식민지 조선 시인의 사회참여라는 아포리아: 김종한의 민요론을 문제화하기 위한 시론

The early songs of Jong Han Kim, who in his early 20s shared the idealism of the Korean Songwriters Association, can be regarded as an effort to spread Korean popular music among the masses by expressing the resentment of the repressed class. Kims Theory of Folk Songs comprises three central ideas. First, he asserts that a true folk song should emerge from popular music. Second, he looks back on the traditional, folkish nature of his early songs with critical distance while simultaneously criticizing the contemporariness of the Neo Folk genre. Lastly, he compares the objectless nostalgia of the true folksong - an art form born of the hopeless reality of everyday life - to Goethes aesthetics Bildung, thereby accepting the equation of Folk Song = Decadence = Pure Poetry as an ideal. The understanding of Kims Theory as a theory of Pure Poetry starts becoming problematic when it begins blending with the political indifference of the avant-garde and becomes confused with pro-Japanese ideas

Poetics of Consistent Intellect, Emotion and Volition and the Poetics of Seo Jung-ju

After the Liberation, the early poetics of Seo Jung-ju, in other words the method of grafting Oriental Reasoning onto a neo-romantic world of poetry, and more specifically, the pivot of which is changed from being a Nietzschean one into that of an Oriental Rilke, is faced with the newly formed intellectual discourse and placed in a groping search that appropriates it. If poetics or the theory of poetry is categorized into 1) an insight as a procedure of creation, 2) an understanding of the essence of art works, and 3) the analytical working of the critic, the poetics of Seo is formed, first centering around an insight as a procedure of creation, then goes through a transition to the understanding of the essence of works. This study, first of all, elucidates that Seos Poetics through Methodology of Excellence appropriates the intellectual discourse of the 1950s in order to develop, through the transition described above, into "Poetics of Consistent Intellect, Emotion and Volition; the result is a deconstruction of the modern aesthetics centering on novels that segregated intellect, emotion and volition. It is the second aim of this study, to bring to light the literary theory of Seo, based on a poetry-centered Oriental aesthetics, by examining Munhagui Janglae (The Future of Literature), his undiscovered prose. This work was of a preparatory nature for Seos literary search in the 1970s. His experiments of novels and plays, including Jilmajaeshinhwa (The Myth of the Saddle), was the realization of this poetry-centered Literature as expressed in Munhageui Janglae. Seos insight as a procedure of creation, which is well under its way in the 1940s, is developed into an understanding of the essence of art works and it is at this stage that it becomes radical enough to collide with Literature placed within a wider category that encompasses that of poetics. This radicalized poetics of Seo is what made possible the post-1970s poetical experimenting, predicting the future of Literature