Reconsidering the Poetic Theories of Chung Jiyong and Cho Jihoon from the Viewpoint of Western Linguistic Organicism

이윤섭 한국동서비교문학학회 2010 동서 비교문학저널 Vol.0 No.23

Reconsidering the Poetic Theories of Chung Jiyong and Cho Jihoon from the Viewpoint of Western Linguistic Organicism Lee, Yoonsup (Anyang University) This article endeavors to assert and demonstrate that some of the seminal and innovative ideas of poetic creation and poetic language discovered or recovered by the modern Western poetics of linguistic organicism was lacking in modern Korean poetics of Chung Jiyong and Cho Jihoon. Opposing to modern science and industrial technology and their materialistic benefits, Chung Jiyong and Cho Jihoon retained organic viewpoint of the world and nature which they had inherited from the ancient East-Asian traditions, and so made it one of the most brilliant components in their poetics. Nevertheless, Chung Jiyong and Cho Jihoon differ from modern Western poetics in that their poetic theory did not fully develop their organic view of nature into linguistic organicism. Linguistic organicism of Western poetics asserts that poetic intuition depends on new poetic language, and poetic content is inseparable from poetic form, as Western poetics did. Resembling English Romantic poets, Jiyong and Jihoon considered nature and all the creatures in it as living presences and saw the organic relation among them. However, they did neither focus on an organized or organic structure in a poem, nor notice the unique and complicated structure of a poem which unites the logically incompatible aspects of human experience having various dimensions of sensations, feelings, and intellects. Above all, Chung Jiyong and Cho Jihoon did not notice, as Cleanth Brooks did, that the recalcitrancy of language is not the cause of frustration and failure in expression, but the origin of poetic productivity and creativity, and that the uniqueness of poetry comes from the belief that poetic language is not referential but functional. Hence they could not explain the process of poetic creation adequately, as the western poetics of modern linguistic formalism did through the comparison of a poem to a living organism.

제도로서의 기구 ; 특집논문 : 1950년대 후반 시단의 재편과 현대시 개념의 논리 -<한국시인협회>(1957~1962)를 중심으로-

박연희 ( Youn Hee Park ) 한국문학연구학회 2011 현대문학의 연구 Vol.0 No.43

이 논문은 조지훈을 중심으로 <한국시인협회>(이하 시협)가 구성되는 과정을 통해 1950년대 후반 독자적인 시단(詩壇)의 재편 양상을 살펴보고자 하였다. 조지훈은 ``예술원 파동`` 이후 문단이 분열되거나 전문 분과 기구의 창설이 증가하는 등 문화계의 전환기적 흐름과 맞물려 시협을 구상하고 결성하였다. 특히 시협은 해방후 이른바 ``문협 정통파``가 주도하던 전통서정시의 계보에 포함될 수 없었던 모더니스트들을 그 운영조직과 기관지의 지면을 통해 적극적으로 제도 안에 편입시켰다. 전통시와 모더니즘시가 대립되는 시단의 구도를 염두에 볼 때 이는 전통시와 모더니즘시를 포괄하는 새로운 한국시의 가능성을 시사한다. 그러나 조지훈은 무엇보다 ``한국적인 것``의 특수성을 강조하며 ``서정시``로 대변되는 현대시 개념을 설정하였다. 이는 모더니즘시를 타자화하여 전통서정시의 외연을 확장하려는 문학권력의 또 다른 제도화, 이념화의 산물이다. 이처럼 서정시의 미학성과 정치성을 논리로 삼았던 조지훈의 현대시 개념은 김수영의 제1회 ``시협작품상`` 수상이라는 제도화 과정을 통해 본격화되었다. 시협은 문단이력, 문학성향, 세대 등 작품 외적 요소를 배제한 범문단적인 문학상을 표방하면서 세련된 방식의 시 전문단체를 지향하였다. 따라서 제1회 시협상은 현대시의 전범이 될 만한 작품을 선정함으로써 전통시와 현대시의 논쟁을 불식시키고자 했던 그 입장이 충분히 반영될 수밖에 없었다. 김수영의 시는 1950년대 중반까지만 하더라도 자주 언급되지 않았으며 최일수가 독특한 모더니즘시로 평가했을 뿐이었다. 김수영의 수상은 「눈」이 인간, 자연, 동양이라는 전통서정시의 표상에 근접하여 이에 대한 각론이 활발하게 진행되던 시기와 겹친다. 다시 말해 김수영의 수상 작품은 전통과 현대의 통합 가능성을 시사한 텍스트로 독해되었고 조지훈의 현대시 개념의 논리를 이행하는 데 활용되었다. This paper aims to study the independently reorganizational aspects of the Korean poetical circles in the late 1950s through the process of the organization of the Korean Poets Association (Si-Hyup hereinafter) with Cho Jihoon as a central figure. After the ``shock of the art academy (the Yesul-won)``, Cho Jihoon planned and organized the Si-Hyup following the transition period of the Korean cultural circles such as the division of the literary circles and the increasing establishment of the special sub-committees. Particularly, the Si-Hyup, after the Korean Liberation, actively incorporated the modernism writers who could not be included in the traditional epic poem`s genealogy that has been dominated by ``the orthodox writers of The Korean Writers Association`` into its new organization through their appearance on the literary magazine and the operational activities within the organization. Considering the structure of the poetical circles had been in confrontation between traditional and modernism poetry, this shift suggests the new possibility of Korean poetry embracing the traditional and modernism poetry. Above all, by emphasizing the unique characteristics of Koreanness, Cho Jihoon set up the notion of the modern poetry represented as the ``lyric poetry``. This is the product of another institutionalization and idealization to extend the denotation of the traditional lyric poetry with making the modernism poetry into the Other. The Cho Jihoon`s conception of the modern poetry which was based on the logic of the aesthetics and politics of the lyric poetry began to appear in earnest when Kim Suyoung was rewarded the first Si-Hyup Best Writing as the course of the institutionalization. The Si-Hyup claimed to stand for the pan-literary awards which excluded the external aspect of the works, such as the literary careers, literary tendencies and kinds of generation, and moved toward the specialized organization of poetry with the sophisticated style. Therefore, the first award of the Si-hyup could not but to fully reflect the Cho Jihoon`s position that tried to calm controversy between the traditional and modern poetry by selecting the exemplary works of the modern poetry. The poems of Kim Sooyoung were not mentioned frequently in the poetical circles until the mid-1950s and only a literary critic, Choi Ilsoo put a high valuation on his uniqueness of modernism poetry. The Best Writing Award of Kim Sooyoung matched up the period that his poem Non has come to close to the symbols of traditional lyric poetry, that is, human, nature, and the East, and an active itemized discussion on each subject was taking place within the literary world. In other words, his works for best writing award were appreciated as the text that implied the integrating possibility between tradition and modernism, and used for fulfilling the logical conceptions of the modern poetry in Cho Jihoon.

Reconsidering the Poetic Theories of Chung Jiyong and Cho Jihoon from the Viewpoint of Western Linguistic Organicism

Lee, Yoonsup(이윤섭) 한국동서비교문학학회 2010 동서 비교문학저널 Vol.0 No.23

  This article endeavors to assert and demonstrate that some of the seminal and innovative ideas of poetic creation and poetic language discovered or recovered by the modern Western poetics of linguistic organicism was lacking in modern Korean poetics of Chung Jiyong and Cho Jihoon.   Opposing to modern science and industrial technology and their materialistic benefits, Chung Jiyong and Cho Jihoon retained organic viewpoint of the world and nature which they had inherited from the ancient East-Asian traditions, and so made it one of the most brilliant components in their poetics. Nevertheless, Chung Jiyong and Cho Jihoon differ from modern Western poetics in that their poetic theory did not fully develop their organic view of nature into linguistic organicism. Linguistic organicism of Western poetics asserts that poetic intuition depends on new poetic language, and poetic content is inseparable from poetic form, as Western poetics did. Resembling English Romantic poets, Jiyong and Jihoon considered nature and all the creatures in it as living presences and saw the organic relation among them. However, they did neither focus on an organized or organic structure in a poem, nor notice the unique and complicated structure of a poem which unites the logically incompatible aspects of human experience having various dimensions of sensations, feelings, and intellects.   Above all, Chung Jiyong and Cho Jihoon did not notice, as Cleanth Brooks did, that the recalcitrancy of language is not the cause of frustration and failure in expression, but the origin of poetic productivity and creativity, and that the uniqueness of poetry comes from the belief that poetic language is not referential but functional. Hence they could not explain the process of poetic creation adequately, as the western poetics of modern linguistic formalism did through the comparison of a poem to a living organism.

조지훈 육필시고 『지훈시초(芝薰詩鈔)』 연구

김종훈 ( Kim Jonghoon ) 민족어문학회 2020 어문논집 Vol.- No.90

이 연구는 조지훈(趙芝薰, 1920~1968)의 친필 시집 원고 『지훈시초(芝薰詩鈔)』의 성격과 위상 그리고 편집 연도를 탐구한 시도이다. 이 시집의 원고가 발견된 지30년이 지난 2001년 세상에 공개되었을 때에는 다른 원고와 섞여 소개되어 그 실체를 파악하기 어려웠다. 시집 원고에는 31편의 시가 3부에 고르게 분포되어 있었으며 각각의 부는 서로 변별되는 정서로 묶을 수 있었다. 비애와 고요와 전망으로 대별되는 시집의 부 구성은 조지훈 전체 시의 이력을 환기한다. 그는 고요한 자연을 시의 본원적 고향으로 여겼으나 사회적 문제와 내적 정서를 시에 표현하는 것을 가리지 않았다. 한편 제목 변경, 본문 수정 흔적, 행과 연의 형태 등을 종합해서 고려했을 때 좁게는 1943년에, 넓게는 1943년에서 1945년 사이에 이 원고가 묶인것으로 추정된다. 이는 1952년 발간한 제1시집 『풀잎단장(斷章)』뿐 아니라 1946년 발간한 공동시집 『청록집(靑鹿集)』보다 빠른 시기이다. 시집 형태로 완성되었는데도 불구하고 정식으로 간행되지 못했던 것은 조지훈이 『청록집(靑鹿集)』 필진에 참여하면서 31편의 시 중 상당수를 이 동인 시집에 수록할 수밖에 없었기 때문이었던 것으로 보인다. 비록 출간되지는 못했으나 첫 번째 단독 시집으로 기획된 『지훈시초(芝薰詩鈔)』은 『청록집(靑鹿集)』의 확장판이자 『풀잎단장(斷章)』의 압축판이라 말할 수 있을 만큼 간행 시집의 상당수 시가 여기에 실려 있다. This study is an attempt to explore the character, status, and year of editing of Jihoon Sicho(芝薰詩鈔), a handwritten poetry manuscript of Cho Jihoon (趙芝薰, 1920~1968). When the manuscript of this collection of poetry was released to the world in 2001, 30 years after its discovery, it was mixed with other manuscripts and it was difficult to recognize its reality. In the poetry manuscript, 31 poems were evenly distributed in 3 parts, and each part could be grouped with distinct emotions. The sub-composition of the collection of poetry, which is broadly divided into sorrow, quietness, and prospect, evokes the history of Cho Jihoon’s entire poetry. He regarded quiet nature as the original hometown of poetry, but he did not choose to express social problems and inner emotions in poetry. On the other hand, it is estimated that the manuscript was bound in 1943 in a narrow way, and between 1943 and 1945 in a broad sense when the title change, traces of text revision, and the form of line and line were taken into account. This is earlier than the first poetry collection, Grass-sketch(풀잎斷章) published in 1952, as well as the joint poetry collection Collection of Chenglok poems(靑鹿集) published in 1946. Despite being completed in the form of a collection of poetry, it seems that it was not published officially because Cho Ji-hoon participated in the writing of Collection of Chenglok poems(靑鹿集) and had to include many of the 31 poems in this book of poetry. Although not published, Jihoon Sicho(芝薰詩鈔), which was planned as the first solo poetry collection, is an expanded version of Collection of Chenglok poems(靑鹿集) and a compressed version of Grass-sketch(풀잎斷章). There are many poems published here.

『시의 원리』와 『시학평전』에 나타난 ‘동양’과 ‘순수’ 인식의 비교

이병주(Lee ByeongJu) 한국언어문학회 2020 한국언어문학 Vol.115 No.-

This paper aims to look at the perceptions of ‘Oriental’ and ‘Pure’ in Cho-Jihoon s ‘The Principles of Poetry’ and Song-wook s ‘The Critical Biography of Poetic’. Cho Ji-hoon s ‘Oriental’ was called in the process of raising Korean literature to a position equal to that of Chinese literature. On the other hand, Song-wook recognizes the ‘Oriental’ to be a critical ability that synthesizes nature, society, politics, and religion. Song-wook criticizes writers who have not adequately embraced his version of ‘Oriental’, and demands the expansion of Korean literature traditon to Europe. The perception ‘pure’ that Jo Ji-hoon believes is purity in literary topics and “implicative life(함축적 생명) Songwook critisized Jo Ji-hoon’s view as ‘artificial’ language. In the case of Songwook recognized ‘Pure’ as “a new sentence based on oral language spoken by ordinary people” according to “history, sociality and experience” suggested by Elliott’s view of language