완결성과 탈출성: 감각의 사실과 사실의 감각― 1960년대 후반~1970년대 초반 남북한 문예의 비교예술학적 고찰

Abstract

In the late 1960s and early 1970s, a number of South and North Korean artists both noted their sensory experiences as alternatives to deviate from concepts and schematics. However, the reason why South and North Korean artists had to pay attention to their senses was very different. It can be noted that the failure of the April 19 revolution has led to the perception that "root-picked people" in the minds of South Korean artists, which has led to a tendency to "make any fragment or sense certain." It may also be noted for their hostility toward ideology that stood out for South Korean artists in the 1970s. The so-called skin literature, however, faced resistance from critics who called for completeness of realism. Similarly, critics who wanted art with realistic formative language attacked artists who emphasized the directness of perception. Meanwhile, North Korean artists paid attention to their sensory experiences not to make up for the absence of ideology or to reject ideology, but to corroborate and promote the ruling ideology. In other words, they had to seek ways to provoke readers more seriously and more lively to supplement the unrealistic content of art(socialist content). Instead of solving the generalization's weakness by weakening the generalization's role, They wanted demonstrate the generalization's power through the continuous mixing of the specific living feelings that are desperately needed for the generalization. Of course, if this approach is taken, artists should face the cool reality that the intensity of the stimuli appealing to the senses becomes familiar and common over time. They say that there is a limit to how strongly artists shock readers and audiences through their works. In short, South Korean literature from the late 1960s to the early 1970s can be categorized as an art that was regarded as an 'escape type' and North Korean literature at the same time as an art that was regarded as a 'complete type'. From this point on, we might say that the stark difference in the art of the two Koreas, which we now take issue with, has been drawn. Of course, an artist always desires what he lacks. In other words, art that is reverent to 'escapeability will desire completion, and art that is adored to completion will desire escapeability. Perhaps from these observations, we can draw a significant framework for comparing and observing the changes in the literature of the two Koreas since the 1970s.