고석규 비평의 문체론 연구 - 1950년대 문체론의 맥락에서 -

Abstract

In the mid-to-late 1950s, various forms of stylistic theory were submitted to our literature. The post-war criticism was revitalized by fostering and emergence of post-war generation, and seeking to establish a modern critical methodology. The theory of style, which is related to the fundamental problem consciousness of criticism of the (non) separability of authors and works, emerged as a problematic area of criticism at this time, encompassing the general theory of style, individual writer’s theory, work theory, and translation. The theory of style, which began around 1955, tended to emphasize the artist’s ability as he subject of realizing a higher-level order in which order and individuality were unified while expressing one’s individuality in the language order. At this point, the presentation of a unified order through coordination between the two was discussed as a task of creation and criticism. In this trend, Ko Seok-gyu paid attention to style theory as one of the important methodologies of criticism. First, he developed a style theory that takes the synthesis and submission of ‘the particular’ and ‘universal’, and its order as a basic principle. Second, it presented a ‘sustainable style theory’ that introduced time for both author and language. Third, his style theory ultimately results in a criticism theory that emphasizes the role of critic in the establishment of new literature. For him, a critic is a subject who conducts relative value judgment on a work and must synthesize it with ‘absolute(究竟的)’ value judgment to present a higher order that has not yet arrived. To him, a critic is an existential and philosophical human being who synthesizes irrationality and reason. Assuming that the critic’s style is acquired through an cognitive synthesis that can leap beyond 'situation' to ‘absolute’ and ‘universal’, Ko Seok-gyu is already declaring the ‘philosophy-criticism’ of a whole cultured person as a new critical model.