조향의 초현실주의 시론의 발현과정과 특질에 대하여

Abstract

This study examines Jo Hyang’s initial activity, from the Nangmanpaperiod to the end of the 1950s, in order to consider the formation processand features of Jo Hyang’s surrealism poetics. Nangmanpa, a publicationthat Jo Hyang played a lead role in, may appear to be unrelated to surrealismbut an analysis of Jo Hyang’s comments in Nangmanpa suggestsotherwise. The romance that Jo Hyang supported differed from the existingromance and is likely to have been connected to surrealism. Therefore,Jo Hyang’s surrealism from the 1950s appears to have originated not asa result of the conversion of literary trends but from the gradual manifestationof his internal consciousness. Criticism against the literary circles ofthe metropolis also played an important role in making concrete JoHyang’s surrealism. Jo Hyang did not produce any visible results during the ‘Hubangi’ circleperiod. Jo Hyang’s activities at the time can only be observed throughhis writings in Jugan Kukje and the ‘College Korean Language Series’. It is from this ‘Hubangi’ period that he constantly published surrealism relatedwritings and it can be said that Jo Hyang’s surrealism poetics wereestablished by the end of the 1950s. Unlike the surrealism of Western European, which focused on image itself,Jo Hyang’s surrealism poetics was not only limited to image; he didnot give up the world of values. In other words, Jo Hyang pursued notonly images but also values. Jo Hyang first made rough drawings throughautomatism and then attempted to produce surrealism poems by using themontage technique. The montage technique consisted of the following twokinds: one which combined rough drawings with probability to give specificvalue, and the other did so without probability to disclose the imageitself. As such, Jo Hyang’s surrealism poetics involved the production ofpoems of two different kinds of systems.