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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Although Ji-ha Kim’s “Five Enemies” and his series of conversational poems have been mentioned as the representative performance in the national literature in 1970s, the main studies on relationships of both works are still lacking. This happens because the conversational poetry “Five Enemies” were completed over time while the theory of national (People’s) literature was developed in 1970s and 1980s on the basis of major points in the theory of traditional succession starting in 1960s as the creation methodology. The unique outlook on the world in “Five Enemies” which frequently escapes from the theory of national (People’s) literature in a scientific way takes part in here as well.
The unequal correspondence of “Five Enemies” to the theory of national literature was not any problem when “Five Enemies” adopted ‘satire’ and ‘sarcasm’ for the creative method in the beginning. Rather, they were accommodated as indicators of identity meaning the overcome of colonial aesthetics and it is difficult to consider that there was a great breakaway even in his works to shape out the concept of resentment opposite to sentiment into the outrage of general public since then.
However, the fall of the corrupt ruling class was incorporated thereafter into the outlook on the world in a way of folk storytelling for corollary in his works - “Kim Heundeul Story” and “Rubber Boots”, while pre-modern cognition appeared in his longing for the agricultural society. Although these might have been his imaginary solutions to endure the tyranny of power in reality, the opinion on the advent of a true saint and the consciousness to escape from colony shown in “the Rainy Cloud in These DIy Days” support that the unequal nature of “Five Enemies” was looking for an exit from our native thoughts in a way different from the contemporary theory of national (People’s) literature.
The unequal correspondence of “Five Enemies” to the theory of national literature was not any problem when “Five Enemies” adopted ‘satire’ and ‘sarcasm’ for the creative method in the beginning. Rather, they were accommodated as indicators of identity meaning the overcome of colonial aesthetics and it is difficult to consider that there was a great breakaway even in his works to shape out the concept of resentment opposite to sentiment into the outrage of general public since then.
However, the fall of the corrupt ruling class was incorporated thereafter into the outlook on the world in a way of folk storytelling for corollary in his works - “Kim Heundeul Story” and “Rubber Boots”, while pre-modern cognition appeared in his longing for the agricultural society. Although these might have been his imaginary solutions to endure the tyranny of power in reality, the opinion on the advent of a true saint and the consciousness to escape from colony shown in “the Rainy Cloud in These DIy Days” support that the unequal nature of “Five Enemies” was looking for an exit from our native thoughts in a way different from the contemporary theory of national (People’s) literature.
목차
1. 1970년대 민족문화론과『오적』
2. 식민지 미학의 극복과 풍자, 골계론
3. 원한(怨恨)개념과 그 전환의 사(史)적 필연성
4. 민담적 세계관과 근대화 비판
5. 진인출현설의 의미
참고문헌
Abstract
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UCI(KEPA) : I410-ECN-0101-2013-710-003492993