1930년대 후반 임화 시론의 이론적 변이 양상에 대한 고찰 - ‘형상’·‘표현’·‘감정’의 개념적 상관성을 중심으로

Abstract

This study reveals the characteristic structure of Im-Hwa's theory of poetry by inductive consideration. In addition, this study newly reconstructs Im-Hwa's theory of poetry by examining the processes of conceptualization of shape, expression, and emotion and revealing the theoretical correlations between each concept. Through these reviews, we look at how the relationships between these concepts are actually applied to Im-Hwa's later criticism of poem. Through a unique critique represented by the theory of surplus in works, Im-Hwa had constructed logic contrary to the existing concept of shape. The surplus area of the work he defined means an independent order within the work that was created contrary to the author's intention. This theory forms the theoretical basis for recognizing the autonomy of literature in the way of its existence. Meanwhile, in Im-Hwa's later criticism of poem, the concept of expression replaces the concept of shape. He defined expression as the process in which content acquired figure. It is understood that this process is inherent in the work and therefore does not depend on the intention of the author. This process of expression relates to the formation of a surplus world, an independent structure within a work, which is regarded as ‘a sacred surplus’. Im-Hwa identified ‘sacred surplus’ as a product of emotion that intelligence does not control. This leads us to question what areas of unconsciousness that is part of the realm of sensibility are developing in a work, contrary to the intention of the author. The fact that he found the answer in poetry genre can be seen from an analysis of emotions made in his later criticism of poem. Im-Hwa noted the nature of the emotions expressed in poetry rather than the ideas and tendencies of new generation of poets. By analyzing their emotions, he regarded their poetry as the literary embodiment of the collapse of modern times. Based on the changed perception of the essence of literature, the theory of surplus of work and the preoccupation of concept of text while moving from shape to expression, and the analysis of emotion that applied them in practice reveal the theoretical aspects of his criticism of poem in detail.