『창작과 비평』과 김수영

Abstract

This study intended to examine the discursive contextualization of Soo-yeong Kim and 『Changjak and Bipyeong』 from the publication of the first issue of 『Changjak and Bipyeong』 in the 1960's to the discontinuance in 1980 following the Measure for Forced Abolition and Amalgamation of the Press and trace the inflection points of the changes in the interpretation of Kim's works in 『Changjak and Bipyeong』. 『Changjak and Bipyeong』 and Kim showed homogeneity for literary ideas until the literary ideas of the magazine changed when the meaning of Kim was interpreted differently. Kim was used as a strategic concept which is the living text producing topics for the literary ideas of the magazine. The following focuses on the signification process in different periods of time. First, when Kim was a member of the writing staff from the foundation of 『Changjak and Bipyeong』 to his death, Kim showed the homogeneity with Nak-cheon Paek's idea for the foundation of the magazine. Paek's initial criticism which discussed the true participation deviating from the dispute over pure participation and emphasized the sense of calling that the poet has toward reality calls Kim as critic and translator. In this period, Kim is defined as the example of true engagement literature who fulfills the loft sense of calling. Second, from the death to the summer of 1969 when Paek's 「Civil Literature」 is published. Kim's status elevates from participatory poet to ideal civil poet. Paek's teleological progressiveness submits futuristic concept of citizen by using a rhetoric, ‘True’, alongside Kim's selfless love and Kim ascends to the position of ideal civil poet. Third, Kim continuous recurred while 『Changjak and Bipyeong』 developed the theory of national culture in the 1970's. Particular, as modernism and esotericism became the target of criticism, Kim was considered as the surviving modernist and unpopular poet. Moo-woong Yeom and Ji-ha Kim were reevaluated as the poets who lack popularity in the aspect of overall criticism and Nak-cheong Paek, in the polarized aspect of protection and criticism.