탈식민주의적 감각과 현대시를 향한 열망 -송욱의 역사주의와 교양주의-

Abstract

This study is to research on the method and internality of how periodical agenda in 1950s were organized when people desired modern poems after the colonial period by suggesting mutual relationship of criticism spirit, historical consciousness, denial spirit, posr-colonial sense, modernity recognition shown in song Wook's poems and poetic theory. Song Wook's modernity planning was from the view of 'we', 'reality', and ‘necessity.’ He did not try to separate modernity and modern experiences. He understood the musicality of poetry in the relation to meanings not simple sound, and tried to provide structured modern experiences to readers by various experiments. He expecially was strongly aware of how modern free verse was established against fixed verse, and suggested to poets at the time to do minimum formal research. Then, he emphasized on great humanity and focused on prose poetry, Song Wook understood prose poetry as a genre with less forms if great humanity is guaranteed. The great humanity means the condition of divided characters, and for this refinement needed to be emphasized. Song Wook thought the process to select and apply western literature as the basis of modernity design could show that it does not neglect historical reality. For this, he did not separate the past and present in the transcendental point of view, the introduction of future, but made the present historical. As a result, he showed the present problem is related to problems occurred by foreign power since Shilla period, in other words, the colonial history, by his poetry. Post-colonial sense was the result of his historical consciousness, and this proves that modernity design in Korean poetry is not completely embraced in the magnetic field of cosmopolitanism that pursues western universalism shown in the discussion at the time. Song Wook tried to draw the special historical reality itself of the de-colonized country that appeared after the World War II to make modernity experiences for readers in his poems. However, he could not proceed until he set up the subject that could resist the colonialism, because he did not set recognizing subject for historical reality but substituted as one of temporarily. The trap of the 'introduction of future' is the point of view without body.