narcissism. So the love of Lee Sang Hwa’s poetry is used as a metaphor for his Eroticism-Narcissism, the love of So Woel’s poetry is used as a metaphor for his Archetypical Narcissism, and the love of Man Hae’s poetry is used as a metaphor for his Feminism-Narcissism. These are not only representative of the modern-poetry in the early of Korean Modern, but also the origin of the Eros-poetry in the 20th of Korea.

전쟁시와 평화의 정치성 연구

진순애(Jin Soon-Ae) 한국시학회 2007 한국시학연구 Vol.- No.19

This paper shows a study on the Korean·Vietnamwar-poetry and those peaceful politics. The both of Korean-war and Vietnam-war were the political wars as the imperialism collision between communism controlled by the USSR and liberalism controlled by the USA. These War-poetry during the wartime are characterized by the ideology-poetry and post-ideology-poetry. The ideology-poetry written by MoYoonSuk, BaeJeongWung and KimChunSu espoused the government in order to keep the peace controlled by the government. But the post-ideology-poetry written by JoJiHun, SinSaeHun, and LeeChuLim didn't espouse the government in order to keep the peace of anti-war as well as the post-modernity. MoYoonSuk's Koreanwar-poetry stuck to the anti-communism, BaeJeong Wung's Vietnam-poetry stuck to the liberalism, and KimChunSu's Koreanwar-poetry stuck to the anti-communism and existentialism espousing the government. But JoJiHun's Koreanwar-poetry held on to the anti-imperialism, SinSaeHun's and LeeChuLim's Vietnamwar-poetry held on to the anti-imperialism denying and criticizing the war. These post-ideology-poetry expressed the real peace of anti-war as well as the post-modernity.

1960년대 시학의 실천적 지평

진순애(Jin Soon-Ae) 한국시학회 2005 한국시학연구 Vol.- No.12

This paper shows the practical dimension of the poetics in the 1960s. The nationalistic poetics based on 4ㆍ19revolution is representative of the practical poetics in the 1960s. Even though the nationalism and the cosmopolitanism are mutually exclusive, the nationalism is just as the politics on anti-colonialism and anti-imperialism. By this point of view, the practical dimension of the poetics in the 1960s has been studied. The first chapter among five chapters of this paper expresses what the politics on war and revolution is. The politics on war was the source of 6ㆍ25war as the imperialistic world war, and the politics on revolution was the source of anti-imperialism and anti-fascism government in Korea. The Korean fascism government against the anti-communism was due to 6ㆍ25war. The second chapter expresses the politics on the 4ㆍ19revolution poetry, which shows two kind of points. One point shows what about the poetry included the politics on war and revolution at once is, the other point shows what about the poetry included the politics on revolution for the nationalistic dimension is. These two kind of politics symbolize the post-war ethos in Korea these days as 1960s. The third chapter expresses what the argument between the group of the art for art's sake and the practical group of the art for society's sake is. The practical group of the art for society's sake insisted that the literature was being for society's sake, but whether political ideology's sake or an's sake. The forth chapter expresses the nationalistic poetics on KimSoo Young and SinDongYeop's poetry. SinDongYeop's poetry is composed of the proletarian nationalism, and KimSooyoung's poetry is composed of the existential nationalism. But nevertheless two poets's nationalism aimed at the practical dimension for the politics on cosmopolitanism. On the conclusion, the last fifth chapter expresses the significance of nationalistic poetics as anti(or post)-colonialism and anti(or post)-imperialism, especially.

전쟁과 해체미학의 정치성

진순애 ( Soon Ae Jin ) 한국비교문학회 2004 比較文學 Vol.34 No.-