서정주의 시론(詩論) 연구: 신낭만주의로부터 심학에 이르는 도정

Abstract

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 Seo’s “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 Seo’s 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. Seo’s ‘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.”