전봉건 시의 결정판 확정에 대한기본 유형과 의미화

김윤경 ( Yun Kyung Kim ) 단국대학교 한국문화기술연구소 2016 한국문화기술 Vol.20 No.-

Divide the task of reviewing the type of definitive confirmation by the target when the artist with multiple the definitive Edition as Jeon bong-gun poet has an important meaning. In general, regulatory changes are reflected in the poem Jeon bong-gun different version was found intact in the complete works of poetry and poetry have been published after the Hangul spelling newly revised in 1988. It works in the classification and analysis work and historical research work related to the surge reprinted minutes of Jeon bong-gun poet with many of the same work of the same title different version presents clear criteria. Jeon bong-gun poetic sense to pass this represents an ideal means trust and love that is generated by performing a frontal confrontation, intense negotiations with reality through the materialization of images. Different version when they Jeon bong-gun poet the meaning of the experience and sensibility of the means set forth in each paragraph will be embodied in the subjective perception. Each different version every form of poetic completed through the rise and diversification of the means through the materialization of images. In the space of negative devastation produce a positive means to create poetic as smoking flower creative space. Jeon bong-gun is receiving the effect of the musical effects by the variation means and repeatedly at the same time. ``Repeat`` and through the ``variation`` of the technique is called of God and the human actors ``nested`` condensed and the effects of the open and the diffusion combination and comprehensive and meet or effect of connect or will occur due to the unique inner power Jeon bong-gun when you meet with the effect of the transformation techniques are springing up. Jeon bong-gun and the spirit of the poet is aware of the devastated world of poetry, poetic reality and fantasy that exists as a form of creative dreams to overcome, and through him to the reader to stopping the vitality of a new life. Space of play and the life through the entire work of the poet Will rebirth in the poetic space for the pursuit of completing a poetic way done lost through the collapse of the process scars of devastation and space, the poetics of positiveIt is shaped by Poetic narrator willingness to overcome the one experience undergoes a poetic space recovery is made of life has created a structural poetics which means building a new network of crave for life and existence. Salpineun the process of organizing and shaping a form of variation, such as through visiting the precise changes in Shea Shea through the image that appears at the Jeon bong-gun (pattern) can be described as an essential work for understanding the aesthetic value based on the market price of the poet. If a particular situation and the phrase is repeated at the Jeon bong-gun and it appeared that a lot of variation and repetition of poetic shaping the negative situation in reality represents a repetitive and rhythmic characteristics of the images that appear through the ticker system. Meaning of organically shaped and poetically conscious and that party ``Language`` through a variety of angles the music of the ``melodies`` is through the rhythm. Jeon bong-gun`s Poem is that almost all the area has a dense musical techniques of aesthetic intent in trying to ``repeat`` and ``variations``. Jeon bong-gun was achieved through the mist of time sex substitution of the implementation of such refractive and poetic narrator weave the image was based on the experience gained from the war showed the disruptive and time configuration fragment. Thus it can be seen that the pursuit of endless eternity and through the recovery and the language of emotion.

전봉건 시의 결정판 확정에 대한기본 유형과 의미화

김윤경 단국대학교(천안캠퍼스) 한국문화기술연구소 2016 한국문화기술 Vol.20 No.-

Divide the task of reviewing the type of definitive confirmation by the target when the artist with multiple the definitive Edition as Jeon bong-gun poet has an important meaning. In general, regulatory changes are reflected in the poem Jeon bong-gun different version was found intact in the complete works of poetry and poetry have been published after the Hangul spelling newly revised in 1988. It works in the classification and analysis work and historical research work related to the surge reprinted minutes of Jeon bong-gun poet with many of the same work of the same title different version presents clear criteria. Jeon bong-gun poetic sense to pass this represents an ideal means trust and love that is generated by performing a frontal confrontation, intense negotiations with reality through the materialization of images. Different version when they Jeon bong-gun poet the meaning of the experience and sensibility of the means set forth in each paragraph will be embodied in the subjective perception. Each different version every form of poetic completed through the rise and diversification of the means through the materialization of images. In the space of negative devastation produce a positive means to create poetic as smoking flower creative space. Jeon bong-gun is receiving the effect of the musical effects by the variation means and repeatedly at the same time. ‘Repeat’ and through the ‘variation’ of the technique is called of God and the human actors ‘nested’ condensed and the effects of the open and the diffusion combination and comprehensive and meet or effect of connect or will occur due to the unique inner power Jeon bong-gun when you meet with the effect of the transformation techniques are springing up. Jeon bong-gun and the spirit of the poet is aware of the devastated world of poetry, poetic reality and fantasy that exists as a form of creative dreams to overcome, and through him to the reader to stopping the vitality of a new life. Space of play and the life through the entire work of the poet Will rebirth in the poetic space for the pursuit of completing a poetic way done lost through the collapse of the process scars of devastation and space, the poetics of positiveIt is shaped by Poetic narrator willingness to overcome the one experience undergoes a poetic space recovery is made of life has created a structural poetics which means building a new network of crave for life and existence. Salpineun the process of organizing and shaping a form of variation, such as through visiting the precise changes in Shea Shea through the image that appears at the Jeon bong-gun (pattern) can be described as an essential work for understanding the aesthetic value based on the market price of the poet. If a particular situation and the phrase is repeated at the Jeon bong-gun and it appeared that a lot of variation and repetition of poetic shaping the negative situation in reality represents a repetitive and rhythmic characteristics of the images that appear through the ticker system. Meaning of organically shaped and poetically conscious and that party ‘Language’ through a variety of angles the music of the ‘melodies’ is through the rhythm. Jeon bong-gun’s Poem is that almost all the area has a dense musical techniques of aesthetic intent in trying to ‘repeat’ and ‘variations’. Jeon bong-gun was achieved through the mist of time sex substitution of the implementation of such refractive and poetic narrator weave the image was based on the experience gained from the war showed the disruptive and time configuration fragment. Thus it can be seen that the pursuit of endless eternity and through the recovery and the language of emotion.

전봉건의 「6 · 25」 연작시 연구 ― ‘언캐니’ 개념을 중심으로

양경언(Yang, Kyung-Eon) 한국시학회 2020 한국시학연구 Vol.- No.64

The study examines Jeon Bong-gun’s “6 · 25” series as “Uncanny” and argues that the “6 · 25” series needs to be actively reexamined. Jeon Bong-gun is a poet who has been highly praised for embodying the poetic will to embrace fragmentation and division through the “love” method that crosses the violent horrors of war. The tragic situation in reality and the poet’s work to maintain tension have been read as the possibility of modernism poetry, which seeks to overcome reality while keeping critical eye on it. However, the 6 · 25 series seems to have a unique location. This is because the poet’s will is not easily found, even though the series “6 · 25”, which published 59 works for three years from 1985 to 1988, focuses on the single subject of the 6 · 25 War. However, the 6 · 25 series provides important clues as to how the poet is involved in the war. Jeon Bong-gun’s “6 · 25” series shows the memory of the suppressed war, which suddenly returns from familiar daily life, breaks the will of life and makes the war experience itself. From a “Uncanny” perspective, Jeon Bong-gun’s “6 · 25” series, which is a concept that makes people feel unfamiliar with familiarity and cause anxiety, is a collection of poems that appear to have returned terrible memories of the war, which were suppressed unconsciously by the poet, while also expressing the experience of facing the reality of oppression through a tear in the poetic subject. In Jeon Bong-gun’s “6 · 25” series, it can be seen that “Uncanny’s Punktum,”which is caused by the coexistence of disparate things, the situation of “objective coincidence”, which is revealed by repeated compulsive compulsions, the emergence of fragmented body images, and discontinuous writing patterns are being shaped by “Uncanny”. Uncanny, which enables the series “6 · 25”, shows how the psychological state of the poetic subject intervenes in the perception of reality and forms the reality itself, aesthetically proves that the experience of war is destructive enough to bind the subject and nonlinearly return no matter how long it has been experienced. The series is also another “reality” of the poet, who is driving criticism aimed at social realities that are increasingly losing memories of the war. In the series “6 · 25”, Jeon Bong-gun embodies war by displaying the pain itself that cannot be fully reproduced through the language of the divided tongue. This is a way of penetrating the wounds of the war rather than a premature move to “repress” the wounds of the war. It is a way of breaking the boundary between consciousness and unconsciousness and not leaping from war. It would be meaningful to read Jeon Bong-gun’s “6 · 25” series as “Uncanny” in that it embodies the way he penetrates wounds to readers through poetic imagery.

대원군 사주에 의한 동학농민전쟁설 비판

이영재(Yi Young Jae) 한국정치학회 2016 한국정치학회보 Vol.50 No.2

동학농민전쟁 연구 중 ‘대원군 밀약설’을 다루고 있는 연구들은 논점에 따라 세 가지 입장으로 나뉜다. 첫째, 대원군이 동학농민군과 관계를 맺고, 농민군 동원을 ‘사주(使嗾)’하였다고 주장하는 소위 ‘대원군 사주설’이 그것이다. 둘째, 전봉준과 대원군 사이에 모종의 연관이 있었다는 소위 ‘대원군 연관설(이용설)’이 있다. 셋째, 전봉준이 당시의 정치적 상황에 맞추어 ‘대원군’의 정치적 명성을 활용한 것으로 보는 ‘대원군 원격 활용설’이 있다. 본 연구는 특히 유영익의 소위 ‘대원군 사주설’에 대한 비판적 사료검토에 주안점을 두었다. 연구의 결과는 다음과 같다. 첫째, 동학농민군의 제1차 봉기 이전 대원군과 전봉준의 밀약설 주장은 강한 추정에 불과하다. 둘째, 대원군 사주에 의한 동학농민군의 제1차 봉기설에 동원된 기존 사료를 검토한 결과 ‘국태공 추대’는 동학농민군이 정부 관속에게 보내는 ‘호소문’, ‘회유문’에만 나타나고 있는 점에 비추어 볼 때 동학농민군이 필요에 따라 대원군을 이용한 것으로 보인다. 셋째, 대원군 측의 ‘사주’ 내용이 실체적으로 확인되는 동학농민군의 재기포의 경우 대원군의 ‘사주’는 결과적으로 자신의 정치적 목적을 향한 일방적 ‘사주’였고, 동학농민군은 이 실패한 ‘사주’에 영향을 받지 않았다. 동학농민군 재기포의 목적은 ‘아국국토에 대한 침략’(경복궁 무력 점령)을 감행한 일본군에 대한 항거에서 비롯되었음을 재차 확인했다. Studies of the uprising instigated by Taewon’gun among studies of the Donghak Peasant War are divided into three viewpoints depending on the point in question. The first group are the so-called Taewon’gun instigation studies emphasizing that Taewon’gun formed a relationship with the Donghak Peasant Army and incited its mobilization. The second group are the so-called Taewon’gun connection studies claiming some kind of connection between Jeon Bong-jun and Taewon’gun. The third group are the remote use of Taewon’gun, which consider that Jeon Bong-jun used Taewon’gun’s political reputation to suit the political situation of the time. This study focused on a critical review of examples of the Taewon’gun instigation theory by Young Ick Lew. The results of this study are as follows: Firstly, it is impossible to strongly contend that there was a secret agreement between Taewon’gun and Jeon Bong-jun before the Donghak Peasant Army’s First Revolt. Secondly, results of reviewing previous examples of the Donghak Peasant Army’s First Revolt incited by Taewon’gun show that a more faithful interpretation is the view that the Donghak Peasant Army used Taewon’gun as needed; these include the Letter of Plea and Letter of Conciliation where headed by ‘Guktaegong’ appears. Thirdly, information about Taewon’gun’s incitement, confirmed substantively in the Donghak Peasant Army’s Second Revolt, suggests that it was ultimately incitement for his own political purposes and that the Donghak Peasant Army was not affected by this failed incitement. The purpose of the Donghak Peasant Army’s Second Revolt began with resistance to the Japanese Army which was executing invasion of our country (military occupation of Gyeongbokgung).

전후시에 나타난 "여성"과 "사랑"의 의미 -김구용과 전봉건의 시를 중심으로

김양희 ( Yang Hee Kim ) 한국문학언어학회(구 경북어문학회) 2015 어문론총 Vol.65 No.-

이 연구는 전후의 현대시에 나타난 ‘여성’형상의 양상과 의미를 파악하고 ‘사랑’의 의미를 밝히는 데 목적이 있다. 한국 전쟁은 전후의 시인들에게 ‘나는 누구인가?’라는 정체성 문제를 시적 과제로 선사하였다. 특히 김구용과 전봉건은 전후에 창작된 시에서 ‘자기 자신’의 정체성에 대한 물음을 시적 화두로 삼고 있다. 이 때 주체 정립은 타자에 대한 인식과 관련된다. ‘나’를 정립하기 위해서는 타자와의 관계 정립이 요구되기 때문이다. 이러한 타자의 역할은 두 시인의 시에서 ‘여성’이 담당하고 있다. 이 논문은 두 시인의 시에 나타난 ‘여성’의 의미와 역할을 해명하려는 데 있다. 전봉건의 ‘여성’은 황폐한 현실을 타개하기 위해 필연적으로 요청되어야 할 자연이며, 그런 의미에서 심미화되고 이상화된 가상의 자연이다. 김구용의 ‘여성’은 전후 한국 사회의 부정적 모더니티를 정확하게 드러내는 존재로서 ‘산 -죽음 living-dead’의 형상으로 반복 출현한다. 뱀, 시체 등으로 변이하는 여성은 전후 현실이 일상의 베일 너머에 감추고 있는 잔혹성을 폭로한다. 주목할 사실은 이 과정에서 김구용과 전봉건이 모두 ‘사랑’을 주요한 테마로 삼고 있다는 점이다. 그들이 전후기에 호명하는 ‘사랑’은 전쟁이라는 현실에 대한 시적 응답이라 할 수 있다. 사랑의 양 국면- 사랑의 가능성과 불가능성-을 타진함으로써, 두 시인은 전후 미적 모더니티의 장에서 주체 정립의 다양한 국면을 드러낸다. The purpose of this study is to examine the aspect and meaning of ``woman`` form shown in modern poem after the Korean War and reveal the meaning of ``love``. The war in the 1950s presented an identity issue of ``Who am I?`` to poets. The question on the identity of ``self`` was being used as a poetic theme particularly by Kim Gu-yong and Jeon Bong-gun in their poems written after the War. However, establishment of identity is related to the awareness of other. The reason is because it is necessary to first establishment the relationship with ``you who is me`` namely, other to establishment ``me``. Such role of other is being played by ``woman`` in the poems of the two poets. This paper aims to explain the meaning of ``woman`` shown in the poems of the two poets. The ``woman`` of Jeon Bong-gun is the nature that has to be requested to overcome this devastated place and in that sense, it is beautified and idealized virtual nature. As the existence that most accurately reveals negative modernity of of the postware Korean society, the ``woman`` of Kim Gu-yong repeatedly appears in the form of ``living-dead``. The woman mutating into snake and corpse exposes the brutality concealed over the veil of everyday life of the postwar reality. What should be noted is the fact that ``love`` is being used as main theme both by Kim Gu-yong and Jeon Bong-gun in this process. The ``love`` being called by them in the postwar era can be considered as the poetic response to the reality of war. As they search for the impossibility and possibility of love, the two poets reveal various situations of identity establishment in the place of postware aesthetic modernity.

전봉건 시에 나타난 전쟁 폭력에 대한 시적 형상화

장은영 ( Jang Eun-young ) 한민족문화학회 2019 한민족문화연구 Vol.65 No.-

This paper analyzed the response to war violence and the problem of poetic embodimenting against war violence on the subject of the poetry work of Jeon Bong-gun. The response to war violence and poetic embodiment patterns have four tendencies from time to time.First, the poetry that deals with direct war experience shows a poetic strategy of keeping one's distance from physical violence and spontaneously materializing oneself. The materialization of the poetic subject shows a cross-section of war violence that tool humans. It also shows the will of a poetic entity not to be engulfed in cultural violence, such as ideological slogans and propaganda.Second, right after the war, the works began to evoke the tragedy of the war, revealing their will to overcome death. Jeon's favorite phrase, "Hang-a-ri," symbolizes eroticism and vitality that transcends death. Eroticism evokes a life of overflowing in sensuality. It is a source of overcoming death and an opportunity to restore the unspoilt human vitality caused by the cultural violence caused by the war.Third, Chun Bong-gun expressed the trauma of the war by venting his own sorrow, a separated family. The self-explanatory incitement of the grief and longing of those who lost their homes is evidence of a structural reproduction of the war violence that does not go away even after the ceasefire. At the same time, they show their willingness to overcome the injury by confronting it.Finally, the 6.25 was reconstructed in a series of poems. "We," which appeared as a poetic subject in this work, shows a sense of solidarity that the tragedy of war is that of all members of the Korean Peninsula. “We” are the party sharing the scene of tragedy, the poet in the position of witness, and the person who testifies to the war. As a testimony, the 6.25 is a generation that experienced war, reflecting the ethical duty of the war leader to talk about the violence and tragedy of war.The wartime period of war in Jeon-bongun is beyond the logic of the wartime system and the limits of the divisional system. His work advocates universal human existence with a will to live, and reveals a sense of counter-war and a tendency toward peace.

1960, 70년대 김종삼과 전봉건 시의 헤테로토피아 연구

김지율 우리말글학회 2024 우리말 글 Vol.100 No.-

이 논문에서는 1960, 70년대 김종삼과 전봉건의 시에 드러나는 ‘모순과 저항’의 헤테로토피아를 살핀다. 이 시기는 산업화와 군부독재에 따른 급속한 경제발전과 더불어 국가의 감시와 통제가 강력했던 만큼 개인들의 자유를 강하게 규제하였던 시대였다. 한국전쟁과 월남 그리고 실향민의 고독 속에서 자아와 타자 사이, 어디에도 편입되지 못했던 두 시인이 염원했던 유토피아적 공간의 근간에는 디스토피아적인 현실 인식이 불가피하게 깔려있었으며 그것은 이질적인 장소를 통해 시에 드러날 수밖에 없었다. 김종삼 시에 드러나는 ‘아우슈비츠’나 ‘원정’은 근대적 합리성 아래 가리워진 세계에서 고통받는 자들의 얼굴을 마주하는 모순과 이질성의 장소였다. 때문에 전쟁과 시대의 폭력으로부터 윤리적 책임을 요청하는 반(反)장소적 특징이 드러난다. 또한 전봉건의 장시집 춘향연가 의 ‘옥(獄)’과 ‘마카로니 웨스턴’이라는 장소는 폭력과 죽음이 난무하는 부조리한 현실을 역설적으로 재현함으로써 그것을 전복하는 공간이었다. 시대 현실과의 긴장과 불화가 두 시인으로 하여금 새로운 장소를 모색하게 했다면 그곳은 이 현실의 ‘바깥’ 즉 탈질서의 공간들로서 여기 ‘없는 장소’를 통해 역설적으로 ‘있는 장소’의 모순과 비실재성을 부각시켰다. 말하자면 두 시인의 시에 담지된 헤테로토피아는 동시대에 그들이 겪었던 경험적 현실과 근대의 부조리함에 대한 비판적 사유이자 위기의식이라 할 수 있을 것이다. 나아가 현실을 떠날 수는 없지만, ‘모순과 전복’의 두 헤테로토피아를 통해 규칙을 만들고 통제하는 ‘판옵티콘’적인 당시 사회와 체제에 저항할 수 있는 가능성을 제시 하였다. The purpose of we look at the heterotopia of “contradiction and resistance” revealed in the poems of Kim Jong-sam and Jeon Bong-gun in the 1960s and 1970s. This was a time when the state’s monitoring and control were strong, along with rapid economic development due to military dictatorship and industrialization, and individual freedom was regulated. Dystopian perception of reality was inevitably laid at the basis of the utopian space that the two poets hoped for, who could not be incorporated between themselves and others amid the Korean War, the South and the solitude of displaced people, and it was inevitably revealed through heterogeneous places. “Auschwitz” and “Wonjeong,” which were revealed in Kim Jong-sam’s poem, were places of tragedy and mourning where people face the suffering in a world hidden under modern rationality. Therefore, the anti-place characteristic of asking for ethical responsibility from war and violence of the times was revealed. Also, the closed place called “獄” by Jeon Bong-gun’s collection of poems, and the place in the western movie called “Macaroni Western” were paradoxical representations of the absurd reality full of violence and death. If tension and discord with the reality of the times led the two poets to seek a new place, it paradoxically highlighted the contradiction and impracticality of the ‘place of existence’ through the ‘outer’ or ‘place without’ here as the ‘outer’ of this reality. The heterotopia contained in the poems of the two poets, who reversed the absence, hospitality, ethics, and mourning of the real world, can be said to be a dialectical revelation of the criticism of modern absurdity and the sense of crisis by juxtaposing the empirical reality they experienced at the same time. Furthermore, although it was impossible to leave reality, it was a poetic response as resistance to the panopticon-like society of the time through the two heterotopias of surveillance and deviation.

1970년대 전봉건 시의 내면화 방식 연구 - 장소와 화자의 시선을 중심으로 -

김지율 한민족어문학회 2019 韓民族語文學 Vol.0 No.85

In the 1970s when lots of social problems occurred due to the Revitalizing Reforms system and rapid modernization, various literary discourses were activated in literature field to get out of the existing literary perception and value, competing against these social contradictions. This paper examined how Jeon Bong-gun, a representative post-war modernist poet, recognized and responded to this reality, by focusing on the place and the narrator's gaze revealed in his poetry. This is because his poetry revolted against the dominant ideology and actively revealed its violence and falsehood, trying to overcome and embody the wounds of war and disorientation poetically without end as well as various experimental poetic consciousness. Observation showed in his poems of open area including 'Macaroni Weston' serial poetry strongly reveals his gaze of reality denial, causing anxiety, confusion and compulsive image of the subject. His gaze of alienation and home remembrance is prominent in a city where the poet experiencing the fear of war and death and suffering from the loss of his hometown. In addition, the selection of isolated places separated from the outsiders' gaze is caused by the ontological anxiety felt in the open place, and the subject's gaze leads to fantastic one as well as reflective and disruptive going on to his inner side, without simply stopping to just look at the scenery and object. 1970년대는 유신(維新)과 급속한 근대화로 여러 사회 문제들이 심화되어 나타났고, 문학에서는 이러한 사회적 모순에 대항하여 기존의 문학적 인식과 가치에서 벗어나려는 다양한 문학적 담론이 활성화되었다. 이 논문은 대표적인 전후 모더니스트 시인인 전봉건이 이러한 현실을 어떻게 인식하고 그것을 내면화했는지 그의 시에 드러나는 장소와 화자의 시선을 중심으로 살폈다. 이것은 전봉건의 시가 지배 이데올로기에 저항하며 그것의 폭력성과 허구를 적극적으로 드러냈으며, 다양한 실험적 시의식 뿐 아니라 전쟁과 실향의 상처를 끝없이 시적으로 극복하고 형상화하려고 했기 때문이다. ‘마카로니 웨스턴’ 연작시를 비롯한 개방적 장소의 시에서 드러나는 감시는 주체의 불안과 혼란 그리고 강박적 모습 등을 초래하며, 현실 부정적 시선이 강하게 드러난다. 전쟁과 죽음의 공포를 체험하고 실향의 아픔을 겪었던 시인이 생계를 이어갔던 도시라는 장소에서는 소외와 고향 회고의 시선이 두드러진다. 또한, 외부의 시선으로부터 단절, 분리된 고립된 장소의 선택은 개방적 장소에서 느끼는 존재론적 불안에서 비롯된 것으로 보이는데, 이러한 장소에서는 성찰적이고 분열적인 동시에 환상적 시선으로 이어진다. 이와 같은 장소의 선택과 시선들은 시적 주체가 시대 상황을 인식하고 현실을 지배하는 모순된 질서나 규율로부터 자신의 세계를 구축하려는 의지이자 그것을 내면화하는 한 방식이라 할 수 있을 것이다.

중립, 그리고 오지 않은 전후 : 신동엽과 전봉건의 텍스트를 중심으로

김지윤 상허학회 2019 상허학보 Vol.56 No.-

이 논문은 현재 우리가 처해 있는 전후문학 연구의 딜레마와 ‘전후’ 개념과 범위 설정에 대한 몇 가지 문제를 제기하고 전후문학 논의의 전제 하나를 제시하려 하였다. 또한 전후문학을 바라보는 협소한 시각을 넓히고 전쟁을 양의적으로 고찰하며 당대 현실과 시단의 재편성 속에서 새로움을 모색한 소위 ‘전후파’의 문학 속에 드러난 ‘전후’에 대한 인식을 재조명해보려 했다. 기존에 전후문학은 전쟁의 허무, 황폐함, 우울, 죽음의식, 불안 등 부정적 요소에 중점을 두고 주로 연구되었는데, 전쟁이 끝난 직후 당대인들이 욕망했던 ‘포스트시대’의 전모를 파악하기 위해서는 전쟁의 양의적인 고찰이 필요하다. 전쟁을 끔찍한 재난, 비참한 파국, 혼돈 상태로만 받아들인다면 그것을 정상화 혹은 복구하기 위해 서둘러 그 상태를 종료시켜야 한다는 생각으로 이어지기가 쉽다. 해방 이후 ‘청산’하고 ‘극복’해야 한다는 목적 아래 서둘러 ‘포스트’라고 말하게 된 것은 아닌지 의심해보기 위해 우리는 ‘전후’, ‘식민지후’를 재조명해야 하며 그것이 진정으로 청산되고 극복된 것인지에 대한 끊임없이 현재적인 질문을 던져야 한다. 당대인들이 욕망했던 ‘포스트’ 시대와 그에 대한 전망을 구현하려는 문학적 전략, 그리고 그것이 실패한 이유를 파악하기 위해 이 글은 ‘휴전’이라는 사건 직후의 시대를 조망하며 그 하나의 방식으로 전후문학에 나타난 공간의식을 살펴보았다. 당대인들의 ‘시도’와 ‘실패’를 동시에 검토하는 것이 의미 있는 이유는, 이것이 ‘끝나지 않은 전쟁’이라는 문제를 환기시킨다는 데 있다. ‘오지 않은 전후’에 대한 인식이 잘 드러나는 것이 신동엽, 전봉건의 전후기 시 작품들이다. 신동엽과 전봉건의 전후기 시들은 당대의 현대성 담론, 시대적 상황과 사회의 공통욕망 등을 반영하면서도 자신들의 독자적 영역을 구축하고 있다. 이들의 작품에서 발견할 수 있었던 것은 코스모폴리타니즘과 아나키즘적 문제의식과 이상을 담은 새로운 공간에 대한 상상이었다. ‘포스트시대’가 아직 도래하지 않았음을 반복해서 환기시키는 일은 당시 정치적 상황에 대한 문제제기 및 극복 의지, 도전성을 보여준다. 미-소 냉전체제나 자본의 힘이 강력하게 작용하고 있던 당대의 한국 현실에서 ’아직 오지 않은 전후’를 환기시킨 것은 ‘식민지후’, ‘전후’에 돌입했다고 할 수 없는 한국적 현실과 그 배후에 있는 원인들을 자각하게 하는 하나의 방법으로 볼 수 있다. 그리고 그들이 제시하는 ‘중립지대’에 대한 공간적 상상 혹은 탈경계적 평화주의의 이상은 ‘구성된 평화주의’나 ‘문서상의 평화’에 대한 항변의 뜻을 내포하고 있기도 하다. ‘전쟁 위협’ 혹은 ‘평화’를 정치적으로 이용하려 하는 시도들과 외부의 개입에 의해 이루어진 ‘휴전’ 속에 여전히 해결되지 않았거나 더욱 곪아가며 남아있는 문제들을 ‘아직 끝나지 않은 것’으로써 지속시키기 위한 것이라고도 할 수 있다. 이들의 문학적 대응은 현재 우리의 문제를 성찰하고 여러 당면한 과제를 해결하는 데 중요한 참조점이 되어준다. 신민족주의와 신자유주의가 범람하는 지금의 세계에서 ‘전후’ ‘식민지후’라는 개념을 재고찰할 필요성은 더 높아졌다. 이는 언젠가 도래할 ‘종전문학’을 예비하기 위한 것이기도 하다. Looking back on the preceding study of postwar literature, this paper tried to raise some questions about the dilemma of the post-war literature study and the setting of the concept and scope of “post-war” literature that we are currently dealing with, and put forward a premise of the post-war literature studies. The concept of post-war literature is very difficult, complicated and must be closely examined in Korean circumstances because of the long truce. By far, Postwar poetry has generally studied in the context of desolation, nihilism, anxiety, and death consciousness. Against this backdrop, this paper attempts to expand the horizon of the study on the postwar poetry by looking at it in the context of renewal, new hope, reconstruction, and regeneration. This study considered ‘the postwar period as a starting point’, reviewed the period in terms of ‘productivity’, and tried to identify the ‘newness’ that Korean modern postwar poetry desperately and enthusiastically facilitates, and reveal the identity that contemporary writers of the time seek to establish. Considering that the military regime and the cultural dark ages has lasted for some time since the 1960s, the creative consciousness or productivity of this period cannot in fact have achieved the purpose originally expected. This paper examined the propensity in the overall post-war literature and discussed its specific examples through works by Shin Dong-yup and Jeon Bong-gun. This paper noted the perception of ‘neutral zone’ and ‘unfinished postwar’ in their work. What could be found in their works was their imagination of a new space featuring cosmopolitanism and anarchistic ideals. The spatial imagination of the trans-boundary ideal of pacifism from their works, may imply an objection to negative realities and political situations of those days. The literary response of poets during this period is an important reference point in solving the current problems facing our society

전봉건의 전쟁체험시와 회상 형식의 미학

박윤우 한국시문학회 2004 한국시문학 Vol.15 No.-