『不滅의 旗手』(1960)와 4월 혁명의 주변

여태천(Yeo Tae-chon) 한국비평문학회 2021 批評文學 Vol.- No.81

이 연구는 1960년 4‧19혁명이 일어난 직후에 발간된 『불멸의 기수』(부제: 4월 민주혁명 순국학생 기념시집)에 수록된 작품들의 경향과 그 의미를 분석하고, 이를 기반으로 4월 혁명 당시 시민사회의 분위기와 그 정치사회적 맥락과 의미를 고찰하는 것을 목표로 한다. 아직 이 시집에 대한 평가가 학술 영역에서 이뤄지지 않았다는 점에서 이 연구의 필요성이 요구된다. 뿐만 아니라 이 시집에 대한 해석이 4월 혁명에 대한 온당한 평가에 적잖은 도움이 될 것이라고 판단된다. 『불멸의 기수』는 1960년 6월 1일에 간행되었다. 시기적으로 4‧19가 일어난 뒤 불과 두 달이 채 지나지 않은 때다. 『불멸의 기수』는 “여기 우리는 자그마한 보람으로 이들 민주혁명의 정신을 잇고 기념하기 위하여 당시의 감격을 노래한 마음의 소리를 모아 자그마한 책자를 엮었다”라는 엮은이의 말에서도 확인할 수 있는 것처럼, 그 현장감을 그대로 담았다는 점에서 그 의미가 크다. 우선 이 시집에 수록된 작품들이 4‧19를 전후로 전국 신문에 발표된 것들을 모았다는 사실에 주목하지 않을 수 없다. 또 한편으로는 민주혁명의 희생자들을 위한 작품이 전문적인 시인들의 손으로만 이뤄진 것이 아니라 대학생, 시민 등 다양한 계층의 필자들이 참여하였다는 점에서 이 시집의 또 다른 의미가 있다. 『불멸의 기수』는 3부로 구성되어 있다. 1부는 기성 시인들의 작품들을, 2부는 대학생들의 작품들을, 3부는 초‧중‧고등학생에서부터 일반인들의 작품들을 수록했다. 다양한 필진은 당시 4월 혁명이 지니는 의미와 4월 혁명을 수용하는 다양한 계층의 반응을 확인할 수 있게 한다. 일반인들의 작품들에는 순결한 젊은이들과 함께한 공동의 경험이 주요한 모티프로 작용하고 있다. ‘죽음-사건’으로 인한 슬픔과 안타까움이 한편에 있지만, 더 빛나는 내일이라는 새로운 희망이 또 다른 한편에 있다. 전문적인 시인이 아닌 일반인들은 도식적인 의미의 분할을 통해서 4월 혁명의 ‘죽음-사건’을 기억하고 있다. 일반인들의 작품들을 ‘추모의 형식과 부끄러움’, ‘비판의 형식과 연대 의식’, ‘서정적 어법과 숭고’로 나누어 분석하고 그 의미를 해석하였다. 이들 작품은 미학적으로 보기엔 다소 미흡한 형태를 보여주는 한계를 지닌다. 그러나 4월 혁명의 ‘죽음-사건’은 사회역사적 공감과 공동체적 윤리를 충분히 이끌어냈고, 일반인들의 작품에서는 그 노력의 흔적을 읽을 수 있다. This study analyzes the trends and meanings of the works included in Immortal standard-bearer(bulmyeol-ui gisu)(subtitle: Collection of Poems Commemorating the Martyrs of the Democratic Revolution in April) published immediately after the April 19 Revolution in 1960. Based on this, this study’s aims to examine the atmosphere of civil society at the time of the April Revolution and its political and social context and meaning. The necessity of this study is required in that the evaluation of this collection of poems has not yet been made in the academic field. In addition, it is judged that the interpretation of this collection of poems will be of great help to a reasonable evaluation of the April Revolution. Immortal standard-bearer(bulmyeol-ui gisu) was published on June 1, 1960. Timely, it has been less than two months since the 4‧19 outbreak. Immortal standard-bearer(bulmyeol-ui gisu) has a great meaning in that it contains the sense of presence as it is. It cannot but pay attention to the fact that the works in this collection of poems were published in newspapers around the country before and after April 19. On the other hand, this collection of poems has another meaning in that the works for the victims of the democratic revolution were not only made by professional poets, but also participated by writers of various classes. In the works of ordinary people included in the Immortal standard-bearer(bulmyeol-ui gisu), the common experience with innocent young people is the main motif. The sadness and regret caused by the ‘death-event’ are on the one hand, but there is a new hope for a brighter tomorrow on the other hand. Ordinary people, not professional poets, remember the ‘death-event’ of the April Revolution through the schematic division of meaning. The works of ordinary people were analyzed and interpreted by dividing them into ‘form of remembrance and shame’, ‘form of criticism and solidarity’, and ‘lyrical usage and sublime’. From an aesthetic point of view, these works have the limitation of showing rather insufficient forms. However, the ‘death-event’ of the April Revolution sufficiently elicited social and historical sympathy and community ethics, and traces of that effort can be seen in the works of ordinary people.

1920년대 초기시의 관념 표상과 그 양상

여태천(Yeo Tae-chon) 한국학중앙연구원 2007 한국학 Vol.30 No.1

1920년대 초기시의 표기방식과 그 의미

여태천 ( Tae Chon Yeo ) 우리어문학회 2006 우리어문연구 Vol.26 No.-

기획연재 (5) : 민족과 문학 - 임화의 경우 ; 언어의 현실성과 민족어의 가능성

여태천 ( Tae Chon Yeo ) 한국민족연구원 2007 민족연구 Vol.0 No.29

기획연재 3 : 민족과 문학 ; 언어에 대한 자각과 민족의 발견

여태천 ( Tae Chon Yeo ) 한국민족연구원 2006 민족연구 Vol.0 No.27

기획연재 (4) : 민족과 문학 ; 문장강화, 민족어와 문학어 창안-이태준

여태천 ( Tae Chon Yeo ) 한국민족연구원 2006 민족연구 Vol.0 No.28

박인환 시에 나타난 언어적 불안과 부끄러움-한국전쟁을 중심으로

여태천 ( Tae Chon Yeo ) 국제비교한국학회 2014 비교한국학 Comparative Korean Studies Vol.22 No.2

In this paper take a look through how the emotional distress that Park In-hwanhas suffered, visualized level of the linguistic aspects, focused on the anxietyand shame of the poetic subject during The Korean War. His poems is changedfrom a participatory one thing to be sentimental. Many researchers think TheKorean War is a significant cause of the tragic experience. Therefore The KoreanWar is the key to understanding Park In-hwan’ poetry. The Korean War andafter, Park In-hwan used the language to contain the emotion of disillusionmentand depression. He has his own unique voice could not be seen from anotherpoet. Especially after The Korean War, Park In-hwan used a lot of languagewhich showing the melancholy and sentimental images. However, previousstudies have not closely investigated how Park In-hwan operated the languagedifferently from the past and why the image was accidentally been shaped bythat language. Any way, Park In-hwan testified The Korean War was a specialcase through poems and prose in the context of war. In this paper was lookingat the reason for the change of poetry after that is to feel shame poetic subjectthrough poems and prose published in The Korean War. In this paper haveanalyzed and confirmed the linguistic variation of Park In-hwan’ poems whileThe Korean War. This study will help make a reasonable assessment of ParkIn-hwan’ poetry.

1930년대 새로운 시와 시적 언어의 한계 -김기림의 시와 시론을 중심으로

여태천 ( Tae Chon Yeo ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.3

This article looks around Kim Ki-rim`s poems and his poetics in 1930s. Specifically looks all around carefully how he envisioned a new poetry and what the limits of the poetic language which he confronted in the process. It is the general idea that Kim Ki-rim of the poetry change was due to the change of poetics he claimed. But Kim Ki-rim`s poems, there is not a little concrete evidence to check his interest in language and his attitude to poetic language. He wholeheartedly accepted foreign word, Sino-Korean word, conception word, colloquial everyday language. He actively using those words better than anyone else as a poetic language. Due to its linguistic confusion appeared constantly in his poems as different shapes and degrees. Kim Ki-rim is overcoming such linguistic confusion and sought the direction of a new poetry in his own way. But his poetic language is not leaving the stage of “written language as a transitional form”, at the same time, is unable to obtain “discovered the value of language”. Thus his poetic language reduced to the universality of the language. It is the linguistic limitations of Kim Ki-rim`s poems. Nevertheless Kim Ki-rim who the newly embraced modernism in the 1930s, envisioned a new poetry and extraordinary worried about the poetic language. That is a very valuable asset in korean literature. The linguistic changes appear at Kim Ki-rim`s poems are special case of a poet who spent and recognized it as a symbol of one corresponds to cultural experience in 1930s. At the same time the changes of Kim Ki-rim`s poems is understandable as an important Korean poetry process to secure the new area in terms of linguistic.

김수영의 시와 속도의 정치학

여태천 ( Yeo Tae-chon ) 국제비교한국학회 2017 비교한국학 Comparative Korean Studies Vol.25 No.1

This article examines what Kim Su-young had thought about modern technology civilization and speed. Also this article takes a close look at how Kim`s poetry is related to speed. In addition, his article has confirmed Kim`s attitude of understanding the modern technology civilization and speed and to control the danger through various poems. Kim Su-young once tried to catch up with the pace of modern technology. But he criticized the fact that the excess speed of modern technological civilization is linked to political power, and that it dominates and manages our daily lives. In this process, the accelerating of speed was met with power and exposed in the form of noise. In many of his poems, the dangers of accelerating of speed are fully identified. On the other hand, the possibility of control of modern technological civilization`s speed and acceleration can be found in his poems. In order to resist the accelerating of speed of modern technological civilization, Kim Su-young emphasized “cessation beauty” and “halting” practice, and resting “relaxed mind”. The speed that Kim Su-young thinks is not a concept of accelerating, but a concept understood with cessation. It is very similar to the movement of nature. Kim Su-young has found the speed of time corresponding to the excess speed of modern technology civilization in the movement of nature, and furthermore finds love in the movement of nature. Kim Su-young was surprised at the speed of modern technological civilization, was definitely fascinated by it, and disappointed in the backward reality. He did not have the nervousness of catching up with Western modernity, but clearly understood the danger of excess speed and the violence of acceleration which modern technological civilization has. The movement and love discovered by “cessation beauty” and “halting” practice, and resting “relaxed mind” proves this. Through this, Kim Su-young tried to overcome the excess speed of modern technological civilization.

1930년대 조선어의 위상과 현대시의 형성과정

여태천(Yeo Tae-Chon) 한국시학회 2010 한국시학연구 Vol.- No.27

1930s poems appeared in various language. Such a linguistic phenomenon is not either to affirm or deny. That is an essential element for Chosun language or Chosun literature to enter into a modern stage. We could find a characteristic of a language in 1930s poetry in various change of language notion. This article look all around the topology of Chosun Language and formation of modern poetry in 1930s through mother tongue and dialect. And especially this article study the meaning of the topology of Chosun Language from a point of recognition of phonetic worth and translated experience. Dialect is important to confirm language notion of mother tongue. Dialect have a positive side to affirm mother tongue and to authorize it's worth. But Chinese character deny language notion of mother tongue and reconstruct the meaning which mother tongue showed. It is difficult to say whether the poet of 1930s complete modern poetry through Chosun language. They could not complete Chosun language through poems. But 1930's poetry clearly shows a field of Chosun language which was formation in a number of different linguistic experiment.