해방기 ‘전위시인’의 시적 주체 형성 전략

Abstract

In October, 1946, the progressive poet-group printed poetical works at the point to secure independent timeliness contending with the literary and social demand of the writer’s union. The poetical works is meaningful in that it exploited independent realistic aesthetics among the ‘Cheongrokpa’ line and ‘Sinsiron’ coterie from the aspects of events in the liberation period. Most of the progressive poet-group participated in the struggle against Japan in person at the end of Japanese Imperialism, and in that period, they received beginner’s training from their seniors. The reason why they could get poetic freedom in the field of progressive realism during the liberation period is that they did introduce independent aesthetics in the middle of complex and repeated meeting and parting of the poetic circle in the liberation period. In the process that the literary circle was reorganized, ‘alteration of directions’ of the seniors whose poetic worlds collided shows clear contrast. To them, the hardships in the liberation period become the aesthetic stance itself. The progressive poet-group first grasped the prospect and view which entire generations had including KAPF and time after that and adopted ways to absorb expectations to realize the aesthetic avant-garde of ‘the rising’. First, as a way to combine ‘lyricism’ and ‘realism’, they created the typical aesthetics that was familiar. Second, as a way to draw the ‘idea’ of revolution demanded by the seniors and society into the ‘practice’ of revolution through poems, the progressive poet-group became differentiated from the poets of the time. Third, to collect into an individual work the area of struggle and the area of family history or individuals is like a question to secure a path to make literary notion and substantive behavior closer. Fourth, the poetic work of the progressive poet-group is a significant reference point at the controversial point of the Korea’s realistic poetic literature history extending to the matters of individuals, revenge, reality, and notion. After the ‘October Struggle’ in 1946, the ‘leftism’ activities in South Korea, in fact, went into the path to defeat. Revolution constantly demanded reaffirmation of hostile relations. It is to define the real enemy in reality and figure out the direction of the force. The reason most of them changed their poetic track after 1947 is that they lost their real enemy. They sacrificed their body against the absolute enemy required by the national notion. All of them came to die during the Korean War or entered North Korea. Their poems are the appropriation of exclusive possession of poetic subjectivity within the literary field of the liberation period regarding the matters of conflict between existence and belief and absolute contradiction between the inside and outside. Consideration over these is the significant reference point to trace the process of re-exclusive possession to form another subject in the Korea’s realistic poetic literature history afterwards.