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This paper aims to examine the poetry of Korea Proletarian Artist Federation(KAPF) in the mid and late 1920s and clarify that their recognitions of urban contradictions and poetic embodiment of them are based on senses, especially on acoustic senses. The acoustic senses were the medium for KAPF poets of 1920s to overcome the ideality and abstractness of socialist ideology and struggle into the concreteness of life and the methodology of combining aesthetic and political practice.
In 'Dohoe Jeongjo'(Urban Atmosphere), Park, P'aryang defines the sounds from the street and the movement of people on the streets as 'great flow of muddy stream'. The urban street is modern in that all classes are mixed and forms one flow but also contradictory and dual in that each class should go back to its life in the end.
By contrasting the sound of machine in the factory and the moaning of beggars against the peal of church bells, Kim, Haegang tell us that truth are different according to the reality of each class. He also portrays the dissonance of contrary sounds and by calling it as 'symphony', he satires the structural contradictions of capitalist society. He reveals that the possibility of fulfilling the desires of proletarian people is blocked as the headlight of the car could not pass through the wall.
Park, P'aryang and Kim, Haegang do not list political slogans nor repeats abstract statements, instead, by arranging contrary sounds in the same space-time and making them collide, they intentionally reveal the class contradiction and urban problems. Therefore, city and everyday life of people in it are acoustically restructured in their poems. The importance of examining poems of KAPF poets in 1920s is in that by comparing them to those of 1930s, political or practical and aesthetic features of both periods could be revealed more distinctively.
In 'Dohoe Jeongjo'(Urban Atmosphere), Park, P'aryang defines the sounds from the street and the movement of people on the streets as 'great flow of muddy stream'. The urban street is modern in that all classes are mixed and forms one flow but also contradictory and dual in that each class should go back to its life in the end.
By contrasting the sound of machine in the factory and the moaning of beggars against the peal of church bells, Kim, Haegang tell us that truth are different according to the reality of each class. He also portrays the dissonance of contrary sounds and by calling it as 'symphony', he satires the structural contradictions of capitalist society. He reveals that the possibility of fulfilling the desires of proletarian people is blocked as the headlight of the car could not pass through the wall.
Park, P'aryang and Kim, Haegang do not list political slogans nor repeats abstract statements, instead, by arranging contrary sounds in the same space-time and making them collide, they intentionally reveal the class contradiction and urban problems. Therefore, city and everyday life of people in it are acoustically restructured in their poems. The importance of examining poems of KAPF poets in 1920s is in that by comparing them to those of 1930s, political or practical and aesthetic features of both periods could be revealed more distinctively.
목차
Ⅰ. 서론
Ⅱ. 미학과 정치의 매개 - ‘감각’
Ⅲ. 착종된 근대 도시 경성
Ⅳ. 계급 모순의 청각적 재구성
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (3)
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