1920년대 한국 시론의 미적 지향성 - 전통미학과 상징미학을 중심으로
The Aesthetic Directivity of 1920s Korean Poetics -Focused on Traditional-aesthetics and Symbol-aesthetics
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This thesis concerning the aesthetic directivity of 1920s poetics by relationship with formation logic of Korean Modern poetry. Concretely, this explores the terms of literary modernity that Korean Poetical circles were faced in 1920s, in other words it explores individual poet's aesthetic directivity through the relation of Traditional-aesthetics and Symbol-aesthetics. Also, it examines the development process of Korean essay on Modern poetry based on mutual negotiation of Traditional-aesthetics and Symbol-aesthetics. First, Kim-Eok's essay which navigates 'a Refined Poetic form' as a new tradition is reinterpreted in terms of correlation between symbol and tradition. Second, in the case of Kim-Sowol, it focuses on the establishment of a new tradition called 'Poetical Spirit' as a matrix of language. Third, Baek-Daejin's essay is organized as the subject of combination of symbol and life. Fourth, the main point of Hwang-seokwoo's essay is that he tried to establish ethics of life by some ideal things like the order of nature. In Korean Modern Poetical Circles, Traditional-aesthetics and Symbol-aesthetics are not mutually exclusive. In the process of Korean Modern poetry of 1920s securing autonomous region from the public spheres, they have formed a complementary and different directivity. This aspect is clearly contrasted to the point that the Korean essays on poetry of 1930s were developed forming a full-scale competition.
Abstract
This thesis concerning the aesthetic directivity of 1920s poetics by relationship with formation logic of Korean Modern poetry. Concretely, this explores the terms of literary modernity that Korean Poetical circles were faced in 1920s, in other words it explores individual poet's aesthetic directivity through the relation of Traditional-aesthetics and Symbol-aesthetics. Also, it examines the development process of Korean essay on Modern poetry based on mutual negotiation of Traditional-aesthetics and Symbol-aesthetics. First, Kim-Eok's essay which navigates 'a Refined Poetic form' as a new tradition is reinterpreted in terms of correlation between symbol and tradition. Second, in the case of Kim-Sowol, it focuses on the establishment of a new tradition called 'Poetical Spirit' as a matrix of language. Third, Baek-Daejin's essay is organized as the subject of combination of symbol and life. Fourth, the main point of Hwang-seokwoo's essay is that he tried to establish ethics of life by some ideal things like the order of nature. In Korean Modern Poetical Circles, Traditional-aesthetics and Symbol-aesthetics are not mutually exclusive. In the process of Korean Modern poetry of 1920s securing autonomous region from the public spheres, they have formed a complementary and different directivity. This aspect is clearly contrasted to the point that the Korean essays on poetry of 1930s were developed forming a full-scale competition.
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