시의 혁명과 시적 혁명 : 심미적 아방가르드와 ‘온몸의 시’로서의 아방가르드

김승희(Kim Seung-Hui) 한국시학회 2007 한국시학연구 Vol.- No.20

Avant-garde art brought the energy of a full transformation to Korean poetry, which was bogged down in traditional lyrical conventions. The impulse provided by the avant-garde, violating the standard artistic norms, produced many experimental texts in a quest for constant renewal. Studies of the avant-garde in Korean poetry have so far mainly been conducted in terms of Modernism. Taking the tendency toward Dadaism found in the early poems of Im Hwa or Jeong Ji-Yong in the 1920s, the influence of Futurism and Cubism in the concrete or visual and numerical poems by Yi Sang in the 1930s, surrealist texts expressing in prose the flow of the unconscious by free association and the absence of spacing between words, or the surrealist poetry of Jo Hyang in the 1950s, etc. the specific avant-garde artistic quality is defined. However, although the texts and poetic theories of the poet Kim Su-Yeong in the 1960s are clearly avant-garde, they present slight differences from the previous forms of avant-garde poetry. In his 'full-bodied poetics' or his 'anti-poetics,' Kim Su-Yeong rejected the forms of literature that were Modernist only in technique, advocating at the same time a text into which physicality had been integrated and a revolution of society. Kim Su-Yeong's antipoetics is very similar to the poetics of negation of Julia Kristeva. She linked the conflict between the symbolic and the semiotic and the physical to the production of text as she explicated the nature of avant-garde poetry. She stipulated that avant-garde texts do not simply violate the standards of previous aesthetics, they rather express a challenge to the symbolic structures governing society as a whole, as a revolutionary dream. Invoking the theoretical positions of Julia Kristeva, it is proposed to express this distinction by terming the avant-garde poetry that simply violates aesthetic norms 'a revolution in poetry' and the poetry that calls for a radical transformation of society as a whole, as Kim Su-Yeong's 'full-bodied poetry' does, 'a poetic revolution.' In his "Full-bodied Poetics," Kim Su-Yeong wrote "Poetry is not written with the head, nor with the heart, but with the whole body." He went on the say, "Modernity in poetry should not be pursued by poetic techniques but with the whole body." That is to say that the advanced poetry dreamed of by Kim Su-Yeong demands the integration into the text of the physicality that had been eliminated by the symbolic. That (the physicality of the pre-oedipal conflict) endows the text with a vigorous conflictual rhythm or libidinal energy and, although paradox and irony produce a confusion of meaning, at the same time they also introduce the dream of a revolution attacking and rejecting previous systems. A subject that disturbs and threatens a subject that has been secure in the order of previous systems, producing a divided subject, gives rise to dreams of a new world, one that does not as yet exist. Therefore Kim Su-Yeong came to assert that: "all advanced poetry is subversive poetry." It is also possible to affirm that this is very close to a practice of what Kristeva called 'poetic revolution.' Seen in this way, it becomes possible to include the ballads of Kim Ji-Ha, such as Ojeok (Five Thieves), or the calls for anti-capitalistic detachment or bohemian freedom of a Kim Jong-Sam or Cheon Sang-Byeong, and the feminist confessional poems of the 1980s, among earlier examples of avant-garde poetry.

1970년대 이후 한국 현대시에서 전위의 맥락

권혁웅(Kwon Hyuck-Woong) 한국시학회 2007 한국시학연구 Vol.- No.20

This study is concerned with the context of avant-garde poetry from 1970's to 2000's. There are three types of Korean avant-garde poetry. Each type has it's own techniques. First, there is the social avant-garde type of poetry. It's based on un-poetic points as like montage-technique which put the various discourse together. Second, there is the self-conscious avant-garde type of poetry. It's founded on the nonsense poetry-as it called- or nonsense poetics which are introduced by Kim Chun-su (김춘수). Third, there is the lyric avant-garde type of poetry. It is based on the disharmony and allegory instead of harmony and symbol. The avant-garde means the destruction of the contemporary norm and style. As time goes by, the contemporary meaning of avant-garde is completed done. And the poetry of ‘the late’ avant-garde is posted into the history of literature. The examination of the historical context of avant-garde poetry would be the study of the vicissitude of poetic norm and style.

시교육과 전위시

김종훈(Kim Jong-Hoon) 韓國批評文學會 2011 批評文學 Vol.- No.41

이 논문은 전위시를 중심으로 고등학교 국어 교과서에 수록될 시의 성격에 대해 모색한 시도이다. 국어 교과서는 현재 국정에서 검인정으로 바뀌는 과도기적 상황에 놓여 있다. 수록시의 총량은 늘어나고 시 한 편이 지닌 가치는 낮아진 상황에서 시 교육의 임무에는 개별 시편에 대한 정밀 분석과 아울러 전체 시의 지형도를 인식하는 과정이 더해졌다. 한국 시의 전체 지형도를 파악하는 것은 학습자가 직접 배우지 않은 다른 검인정 국어 교과서에 수록된 시를 이해하는 데 도움을 준다. 온전한 시의 지형도는 한국시의 전통과 주류 반대편 또는 변방에 있는 전위시를 주목하는 것에서 드러날 수 있다. 한국 근대시에서 전위적인 특성을 보여준 대표적인 시인은 이상과 황지우를 들 수 있다. 그러나 교과서에 수록된 그들의 시가 전위적인 특성을 띠고 있다고 말하기는 어렵다. 여기서 문제점은 학습자가 전위적이지 않은 시를 전위시로 인식하도록 교육 받을 때 근대시의 특성을 파악하기 어려울 뿐만 아니라 문학교육의 목적인 창의력이 신장될 수 있는 가능성 또한 줄어든다는 것이다. 전위적인 시인들의 전위적인 특성을 보존하고 있는 시를 찾아 교과서에 소개해야 할 이유가 여기에 있다. This study examined the characteristics of poetry that are to be included in Korean language high school textbooks with particularly attention given to avant-garde poetry. Currently Korean language textbooks are in a transition stage from being a government designated textbook to an authorized textbook. The number of poetry introduced in textbooks are to increase while the value credited to each poetry are to decrease accordingly. Under these circumstances it is expected that poetry education include curriculum for precise analysis of respective poetry along with that for a topographic understanding of poetry in its entirety. This topographic understanding of poetry is bound to help learners understand poetry that are included in other authorized textbooks which are not handled in their given curriculum. A sound topographic mapping of Korean poetry is reflected in focusing on avant-garde poetry that is in opposition to or at the outskirts of traditional and mainstream poetry. Within modern Korean poetry Yi Sang and Hwang Ji Woo are poets who have demonstrated the characteristics of avant-garde in their works. However it is hard to say that their works included in the textbooks are poetry characteristic of avant-garde. Problematically when learners are taught to perceive non-avant-garde poetry as avant-garde poetry it becomes difficult for them to understand the features of modern poetry. In addition it discourages the possibility of cultivating creativity which is in fact the purpose of literature education. Here lie the just reasons for locating poetry retaining aspects of the avant-garde and written by avant-garde poets and introducing them in the textbooks.

마야코프스키와 김수영의 정치시 : 비교연구를 위한 시론(試論)

이명현 한국러시아문학회 2017 러시아어문학 연구논집 Vol.59 No.-

Vladimir Mayakovsky and Kim Soo-Young are comparable with each other in that they are representing poetic avant-garde in Russia and Korea, respectively, and they both opened a new prospect in the field of modern political and participatory poetry. Mayakovsky defined his poetry as poetry of steel in his poems published posthumously. “Poetry of steel” is an expression condensing Mayakovsky’s avant-garde perspective that sees poetry in the same line with politics. In his prose released posthumously which discusses the relations of poetry and politics, Kim Soo-Young made clear that poetry is “pushing whole body forward with whole body.” Based on this statement, his poetry and poetics are called as “poetry of whole body.” For Mayakovsky and Kim Soo-Young, poetic avant-garde and political avant-garde are not conflicting with each other, rather they are organically unified and mutually defining. For Mayakovsky and Kim Soo-Young, poetry is rebellious by nature, and political aspect is fundamental to their poems. It is well known that Mayakovsky emphasized innovativeness as a fundamental principle of writing poems. He constantly stressed that new substance comes out of new form, showing that he keenly understood hidden value system and actual power of language-material-form. Kim Soo-Young can be deemed as a descendant of futurist Vladimir Mayakovsky since Kim also consistently pursued innovation of poetry and recognized the power of language(“poetry as power”).

양 차 세계대전 사이의 체코 아방가르드 시

권재일(Kwon, Jaeil) 한국외국어대학교 외국학종합연구센터 동유럽·발칸연구소 2008 동유럽발칸연구 Vol.20 No.1

제1차 세계대전 이전과 전쟁 통안에 도입된 체코 아방가르드 중 체코 입체파는 주로 회화와 건축에 실현되고 있지만, 아폴리네르의 입체파 정신에 입각한 새로운 시작법, 특히 파격적인 연상, 도형과 회화의 시문학에의 도입 등은 전쟁 후에 오는 포체코 에티즘에 영향을 끼치며,미래파의 파격적인 구문과 참신한 시어의 도입 등도 포에티즘에 영향 을준다. 양 차 세계대전 사이의 아방가르드 중 제일 먼저 도입되고 실현된 체코 프롤레타리아 시는 파격적인 시작법보다는 새로운 주제와 새로운 모티브의 도입에 치중하게 되는데, 이는 문학과 예술을 통한 정치혁명의 달성이 우선적인 목표이기 때문이다. 노이만의 프롤레타리아 시가 계급의식, 계급투쟁, 집단주의, 연대, 혁명, 해방과 같은 테마들을 집중적으로 도입하고 있는 것은 무기와 수단으로서의 투쟁예술과 선동예술을 추구하고 있기 때문이다. 그러나 공감, 연민, 정의, 평등과 같은 사회 휴머니즘적인 가치들을 동시에 추구하는 호라, 그리고 이성과 감성, 자아와 타아, 개인과 집단의 상호 변증법적인 발전에 입각한 상호연대를 도모하는 볼케르의 프롤레타리아 시는 체코 시의 귀중한 자산이 되고 있다. 국제적 성격의 체코 고유의 아방가르드 운동인 포에티즘은 정치혁명보다는 예술혁명을 추구하면서 ‘놀이로서의 예술’과 ‘생활의 예술’을 표방한다. 따라서 포에티즘은 유머, 축제, 환희, 유희, 환타지, 상상과 같은 테마들을 숭상하고, 파격적인 이미지와 자유연상, 파격구문과 자유시가 특징적이며, 네즈발과 사이페르트가 대표적인 시인들이다. 체코 포에티즘과 프랑스 초현실주의의 영향을 받아 탄생한 체코 초현실주의는 자동기술 법을 동원하여 잠재의식과 무의식의 세계를 표출시키고,꿈, 광기, 우연과 같은 무시당해온 영역의 탐구를 지향하면서 파격적인 시작법을 도입하고 있는데, 네즈발의 시가 이를 잘 반영한다, 체코 현대시에 대한 체코 초현실주의 시와 포에티즘 시의 영향은 깊고 길다. Although among the pre-war avant-garde Czech Cubism was introduced mostly into the fine arts and architecture, Appollinaire's cubistic poetics based on the daring association and polythematic principle had influence on the later Poetism which was influenced by the Futurism characteristic of its experimental poetics including anacolution as well. The first Czech avant-garde movement Czech Proletarian poetry emphasized new themes and motifs like capitalist exploitation, social injustice, class consciousness, class conflict, collectivism, solidarity, proletarian revolution and the like. Almost all of these themes and motifs were introduced in Neumann's collection Rude zpevy (Red Songs), which is regarded as the most dogmatic Czech proletarian poetry. On the contrary, Hora added more humanistic values like sympathy, compassion, justice, equality, belief in the better future etc. while Wolker, the greatest Czech proletarian poet, tried to secure mutual solidarity obtained through the dialectic process between two contradicting forces: reason and emotion, subject and object, individual and collective Czech-origin Poetism was oriented to the artistic revolution rather than the political revolution. Poetism proclaimed itself as a style of living, an attitude, and a form of behaviour. Poetism sought to be art as a play or game full of imagination and fantasy, entertainment and carnival, trick and magic, fun and gaiety, and also aimed at the new poetics based on the free association and free verse. Both Nezval with his Pantomima (Pantomime), Akrobat (Acrobat) and Edison and Seifert with his Na vlnach TSF (On the Waves of the Wireless) were the most distinguished Poetistic poets while the brilliant poets representing the Czech poetry between the two World Wars like Halas, Holan, Zavada, and Zahradnicek started their career as Poetistic poetry. Czech Surrealism founded and practised by Nezval following the example of French Surrealism was led to the study of human being's subconscious or unconscious mind, and initiated free composition and automatism to express the subconscious ideas and feelings. Among Nezval's four collections of surrealistic verses Praha s prsty deste (Prague with the Fingers of Rains) are characteristic of its repetition without monotony and bizarre juxtapositions.

양 차 세계대전 사이의 체코 아방가르드 시

권재일 한국외국어대학교(글로벌캠퍼스) 동유럽발칸연구소 2008 동유럽발칸연구 Vol.20 No.1

Although among the pre-war avant-garde Czech Cubism was introduced mostly into the fine arts and architecture, Appollinaire's cubistic poetics based on the daring association and polythematic principle had influence on the later Poetism which was influenced by the Futurism characteristic of its experimental poetics including anacolution as well. The first Czech avant-garde movement Czech Proletarian poetry emphasized new themes and motifs like capitalist exploitation, social injustice, class consciousness, class conflict, collectivism, solidarity, proletarian revolution and the like. Almost all of these themes and motifs were introduced in Neumann's collection Rudé zpěvy (Red Songs), which is regarded as the most dogmatic Czech proletarian poetry. On the contrary, Hora added more humanistic values like sympathy, compassion, justice, equality, belief in the better future etc. while Wolker, the greatest Czech proletarian poet, tried to secure mutual solidarity obtained through the dialectic process between two contradicting forces: reason and emotion, subject and object, individual and collective Czech-origin Poetism was oriented to the artistic revolution rather than the political revolution. Poetism proclaimed itself as a style of living, an attitude, and a form of behaviour. Poetism sought to be art as a play or game full of imagination and fantasy, entertainment and carnival, trick and magic, fun and gaiety, and also aimed at the new poetics based on the free association and free verse. Both Nezval with his Pantomima (Pantomime), Akrobat (Acrobat) and Edison and Seifert with his Na vlnách TSF (On the Waves of the Wireless) were the most distinguished Poetistic poets while the brilliant poets representing the Czech poetry between the two World Wars like Halas, Holan, Závada, and Zahradníček started their career as Poetistic poetry. Czech Surrealism founded and practised by Nezval following the example of French Surrealism was led to the study of human being's subconscious or unconscious mind, and initiated free composition and automatism to express the subconscious ideas and feelings. Among Nezval's four collections of surrealistic verses Praha s prsty deště (Prague with the Fingers of Rains) are characteristic of its repetition without monotony and bizarre juxtapositions. 제1차 세계대전 이전과 전쟁 동안에 도입된 체코 아방가르드 중 체코 입체파는 주로 회화와 건축에 실현되고 있지만, 아폴리네르의 입체파 정신에 입각한 새로운 시작법, 특히 파격적인 연상, 도형과 회화의 시문학에의 도입 등은 전쟁 후에 오는 포체코 에티즘에 영향을 끼치며, 미래파의 파격적인 구문과 참신한 시어의 도입 등도 포에티즘에 영향을 준다. 양 차 세계대전 사이의 아방가르드 중 제일 먼저 도입되고 실현된 체코 프롤레타리아 시는 파격적인 시작법보다는 새로운 주제와 새로운 모티브의 도입에 치중하게 되는데, 이는 문학과 예술을 통한 정치혁명의 달성이 우선적인 목표이기 때문이다. 노이만의 프롤레타리아 시가 계급의식, 계급투쟁, 집단주의, 연대, 혁명, 해방과 같은 테마들을 집중적으로 도입하고 있는 것은 무기와 수단으로서의 투쟁예술과 선동예술을 추구하고 있기 때문이다. 그러나 공감, 연민, 정의, 평등과 같은 사회 휴머니즘적인 가치들을 동시에 추구하는 호라, 그리고 이성과 감성, 자아와 타아, 개인과 집단의 상호 변증법적인 발전에 입각한 상호연대를 도모하는 볼케르의 프롤레타리아 시는 체코 시의 귀중한 자산이 되고 있다. 국제적 성격의 체코 고유의 아방가르드 운동인 포에티즘은 정치혁명보다는 예술혁명을 추구하면서 ‘놀이로서의 예술’과 ‘생활의 예술’을 표방한다. 따라서 포에티즘은 유머, 축제, 환희, 유희, 환타지, 상상과 같은 테마들을 숭상하고, 파격적인 이미지와 자유연상, 파격구문과 자유시가 특징적이며, 네즈발과 사이페르트가 대표적인 시인들이다. 체코 포에티즘과 프랑스 초현실주의의 영향을 받아 탄생한 체코 초현실주의는 자동기술 법을 동원하여 잠재의식과 무의식의 세계를 표출시키고, 꿈, 광기, 우연과 같은 무시당해온 영역의 탐구를 지향하면서 파격적인 시작법을 도입하고 있는데, 네즈발의 시가 이를 잘 반영한다. 체코 현대시에 대한 체코 초현실주의 시와 포에티즘 시의 영향은 깊고 길다.

한국현대시와 정신주의

최동호(Choi Dong-ho) 한국비평문학회 2009 批評文學 Vol.- No.31

In the mid-1980s which was called the age of poetry, I published the Spiritual History of Modem Poetry(Yoleumsa, 1985). In the book published at the time when the people's poetry of realism was prevalent, I maintained the necessity of describing the history of Modern Korean poetry in perspective of spiritualism. It seemed necessary to reflectively discuss the radical ideology of realistic poetry. At the same time I thought we should establish an independent poetics by developing literary logic of our own. I realized that the eastern humanistic thought is a fundamental presupposition for an indedpendent poetics. Around the mid-1980, the deconstructive poetry of post-modernism appeared almost at the same time the people's poetry of realism disappeared from the center of the literary circle. I emphasized the importance of spiritualism through "Lyric Poetry and the Spiritual Conquest"(Modem Poetics. March, 1990), on the judgment that the deconstructive poetry is 'self-destructive poetry', which became popular by being created just in the place where the western reason was collapsed. It seems to be around this time that the term 'spiritualism' began to be discussed in the literary circle. Deconstructionism which was popular in our literary circle in the 1990s derived from the avant-garde impulse to pursue something new. We cannot remind the old poet Lee Sang in the literary history. That is the destiny for the deconstructists. The deconstructists will finally end in a self-destruction, coming to an impasse, if a pattern of a series of denial is formed incessantly, making one deconstruction bring about another deconstruction. In the 20th century Modem Korean poetry, we found many deconstructive poems which took the lead of popularity in the poetry circle or took advantage of the popularity. At the same time, not a few people's poems which turned away from the reality of the people disappeared in the darkness. It is not the core of our discussion to make a definition of the people's poetry or deconstructive poetry, or that of spriritualism. The point is whether it is a genuine poetry in which to include the living human life or not. The most important thing is the human spirit breathing a life. It is not easy that poetry written in the ways and on the theory which was borrowed from outside takes a solid root in our literary world. It only repeats the wave of popularity passing by after staying for a moment, if poetry has to be changed again before taking a deep root in our literary world The destructive passion which drives deconstructive poetry may seem to be a progressive passion of the young generation trying to deny the existing systems and customs. In this respect, deconstructive poetry and spiritual poetry are not mutually exclusive propositions. Mutual survival rather than mutual antipathy must be emphasized.

시의 모더니티 추구와 그 정치화

이성혁(Lee Seong-Hyuk) 한국시학회 2004 한국시학연구 Vol.- No.11

Modern poetry is against abstraction of modernity and, at the same time, has difficult problems that it should not be behind times which modernity brings and thus can achieve poetry’s modernity. Kim Soo-Young’s poetics portrays attempts to achieve poetry’s modernity, by discovering new realities of life and aesthetic methods through ‘looking squarely’. He criticizes poetry which poses as something modern without conscience incarnated by a poet, because that poetry has only ‘pseudo-modernity’, modernity that lost tensions of times. The conscience that he mentioned can be revealed by maintaining one’s will to death to the end. To him, writing poems is to enter spheres of absolute freedom, and then poems’ space brings time to face the subject’s death. He says that the true newness and eternity of poetry can be achieved by the subject’s death, and, as a result, poetry of future is the unknown. However, he begins to think about integration of poetry and action as he discovers ‘poetic actions’ among the youth through an 4ㆍ19 demonstration. After this, he insists that freedom should be re-quired against conservative realities through adventures putting freedom(poetry) into the world, and poetry should continue to attempt to accomplish love and revolution in the realities of life. This is a process and work which incarnates prose into poetry and tries to find modernity of poetry through tensions between love and death. Through this pursuit of poetry’s modernity, poetry causes social unrest and resistance and is finally changed into politicalized.

현대 미국 아방가르드 시학에 대한 비판적 고찰

박서영 ( Park Seoyoung ) 영미문학연구회 2022 안과 밖 Vol.- No.53

This paper provides a critical examination of the twentieth-century poetic avant-garde, a broadly radical and innovative aesthetic practice that constitutes an important contribution to the development of modern and contemporary American poetry. This study was motivated by the recognition that Conceptual poetry, a contemporary culmination of appropriation art, not so much embodies a provocative and progressive subversion of the hegemonic norms and values as represents artistic mediocrity and moral laxity of increasingly reified and alienated avant-garde poetics. Rooted in experimental modernism of the early twentieth century and the New American Poetry of the 1950s/60s, American avant-garde poetry has developed a distinct poetic lineage, offering a powerful corrective to the privileged lyric tradition and simultaneously serving as a critique of culture and ideology. However, I argue that twentieth-century avant-garde poetics has also exposed limits and pitfalls in its formation and promotion of the collectively prescribed aesthetic vision as well as inevitable blind spots and biases particularly concerning the issues of gender and race. Finally, this paper aims at suggesting the need to move beyond the reductive dichotomies between hegemony/revolution, conformity/oppositionality, and tradition/experimentation that have been normalized by the radical rhetoric of the avant-garde and to find “what will suffice,” to borrow Wallace Stevens’ words, in the new era marked by unprecedented existential challenges.

1980년대 전위적 노동자 시인의 한 형상, 박노해

허요한 반교어문학회 2020 泮橋語文硏究 Vol.0 No.54

The purpose of the study is to historicalize the "Park No-hae phenomenon" through the political nature of the "artistic avant-garde" conducted in the name of Park No-hae in the 1980s and its failure. To this end, I would like to look at the social context in which the name could have emerged, and look at the significance and limitations of the Park No-hae phenomenon. The emergence of the name Park No-hae can be read as a trace of an anonymous incident that is not reduced to an individual Park Ki-pyeong. It is linked to the Commune shown in the Gwangju Minjung uprising, an example of the concept of equality, the elimination of hierarchical identity structures and the elimination of distinction between intellectuals and workers. But the avant-garde of the "Parknohae phenomenon" is over before radical labor movement forces can secure public popularity. The suppression of state agencies led to the arrest of a key Sanomang (Alliance of Socialistic Laborers in South Korea) official, and Park Ki-pyeong was also sentenced to death. Poems released in the name of Park No-hae by Park Ki-pyung in the process show loyalty to the socialist movement. But when its faithfulness is invoked to protect its identity, not the place of anonymous events, it is no longer possible to create a subject. Through the "politicization of art" of the name Park No-hae, "Poetry of Park No-hae" had an avant-garde personality in the Korean context of the 1980s. But the failure of national socialism and the disintegration of the party were also directly linked to the failure of the party, as the potential was based on a form of reenactment based on the reality of national socialism and "the party to come." In the situation of decline, the agony of overcoming avant-garde's failure also appears in Gramsh. Gramshie's problem consciousness, which asks how the harmony between War of Movement and War of Position will be possible, still seems to be valid. Especially in art, avant-garde needs to be asked how it can be interpreted. From that point of view, the relationship between social realism and avant-garde should be reasoned. The question of this study can be summed up not as 'who writes' but 'who is that person writing?' Who was 'Park No-hae' who showed a model of labor poetry in the 1980s? And who is Park No-hae now? 이 연구의 목적은 1980년대 박노해라는 이름으로 행해진 반(半)익명성의 실험의 정치성과 그 실패를 통해 ‘박노해 현상’을 역사화하는 데 있다. 이를 위해 그 이름이 출현할 수 있었던 사회적 맥락을 살펴보고 박노해 현상의 의의와 한계를 논하고자 한다. 박노해라는 이름의 출현은 박기평 개인으로 환원되지 않는 익명적 사건의 흔적으로 읽을 수 있다. 그것은 광주민중항쟁에서 드러난 코뮌과 연결되어있는 것으로서, 위계적 신분 구도의 철폐와 지식인/노동자 이분법의 철폐라는, 평등의 개념을 사유할 수 있는 사례라 할 수 있다. 그러나 급진적 노동운동 세력이 대중성을 확보하기 전에 박노해 현상의 전위는 끝났다. 국가기관의 탄압으로 사노맹 주요 간부가 구속되고 박기평도 사형언도까지 받는 과정에서, 박기평이 박노해의 이름으로 발표한 시들은 사회주의 운동에 대한 충실성을 보여준다. 그러나 그 충실성이 익명적 사건의 장소가 아닌 정체성을 지키기 위해 발현될 때, 더 이상 주체를 만들 수 없게 되었다. 박노해라는 이름이 갖는 ‘예술의 정치화’를 통해 1980년대의 남한 상황에서 ‘박노해 시’는 전위적 성격을 갖고 있었다. 그러나 그 전위성은 사회주의국가와 ‘도래할 당’이라는 현실을 기반으로 한 재현의 형식을 기반으로 했기 때문에 사회주의 국가의 붕괴와 당의 해체는 전위의 실패와도 직결되었다. 퇴조의 정세에서 전위의 실패를 극복하기 위한 고민은 그람시에게서도 나타난다. 기동전과 진지전의 조화가 어떻게 가능할 것인가를 질문하는 그람시의 문제의식은 여전히 유효한 것으로 보인다. 이 연구는 1980년대 노동시의 한 전형을 보여준 ‘박노해’의 시를 통해 노동자 계급의 재현의 의의와 한계, 그리고 그것을 넘어서는 지점을 탐색함으로써 정치와 예술의 관계를 고찰하고자 한다. 그것은 유기적 지식인도, 직업적 혁명가의 형상도 아닌, 사랑의 투사로서 나타난 박노해의 시를 탐색하는 것이다.