한국 근대시에 나타난 도시 인식과 감각의 연구

다국어 초록 (Multilingual Abstract)

<Abstract>

A Study on Perception of City and Senses in Modern Korean Poetry

Oh, Se-in
Dept. of Korean Language & Literature
Graduate School of Korea University

The Purpose of this study is to identify how modern Korean poetry perceived 'city' formed during the 'modernization' process of Japanese colonial period, and how 'senses' functioned when embodying the 'city' poetically. By studying modern Korean poetry from the perspective of 'city' and 'senses', this study intends to revive works of poets affiliated with Korean Artists Proletarian Federation(KAPF) in 1920's that have been excluded in previous studies and to secure historical continuity with poetry of 1930's. In the history of modern Korean literature, poetries of 1920's and 1930's when KAPF and modernism led literary circle respectively are believed to have a common property of inquiring into problems of capitalist city in spite of different literary tendencies. When sublate usage of terms such as realism and modernism and examine modern Korean poetry focusing on a substantial subject, 'city', it would be possible to clarify how 'modernity' affected life of individual subject and how individual subject sensed and perceived such changes during the Japanese colonial period.
It is an undeniable fact that modern Korean literature has secured literary 'modernity' by embodying urban life experienced during the process of modernization in the Japanese colonial period. Capitalist city given as new living environment were restrictions and possibilities to the poetic subjects of modern times. It is a restriction in that it is almost impossible to understand or express rapid changes of sensible experience through existing values and literary language. It is a new possibility, however, in that sensible experience itself becomes a basis and method of understanding and expressing the world. Each individual subject has to depend on one's own experience when determining reality during the transition process into a modern society, and experience is sensible in that it is realized through sensible negotiation with the real-world. It was possible for poetic subjects to be reborn as a modern subject by understanding concreteness of sensible experiences and embodying into poetic language. The problem was whether modern Korean poetry of the colonial period recognized 'colonialism' that made subtle but substantial influence on sensible experience. Regarding senses is medium of perceiving objective world and embodying subject's recognition and judgement on it linguistically, it is fair to say that poetries from 1920 to 1930's, which described sensible experiences in the city, showed awareness on 'colonialism.'
The body of this study is composed of 4 chapters to look into and verify intermediate functions of senses in poetic embodiment of urban experiences through concrete analysis of poems. First, the concept of 'senses' appeared in modern poetic theory of Korea is investigated in chapter II. And from chapter III to V, characteristics of urban life and poetic embodiment of it that poetic subject is paying attention on are studied.
In chapter II, poetic theories by Kim Ki-jin and Kim Ki-rim where concepts of senses in 1920's and 1930's are evident are reviewed. The intention was to prove empirically that senses is a medium for the writing subject to recognize the object world and embody it poetically by studying the concept of senses in modern poetic theories of Korea.
Poetic theories by Kim Ki-jin, published in early and mid 1920's, are examined in paragraph 1. Through earlier essays and poetic theories, Kim Ki-jin insisted on 'literature of life' which depicts miserable lives of proletariat on 'streets.' It was because he believed it was impossible to express life and consciousness of Koreans who had fallen down to the proletariat group through existing bourgeois aesthetics. Kim Ki-jin believed that it was possible to destruct existing bourgeois aesthetics and create a new one and literature through 'revolution of senses.' 'Senses' in his theories was a way of social perception and literary expression of lives and consciousness of proletariat class. In other words, it was a concept that includes not just functions that perceive and recognize reality but also matters of forms that express perceived and recognized contents. After carefully studying poetic theories by Kim Ki-jin, it was identified that his 'senses' was the medium which embodied political practice of proletarian literature aesthetically.
The concept of senses in Kim Ki-rim's poetic theories in 1930's is handled in paragraph 2. Kim Ki-rim emphasized subjectivity of subject that sensed outside world, however, his senses is objective in that eyes of the subject is constantly facing towards the outside world to capture the changing reality. Kim Ki-rim considered that the outside world that has been accepted through senses was recognized within the subjectivity of subject and expressed in poetic language. By emphasizing the function of senses which introduce objective world into a subjective world in writing poem, Kim Ki-rim intended to overcome KAPF's criticisms that modernist poets were evading reality of Korea. Senses in his poetic theories was identified as not only vehicles but also methodology which internalized the outside subjects, modern city, through subjectivity and expressed it into poetic language.
In chapter III, poems in 1920's that depicted lives of proletarian class observed from the 'street' were examined. Most of poems related to city in mid and late 1920's were created by poets affiliated with KAPF, and looking down on streets, they depicted problems of capitalist modern city that they have captured with their own eyes and ears. Such location that makes aerial view possible to poetic subject resulted from poets' stance recognizing and criticizing problems of capitalist city from ideological perspective. Poets affiliated with KAPF have expressed their ideological awareness on contradictions of modern capitalist city they witnessed on streets through physical senses, such as hearing or sight.
In paragraph 1, poems which reveal contradictions of classes in modern capitalist city through crashing sounds were studied around Kim Hae-gang, Park P'al-yang, and Im Hwa. They clearly contrasted miserable lives of proletarian and pleasure-seeking bourgeoisie on streets through crashing sounds. By crashing sounds that each rich and poor are creating on city and streets, Kim Hae-gang revealed contradictions of capitalist city. He intentionally made church bells, machine noise in factories, sounds of enjoying pleasure, and painful noise of the poor suffering from deprivation to crash into each other. This point of collision is where aesthetic practice and political practice meet. Park P'al-yang recognized mixture of movements of people from various social classes who have been gathering on city streets and sounds that they made as 'the flow of great muddy current.' City street is modern in regards to how it is a mixture of upper and lower classes, and is contradictory in that it allows flowing in mixture but people return back to their lives of different classes in the end. Park P'al-yang revealed modern but contradictory quality of capitalist city through entangled and conflicting sounds and acts. Im Hwa emphasized the necessity of solidarity of entire working class in 'Negeori ui Sooni(Sooni at Crossroads)' by defining the relationship of 'I,' 'Sooni,' and 'young man' as 'love.' A collision of humming of laborers and noise of the machine erasing it symbolizes the pain that working people are going through, but the poetic subject sublimated bitter struggle of the past into 'the parade of joyful youth' through 'love' and requested to purse a 'new willingness and plan.' Analysis of poems by Kim Hae-gang, Park P'al-yang, and Im Hwa clarified that the collision of directly-opposed sounds that symbolize class contradictions caused by capitalist city was a way to embody ideological awareness on contradiction of capitalist modern city aesthetically. Contradiction and confrontation of classes can easily be switched over to the matter of nation during the Japanese colonial period.
Paragraph 2 studied poems by Kim Hae-gang, Kim Hwa-san, and Roya that visualized physical desire witnessed on streets of capitalist city. Kim Hae-gang visualized overwhelming desire of capitalist city through cars that are running at full speed carrying young men and women and quick movement of legs and waist of dancing people. Kim Hwa-san critically described a capitalist city, 'Seoul,' filled with burning desire by visualizing automobile exhaust as 'white skirt' and 'powder of dating,' and by depicting a fluttering flag at a store even when there was no wind. Roya compared pleasure-seeking women with dolls or machines and depicted their desire into a speeding car. By analyzing poems that visualized desire and corruption of city with speed and movement, it is revealed that visualization of desire was a way to embody criticism on corruption of bourgeoisie through senses.
Poems by Jeong Ji-yong, Kim Hwa-san, Park P'al-yang, Park Jae-ryun, Kim Hae-gang, and Lee Heup from 1920's to 1930's who viewed city as a scenery are covered in chapter IV. City as a scenery is different from a place of ideological awareness-streets or where everyday life is unfolded. The reason why the subject views city as a scenery is because it recognized that it's been alienated from a city. The subject's awareness of alienation is expressed in their poems through emotions projected into city views or a sense of distance perceived from city views. Subject's awareness of the city is 'emotional' in that the feeling of city scenery or a sense of distance is expressed rather than it being the cause of isolation that makes subject to perceive city as a scenery. Although their awareness on city was superficial as it did not reach fundamental reason of isolation, however, it is significant in that it showed subject's negative view on colonial urbanization by revealing alienation and emphasizing it through senses.
Paragraph 1 studied poems by Jeong Ji-yong, Park Jae-ryun, Park P'al-yang, and Kim Kwang-gyun who projected their own feelings into a city scenery. Jeong Ji-yong revealed sorrow of uprooted people who left their home country by depicting scenery of exotic cafe and a port city. Park Jae-ryun portrayed a loneliness of an alienated subject in a capitalist city through a bored subject who had nothing to do because he had no money. Park P'al-yang described sadness of an alienated subject from the glamour of the city at night. Kim Kwang-gyun expressed sadness of a subject who lost a directing point through cold 'lamplight' and closed 'empty room' and 'plaza.' Lives in unfamiliar foreign countries, lack of money, and loss of a directing point in their poems made subjects to feel alienated. In that the subject views city as a scenery and projects emotions into it but does not reach the understanding of structural problems of city that isolate themselves, their recognition of city is superficial.
Paragraph 2 investigated poems by Jo Byuk-ahm, Kim Hwa-san, Lee Heup, and Kim Kwang-gyun who sensuously revealed a sense of distance that the subject, who is isolated from capitalistic desires such as product or money, perceived from a city scenery. Jo Byuk-ahm depicted how moral philosophers, such as 'Socrates,' are mocked and derided by capitalists in modern city dominated by money, products, and physical desires through an appearance of philosopher shivering in a city scenery. Kim Hwa-san sensuously expressed a phenomenon of an exploited worker being alienated from products through exponentially increasing numbers, speed of a racehorse, and the height of ascending hot-air balloon. Lee Heup sensuously revealed a sense of alienation of 'S' who takes chances at the racetrack but cannot receive the profit through a betting slip being flown away by the wind. Kim Kwang-gyun expressed a sense of alienation that he felt from a department store scene and trendiest products, such as Coty perfume, into dizziness. Products or money in their poems only allowed visual contact as they were blocked by show-window(glass window) or steel-barred windows at the bank. Koreans, who were mostly poor, projected craving eyes towards products and money even when they were aware of how they could not possess anything. They depicted alienation from desires by depicting the subject's desire sensuously that is getting more fierce by the distance between subject and products. Simply giving shape to the sense of alienation through a simple physical 'sense of distance' is resulted from a limitation of just recognizing problems superficially, not inquiring into the fundamental causes that raise the problem of alienation.
Poems by Kim Ki-rim and Lee Sang from 1930's who paid attention to the dailiness of capitalist modern city are investigated in chapter V. The fact that subject recognizes a city as a space of everyday living signifies that the subject's life is put under the control of repetitive urban daily life. By embodiment of urban daily life through senses, Kim Ki-rim and Lee Sang revealed anxiety and depression in colonial modern city and structural problems of capitalist city that stimulate and distort subject's desire.
Poems by Kim Ki-rim and Lee Sang who displayed anxiety and depression that the subject sensed in urban space of everyday life is investigated in paragraph 1. In 'Oksang Jeongwon(Roof Garden)', Kim portrayed how an canary isolated from nature and caged on the roof garden of a department store and a person who locked himself up in an artificial wall cannot help but going toward 'death.' 'Gwanghwamuntong(Gwanghwamun Street)' portrayed how the fear of death is inherent in an artificial environment of city through an image of a pig being dragged to the slaughterhouse and the death of an ill wayfarer. In 'Che-ya('The Watch-Night),' an anxiety that the subject felt in everyday life in a city where it is disguised to be peaceful despite the imminent threat of a war was transformed into an image of sharks coming for preys. He perceived that fear and anxiety the poetic subject feels in everyday life in a city is caused by an awareness that the artificialness will drive city people to death and tranquility of daily life is affected one maintained by colonial capitalist system. In 'Ogamdo-Si Je 1ho(Crow's Eye View-Poem No. 1)', Lee Sang depicted anxiety and fear of modern subject through children's ontological position where they are positioned in between negative premodern and constrained modern society. In this poem, when 13 children all race down the road or do not speed down the road, when 13 children are all frightening or frightened, or if the road is the dead-end alley or through street, all these circumstances do not make any significant differences. It is because Lee Sang recognized premodern value is still blocking the way toward modern society as an obstacle and modern everyday life cannot be controlled by oneself but is being coerced by the other. Anxiety and fear that the modern subject is feeling in everyday life come from ontological location between premodern and modern times. Lee Sang showed that the subject will feel fearful from both rushing down and standstill if premodern and modern society are all recognized as something negative. 'Pa Cheop(Damaged Book)' revealed that the modernization and urbanization by Japanese Imperial Government were 'fake' by describing modern city as wasteland where no living thing can grow. A technician, named 'Cain,' who could not accept the fake modern society and hovered around it, was Lee Sang himself who dreamt of true modern society but recognized that it was impossible in reality. As Cain's tragic fate is fatalistic, Lee Sang demonstrated how it was also fatalistic for him to recognize the colonial modern city in reality to be fake. It is clarified that poetic subjects sensed inner anxiety and fear of death in everyday life in their poems because they perceived that someday, artificialness and coloniality of everyday life in capitalist modern city will destroy themselves and city dwellers.
In paragraph 2, poems by Lee Seok-hoon, Lee Sang, and Kim Ki-rim that dealt with department store and shops, the symbolic structure of colonial consuming city that distort and instigate desire of modern subjects. Lee Seok-hoon compared department stores where people cannot purchase products easily even when their desire is stimulated to desert and showed how capitalist modern city were desolate space like dessert where it is only filled with thirst that cannot be quenched to most Koreans. In 'AUS MAGASIN DE NOUVEAUTES(At the Department Store)', by depicting structure and scenes of department stores and revealing imitating relationships between the earth and a globe, human and mannequins, and mademoiselle and monkey, Lee Sang criticized problems of modern capitalist city that stimulate, distort and instigate desire. In 'Sanggong Undonghoe(Commerce and Industry Sports Day)', Kim Ki-rim described a scene in which lure of mass-produced products is sensed as the speed of athletes running with 'trademarks' attached to them and overwhelms onlookers. By describing a scene of 'Commerce and Industry Sports Day' that was held to promote 'shops,' he showed a strategy of how capitalist system make people to internalize capitalistic desires through stimulation of senses in daily life. They focused on department stores because they were aware of how department stores were the central device of capitalist system maintained through continuous consumption of mass-produced products. Department stores stimulated individual subject's desire by displaying products splendidly on show-windows or by mobilizing various sales strategy of using erotic images and hiring saleswomen. Lee Seok-hoon, Kim Ki-rim, and Lee Sang showed that individual subjects believe that they purchase products by their own will, however, their desire is passive one instigated by the devices of sensible temptation they encounter in everyday life. Their poems reveal the way everyday life in modern city distorts and instigates individual's desire.
This paper studied specific aspects in which poetic subjects of modern Korean poetry embody 'city' with senses as a vehicle by analyzing poems. By studying poems from 1920's and 1930's together, this study intended to overcome historical limits of realism and modernism and to shed new light on proletarian literature of 1920's which have been neglected in the previous research. 'Senses' was a way of approaching specific lives of urban poor people and breaking away from inflexible ideology of previous proletarian literature in 1920's, and recognizing and expressing the structural contradiction of city without falling into aestheticism or technicalism in 1930's. Also it identified that 'city' and 'senses' are the concepts mediating historical continuity between proletarian literature of 1920's and modernist literature of 1930's. In that modern Korea poetry recognizes objective world, city, and embodies it aesthetically with 'senses' as a medium, 'senses' can be considered as a type of literary theory or a methodology of writing poem. Considering that the city was one of the main subjects of poetic inquiry in 1950's and 1980's, 'city' and 'senses' are important subjects that penetrate modern and contemporary Korean Literature.

목차 (Table of Contents)

• <목 차>
• Ⅰ. 서론 1
• 1. 연구 목적 1
• 2. 연구사 검토 7
• 3. 연구 방법 및 범위 13
• Ⅱ. 근대 시론에 나타난 감각과 도시 23
• 1. 감각의 프롤레타리아적 변혁과 표현 24
• 2. 감각의 주관성과 객관 세계로서의 도시 36
• Ⅲ. 계급성의 인식과 이데올로기의 미학적 형상화 45
• 1. 소리의 충돌을 통한 계급 모순의 청각화 46
• 2. 속도와 움직임을 통한 육체적 욕망의 시각화 72
• Ⅳ. 소외의 인식과 풍경으로서의 도시 87
• 1. 정신적 소외와 풍경에의 정서 투사 88
• 2. 물질적 소외와 풍경으로부터의 거리감(距離感) 105
• Ⅴ. 일상성의 인식과 내면의 감각적 형상화 120
• 1. 인공 도시의 일상과 내적 불안의 표출 121
• 2. 소비 도시의 일상과 수동적 욕망의 내면화 141
• Ⅵ. 결론 155
• * 참고문헌 162
• * Abstract 170