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초록· 키워드
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By reviewing manifestoes, poems, and proses in the literary coterie magazine in 1920’s , when the birth of new literature was demanded, this paper discusses the meaning of ‘ruins’ and the need of transcendental and aesthetic nature to overcome the limit of illuminism.
The ‘ruins’ in Pyeher manifesto is the world in which the soul is eradicated by illuminism. In that world, there is no spiritual value invisible and mystic. This ‘ruins’ needs the rehabilitation of lost mystery and soul, i.e. the assurance of transcendental nature.
The frequent use of soul in the short manifesto in Pyeher, Jangmichon and Baekjo in the coterie poems of the first 1920’s is relevant to that aesthetic need. What is born in the ‘ruins’ is not only ‘soul’ i.e. transcendence but also aestheticism which separates art from the earthly world and upholds the absolute independence of aesthetics.
The fact that the literary coterie magazine pursued the aesthetic world can find the evidence easily in the ‘flower garden’ image shown in their manifesto. The ‘flower garden image’ shows that the future world on the ‘ruins’ is not another enlightenment world armed with another moral argument but the aesthetic world far away from morals.
What the literary coterie magazine in 1920’s pursued can be summarized in two categories, one is the restoration, as a version of ‘soul’, of transcendence which is expelled by the scientism underlying the illuminism and the other is the restoration as a ‘flower garden’ of aestheic nature which is downgraded as a instrument of illuminism.
The unity of transcendence and aesthetics was the new plan of the literature in 1920’s, and its trait can be summarized as a ‘transcendental aestheticism.
The ‘ruins’ in Pyeher manifesto is the world in which the soul is eradicated by illuminism. In that world, there is no spiritual value invisible and mystic. This ‘ruins’ needs the rehabilitation of lost mystery and soul, i.e. the assurance of transcendental nature.
The frequent use of soul in the short manifesto in Pyeher, Jangmichon and Baekjo in the coterie poems of the first 1920’s is relevant to that aesthetic need. What is born in the ‘ruins’ is not only ‘soul’ i.e. transcendence but also aestheticism which separates art from the earthly world and upholds the absolute independence of aesthetics.
The fact that the literary coterie magazine pursued the aesthetic world can find the evidence easily in the ‘flower garden’ image shown in their manifesto. The ‘flower garden image’ shows that the future world on the ‘ruins’ is not another enlightenment world armed with another moral argument but the aesthetic world far away from morals.
What the literary coterie magazine in 1920’s pursued can be summarized in two categories, one is the restoration, as a version of ‘soul’, of transcendence which is expelled by the scientism underlying the illuminism and the other is the restoration as a ‘flower garden’ of aestheic nature which is downgraded as a instrument of illuminism.
The unity of transcendence and aesthetics was the new plan of the literature in 1920’s, and its trait can be summarized as a ‘transcendental aestheticism.
목차
1. ‘폐허‘의 정체와 ‘몽롱‘의 가치
2. ‘영혼‘ 혹은 초월성의 귀환
3. ‘화원‘ 이미지와 미학주의
4. 결론
참고문헌
저자소개
Abstract
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