프로시의 미학

Abstract

Proletarian poetry made an appearance as a critical poetic response to the colonization of Korea. It began to take different colors from the previous Anti-Conventional School after a change of direction toward the period with a strong sense of purpose. And after bolshevization, poems on class struggle or avant-garde movement were intensively written based on enhanced awareness of the reality. In the history of Korean poetry, aesthetics of proletarian poetry accepted a Marxist view of the world and secured more advanced poetic reality than previous generation through awareness on reality based on class and the detailed description of proletarian life. In this aesthetics of proletarian poetry, an inner principle of ‘tragedy’ and ‘realism’ is flowing subconsciously. Tragedy is a kind of aesthetic category occurring after the subject’s hope for an ideal situation has been discouraged. Tragedy presented in the history of modern Korean poetry has been formed with the paradox of recognizing the uncontrollable destiny of the Japanese colonial period and resisting it at the same time. Proletarian poetry fully fits the context and category of this tragedy. On the other hand, proletarian poetry institutes the problematic category of realism. Proletarian poetry widely written during the colonial period continued to push the boundaries of Korean poetry by massively producing poems of tragedy even after the dissolution of KAPF. To explain these texts with aesthetic principles and have them take root in the history of Korean poetry will become the process of perceiving the poetic grammar of tragedy and realism as an important body of the history of Korean poetry, thus overcoming the practice of being too strict on this poetic tendency.