‘의식의 흐름’과 ‘자동기술법’ 사이 = Between the ‘flow of consciousness’ and the ‘Automatism’ - On the nature of the avant-garde in Lee Sang literature

다국어 초록 (Multilingual Abstract)

The ‘flow of consciousness’ and ‘Automatism’, which have been mixed to date in an attempt to evaluate the nature of the avant-garde in Lee Sang(李箱, 1910-1937) literature, are actually contradictory concepts. If the ‘flow of consciousness’ is a continuous flow of a series of impressions that emerge in the mind of the subject, the ‘Automatism’ excludes the influence of consciousness and renders the spontaneous movement of the unconscious as artistic expression. The purpose of this paper is to identify the concept of unconsciousness that exists in the point of contact of two other surrealistic movement and to ascertain what kind of artistic orientation Lee Sang has in the meantime.
First, as discussed in Chapter 2, the “flow of consciousness” proposed by William James was a psychological term for the continuous flow of consciousness when it was first introduced in Japan. However, in the process of incorporating James Joyce into the movement of ‘New Psychologism’ by Ito Sei(伊藤整, 1905-1969) in Japan, this ‘flow of consciousness’ has been transformed into the concept of positively referring to the movement of ‘unconsciousness’ in Freudian sense. In other words, James Joyce’s psychologism was not merely conveying the inner impression, but manifesting unconscious impressions on the psychology. What Lee Sang literature was referred to as ‘the flow of consciousness’ results from the existence of this ‘New Psychologism’ tendency in Tokyo.
There is a background here in which Kim Moonjip(金文輯) pejoratively reduced Lee ‘s literature to the reappearance of the literary circles of Tokyo ‘New Psychologism’ or ‘Dadaism’. He attacked the ambiguous attitude of Choi Jaeseo(崔載瑞) and tried to define his technique of creation somewhere between ‘flow of consciousness’ and ‘automatism’. This is clearly distinguished from Lee siwoo(李時雨)’s attitude who concluded that Lee Sang did not reach the scope of the ‘Automatism’ of the 20th century. In other words, Lee Sang was an artist who was constantly moving between the overlaps of contemporary artistic trends.

목차 (Table of Contents)

• 1. 잔여들
• 2. ‘의식의 흐름’과 ‘자동기술법’ 사이 - 동경의 신심리주의와 ‘무의식’의 발견
• 3. ‘19세기’와 ‘20세기’ 사이의 틈사구니 - 1936년 무렵 이상을 향한 비평적 욕망의 전후
• 참고문헌
• Abstract