임화의 단편서사시의 의미와 ‘감정’의 분화

Abstract

This paper attempts to reveal that some short epic poetries of Im Hwa, which had the meaning of 'a new style of proletariat poem', were the texts forming integrated sensitivity, beyond the dichotomy between aesthetics and ideology. Consequently, when the <My Brother and a Brazier>, an short epic poetry of him appeared, Kim Gijin and Im Hwa identified the 'emotion' as an important disposition and tried to differently establish each proletariat poem-type of emotion, respectively. Specifically, Kim Gijin believed that the proletariat poem, like the <My Brother and a Brazier>, could be successfully popularized by forming sympathy, a kind of emotion and stimulating readers' sensitivities for their classes. Meanwhile, Im Hwa conducted self-criticism on his own poetries by recognizing that Kim Gijin's emotion theory is just a 'sentimentalism' of the intellectual belonging to a bourgeois, and the sympathy is merely an emotion of the observer. Noteworthy is that reinforcement of an ideology in the proletariat poem is never directly led to weakening of the emotion. Instead, Im Hwa specified a social role of emotion through short epic poetries and planned the formation of revolutionary sensitivity. In other words, as the reason that the emotion can be an essence of the literature, he found that thought and behavior may be keys of the emotion and confirmed the emotion as a meaning of political practice, an 'impulsion in the behavior' Because of the short epic poetries, the emotion in the proletariat poem was positioned as ideological disposition which allowed the practice of revolution, rather than as aesthetical one which was excluded.