4․19 공간 경험과 거리의 모더니티

Abstract

What trace does the experience of revolution leave in the domain of sensitivity? In order to examine this point, this thesis compared the novels published before 4․19 Revolution of 1960 with the novels published after the Revolution. This comparison is to examine the manner in which social modernity is reflected on literary modernism or exerts influence on writers’ sensitivity. The texts used for the analysis are Lee Beom-seon's “Obaltan” (October number in 1959 of “Hyeondae Literature”), “Joongan Animals” (December number in 1959 of “Sasanggye”) and “Yongamlyu” (November number in 1960 of Sasanggye) written before and after the Revolution, respectively, by Lee Ho-Cheol, and “Collapsed Theater” (August number in 1968 of “Monthly Joongang”) written by Park Tae-soon in the period when the Revolution could be objectified. Lee Beom-seon's novels make one sense the spatial experiences represented in the literature of the 1950s. The reality of Seoul devastated after the Korean War was depicted here and there in this novel. Such spatial senses show that, to the poor and weak and the damaged people, the urban space in the 1950s was symbolized as “the jungle” where the strong prey upon the weak. Lee Ho-cheol's “Joonggan Animals” has the similar appearance. In “Joongan Animals”, the urban spaces that weed-like humans face are depicted. Then, how is the Lee Ho-cheol's “Yongamlyu” that was published after the interval of over one year? This novel presents the circumstances in which humans facing the flow of big changes have to internalized such changes. The novelist shows the ambivalent aspects of being skeptical about the modernity that has ‘the properties of self-destruction and self-denial” and of being captivated by the modernity of social changes. It can be said that such duality was the senses of the sensitivity of the general public including the intellectuals that led to the May 16 Military Coup. The controversial novel is Park Tae-soon's “Collapsed Theater.” This novel is noticeable by its reflection in a composed tone on the passionate scenes at the time of the revolution. Park Tae-soon viewed that while the 1950s was caught by the atrocious disorder of the Korean War, the 1960s newly experienced the ‘destroying disorder of April 19 Revolution. Such attitudes can be signified as the internalized experience of modernity being embodied in literature. The literature that remembers the revolution captures the spatial sense of ‘the modernity on the streets.’ The street scenes in the 1950s that Lee Beom-seok captured through the motif of wandering, the painful task in which Lee Ho-cheol tried to internalize the meaning of the revolution outside the revolution, and Park Tae-soon who captured the words on the spot through the ‘great form of disorder’ – all these depicted the senses of ‘the eve of the revolution’ and ‘after the revolution in the form of literature.’ These novelists tried to internalize their experience of fear such as ‘anarchy, disorder, and destruction’ in fearfulness. These novelists who tried to express the senses of the times by verbalizing the senses of space are the producers of space who changed their experience of modernity into literary modernism. It can be confirmed that, through the texture of wounds that are recorded in these literary works, history and literature can be newly created while being destroyed