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The literary field of the first half of the 1940s was under strong influences of Orientalism, the violence symbolique of the era of New Life System, and the appearance of the new generation, in addition, was the drive behind changes in the field.
The new generation, just entering the literary field formerly led by young literary enthusiasts with overseas educational background, possessed relatively meager cultural capital. Suh was a representative poet who actively practiced the chaotic habitus of the middle class in the literary field. Choi Jae-seo described Suh as the Korean Villon. Lim Hwa looked to Suh to find the leading figure of the newness typical of this new generation.
In the face of the literary field’s demand for aesthetics exceeding that of the sensual poetry of Jeong Ji-young, Suh experimented with the experiential poetry characteristic of Japan, Britain, France, etc. The process through which Suh intensified his experiments of experiential poetry was also the process of accepting Orientalism within his world of poetry. At last he achieved the articulation of experiential poetry and Orientalism: The new poetic world reached by Suh was the form of an “oriental Rilke.”
Suh’s world of poetry, facing the aporia of the literary field during the early half of the 1940s, was going through a gradual change from reflecting influences of Nietzsche, Baudelaire and Western Christianity to those of Rilke, Buddha and the oriental religions of Confucianism, Buddhism and Taoism. The “spirit of Shilla” announced by Suh as the Poet Laureate of the 1950s may be understood in light of the effects of the symbolic struggle to elucidate the aporia of the literal field in the first half of the 1940s.
The new generation, just entering the literary field formerly led by young literary enthusiasts with overseas educational background, possessed relatively meager cultural capital. Suh was a representative poet who actively practiced the chaotic habitus of the middle class in the literary field. Choi Jae-seo described Suh as the Korean Villon. Lim Hwa looked to Suh to find the leading figure of the newness typical of this new generation.
In the face of the literary field’s demand for aesthetics exceeding that of the sensual poetry of Jeong Ji-young, Suh experimented with the experiential poetry characteristic of Japan, Britain, France, etc. The process through which Suh intensified his experiments of experiential poetry was also the process of accepting Orientalism within his world of poetry. At last he achieved the articulation of experiential poetry and Orientalism: The new poetic world reached by Suh was the form of an “oriental Rilke.”
Suh’s world of poetry, facing the aporia of the literary field during the early half of the 1940s, was going through a gradual change from reflecting influences of Nietzsche, Baudelaire and Western Christianity to those of Rilke, Buddha and the oriental religions of Confucianism, Buddhism and Taoism. The “spirit of Shilla” announced by Suh as the Poet Laureate of the 1950s may be understood in light of the effects of the symbolic struggle to elucidate the aporia of the literal field in the first half of the 1940s.
목차
I. 들어가며: 신체제기 동양론과 서정주 시의 전회
II. 문학장의 변화와 서정주의 위치 짓기
III. 체험시와 절합된 동양론
IV. 나오며
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UCI(KEPA) : I410-ECN-0101-2014-800-002948802