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O Jang-Hwan, one of poets who lived an intense life under the Japanese colonial occupation, can be called a 'street poet in Korean modern period'. He strolled around the city which represents concrete changes in modern life and observed a dualism of modernity in Seoul or harbor which was an opening place toward a new modern civilization through the mediation of Japan. As Baudelaire did in Paris, O Jang- Hwan saw the two sides of modernity, fascination and abhorrence in the cities of Korea like Seoul in 1930s.
Poetic modernity as a discursive product of literary genre can be said by the organic transformation of form and content in poetry under the historical background of modernization by the Japanese colonial discipline. In this period, O Jang-Hwan's poems takes a different poetic grammar, prosaicness in poem deviated from the previous poetic tradition of 'verselyric'. Prosaic elements in O Jang-Hwan's poem are such as verseless statement like a prose poem, elaborate description, critical satire by an intellectual observer, active participation in contemporary reality through a poetic discourse, which have not been discovered in verselyric. This kind of prosaicness in O Jang-Hwan's poems is transferred to the signifier of modernity through the secondary semiotic signification by Barthes' terminology. And the signified of poetic modernity in his poems is a dual disruption of consciousness between modernity and tradition or modernity and colonialism These reflect the multiplicity of Korean modernity, colonial modernity in the Third World or East Asia as well as the dynamic structure of O Jang-Hwan's poem which can not be restricted by a certain trend of literature like modernism or realism.
O Jang-Hwan's poem shows different traits of poetic discourse through the transformation of poetics, which is a reception of prosaicness in poem, going beyond lyric sentiment or crude mimesis. The pecularity of poetic style in O Jang-Hwan's poem is the inevitable way for the poet to confront with the prosaic reality, tough modern conditions. The modernity of his poems is a record of purgatory that is a metaphor of 'colonial modernity', which gives rise to a crash of consciousness of modern intellectual and colonized subject as an other for the Japanese colonist and the west.
Poetic modernity as a discursive product of literary genre can be said by the organic transformation of form and content in poetry under the historical background of modernization by the Japanese colonial discipline. In this period, O Jang-Hwan's poems takes a different poetic grammar, prosaicness in poem deviated from the previous poetic tradition of 'verselyric'. Prosaic elements in O Jang-Hwan's poem are such as verseless statement like a prose poem, elaborate description, critical satire by an intellectual observer, active participation in contemporary reality through a poetic discourse, which have not been discovered in verselyric. This kind of prosaicness in O Jang-Hwan's poems is transferred to the signifier of modernity through the secondary semiotic signification by Barthes' terminology. And the signified of poetic modernity in his poems is a dual disruption of consciousness between modernity and tradition or modernity and colonialism These reflect the multiplicity of Korean modernity, colonial modernity in the Third World or East Asia as well as the dynamic structure of O Jang-Hwan's poem which can not be restricted by a certain trend of literature like modernism or realism.
O Jang-Hwan's poem shows different traits of poetic discourse through the transformation of poetics, which is a reception of prosaicness in poem, going beyond lyric sentiment or crude mimesis. The pecularity of poetic style in O Jang-Hwan's poem is the inevitable way for the poet to confront with the prosaic reality, tough modern conditions. The modernity of his poems is a record of purgatory that is a metaphor of 'colonial modernity', which gives rise to a crash of consciousness of modern intellectual and colonized subject as an other for the Japanese colonist and the west.
목차
1. 산문성과 시적 모더니티
2. 근대의 기표들과 타자로서의 중심
3. ‘식민지적 근대‘라는 煉獄의 기록
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