[보고서] 1920년대 한국 근대시의 전위성 연구

국문 초록 (Abstract)

I. 서론

1. 문제제기
2. 아방가르드에 대한 논의들 검토
3. 연구 대상과 연구 방향

Ⅱ. 아방가르드의 정치성과 전위성의 두 유형

1. 구성적 권력으로서의 아방가르드의 정치성
2. 러시아 아방가르드와 전위성의 두 유형
1) 말레비치의 절대주의와 타틀린의 구축주의
2) 러시아 혁명에서 발현된 두 아방가르드의 정치성

Ⅲ. 1920년대 한국 문단의 ‘다다’ 수용과 임화의 ‘미래’ 개념의 형성

1. 한국 문단의 다다 이입과 정지용의 초기 시
1) 쮜리히 다다의 특성과 김기진의 다다 비판
2) 고한용의 다카하시 신키치 수용과 김기진과의 논쟁
3) 다카하시 신키치의 시와 정지용의 초기 시

2. 임화의 미래주의 수용과 프롤레타리아 잠재력의 발견
1) 임화의 전위주의 수용과 일본 미래주의 시의 특징
2) ‘제4의 점령’으로서의 예술과 임화의 미래주의적인 시 창작
3) 프롤레타리아 잠재력의 발견

IⅤ. ‘아나키즘 다다’와 임화의 구축주의 시의 정치성

1. 일본의 아나키즘 다다와 김화산․박팔양 시의 전율적인 전위성
1) 일본 다다이스트 그룹 '적과 흑'의 니힐리즘과 김화산의 ｢악마도｣
2) 하기와라 쿄오지로오의 '사형선고'와 박팔양의 ｢윤전기와 사층집｣의 정치성

2. 임화의 ‘의식적 구성주의’ 수용과 선전선동 시의 구축적인 전위성
1) 국제적 구축주의와 무라야마 토모요시의 ‘의식적 구성주의’
2) 임화 시의 ‘다다-구축주의’
3) 카프의 목적의식론과 임화의 구축주의적인 선전선동 시


V. 결론


<사진: 본문에서 언급된 미술 작품들>

참고문헌

Abstract

다국어 초록 (Multilingual Abstract)

This thesis intends to discuss avant-garde attempts that were made in the field of poems in late 1920s through a concept of avant-gardism. Against the institutionalized tendency of modern art that separated art and life, avant-garde art removed a gap between them in a radical way. For this, the avant-garde movement attempted to destroy ‘art’ itself; it was a political action in terms of micro-politics. It is because ‘art’ in itself is a product of capitalist culture and functions to divide life and art and make life passive. However, the avant-garde didn’t completely try to abolish artistic ‘behavior’ itself. On the contrary, it, through artistic behavior, tried to change life in an active way. My thesis conceptualizes this kind of characteristics of the avant-garde as ‘avant-gardism.’
The avant-garde movement performed art in an effort to investigate unknown life and live a new life. As a result, art’s avant-gardism emerges when it constitutes and de-constitutes through many experiments. Linguistic compositions as experiments apply not only to modernist poems; it also apply to poems for propaganda and incitement. In order to justify avant-garde literature that is enriched by experiments, it has to be freed from the existing reflective perspectives. This thesis believes that production art theory that could be composed in Karl Marx’s writing is able to demonstrate the avant-garde clearly; it discusses political characteristics of the avant-garde too. The two notions, ‘politics’ and ‘political’ qualities have to be separated. ‘Political’ properties create constituent power; however, ‘power’ is in an area of constituted power. The avant-garde is power that constitutes ‘political’ qualities. It was the Russian avant-garde that revealed avant-garde and political characteristics of the avant-garde. In this thesis, I try to discuss political qualities manifested in two kinds of Russian avant-garde and during the revolution period in order to embody ‘avant-gardism.’
The avant-garde was an international phenomenon. It was a movement that blossomed in the 1920s and took place in a great number of places in the world at the same time. It cannot be said that the avant-garde didn’t develop to the extent that it was called a great movement in Korea; however, in the late 1920s, Korean literature began to produce avant-garde poems. In the mid-1920s, the avant-garde began to be introduced; in the late 1920s, avant-garde poems were written. The introduced avant-garde was Dada that had been transformed in Japan: Ko Han-Yong phased in Dada that had been transformed into life philosophy by a Japanese poet Takahsi Sinkichi. Ko Han-Yong once disputed with Kim Gi-Jin who insisted on Proletarian literature. But Ko Han-Yong’s introduction of Dada didn’t immediately lead to avant-garde compositions of poems.
In the late 1920s, ‘Yoram’ members, Kim Hwa-San and Park Pal-Yang were influenced by anarchism and wrote proper Dada poems. These poems are connected to the anarchist Japanese poet group, The Red and Black. In ‘akmado,’ Kim Hwa-San wrote a text which approached the limit of nihilism, despaired of life and screamed in pain. A poet Park Pal-Yang, who had written populist poems, demonstrated ‘Dada,’ in his poem, 'A rotary press and four-story house,' supporting anarchism and criticizing the exploitation system of capitalism. However, neither of them could continue avant-garde writing.
Im Hwa began avant-garde writing with futuristic poems. Shortly afterwards, he was influenced by the Russian avant-garde directly or indirectly through a Japanese poet, Murayama Tomoyoshi and attempted Dada of constructivism. Im Hwa was very interested avant-garde literature but, actually, even regarded it as principle of life. As he said that he moved to the poems of action through Dada, his ‘Dada’ period cannot be regarded as something of curiosity. His early poems were a significant moment in him moving to political poems and had independent values too. Im Hwa’s avant-garde poetic practice developed into ‘poems for propaganda and incitement.’ This was a very natural course because of ‘political’ characteristics that the avant-garde had. In the 1920s, avant-garde art in other foreign countries as well participated in politics.
Avant-garde literature in the 1920s, which was represented by anarchism and Im Hwa, didn’t do a lot of activities, but it plays a powerful part in Korean poem history. Its avant-garde project was to destroy a boundary between art and life and create a political quality through a harmony between art and politics. I believe that it is significant for the current situation to examine this avant-gardism that first appeared in Korean poems in the 1920s. It is because modern people still live their lives enslaved by constituted power and avant-gardism is constituent power that can transform the enslaved life into active and independent one.