일제 말 시 잡지 [國民詩歌]의 위상과 가치 (2) ― 국민시론･민족‧미의 도상학

Abstract

This article examines KOUKUMINSIKA(National Poetry)’s national culture theory and national poetry theory and also the matter of its colonialism and violence. The KOUKUMINSIKAschool regarded both Chosun culture and Chosun language were lost as the nation did not exist. And this was the point where the logic that it was possible to participate in the empire’s ‘national culture’ only when Chosun culture was completely united into Japanese culture emerged. The colonialism and violence of it is clearly exposed in ‘new regionalism’ supported by Choi, Jae-seo and Kim, Jong-han from KOUKUMINSIKA. They insisted that Chosun culture was an independent region’s culture just like Tokyo’s or Gyeongseong’s culture in the same status. Next, the KOUKUMINSIKAschool established the status and roles of ‘National Literature’ as the art of war of serving in the front and back to attain the Greater East Asia Co-Prosperity. ‘National poetry’ in Chosun, too, was ordered as ‘patriotic poetry’ for all-out war. This is shown in the form that MANYOSHYO’s ‘Japanese mind’ is specified as AEGUKBAEKINILSU’s ‘patriotic spirit’. The translation of Kim Eok’s two works mediated in ‘Japanese mind’ spreading in Chosun. However, yangjang sijo and antiquated Chosun language used in the translation rather aroused ‘what to be like Chosun’. But the reality of all-out war blocked all the possibilities of ‘being like Chosun’ and absorbed everything into ‘Japanese mind’ after all. This becomes even clearer when we examine Miyosi Tatsuzi’s national poetry theory and love poem collection.