구인회 모더니즘의 동시대적 예술성과 미학적 정치성 - 『시와 소설』을 중심으로

Abstract

This paper addresses the contemporary artistry, as well as the aesthetical and political nature of Guinhoe(구인회)’s modernism which has been labeled as ‘pure modernism’ throughout the history of literature. Guinhoe’s literature, often viewed as ‘pure modernism’ or artistry free from realistic boundaries, needs to be reexamined through the retrospection of then members Kim, Gi-rim, Yi, Sang, Jeong, Ji-yong and Park, Tae-won among others. Through such review of their works, it is clear that surrealism is prevalent in the aesthetic basis of Guinhoe. However, what is more significant than their acceptance of surrealism is that they pursued new heights of intellectualness along with modern values of Chosun literature. This is evident in Choi, Jae-seo’s analysis of “Nalgae” in which he failed to fathom Yi Sang’s interpretation of artistry. Yi, Sang implicitly demonstrated Guinhoe’s aesthetic direction through the usage of words ‘immigrant’ and ‘déformation.’ Guinhoe has often been recognized for its genuine technique, or as a non political organization without a special cause. However, as exhibited in this paper, the contents of Shiwa Soseol(Poetry and Novel) portray the artists’ aesthetic tendency to break away from the real world while acknowledging the catastrophic reality all at the sametime. As evident in “Bangranjang Jooin Seonggun jung Hana”(Park, Tae-won), “Yooseonaesang”(Jeong, Ji-yong), “Jeya”(Kim, Ki-rim) “Gaouegajeon”(Yi, Sang) in Shiwa Soseol, these writers commonly share the aesthetic reasoning in regards to ‘catastrophic modernity’ stemmed from their melancholic view of the world which are then portrayed as ‘capital’ and ‘war’(World War II) in their works. Their aesthetic and political works commonly share the stance of an ‘immigrant’ who is not content with rational modernity. The works are also closely related to an artist’s self-awareness which ‘deforms’ the real world into a unique allegorical image. This demonstrates that Guinhoe’s artistic goal is based on their effort to clash with the world of modernity and go beyond its borders. In conclusion, Guinhoe’s works commonly share an artist’s fundamental viewpoint which allows the coexistence of aesthetic essence alongside their political nature.