백석 시와의 연관성을 통해 본 오장환의 초기시 : 인간을 위한 문학의 옹호와 선택적 부정의 양상

장만호(Jang Man-Ho) 한국시학회 2009 한국시학연구 Vol.- No.25

This paper aims at finding a relationship between Oh Jang-hwan's poetry and Baek Seok's poetry, clarifying Oh Jang-hwan poetry's thematic consciousness, and characterizing the inner logic of Oh Jang-hwan's early poetry. This kind of work helps finding out the logical reasons for the complex aspects of Oh Jang-hwan's early poetry. A desirable poem for Oh Jang-hwan is the one that reveals a poet's emotion, opinions, and visions. The 'sentimentalism' for him is the emotion that a true person has to feel when he confronts with the real life and the natural effect of the contents over the forms. On the one hand, Oh Jang-hwan's criticism for Baek, Seok is caused by this kind of reason. On the other hand, Oh tries to find Baek Seok poetry's good points, the characteristics of returning family and hometown and refinding a value of the present reality and the future directionality. The thematic tendency of Oh Jang-hwan's early poetry is perceiving the past with the present perspective and narrating the past with the vision for future. This kind of tendency is embodied in <Jongga [the head family]>. However, Oh Jang-hwan does not reveal his commentary and critical attitude in the poems depicting the low class whom he empathizes or feels sympathy. This kind of tendency proves that Oh Jang-hwan's critical voice is not his own voice but an intentional one resulted by his poetic theory. The reason why he shows a critical attitude in his many poems in spite of this tendency is that he thinks criticizing the old customs, the false consciousness and the deceptive attitude of the Yangban [the upper class], human alineation of the capitalistic society, and the small businessmen is more important than sympathizing with the lower class. This kind of attitude tells that Oh Jang-hwan does not deny all aspects of the contemporary reality and tradition but negate them selectively differentiating between the objects of negation and the objects of empathy. The reason why the critical poems are more visible than the empathizing poems is that the object of denial is the structure of reality itself.

부정의 아이러니와 환멸의 낭만주의

장만호(Jang Man-ho) 한국비평문학회 2009 批評文學 Vol.- No.32

Oh, Jang-Hwan is the poet who demonstrated the contemporary social reality and its contradictions obviously through his literary practice living through the Japanese colonial period, the emancipation and the division. Oh, Jang-Hwan’s perspective covers such a broad range as the denial of old customs, a firm belief in progress, the criticism on the capitalistic modern urban civilization, a decadent experience of sailing, an ambivalent emotion on his hometown, which is regarded as an exceptionally broad spectrum comparing his contemporary poets. This paper aims at grasping an inner logic that can explain Oh, Jang-Hwan poetry’s heterogeneous and contradictory characteristics, which are produced by its complex and various aspects. The inner logic is the doubleness of Oh, Jang-Hwan’s consciousness of denial, in other words, an irony emergedby negating both reality and self and the attitude of romantic disillusionment. First of all, this paper analyzes that Oh, Jang-Hwan’s consciousness of denial is expressed with the double aspects. Oh, Jang-Hwan is the poet who revealed a strong interest on the social reality. While he wrote poems that sympathize the lives of the low-class, he also created the poems that criticize the social reality. They negate tradition and old customs and criticize their fakeness. When this consciousness of the denial is toward his interiority, Oh, Jang-Hwan’s poems reveal the artificial pose and the decadent aspects. This paper regards the double negation and the contradictory attitude as the conspicuous characteristics of Oh, Jang-Hwan’s early poetry and named it as ‘the Irony of Denial.’ Second, this paper analyzes the characteristics of Oh, Jang-Hwan’s early poetry as the transformation from the romantic disillusionment to lyricism. This paper named this character as the ‘Romantic Disillusionment’ in that the emotions of self disillusionment are expressed with the romantic spaces. The frequent expressions in this early period such as ‘tears,’ ‘regret’, ‘sorrow’, and ‘death’ are the results of the lyric attitude that poetic subject inevitably had to arrive after getting through the disillusionment.

식민과 해방; 두 탑 사이의 거리 -발굴 작품을 중심으로 본 오장환의 해방기 시-

장만호 ( Man Ho Jang ) 민족어문학회 2011 어문논집 Vol.- No.64

This paper examines the relationship between Oh, Jang-hwan`s career as a poet and political practices from the liberation to detection to North Korea through his poems of the liberation period in ``Byeong-deun Seoul``(Diseased Seoul) published after the liberation and poems written after his detection to North Korea, newly unearthed by the author. Especially, his poem ``T`ap``(Pagoda) and translated poem ``Mister Twister`` newly unearthed and Han, Hyo`s criticism related to Oh, Jang-hwan are expected to offer new perspectives on the understanding of Oh`s poems. It seems that Oh, Jang-hwan had been thoroughly and consistently reflecting on his whereabouts in the colonial period not as a one-off thing and in this respect, we needs to shed new light on Oh`s self-reflection. His poems in the liberation period much more clearly showed self-reflection and hesitation of a poet who had passed the history of colonized nation than any other poets in that period and displayed ``individual sincerity`` based on this. After detection to North Korea, Oh wrote ``Pagoda``, which showed the cross-referential characteristics with poem ``Song of Zenith`` written in the colonial period. He expressed his hope and promise for a new world in poem ``Pagoda``, however, it was criticized as feudal and conventional in North Korea. To Oh, Jang-hwan, the distance between two ``Pagodas``, objects of poems, was the distance of his hope and promise for a new world, free from the suppression due to the colonization, but it also showed the distance between South and North Korean, or politics and poetry in the liberation period from the perspective of poetic history back then.

해방기 시의 공간 표상 방식 연구

장만호(Jang Man-ho) 韓國批評文學會 2011 批評文學 Vol.- No.39

이 글은 해방기 시에 형상화된 공간의 양상을 고찰하여 해방기 시문학에 나타나는 공간 표상을 살피고자 하였다. 이를 통해 당대의 현실 상황이 시적 주체의 인식과 상상력을 통해 어떻게 변용되는가를 살펴보고자 한 것이 이 논문의 목적이다. 해방공간의 서울은 식민지 시기의 ‘경성’이 지녔던 식민성을 재삼 확인하는 공간이며, 새로운 역사와 국가를 정립해야 하는 시발점으로 인식되었다. 대표적으로 오장환과 임화는 ‘서울’을 과거의 삶에 대한 반성과 ‘다가올 미래’에 대한 실천적 의지의 장으로 표상한다. 그러나 이후 다른 시인들의 시에서 서울은 구체적 공간성을 상실하고 ‘사건’이 발생한 ‘현장’으로 등장하거나 해방된 조선의 당대 현실을 제유하는 것으로 표현된다. 서울이라는 ‘해방기의 중심 공간’은 그 실감과 구체성을 상실하고 사건의 배경으로 등장하거나 하나의 관념적인 대상으로 성립되는 것이다. 서울이라는 공간이 시적 주체들이 삶을 영위하고 사회 · 정치 제도의 변화에 직간접적으로 관여하는 실제적인 공간이었다면 아시아, 소련, 미국 등의 공간은 일정 부분 지리학 및 언론 매체를 통해 습득한 간접 지식을 바탕으로 형상화된 ‘상상’의 공간이라 할 수 있다. 직접 체험하거나 거주하지 못한 장소나 공간을 문학적 대상으로 포섭하고자 할 때 필연적으로 개입되는 것이 시인의 상상력과 그 장소 및 공간의 특징들이다. 이런 점에서 이 공간들은 시적 주체의 상상력과 문화, 문학, 지리, 역사 등 실제 공간에 대한 예비적인 지식과 정치적 지향의 총체라고 할 수 있다. 박인환, 임화, 김기림 등은 아시아, 소련, 미국의 문화적 아이콘들을 호명하고 나열함으로써 해당 국가(공간)을 형상화하고 있는데, 나열의 방식을 통해 공간을 표상한다는 점에서 이 시들의 공간 표상 방식은 다분히 ‘환유적’ 방식에 기대고 있다고 할 수 있다. This paper aims to examine the spatial representation in poems by investigating the aspects of space in poems of the liberation period. Through this, it will look into how the reality of the period was transfigured with perception and imagination of the poetic subject. During the liberation period, Seoul was the space where people reconfirmed coloniality once Kyungseong had and had to be the starting point for the establishment of new history and nation. Oh, Jang-hwan and Im, Hwa represented Seoul as the space of self-reflection of the past life and practical will for the coming future. In poems of other poets after them, however, Seoul lost the concrete spatiality and was described as the site of events or as the synecdoche of the liberated Joseon’s reality. Seoul, the central space of the liberation period, lost its reality and concreteness and was appeared as the background of events or became an ideological object. While Seoul was the real space where poetic subjects lived their lives and directly and indirectly related to the change of social and political systems, Asia, the Soviet Union, the United States of America were imagined spaces formed with indirect knowledge attained through geography and mass media. When spaces or places where the poet has never been to or lived in were to be included into literary world, the poet's imagination and features of the spaces and places are necessarily intervened. In this respect, these spaces could be called as the whole of poetic subjects’ imagination, preliminary knowledges on real space such as culture, literature, geography and history, and political orientation. Park, In-hwan, Im, Hwa, Kim, Gi-rim embodied those nations(spaces) by calling and listing cultural icons of Asia, the Soviet Union and the United States of America. In that they represented spaces with enumeration, the way of spatial representation in their poems seems to be relied upon metonymic method.

최남선 창가의 문화정치학과 『소년』 계몽기획의 이중적 구도

장만호(Jang, Man-ho) 한국시학회 2016 한국시학연구 Vol.- No.46

이 글은 최현식의 『최남선·근대시가·네이션』(소명출판, 2016)의 서평이다. 저자는 이 책을 통해 근대·계몽의 주체(최남선, 근대 매체)와 근대·계몽의 내용(네이션 기획), 근대·계몽의 문학적 형식(근대시가)을 살피고 있다. 최남선과 근대시가, 네이션의 삼각구도를 통해 최남선의 문학 및 문화 기획과 문학 양식의 문제를 검토하고 있는 셈이다. 이 서평은 크게 두 가지 관점에서 이 책을 읽고자 한다. 2장에서는 최남선의 철도창가와 근대 투어리즘의 관계에 대한 저자의 논의를 소개하고 그 특징을 파악하고자 한다. 저자는 최남선이라는 ‘문제’를 그 시기적 추이에 따른 변모를 기본축으로 삼으면서도, 대상 작품들과 그 주제나 창작 시기, 매체적 상동성·상사성을 지닌 대상들을 지속적으로 호출한다. 「경부텰도노래」에 대해서 오오와다 다케키의 「만한철도창가」를, 근대계몽기 한양의 모습에 대해 일제의 시각인 ‘경성’의 표상을, 「세계일주가」에 대해서는 이케베 요시다카의 「세계일주창가」를 호명한다. 이 과정에서 영향 관계가 밝혀지고, 창가의 공통적 특질이 드러나며, ‘문명국이며 제국주의 국가’ 일본의 기차와 ‘문명국이 되고자 노력하는 조선’의 기차가 실어나르는 문명과 역사, 심상지리의 차이가 구별된다. 3장에서는 『소년』의 계몽기획이 중요한 변화를 겪고 있다고 보는 저자의 논리를 따라가고자 한다. ‘소년’을 호출하고 ‘신대한’의 건설을 계획하던 최남선의 계몽기획은 당연히 좌절될 수밖에 없었고, 이에 ‘신대한’이라는 국민국가를 대신할 새로운 이념형의 찾을 필요가 있었다. 저자는 ‘신대한’을 대체한 것이 바로 ‘대조선’이라고 보았다. ‘신대한’이란 국민국가의 수립은 현실과는 무연한 욕망임을 깨달은 최남선이 문화 담론을 통해 그 활로를 개척할 수 있는 민족으로 전환한 결과가 ‘대조선’의 호출이었다는 것이다. 저자의 논리에 따르면 시조의 등장이란 이처럼 ‘대조선’의 정신을 앙양하고 민족의 기원과 영광을 상징하는 ‘대황조(단군)’를 기림으로써 ‘국가 만들기’에서 ‘민족 지키기’로 방향 전환한 최남선식 계몽기획의 필연적 결과였던 셈이다. This writing is a Choi, Hyun-sik’s book review on Choi, Nam-sun Geondaesiganation(Published by Somyung, 2016). Through this book, the author examines the subject (Choi, Nam-sun, modern media), content (Nation Planning) and literary expression form (Modern poem) of modern enlightenment. He reviews on the issues of literature, culture planning and literary form of Choi, Nam-sun through the triangular structure of Choi, Nam-sun Geondaesiganation. The book review is largely divied into two perspectives. Chapter 2 introduces author’s discussion on the relationship between Choi, Nam-sun’s railway song and modern tourism to idenfiy its feature. Chapter 3 follows the author’s logic of that enlightened planning of Boy is going through major changes to observe the characteristic and meaning of this book.

일제강점기 신문 독자투고시의 시어 사용 양상

장만호(Jang, Man-Ho),김일환(Kim, Il-Hwan) 우리문학회 2018 우리文學硏究 Vol.0 No.58

이 논문은 일제강점기『동아일보』와『조선일보』에 게재된 독자투고시의 시어 사용양상과 특징을 ‘통계적 키워드’와 ‘공기어 네트워크’의 분석을 통해 살펴보았다. 이를 위하여 1920년부터 1939년까지 두 신문에 투고․게재된 4,032편의 시를 전산입력하여 코퍼스를 만들었다. 이후 시기별 특징을 살피기 위해 1920년대(1920~1929)와 1930년대(1930~1939)로 나누어서 시어 사용 양상을 비교 분석하였다. 면밀한 검토를 위해 단순한 사용 빈도가 아니라 통계적으로 유의미한 ‘통계적 키워드’를 추출하였고, 1920년대와 1930년대 독자들의 시에 나타나는 중요 시어 30개씩을 조사하였다. 워드 클라우드를 통해 시각적이고 직관적인 방식으로 그 특징을 명확하게 살펴보고자 하였다. 또한 ‘통계적 키워드’가 갖는 ‘시어 그 자체’의 고립성을 극복하기 위해 ‘공기어’의 개념을 적용하여 특정 시어와 관련을 맺는 30개의 시어들을 몇몇 사례별로 확인하였다. 일련의 과정을 통해 독자투고시의 시어는 1920년대에서 1930년대로 넘어오면서 근대적 가치를 수용하는 데서 나아가, 가족, 교육, 산업 등 변화하는 시대적 환경을 반영하고 이를 구체적 시어들과 연계하여 시적 맥락을 형성해가고 있었음을 확인하였다. This study examined the characteristics of the poetic words used in the newspapers Donga Ilbo and Chosun Ilbo during the Japanese colonial period by analyzing statistical keywords and co-occurrence relation networks. From 1920 to 1939, 4,032 poems were published in the two newspapers, and a corpus was created. To investigate the trends of the period, we analyzed the usage patterns of poetic words in the 1920s (1920-1929) and 1930s (1930-1939). To conduct a careful examination, we extracted not only the frequency of use but also statistically meaningful keywords, and we surveyed 30 important words in the poems submitted by readers. Through word cloud, we attempted to obtain a clear picture of poems’ characteristics in a visual and intuitive way. To avoid an isolation of the poetic words by the statistical keywords, we identified 30 poems including specific poetic words using co-occurrence relation words. Through the above processes, we found that the poetic words in the newspapers during the 1920s - 1930s went from accepting modern values to reflecting the changing environment of the times including changes in family, education, and industry.

국학의 이념과 근대시의 거절

장만호(Jang Man-Ho) 고려대학교 한국학연구소 2011 한국학연구 Vol.39 No.-

이 글은 최남선과 안확, 두 國學者의 시조론을 살피고 국학의 이념이 시조라는 장르에 어떠한 방식으로 접목되었는가를 고찰하고자 하였다. 이들은 시조를 조선의 대표적인 문학 장르로 인식하고 시조 부흥을 주장하였다. 이들에게 시조는 詩歌였다는 점에서 노래를 좋아한 조선 민족의 특성이 구현된 형식으로 이해되었다. 중국 문화의 영향을 받지 않았다고 간주된다는 점에서 조선적 독자성을 주장할 수 있는 장르라고 생각하였다. 시조는 또한 조선문으로 씌어진 것이며 당대에도 창작되는 장르였다는 점에서 전통을 현재화할 수 있는 것이었으며, 최소한 조선왕조 이전으로 그 발생 시기를 잡을 수 있다는 점에서 그 기원을 순수한 것으로 만들 수 있었다. 이처럼 시조는 ‘조선적인 것’을 재구성하고, 당대에 조선적인 것을 재현하고자 했던 두 국학자의 조선학이 적절하게 적용될 수 있는 문학 장르였던 것이다. 시조를 조선적인 형식으로 규정함으로써 세계문학의 한 부분으로 편입시키고자 한 최남선의 시조론과 시조의 과학성을 규명함으로써 조선적인 것의 우월성을 강조하고자 한 안확의 시조론은 식민지 시기 두 국학자의 조선적인 것 에 ‘ ’ 대한 시각의 편차를 보여준다. 최남선이 “조선으로 세계에”라는 구호를 통해 특수성의 획득이 보편성에 이르는 것이라고 주장한 반면, 안확은 ‘조선 속에 내재된 세계’, 혹은 ‘세계를 넘어선 조선’이라는 인식을 통해 특수성의 우월함을 강조한 것이다. 이 같은 편차에도 불구하고 이들은 ‘新詩’(자유시)에 대해서는 유사한 입장을 보여주었는데, 신시는 ‘조선적’이지 않은 것, 외래적인 것, 열등한 것이라는 인식이 있었기 때문이다. 일제 강점기 하에서 ‘自國’을 알고자 하는 학문으로서의 國學이 국수주의로 흐를 수 있는 위험을 이들의 시조론은 보여주고 있었다. This study inquired into Sijo theories of 2 scholars of Korea literature such as Choi Nam-Sun and An Whak, and watched on how the Korean study’s ideology was grafted to the genre called Sijo. They recognized Sijo as the representative literature genre of Joseon Dynasty, and insisted Sijo’s restoration. Sijo was understood as forms in which Joseon ethnic’s characteristics of liking songs were implemented in that Sijo was poetry to them. They considered Sijo as a genre that could insist on originality of Joseon because it was regarded such like being unaffected from the Chinese culture. Also, Sijo was a thing that could actualize the tradition in that it was written by Joseon characters, and also a genre created at contemporary times, and its origin was able to be made as a pure matter because its developing period could be taken to pre-Joseon Dynasty. In this way, Sijo was a literature genre that could be applied properly from Joseon studies of 2 Korea literature scholars who tried to revive ‘Joseon’s uniqueness’ at the contemporary times while recomposing it. Sijo theories of 2 scholars on ‘Joseon uniqueness’ in the colonial period show visual deviations such like Choi Nam-Sun tried to transfer it into a part of international literatures by regulating Sijo as Joseon uniqueness forms, and An Whak intended to focus on superiority of Joseon uniqueness. Choi Nam-Sun insisted that acquisition of specificity through a slogan “To Joseon, toward the world”reached to universality, but An Whak focused on specificity’s superiority through recognitions such like ‘Inherent world in Joseon’ or ‘Joseon beyond the world’ in contrast. In spite of these deviations, they showed similar stances on ‘modern poems (free verse),’ and it was derived from thoughts such like modern poems were dissimilar to ‘Joseon uniqueness,’ foreign things, and inferior ones. Sijo theories of them were showing risks such like the Korean study as a learning for intending to know about ‘self country’ under Japanese colonization could be inclined to ultra nationalism.

이형기 시 연구 - 아이러니적 인식을 중심으로 -

장만호 ( Jang Manho ) 한성대학교 한성어문학회 2021 한성어문학 Vol.44 No.-

Lee Hyung-ki was so obsessed with nihility that he was called the poet of nihility. This thesis attempted to clarify that his poetics and poetry, which emphasizes nihility, are in fact ironic perceptions and attitudes. To this end, I examined the theory and aesthetics of irony, focusing on Schlegel's romantic irony, and tried to apply it to Lee's text. Lee Hyung-ki showed the appearance of an ironic artist through his awareness of being a poet, and his view of language also resembled an ironic view of language. The act of self-destruction he undertook was also an ironic act, and the aim was to reveal that the nihility he found through this act was a continuous repetition of self-creation and self-destruction. Based on this, I tried to confirm that his representative poetic theory, “Ouroboros' poetics,” is not a flat cycle, but a poetic progression toward ironic infinity.

해방기의 지역문학론 -파성 설창수를 중심으로

장만호 ( Man Ho Jang ) 우리어문학회 2013 우리어문연구 Vol.45 No.-

This paper discussed the characteristics of regional literature during the period of Korean liberation by focusing on the theory of regional literature from Seol, Chang-Soo. Regional literature for the liberation period shows the paradoxical nature of a mismatch between the claims and the results. Left-wing or North Korea emphasized the spread of the ``local culture``, but this rather strengthened the control of the central area over the regions. <Eung-Hyang> event was the representative case. Right wing gave little attention to the literature of the region, and at this point, it was possible indigenous and distinctive literature was born. Nevertheless, as the left-wing and right-wing`s ethnic literary discourse during the liberation period regarded the nation/ethnic, a single and universal unit as its premise, the uniqueness of local literature was not the target of interest. The ``local literature`` could be great interest for the regions in the nature of ``local`` literature, but for the center, it was not the problem to be concerned. In this situation, The activities of Paseong Seol, Chang-Soo are one of the most valuable cases in the study of the local literature during the liberation time. He did many activities mostly in Jinju area in Kyungnam province during liberation, stressing the necessity of regional literature and showed a variety of activities for the establishment of a regional literature in conjunction. In comparison that the literature movement of other regions in this time didn`t show a significant theoretical deployment for the purpose and the way to establish local literature, Seol, Chang-Soo`s effort has meaning as an example representing the theory of local literature in the liberation period as well as establishing the local literature only in Jinju area. He reasoned the regional literature in the dimension of the national literature and his view of whole-person literature defined ``whole-person`` as one thing including the ethnic, humanity and divinity and organically connected the individual with the collective and the integral part with the whole. It was a theory of literature avoiding purity and claiming ``JunSunChamHoik`` in the opposite position of the national literature of ChungMoonHyup. Ironically, there shows similarity in many parts between his literary movement and theory and the theory of left wing and North Korea. 5 monolithic (Trinity or one body) principals which are tendency Trinity, literature-bureaucracy Trinity, literature-people Trinity, literature-Study Trinity and literature-construction Trinity, has similar way of practicing and its goal to the ones of establishing the national literature whose premises are the close link between the center and the left wing`s regional organizations, the bureaucratization and politicization of literary persons, popularization of the art and literature and establishment of a nation-state. The problem was his theory of whole-person literature``. The literature had to be closely linked to the overall environment, systems and all that surround it with an emphasis on practical aspects as long as it claims ``Monolithic body``. As any extension of the one body expanded, the literary theory of Seol, Chang-Soo and the left wing came to show some aspects similar to each other. In addition, it is still doubtful that the literary theory comprehensive of humanity and the gods could be the national literary theory.

1960년대의 동인지와 『육십년대사화집』의 의의

장만호(Jang, Man Ho) 우리문학회 2015 우리文學硏究 Vol.0 No.48

이 글은 1961년 9월에 결성된 『육십년대사화집』 동인의 이념과 문학사적 의의를 파악하는 데 그 목적을 두었다. 1960년대는 많은 잡지들의 폐간과 통폐합, 검열의 강화로 인해 문인들이 발표난에 시달렸던 시기이다. 이로 인해 수많은 동인지들이 출간되었는데, 『육십년대사화집(六十年代詞華集)』 은 1960년대의 ‘동인지 열풍’을 이끈 동인지로서의 선구적 의의를 지닌다. 이들 동인들의 주된 관심사는 언어에 대한 실험과 모색이었다고 할 수 있다. 우리말이 지니는 무한한 가능성을 위해 최대한의 언어적 실험을 감행한다는 것, 한국시의 산문적 성격을 지양하기 위해 시의 자율성을 여러모로 모색 실현해 나간다는 것이 이들의 목표였다. 그러나 이 같은 목적은 특정 문학 집단의 결속력으로 작용하기에는 다소 공소한 면이 있었으며, ‘느슨한’ 지향은 동인으로서의 결속을 다질 수 있는 공통의 이념과 지향이 부재했다고 평가될 수 있는 여지가 있었다. 그럼에도 다음과 같이 『육십년대사화집』 의 의의를 부여할 수 있다. 이들은 1960년대 동인지들이 활성화될 수 있는 계기를 만들었다. 또한, 1960년대 문학의 다양성 확보에 기여했다. 많은 동인지들이 『육십년대사화집』 과의 거리 조정을 통해 자신들의 위상을 정립하고자 하였기 때문이다. 무엇보다 ‘에꼴’의 요구를 촉발시킴으로써 새로운 문단 질서의 모색을 가능케 했다. <창작과 비평>이나 <문학과 지성>과 같은 ‘에꼴’은 이들을 전제하고 가능할 수 있었다고 판단된다. The purpose of this study is to understand the ideology and literary significance of coterie 60"s anthology which was organized in September, 1961. 1960"s was a period when the writers faced difficulties in publishing due to the discontinuance and consolidation of many magazines and reinforcement of inspection. Therefore, various literary coterie magazines were published. 60"s anthology(六十年代詞華集) has its significance as the first literary coterie magazine which stirred the hot air of coterie magazine in 1960"s. The major interests of such coterie were experiment and groping of the language. Carrying out the experiment for the infinite possibility of our language and groping autonomy of poem to sublate prosaic characteristic of Korean poem were their objective. However, it is a question whether the coterie had performed the best linguistic experiment. In addition, the purpose to grope the autonomy of poem was insufficient to unite specific literary group. Rather, such "loose" direction has a room to be evaluated as lack of common ideology and direction which can solidate as coterie. In spite of pioneering organization of 『60"s anthology』, they didn"t reveal their own colors cleary nor showed efforts of self-renewal, remaining incomplete. Yet. it is possible to impart the meaning of 『60"s anthology』 as follows. They made an opportunity to activate 60"s literary coterie magazines and also contributed to secure diversity of 60"s literature. It was because that most literary coterie magazines tried to established their own status by adjusting the distance from 『60"s anthology』 . Above all, by creating requirement for "Ecole", the literary world began to agonize new order of literary world. It is judged that these were the base that "Ecole" such as 〈Creation and Criticism〉 and 〈Literature and Intelligence〉 could be formed.