백석 시에 나타난 구술과 기억술의 이데올로기

The Ideology of Oral Narration and the Politics of Memory in the Baeck Suk's Poem

When KARF was dissolved and 'Chosun Language Society' was forced to break up in the 1930s, the national language of Chosun (Korean) language faced a serious crisis. Elite intellectuals were psychologically pressured to write using dual languages. At the end of the 1930s, the Classics Revival Movement led by the school of <Munjang> was planned with the logic of countering the strengthened age of Fascism. However, Baeksuk broke away from the constraint of using dual languages, Chosun language and Japanese. Though he himself was an elite who studied in Japan steeped in modernism, he experiments in his poem the Jungjoo dialect, which had been excluded due to the system of uniting spoken and written language. Dialects are national tongues removed by standard language. Baeksuk spoke dialects that were neglected by Chosun's modern elites, and discovering the culture of dictation that was eliminated by written record history, he rediscovers the customs of the people. This was the discovery of popular style distinguished clearly as lower culture from classicism of Confucian nobility style displayed by literaries of Munjang school in the 1930s. The objective presentation of people's shaman customs, and objective truthfulness of food and games enjoyed on holidays; such description leads to assume a unique identity distinct from modernist poetry of those days as well as an ideological aspect of poetic forms. In other words, choice of language for poets is connected to a certain ideological choice with the precondition of isolation. Primarily the choice of dialect presents a perspective opposing the official language. But for Baeksuk most of all, poetic form, or objective presentation of description and narration, and the method of pulling out memories through dictation or reliving a story with 'voice' should consider ‘politics of form’. In Baeksuk's poetry, his lyrical prose poems, his pursuit of people's identity restoring the collective memories of the people through monologue language would indeed be the poet's absolute choice for poetic form as social and historical product. Most of all, Baeksuk borrows ‘Pansori style rhythm and narrative situation’, and his memory technique as narrator of local people's life styles not recorded in written history arouses the people's national physical rhythm and identity in a sense different from the 'tradition' discovered by <Munjang> school literaries. It would be the arousal of forgotten traditions. As opposed to the conservative regression to national spirit that traditional lyrical poems may easily fall into, Baeksuk's poetry shows poetic discussion choices and cohesion of traditions in versification and arrangement, in narrative presentation and discovery of customs, and thus prepares opposing poetics as national poetry.