해방기 모더니즘 시의 ‘도시’와 ‘시민정신’ 분석 - 『새로운 도시와 시민들의 합창』을 중심으로 -

이봉례 순천대학교 남도문화연구소 2010 南道文化硏究 Vol.0 No.18

1940s is the time when there were many historically important events occurring like the “Japanese Occupation” and “Nation‘s Dividing Time.” As social and political conflict intensified, these aspects began to show up in the poetry. In the 1930s, as a result of the inflow trend of the western literature and it sparked the modernism movement. Then in the 1940s, through experiencing a variety of experiments and challenging courses, it began to settle down. Then the 1950s, it brings much development and it can be considered to be the dilator period of modernism. 1940s is the span of time that is the most important period of the flow of literature. Additionally, 1940s is a period of time which holds a unique spirit of the times of “liberation period” in literature works. In this manuscript, the meaning of “city” and “citizen” in liberation period modernism is analyzed centered on an anthology poetry book titled 『The New City and Chorus of Citizens』. 『The New City and Chorus of Citizens』(1948) was the second work of group of poets of 「Sinsiron」 With the purpose of revival of the new modernism movement, the group of poets gathered and 5 poets produced pieces of works well exposing the spirit of times. They claimed discrimination against the past times and they started a new modernism movement. An ideal about modernism movement is shown directly through the title of their book. The “city” is a place where the essence of modernism shows well. While overcoming difficulties in reality and creating a new era, the “citizens” live in a city and become the owner of the “city”. And the “citizens” overcome the reality and try a “Dionysus” type of combination through the “chorus”. This is what the group of poets intend in modernism through 「Sinsiron」 Kim, Kyungryn, Im, Hogwon, Park, Inhwan, Kim, Suyoung, Yang, Byungshik, and others were the nuclear members of the modernism poet movement and through individual characteristics expression, they pointed out the ills of the western civilization and stressed on the fact that with citizenship, they must create a new bright future. 『The New City and Chorus of Citizens』wasn‘t affected by the ideology of the era of the chaotic political situation and showed their will of the modernism poetry movement of the poets. And in the 30s and the 50s, it can be considered to play the role of a bridge that links the Korean modernism. Furthermore, until today, when industrialization and urbanization have been completed, it has been the foundation of modern poetry history.

모더니즘 이후의 모더니즘들: 신(新)모더니즘 연구의 가능성과 당면 과제

송정경(Song Jung-gyung) 한국외국어대학교 영미연구소 2017 영미연구 Vol.39 No.-

모더니즘 담론에서 일반적인 연구 대상은 20세기 초반에 유럽과 미국에서 나타난 실험적 문화 예술 운동이다. 그러나 현대화로 인한 변화를 모더니즘의 주요 원인으로 보는 만큼, 현대화가 일찍 진행된 서구 국가들과 달리 시기적으로 뒤늦게 등장한 국가들의 모더니즘은 연구에서 제외되거나 타자의 형태로 작품 속에 존재하였다. 이후 일부 모더니즘 작품에 나타나는 제국주의에 대한 연구가 활발해지고 서구 이외의 국가들의 현대화가 진행되는 가운데 20세기 후반부터 세계화로 인한 범세계적 연구가 가능해지면서 새로운 모더니티와 모더니즘 연구의 판이 짜지는 계기가 마련됐다. 새로운 모더니즘의 경향을 통합적으로 살펴 보는 데는 여러 난제가 있으나, 1999년에 설립된 ‘모더니즘연구 학회’가 이러한 방향을 설정하는 기준을 구축하는 노력을 하고 있는 중이다. 이 학회는 1994년 Modernism/Modernity라는 학술지 창간에 이어서 설립된 학술단체로, 시들해져 가던 모더니즘 연구를 부활시킨 계기를 마련했다. 서구 중심을 탈피한 모더니즘 연구는 아직 상대적으로 부족하지만, 이 학회에서 주요 행사 중 하나인 모더니 즘연구 학회 학술상의 최근 수상작은 주로 새로운 관념의 모더니즘들과 관련된 저서들이 강세를 이루었다. 2015년 수상작은 자넷 풀(Janet Poole)의 『미래가 사라진 때』로, 한국의 모더니즘에 관한 연구서이다. 외국 작가에 의한 일본 식민지 상황의 한국 모더니즘 작가 연구가 시사하는 바는, 이러한 새로운 모더니즘 연구가 비단 기존 모더니즘 연구의 지형도를 바꿀 뿐 아니라 한국 문학 연구의 판을 새로이 짜기도 한다는 사실이다. 새로운 모더니즘 연구로 인한 변화가 긍정적인지의 여부, 그리고 새로운 모더니즘이 공통된 특징을 명시 가능한 새로운 문예사조로서 기능하는지의 여부는 조금 더 시간이 지나야 알 수 있겠으나 서구 중심을 탈피하여 아직 ‘모던’이라고 불리는 시기에 세계 각국의 모더니즘을 발굴하고 재조명 한다는 데에서 유의미하다고 할 것이다. This paper aims to introduce the new modernist studies and investigate its significances and contradictions. In the 1990s, the genealogy of modernism and modernity reached an entirely new phase under the influence of globalization and postcolonial studies. Scholars began to expand the study of modernism and modernity in terms of space and time, modifying the scope of their research from a Western-centric modernism/modernity to that of other regions and periods. The new modernist studies enlarges the field without restricting its object to high culture, and thus achieved temporal and spatial diversity in its discourse. The movement was accelerated with the establishment of the Modernist Studies Association (MSA) in 1999 and the ensuing publication of its journal, Modernism/Modernity. However, such approaches have the potential to distort domestic scholarship, for which Janet Poole serves as a good example when she wrote When the Future Disappears: The Modernist Imagination in Late Colonial Korea (2014), awarded in the following year by MSA. For she is quite different from Korean scholars in terms of the object of study. The new modernist studies are still important as they build the foundation for the expansion and diversification of modernism, but their follow-up studies will also be significant.

논문 : 1920~30년대 한중(韓中) 현대시의 "모더니즘" 수용 양상 비교

이경하 중국어문학회 2010 中國語文學誌 Vol.33 No.-

Modernism has been formed as an opposition against Rationalism in the end of 19th century and a existing tradition and conventionality through the history of Western civilization that is the birthplace. However, Modernism in both countries took on a special aspect with a combination of the general aspect of the western literary and her own aspect and has been accepted by the unique cultural environment of Korea and China only over a decade, while the most trends of western literature that had formed and developed for many centuries. Modernism in the world of poetry of both countries could not but have an aspect different from western Modernism due to refraction that it has to be undergone by the main agent through the process of the acceptance. In Korea, Modernism has a refracted form in accordance with the characteristic of Japanese culture because most intellectuals in Korea didn`t accept it directly, but they did it when they studied in Japan as the children the middle class in colony. For example, `Anglo-American Modernism` is called `intellectualism` which means philosophy in Korea due to the japanese effect. However, in china, they showed a different aspect from Korea because a lot of students went to Europe and U.S.A. to study and they experienced their trend of literature directly. It minimized the refraction of the trend of western literature. On the other hand, Modernism leaned toward Symbolism but were indifferent to Futuristic relatively in the world of poetry of China because contemporary writers in China had a distance from their mental mechanism against Futuristic literature that denied traditional art and thought throughly that human being had made. The point that we have to investigate and reveal the truth carefully is we shouldn`t have to be based on and judge the western Modernism because Modernism of the both countries has a different cultural environment from the western one. Modernism has developed with a clear classification, Anglo-American Modernism and European Modernism in western, but there is no border in Korea and China. The contemporary poets in Korea and China had developed and produced their own Korean and Chinese Modernism that are mixed their wandering, disillusionment, and ideal under the gloomy political reality and western Modernism, symbolism, and traditional philosophy and literature. In other words, Modernism in the world of poetry of Korea and China does not correspond with the western one, but they have their own characteristic through the process of acceptance in their ways.

20世紀 中國詩의 國際性

朴正元(Park, Jeong-weon) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.21

If seen from the historical viewpoint, under the effect of western modernism, symbolical poetry (in the 20's), Modernism (in the 30's), Jiuye poetry (in the 40's), Menglong poetry (in the 70's and early 80's), Post-Menglong poetry (in the late 80's) appeared in modern China. Chinese Modernism was achieved through the inflow of modernism poem of western and direct of poets. Introducing the poems of Paul Verlaine, Gemy de Gourmout, Francis Jammes, Baudelaire, T.S. Eliot, Yeats, Stéphane Mallarmé etc. acted as an important role. Mudan's modernism poem developed Chinese modernism poetry world through William Empson's effect and the contact of English and American modern literature. Mudan accomplished notable accomplishment that is differentiated with other poets: First, through resisting traditional idea, created new modern poem's esthetics. Second, expressed modern's survival environment which is placed absurdity and estrangement. Third, refuse the idea of perfect self which appears in the traditional poems and express disrupted self. Fourth, selected usual poetic language and refuse rhythm at tradition poem, sought free prose poem. Mudan's modern poem was unfamiliar thing in Chinese poetry world at that time, but, through modernism, it is the right example that shows internationalism of the 20th century Chinese poem. Mudan accommodates Chinese culture heritage critically, and accommodates western's modernism actively. His modernism poem caused much effect to Menglong poetry that appeared in the late 70's.

디자인 융,복합 현상에 따른 모던함의 언어적 사용 모호성에 대한 연구

김준형(Kim Jun, Hyung) 한국전시산업융합연구원 2020 한국과학예술융합학회 Vol.38 No.4

디자인이 표면적으로 지향하는 점은 유니크함과 트렌드 선도적인 외형미이다. 유니크함은 디자인소비자로 하여금 이전에 접하지 못했던 자극에 대한 니즈이며 트렌드 선도적 외형미는 시장소구를 위해 필요할 것으로 예측되는 외형의 미적 아름다움으로 요약할 수 있다. 일반 소비자의 디자인 가치 평가과정에서 전문성이 강조된 근거는 차치되기 쉽다. 본 연구는 일반 소비자의 디자인 지향의 기저에 전술한 양 측면이 융, 복합적으로 작용할 수 있다는 문제의식에서 비롯되었다. 본 연구는 트렌드 선도적인 면을 강조하기 위해 사용되는 모던함에 대한 고찰을 중심으로 하고 있다. 이를 위하여 서론에서 모던함과 모더니즘에 대한 이론적 정의와 이를 통한 각각의 공통점과 차이점을 알아보았으며 사례를 통한 모던 이미지의 디자인적 소비경향을 알아보았다. 이를 바탕으로 본론에서 모던함과 모더니즘을 명확하게 구분하기 위한 실증 연구 모델을 구상하였다. 이렇게 만들어진 실증 실험을 통해 모던함과 모더니즘을 구분할 수 있는 언어적 기준과 조형적 기준을 제시하고자 하였다. 연구 결과 현재 디자인에서 모던함과 모더니즘이 혼재되어 사용되고 있는 현상을 규명하였다. 연구 결과 모던한 디자인은 모더니즘 디자인의 연장선에 있는 유사성을 가지고 있으며 모더니즘 디자인의 이미지가 모던 디자인에 비해 명확한 이미지적 인식 차이를 보이고 있는 것으로 조사되었다. 본 연구를 통해 디자인 개발 의도 또는 결과로서의 디자인 평가 과정에서 사용되는 모던함에 대한 구체적인 기준을 바탕으로 최종 디자인 소비자에게 소구하는 것의 중요성을 제안할 수 있을 것으로 기대된다. What the design aims for on the surface is its uniqueness and trend-leading appearance. Uniqueness is the need for stimulus that design consumers have not encountered before, and the trend-leading appearance can be summarized as the aesthetic beauty of the appearance that is expected to be necessary for market appeal. In the process of evaluating the design valuation of general consumers, it is easy to dismiss the evidence that emphasized expertise. This study originated from the awareness of the problem that the above-described two aspects can act fusionly and complexly on the basis of the general consumer’s design orientation. This study focuses on the consideration of modernity used to emphasize trend-leading aspects. To this end, the theoretical definition of air modernity and modernism, the commonalities and differences between them, and the design consumption trends of modern images were examined through examples. Based on this, an empirical research model was devised to clearly distinguish between modernism and modernism in the main body. Through the empirical experiments created in this way, it was intended to present a linguistic standard and an image standard that can distinguish between modernism and modernism. As a result of the study, it was found that modern design has similarities in the extension of modern design, and the image of modern design shows a clear difference in image perception compared to modern design.As a result of the research, it was investigated that modernity and modernism are mixed and used in the current design. Through this study, it is expected to be able to suggest the importance of appealing to the final design consumer based on specific criteria for modernity used in design development intention or result design evaluation process.

신모더니즘론 이후의 동아시아 모더니즘 연구 : 모더니즘의 역사화와 지역성 이념

최현희(Choe, Hyonhui) 구보학회 2021 구보학보 Vol.- No.29

1990년대 이후 영미 문학비평에서는 모더니즘과 글로벌 모더니티의 관계를 쌍방향적 개입 관계로 보는 신모더니즘론적 경향이 나타난다. 이 글은 그러한 경향에서 나온 동아시아 모더니즘에 대한 연구들을 개략적으로 살펴보고 이를 바탕으로 하여 현단계의 한국 모더니즘 연구를 갱신할 수 있는 방법론을 모색하고자 한다. 전통적 모더니즘론에서 모더니즘 예술은 그 환경으로부터 자율성을 본질로 한다고 상정된다. 그러나 신모더니즘론은 그러한 초월성을 견지한다면, 모더니즘의 근본 강령이라 할 ‘새로움의 추구’에 역행하는 것은 아닌가 하는 의문을 던진다. 모더니즘을 근대성의 세계로부터 분리하여 이해하려는 방식은 결국 모더니즘의 ‘새로움’을 박제하여 모더니즘의 삶을 보존하는 게 아니라 결국 죽이고 있지 않은가? 이에 이어지는 질문으로는 다음과 같은 것이 있다. 또 모더니즘과 모더니티의 분리된 이해는 미학적 자율성이라는 모더니즘의 핵심 이념에 모더니즘을 대상으로 하는 해석자 스스로 무반성적으로 걸려든 결과가 아닐까? 이 글에서 검토한 연구들은 모두 미학적 자율성, 실험성, 난해성을 핵심 가치로 하는 작품들로 구성되어 있는 모더니즘을 글로벌 혹은 그 모더니즘이 생산된 지역의 모더니티와의 긴밀한 연동 가운데 분석하고 평가하는 경향을 띤다. 그 분석에서 모더니즘 연구는 미학적인 것과 정치사회적인 것 사이에 그어진 경계선을 넘나들면서 미학성에 침윤되어온 기존의 모더니즘론을 갱신하는 한편 모더니즘과 모더니티의 관계를 역동적으로 볼 수 있는 틀을 제시하고 있다. 이러한 사례를 검토함으로써 모더니즘과 모더니티 연구의 분할 상태에 있는 현단계 한국 내 모더니즘 연구에 대한 문제 제기가 좀더 구체화될 수 있기를 기대한다. Modernist studies in Anglophone literary criticism since the 1990s took a theoretical turn called the New Modernist Studies. The trend posited interactive relation between aesthetic modernism and global modernity. This paper examines some of recent achievements from East Asian modernist studies from Anglophone academia in the trend. By surveying one of the major trends in modernist studies, this paper suggests Korean modernist studies to focus on the sociopolitical contexts of modernist aesthetics. Traditional studies on aesthetic modernism tended to assume modernist artwork’s autonomy from its sociopolitical environment. New modernist studies raised a question that such insistence on artistic autonomy ironically resulted in ignorance in the modernism’s foremost dogma of “the pursuit of the new.” Once the artistic newness is detached from the reality of our lives and fixated at the point of the detachment, it is no more new. The defense of modernism’s autonomy from social reality protects artistic realm from outside forces, but the protection is in reality rendering art dissociated from its environment. New modernist studies on East Asian modernisms examine modernisms as in modernist practices intervening in the producing and maintaining process of the global modernity and local modernities. They attempt to blur the borderline between the aesthetic and the sociopolitical and thereby to situate aesthetic modernism within its dynamic relationship with modernity in general. The lesson from the studies in this trend is that Korean modernist studies to have more acute sense of the interaction between modernism and modernity.

1960-1980년대 한·중 모더니즘 시의 지향성 비교연구 - 《현대시》와 《오늘》 동인을 중심으로 -

이미옥(Lee, Mi-Ock) 동북아시아문화학회 2020 동북아 문화연구 Vol.1 No.64

This thesis compared the directivity of Korean and Chinese modernism poetry of the 1960s to the 1980s focusing on the coterie 《Modern Poetry》 of Korea and the coterie 《Today》 of China. Behind the comparison of these two motives are the April 19th Revolution of Korea and Tiananmen Square protests of China, which were important turning points in the preparation of modernity. The two revolutions were the first democratic revolutions since liberation and they had a symbolic effect on modern history and literary history and this connected with movements for modernism of the West and gave birth to unique thoughts of modernism. The coterie magazines 《Modern Poetry》 and 《Today》 were created to allow people to voice their thoughts and establish their literary positions after the first democratic revolution failed after liberation in an atmosphere of national censorship. Their greatest role was to create autonomous literary fields in which attempts could be made for pure poetic explorations in a time when realistic participation was desperately needed and to secure diversity. Modern poetry coteries particularly pry into the unconscious, or in other words, the inner consciousness and their goal was a combination of lyricism and modernity. Their internal world was in the form of individual illusions created through language and the illusions they pursue were progressed with as explorations into pure individual unconsciousness and not as reflections of reality or participation. Also, they accept modernism techniques but establish their own poetics instead of settling for a single form of esthetics and they promoted active language experiments. The psalms of coteries can be distinguished from the ‘internal worlds’ of previous poems of modernism from aspects that they are the acquisition of self-sustaining internality that possesses modernistic material foundations. Compared to this, modernism poetry of China actively utilized modernism from aspects of technique but there are many aspects of reality reflection from aspects of content. Chinese poets read books related to modernism in secret through underground reading and this became nourishment for the creation of modernism poetry. They borrowed various modernism techniques such as metaphors, montages, and automatic techniques to reveal the contradictions of suppressed realities and this was called “misty poetry” and appeared as contemporary literary thought. Ultimately, misty poetry is another name for engagement poetry that borrows modernism techniques and its modernism is similar to historical modernity that is based on historical reality.

한국 모더니즘 시의 전통 인식 양상

이혜원(Lee, Hye-won) 고려대학교 한국학연구소 2014 한국학연구 Vol.50 No.-

본고에서는 한국 모더니즘 시에 나타나는 전통에 대한 인식을 통해 한국적 모더니즘의 구체적인 양상을 살펴본다. 모더니즘의 대립 개념이라고 할 수 있는 전통에 대한 반응을 검토하여 모더니즘이 당대의 현실과 어떻게 충돌, 또는 조응하며 한국문학에 내재화되었는지를 추적할 수 있다. 본고에서는 한국 모더니즘 시를 대표하는 시인들이자 전통에 대한 예리한 자각을 보여주는 이상과 김수영의 시를 대상으로 1930년대와 1950-60년대 모더니즘 시에 나타나는 전통에 대한 인식의 변화를 살펴본다. 이상이 활동했던 1930년대는 서구 모더니즘이 수용된 지 얼마 되지 않은 데다 식민지의 특수성으로 인해 모더니즘의 외양을 모방하기에 급급했던 시기이다. 이상의 시는 현실과 유리된 미적 자율성의 극한을 추구하며 서구 모더니즘을 흉내 내는 데 그쳤던 식민지 모더니즘의 한계를 보여준다. 김수영은 1950년대 전후 모더니스트로서 출발하며 현실에 대한 투철한 인식에 기반을 둔 모더니즘을 추구한다. 그는 소외된 기층민중의 역사를 살아있는 전통으로 재발견하고 거기에서 후진국의 모더니티가 존립할 수 있는 생명력을 찾아낸다. 두 시인은 모두 당대의 선구적인 모더니스트들이었지만 시대적 차이로 의해 전통에 대해 인식하는 데 있어 뚜렷한 차별성을 보인다. 이상은 자신이 추구하는 모더니티에 끊임없이 침투하는 전통을 의식하면서 착종된 모더니즘에 봉착할 수밖에 없는 식민지 현실에 대한 뚜렷한 자각을 드러낸다. 김수영에게 전통은 파기해야할 과거의 시간이 아니라 자기 혁신과 새로운 발견의 가능성을 가져오는 카이로스적 시간이다. 모더니즘과 전통에 대한 두 시인의 인식 차이는 그들의 미학적 특성과도 밀접하게 관련된다. 이상은 모더니티의 극단적 표현으로 수학이나 과학적 용어와 같은 인공어를 과감하게 사용하여 미적 자율성을 극대화한다. 이상의 인공적인 언어에 비해 김수영은 일상어와 거침없는 구어체로 현실에 밀착된 시를 쓴다. 일상어의 질감과 역동성을 새로운 미학적 차원으로 끌어들인 그의 시에서 전통의 재발견은 미적 모더니티의 새로운 동력으로 작용하고 있다. In this paper, I studied on the specific aspects of Korean modernism through the awareness of tradition appeared in Korean modernism poetry. Yi Sang and Kim Soo-young were not only representative poets of Korean modernism but also showed keen self-awareness about tradition, so I looked deep into aspects of awareness about tradition of the 1930s’ and 1950-60s’ modernism poetry by their poems. Yi Sang was active in 1930s when most of Korean poets were busy imitating Western modernism because of the uniqueness of the colony. His poetry showed the limits of colonial modernism that pursued the ultimate aesthetic autonomy and imitated western modernism. Kim Soo-Young came forward as a postwar modernist of 1950s, and pursued modernism which based on clear perception of reality. He rediscovered the history of the people as a living tradition, and rooted out the vital power in it. Both of the poets were the leading modernist of their age, but showed the clear differentiation in their awareness of tradition. Yi Sang was conscious of tradition that constantly permeated into modernity, and revealed clear awareness of the reality of the colony that could not help meeting the self-contradictory modernism. Kim Soo-young realized the fact that tradition is not merely past time, but time of Kairos that brings possibility of selfreform and new discovery. The difference between the two poets about modernism and awareness of tradition were also closely related their aesthetic properties. Yi Sang expressed extreme modernity by the artificial language, such as mathematic or scientific terms, and drastically maximized the aesthetic autonomy. Unlike Yi Sang, Kim Soo-young wrote poetry closer to reality with everyday language and inexorable spoken language. In his poetry, everyday language was inspired new aesthetic dimension, also rediscovery of tradition was militating as a new power of aesthetic modernity.

Modernism and Post-Modernism Aesthetics in Seeing Things

Hong, Sung Sook 한국예이츠학회 2008 한국예이츠 저널 Vol.29 No.-

Modernism and post-modernism are two aspects of aesthetic modernity reflecting some of the spiritual crises of the western civilization as resistance against the scientific modernity. These two are similar or the same to each other in seeing the modern world as fragments and discontinuities with pessimistic tone, the reality as relativity, and the language as lack. By contrast, many differences between the two can be seen as well. For example, modernism reflects Elite's taste of high culture while postmodernism is impatient with Elite's taste of ideas. And also, modernism hands down humanism and enlightenment while postmodernism rejects the so-called humanism and enlightenment. More likely than not, however, the foremost difference will be that modernism has the spirit of betterment by a kind of stoic attitude through self-criticism hoping for the birth of the hero who searches for the spiritual father, while postmodernism reflects a kind of Epicurism emphasizing 'seize the day' by accepting the commercial, technological and scientific values. It follows that modernism tries to expand freedom of more people through digging inner reality while postmodernism tries to expand equality of more people through de-constructing the concept of hierarchy of the western civilization. I think that Seamus Heaney's Seeing Things is characterized by the combination of modernism and post-modernism: his poetry contains the characteristics of modernism in respect that it continuously reflects the pursuit of tradition. At the same time, it includes post-modern aesthetics in respect that Squarings of Seeing Things transforms the concrete into the abstract by de-constructing some of the fixed meanings, from which readers can enjoy the entire freedom. My last conclusion is that Seamus Heaney's Seeing Things reflects not only his pursuit for the past tradition but also his desire to de-construct it. In brief, his poetry reflects some ambivalence: the search for the father and killing him, waiting for Godot and searching for light, freedom, equality and song.

식민지 근대성을 통해 본 한국 모더니즘에 대한 비교 연구: 모더니즘 변형에 대한 문학사적 접근

최성우 ( Seong Woo Choi ) 한국비교문학회 2015 比較文學 Vol.0 No.65

본 연구는 1930년대 식민지 상황에서 태어난 한국 모더니즘의 특징들을 호미 바바의 탈식민주의 이론을 빌려 다루고자 한다. 한국의 근대 문학을 알고자 하는 독자들, 특히 영어권 독자들을 위해 한국 모더니즘을 유럽 모더니즘들, 그리고 이들을 한국에 전달하는 중간 역할을 했던 일본의 모더니즘과 비교하는 방법은 유용하고 적합할 것이다. 원래 모더니즘은 19세기 말, 20세기 초 유럽에서 태동한 예술운동을 의미하며 여러 모더니즘들의 공통된 특징은 반전통주의라 볼 수 있다. 이 반전통주의를 기반으로 한 유럽 모더니즘들과 일본 모더니즘에 영향을 받아 한국 모더니즘도 자신만의 반전통적이고 새로운 독특한 문학을 만들어 냈는데 이는 식민지라는 그들과 다른 역사적 문화적 배경이 큰 영향을 준 것이라 볼 수 있다. 따라서 본 연구에서는 한국 모더니즘 문학을 제대로 알고 즐기기 위해서는 식민지 한국이라는 역사적 문화적 배경의 이해가 우선해야 함을 강조한다. 모더니즘 연구뿐 아니라 한국 문학 연구를 위해 탈식민주의적 접근법은 큰 역할을 담당할 것이며 본 연구가 이에 작은 기여를 할 수 있기를 바란다. Influenced by the ideas of postcolonialist Homi Bhabha, this study attempts to show the features of Korean modernism based on colonial modernity, to the readers, particularly to the English-speaking readers, who want to understand Korean modern literature. For this, it will be relevant and useful to compare Korean modernism with other European and Japanese ones. Modernism is an aesthetic movement rooted in the changes in European society in the late 19th and early 20th century. Its most remarkable common feature is anti-traditionalism. Based on the influences of European and Japanese modernisms, Korean modernists formed their own unique style which is pervaded by the features of Korean modernism. Thus, this study emphasizes the role and importance of historical and cultural background to understand Korean modernism which began in colonial Korea in the 1930s. Ultimately, the study aims to contribute to the improvement of how to approach Korean literary studies with post-colonialism that will unveil the unique features of Korean modernism.