1950년대 한국시의 변화양상에 대한 고찰

A study on the aspect of the changes of Korean poetry in 1950's - Focusing the construction and separation of ‘Korean lyricism’

This paper aims to study the aspect of the changes of Korean poetry in 1950's through investigating the construction and separation of ‘Korean lyricism’. Structuring ‘Korean lyricism’ is regarded as the biggest change of Korean poetry in 1950's. Seo Jung-Ju and Pak Mok-Weol are representative poets of the time, who are said to structure ‘Korean lyricism’ by means of the rediscovery of traditional nature. But the structurization of ‘Korean lyricism’ is a special product of complex ideologies surrounding inventions of Korean tradition in postwar Korea. This article reviews the meaning of ‘Korean lyricism’ and the special logic which enables traditionalists of the age to conceptualize it. This leads to consider the character of the subjectivization involved their discovery of Korean nature. Reestablishing the suject in Seo and Pak's poetry reflects the collective unconscious of the time. Pak's poetry expresses the desire of subject by imagining harmless nature, in which every negatives of western modernity is completely eliminated. In his poetry, the self is identified with imaginary nature. Through this identification, Pak's poetic self is moralistically justified. Unlike Pak, this immaculate nature become the other in Seo's poetry. Overcoming the limits of imaginary nature, Seo makes nature the outside world of the subject and tries to satisfy its own desire through the intermediation of the other, namely objectified nature. Then, the nature in Seo's poetry turns into the harmless and disinterested other and the spiritualized universals. Identifying with this universals, Seo's poetic self resembles the innocence nature. Thus becoming a oneness with nature, Seo's subject keeps aloof from the world, takes a contemplative view on life, and absolutely affirms world. In this way, ‘Korean lyricism’ is gradually structured. On the other hand Yoo Chee-Hwan and Kim Hyun-Seung's poetry steadily separate from ‘Korean lyricism’ during the 1950's. Yoo's poetry represents nature as the sublime. His nature is the other that overwhelms and overawes the subject. Facing this colossal other, Yoo's subject reflects on himself and wants to be high-souled man as much as the sublime nature. Kim's poetry presents a poetic self as ‘independent one (Der Einzelne)’. This is a new person who is hard to look for in previous Korean poetic literature. Kim's self as a legislator who wants to be the center of things and defines himself by his own set of standards has a marked individuality in comparison to the poetic self in 'Korean lyricism'. (Yonsei University)