한국 近代詩의 北方意識 연구 : 김동환, 백석, 이용악을 중심으로 = (A)study of the northern consciousness in Korean modern poetry : mainly focused on Kim Dong Hwan, Baek Suk and Lee Yong Ak

다국어 초록 (Multilingual Abstract)

A study of the northern consciousness in Korean modern poetry
-Mainly focused on Kim Dong Hwan, Baek Suk and Lee Yong Ak

The purpose of this dissertation is to examine the 'northern area' shown in modern poetry of 1920s through the 40s, about it's meaning and how it is described. And so, it is to consider the meaning of the northern area and northern consciousness in modern poetries with Kim Dong Hwan, Baek Suk and Lee Yong Ak's northern poems. In addition to that the characteristics of the poetic language and techniques used in the northern poetry will be followed up.
The northern area was the space of origin where the root of our people started and the memory kept of the most powerful time in history. And our people reigned the northern area for a long time and it was a land where we led a life as the substantial living area. The works showing the life and emotion of the northern area; Abrok river and Dooman river centered Hamkyungdo, the northern part of Hanbando including Pyungando region and Gando, and whole Manju continent which was the ancient land; started to be published from 1920s by Kim Dong Hwan until the second half of the 40s by many other poets. In their works when the northern space first appeared in Korean literature from the 1920s until disappeared in the liberation and separation period the northern emotion and consciousness were described most prominently. Also they had their own way in response to the condition of times showing strong narrative impulse together with some poetic reverberation reaching the literary achievement. Therefore it is meaningful that we can find the stream, amplitude and the character from the manifestation to the disappearance of the northern area and northern consciousness wholly through their northern poetries. And beside that it has a very special meaning for us to recover this space of literature vanished and passed out of mind because of the separation became solid, and the northern consciousness arose here and to retrieve the intact imagination of our people having a bright prospective for the Korean Peninsula and the whole northern part of it.
The 2nd chapter is the study about Kim Dong Hwan's northern poetry and northern consciousness. In the 20s, Kim Dong Hwan brought in the edges of northern locations and the rough and tough natural environment of the vast continent where the suffering and grief of the incipient wandering people and immigrants started in earnest and overlapped with the colonial period, and the freshness of the material and style intermediating the northern area such as the narration of impressive masculine tone in the endless northern snowfield gave a new and strange sensation to the contemporary poetry world.
Kim Dong Hwan managed to expand his northern poetries to an epic to incorporate the background of that times which was quite complex in literary style. In the past the northern area was a place nobody took any attention as a Korean literary space but he put this space as a symbolic space showing the circumstance of the gloomy times full of ethnic suffering under the rule of Japanese imperialism trying to find a new way to get a 'reincarnated sunshine' for the poetry world of the 20s. The poetry society at that time didn't get out of the urban impression in line of romanticism, so the fact that he explored a new space called the northern having a masculine and continental mood and based on that the first epic [Night of the Borderline] and [The Youth Rising to Heaven] were published, was to extend the outline of Korean poetry.
The immature aesthetic conclusion pointed throughout his poetic world and the weakened national consciousness predicated on baseless optimism, the pro-Japanese issue and the lack of sound northern narration and impetus of consciousness and all these problems are clear to have some limitations and justifiable to be criticized. But it was still very meaningful to have expanded the space of Korean literature to the vast northern continent bringing in the northern narration and emotion to the Korean poetry world and at the same time to alarm the poetry society of the 20s clearing the path to find new ways. Also the narration and consciousness of the northern literary space made by him prepared for the appearance of some prominent northern poets like Baek Suk and Lee Yong Ak in the 30s and contributed to open an upgraded vista of the northern literature.
The northern area described in Baek Suk's northern poetry as studied in chapter 3 is an object of reaction between a space eager to recover and to aim at as well as a lost space not able to reach. Baek Suk's eyes headed for memories of the northern area showing a past-oriented peculiarity. He first started from a cognition of ruins, created a childhood narrator and trying to restore the memory of the original northern village to a world of fairy tales. Next, in order to overcome the gap between the ideal space in his memory and the reality he let a adult narrator made the journey to find the northern space but at last he expressed despair, loneliness and sadness from the frustration of his effort to recover the original northern area. In that process he didn't fall into the sentiment and misery of the vagrancy not knowing where to stay or where to go but presented some poetic achievement to an aesthetic of abandonment having the will to bounce back from the real life through a sincere self-reflection.
There are some negative perspectives about Baek Suk's northern poetries that he tried to reconstruct and recover the 'northern village' as an ideal space under a very harsh colonization or still having the despair in such an impossible situation but failed to express the historical consciousness of times choosing introspective poetic words and voice revealing the evasion and absence of the spirit of times. However his northern poetry got to the point that the world he created with pure and clear poetic words is the original community space and the northern customs and emotion and life built around the northwestern area never used in former Korean literature. So we understand that his introspective narrator and poetic attitude was a quite adequate strategic choice.
Lee Yong Ak payed attention to the issue of wandering people and immigrants from all over the country because of the violent plunderage in the last Japanese years under a tragic historical consciousness of the colonial times, particularly digged into the northern area where the wandering people and immigrants broke out in a large scale and was the scene of a miserable life. The point that he didn't dream about restoring the ancient glorious voluminous narration with the northern background or described the northern area as the original ideal space but formed the life of the suffering immigrants and wandering people pushed to a imminent circumstance with a monotonous and concrete voice is distinguishing from that of the preceded Kim Dong Hwan and Baek Suk. His voice was not angry or emotional and by maintaining a steady distance he built a groundwork of poetic achievement with a louder tone. Lee Yong Ak adopted the tragedy of the wandering people and immigrants and the miserable life of the people of the 30s as his poetic object which was linked to the writers in KAPF circle of the 1920s. He was not inclined to concepts or catchwords but well described the people's wretched and tragic life in simple and concrete usual terms and vernacular idioms and brought out some appeal and sympathy. This was a valuable achievement of people's narration lyricism and a big forwarding step of the 30s which the preceded KAPF poets tried innumerably but never succeeded.
In this dissertation we are to study the northern poetries about the northern area and northern consciousness that are neglected and unnoticed by our literary research all the while as an object together with Kim Dong Hwan , Baek Suk and Lee Yong Ak's poetries. Their northern poetries formed the northern area into a space of a original magnificent space of life without any damage and a space of living where various people harassed and coexisted, showing their own poetic responds and ways in order to recover the space. On the other hand their poetries got an overlapping and diverse meaning in our literary history since it was the same period when these northern poetries were published and actively developed and when our people suffered the most in a hopeless and tragic circumstance under the Japanese colonization.

국문 초록 (Abstract)

이 논문은 1920~40년대 한국 근대시에 나타난 ‘北方’이란 어떤 공간이고 어떻게 그려지고 있는가를 살펴보려는데 목적이 있었다. 이를 위해 김동환, 백석, 이용악의 북방시편들을 통해 근대시에 있어서의 북방공간의 의미와 북방의식을 고찰하였다. 아울러 북방시편들이 갖는 시어와 기법의 특징은 무엇인가를 규명하고자 하였다.
북방은 우리 민족의 뿌리가 시작된 시원의 공간이자 역사적으로 우리 민족이 가장 강성했던 시기의 기억을 가지고 있는 곳이다. 또한 아주 오래전부터 재배해왔고 실질적인 삶의 터를 이룬 생활의 공간이라고 할 수 있다. 압록강, 두만강을 중심으로 한 함경도, 평안도지역과 간도를 포함한 한반도 북쪽과 고토였던 만주 대륙 일원의 북방공간의 삶과 정서를 담은 작품들은 1920년대 김동환에 의해 처음 발표되기 시작한 이래 1940년대 중후반까지 여러 시인들에 의해 발표되었다. 특히 이들(김동환 백석 이용악) 세 시인의 작품에는 북방공간이 한국문학에 처음 등장한 1920년대에서부터 사라진 해방과 분단기까지의 북방정서나 의식이 가장 도드라지게 부각되어 나타나 있다. 또한 이들은 각각의 방식으로 시대적 상황에 응전하며 강한 서사적 충동과 함께 시적 울림을 보이는 문학적 성취를 보이고 있다. 그러므로 북방과 북방의식의 발현에서 사라지기까지의 흐름과 진폭, 그리고 특성을 이들의 북방시편들을 통해 총체적으로 확인할 수 있다는데 의의가 있다. 더하여 오랜 분단과 분단체제의 고착화로 말미암아 사라지고, 잊혀진 북방이라는 문학공간과 여기서 발현하는 북방의식을 회복하고 한반도와 그 북쪽 일원을 조망하는 우리민족의 온전한 상상력을 되찾는다는 점에서 의미가 각별하다.
이 논문에서는 그동안 우리 문학연구에서 주목받지 못한 혹은 소외되어온 북방공간과 북방의식을 담은 북방시편들을 연구대상으로 삼고 김동환, 백석, 이용악의 시편들을 고찰하였다. 이들의 북방시편들은 북방을 훼손되지 않은 시원의 웅혼한 생명공간으로, 그리고 여러 민족들이 부대끼고 공존하며 희노애락을 같이해온 삶의 공간으로 형상화하면서 이를 회복하기 위해 각자의 시적 응전과 방법을 보이고 있다고 볼 수 있다. 한편으로는 이러한 북방시편이 발표되고 활발히 전개된 시기가 민족적으로는 가장 고통 받고 절망적이며 비극적인 상황에 처해있던 일제 식민지 치하였다는 점에서 이들 시편은 우리 시사에서 중층적이면서도 다의적인 의미를 갖는다고 할 수 있다. 따라서 근대 북방시편을 대상으로 삼아 고찰하고 북방의식을 규명하고자한 이 논문의 시도는 북방시편이 보여준 공간과 의식에 대한 이해를 돕고 나아가 근대시사 연구의 영역과 외연을 넓힘으로써 보다 깊이 있고 다양한 후속 연구들을 불러 오는데 도움이 될 수 있을 것으로 기대한다.