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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In this paper, I attempted to illuminate how traditionalism was formed and what connotation Chosunjueui(조선주의) as ideology has in Kim So-wol’s poetry. Especially I analyzed works intensively which were neglected in previous studies, in other words, the works which were not collected in Kim So-Wol’s two anthologies but collected in literary magazines, and the unpublished manuscripts which were discovered and collected in the literary magazine “Munhaksasang” in 1976.
Kim So-Wol lived in the time of the colonial modern. He was a colonial intellectual who continued thinking on the horizon where the tradition and the modern crossed. His return to traditionalism came from the critical cognition of the colonial modern. Giving attention to the change of temporal and spatial landscapes arosed by the colonial modernization, he recalled the people’s anguish and thought about the nation and Chosun(조선). Imagining the nation and Chosun which the modern educational institute had invented caused the split of internal consciousness and identity of colonial intellectuals who refused to be assimilated himself to the colonial modern. So identifying himself as a colonial intellectual needed to use a dialect of both deconstructing subject and reconstructing subject. The dialect Kim So-Wol selected shows two directions that the poets in colonial period had to go through. On the one hand, Kim So-Wol attempted to in-ternal-dialogue with the discourse of modernity by expressing the voice of tradition. In this case he used the mystical- ritual language in Korea folk songs, legends, and rituals that could destruct the linear and representative order of modern rational language. On the other hand, he attempted to ex-press the voice of modernity in other poetic discourse, especially that of Chunbiron(준비론).
In these ways, Kim So-Wol met ancestors’ records and led the oppressed that were concealed in past remembrance to the horizon of history. This gives us the vision for the “Illud tempus” that exposes the repression and violence of Modernity-Discourse, and that enable us to overcome the emptiness of the modern times. But Kim So-Wol did not consider the “Illud tempus” as the absolute. And he did not dreamed a futile dream that there would be Utopia somewhere. He knew the fact well that the colonial modern deprived people of the hometown. But in the late works such as sub-mission(忍從), the poetic “I” in Kim So-Wol’s poetry created the negative discourse against the colonial discourse through the aggressive and directive vioce. In this respect, we must re-evaluate Kim So-Wol’s traditionalism as an modern poetic discourse negating modernity for the tradition.
Kim So-Wol lived in the time of the colonial modern. He was a colonial intellectual who continued thinking on the horizon where the tradition and the modern crossed. His return to traditionalism came from the critical cognition of the colonial modern. Giving attention to the change of temporal and spatial landscapes arosed by the colonial modernization, he recalled the people’s anguish and thought about the nation and Chosun(조선). Imagining the nation and Chosun which the modern educational institute had invented caused the split of internal consciousness and identity of colonial intellectuals who refused to be assimilated himself to the colonial modern. So identifying himself as a colonial intellectual needed to use a dialect of both deconstructing subject and reconstructing subject. The dialect Kim So-Wol selected shows two directions that the poets in colonial period had to go through. On the one hand, Kim So-Wol attempted to in-ternal-dialogue with the discourse of modernity by expressing the voice of tradition. In this case he used the mystical- ritual language in Korea folk songs, legends, and rituals that could destruct the linear and representative order of modern rational language. On the other hand, he attempted to ex-press the voice of modernity in other poetic discourse, especially that of Chunbiron(준비론).
In these ways, Kim So-Wol met ancestors’ records and led the oppressed that were concealed in past remembrance to the horizon of history. This gives us the vision for the “Illud tempus” that exposes the repression and violence of Modernity-Discourse, and that enable us to overcome the emptiness of the modern times. But Kim So-Wol did not consider the “Illud tempus” as the absolute. And he did not dreamed a futile dream that there would be Utopia somewhere. He knew the fact well that the colonial modern deprived people of the hometown. But in the late works such as sub-mission(忍從), the poetic “I” in Kim So-Wol’s poetry created the negative discourse against the colonial discourse through the aggressive and directive vioce. In this respect, we must re-evaluate Kim So-Wol’s traditionalism as an modern poetic discourse negating modernity for the tradition.
목차
1. 서론
2. 혼종의 시ㆍ공간으로서의 고향
3. 식민지적 근대화와 피식민 주체의 자기발견
4. 이질적인 목소리의 표출방식: 민요ㆍ민담ㆍ주술의 언어
5. 맺음말
참고문헌
Abstract
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