임화의 시비평에 나타난 해석과 평가의 시차(視差, parallax)- 김기림, 이상, 백석, 오장환의 시에 대한 임화의 비평을 중심으로 -

Abstract

Imhwa's poem criticism is text of irony basically characterized by separation and contradiction and dynamic place where a variety of parallaxes collide and exchange. Imhwa in the late 1930's, again appropriating materialistic dialectic from a 'political' to a 'general' philosophical world view, selects a method by which the autonomy and independence of literature are quickly approved. Such a change and movement as Imhwa's correspond to coping mechanism to contemporary rapid changes in times. During that period, Imhwa makes creative critical concept and theory according to changes of his own viewpoints. The 'divine surplus' concept defined by him as "clear shape of a new age" and 'creative criticism' which discovers and creatively interprets the criticism belong to those. Imhwa, in practical criticism, positively evaluates works of poets which included 'divine surplus', and, as a typical example, there are Oh Jang-hwan's poems. Imhwa in the late 1930's maintains materialistic dialectic as foundation for realistic recognition and simultaneously, as the symbol of a new age, comes to find an ironical method by which modern irony, poem[literature] and reality are negotiated with each other. The former is well represented in criticism against poems of Lee Sang, Kim Gi-rim, Baek Seok and the latter in criticism against Oh Jang-hwan's poems. The reason Imhwa highly evaluates Oh Jang-hwan is that his poems contains 'divine surplus', order of a new age, and that ironical negotiation between poems and modern irony is being made through 'mixing' and 'discord' between tradition and reality, the past and the present, and regret and groping. Imhwa, who tended to criticize Lee Sang's poems which figured modern irony, faces self-contradiction in this point of time, which correspond to one of dramatic points in Imhwa's criticism as text of irony, by nature, characterized by separation and contradiction.