식민과 해방; 두 ‘탑’ 사이의 거리 -발굴 작품을 중심으로 본 오장환의 해방기 시-

Abstract

This paper examines the relationship between Oh, Jang-hwan's career as a poet and political practices from the liberation to detection to North Korea through his poems of the liberation period in 'Byeong-deun Seoul'(Diseased Seoul) published after the liberation and poems written after his detection to North Korea, newly unearthed by the author. Especially, his poem 'T'ap'(Pagoda) and translated poem 'Mister Twister' newly unearthed and Han, Hyo's criticism related to Oh, Jang-hwan are expected to offer new perspectives on the understanding of Oh's poems. It seems that Oh, Jang-hwan had been thoroughly and consistently reflecting on his whereabouts in the colonial period not as a one-off thing and in this respect, we needs to shed new light on Oh's self-reflection. His poems in the liberation period much more clearly showed self-reflection and hesitation of a poet who had passed the history of colonized nation than any other poets in that period and displayed 'individual sincerity' based on this. After detection to North Korea, Oh wrote 'Pagoda', which showed the cross-referential characteristics with poem 'Song of Zenith' written in the colonial period. He expressed his hope and promise for a new world in poem 'Pagoda', however, it was criticized as feudal and conventional in North Korea. To Oh, Jang-hwan, the distance between two 'Pagodas', objects of poems, was the distance of his hope and promise for a new world, free from the suppression due to the colonization, but it also showed the distance between South and North Korean, or politics and poetry in the liberation period from the perspective of poetic history back then.