한국 현대문학에서 ‘계몽’과 ‘감정’의 관계성, 그리고 미적표지(美的標識)ㅡ1920년 전후 신진 문학가의 문학론과 작품을 중심으로

Abstract

The autonomy of literature in Korean modern literature is closely related to how the literature responds to the thesis of ‘litterateur for literature (art for art)’ Specifically, it is concentrated on the relationship between ‘emotion’ and ‘enlightenment’ that ‘litterateur for life’ is intended. The emerging artists who appeared around 1920 aimed to write literature for the purpose of literature itself. These literature displace the worry of ‘I’ as a public entity, which was the talk of former literature, to the worry of ‘I’ as a private being. Their literature shares an enlightening will and literature of the past. The sentiment of emerging literature was a literary way of expressing the agony of the private being, ‘I’. ‘Emotions’ was the result of aesthetic reconstruction of 'Enlightenment' into a literary chapter. The emotion of new literary writers has a new relationship with enlightenment. If the literary literature of the past had ‘emotion’ as an intrinsic element of literature, and consequently put it in a position subordinated to ‘moral (community ethics)’, the literature of the new artists reorganizes this master-servant relationship. In other words, put ‘emotion’ in ‘the position of the master’ and reconstruct the issue of ‘morality’ in an aesthetic category. At this time, ‘emotion’ and ‘enlightenment’ form a tension between antagonists. ‘Emotions’ run counter to the excess of enlightenment beyond literary character. The excess of enlightenment completely occupies the object with reason that criticizes and confers upon it. Therefore, there is no room for interpretation expressed in the object above logic. ‘Emotion’ is antagonistic to this state of reason overhang. At this time, ‘I’ consist of more than myself with ‘self’. ‘More than myself’ comes from ‘self’ ‘More than myself’ is ‘mystery infeasible’ that are based on reason and open indeterminately beyond the level of reason. It is a surplus that remains undetermined. ‘Emotions’, such as the agony, symptomatically capture this ‘surplus’ In addition, an aesthetic sign of ‘infinite’ remains on the object captured by emotion. ‘Infinite’ is the product of aesthetic will. The aesthetic will of the New Litterateur is a distance from the enlightened will of former litterateur. At the same time, it is based on enlightening will. Their literature shares an enlightening will and literature of the past. At the same time, they aesthetically divide and reconstruct ‘enlightenment’ from the literature of the past as a self-conscious literary expert. This mutual tension between enlightenment and emotion, and the infinite(surplus) as an aesthetic marker, is a source for a new look at the historical context of the various attributes that are later spread to Korean modern literature history. And while Korean modern literature is interrelated with non-literatures, it is a valid entrance to how the aesthetic autonomy of literature is secured.