서정주와 조지훈의 한국적 미의식에 관한 담론 연구 - 풍류 사상을 중심으로 -

Abstract

After the Korean War, nationalism, which was confined to the framework of anti-communism and statism and was not properly discussed, received great attention throughout society through the 4·19 revolution. And as it became the dominant discourse of Park Chung-hee's military regime, it exerted a direct influence on society. Seo Jeong-Ju and Cho Ji-Hoon, who have emphasized the importance of the nation and tradition ever since liberation, also accepted the political and social changes of the 1960s, systematically constructed their own nationalist discourse, and presented its characteristics. What is interesting is that the two poets paid attention to Pung-ryu as an example of Korean aesthetic consciousness in common. Pung-ryu, the archetype of East Asian aesthetics, is generally understood as a matter of playing elegantly and stylishly, but actual Pung-ryu is defined differently depending on the era and region. Both Seo Jeong-Ju and Cho Ji-Hoon had a common understanding of Pung-ryu as a synthesis of Confucianism, Buddhism, and Taoism. However, when presenting the tradition of Pungryu as a Korean aesthetic sense, it shows a quite different point of view. Seo Jeong-Ju emphasizes the arts prior to the introduction of Confucianism, Buddhism and Taoism into Korea. And it focuses on revealing the aspects and values ​​of Pung-ryu that are continuously influencing the present life. Cho Ji-Hoon emphasizes the historicity of Pung-ryu, which has fused Confucianism, Buddhism and Taoism. In addition, it explores the fusion and multidimensional properties of ‘Meot’, one of the attributes of Pung-ryu. Through this, he reveals the prospect that the perception of ‘Meot’ will bring order to the chaotic situation of the time, just as Pung-ryu has given order to various ideas.