'시인'의 위상을 둘러싼 해방기 담론의 정치적 함의
The political significance of discourse on the poet's status in the liberation period
The study aims to explore the new status of the poet and the formation of identity schemes in the liberation period, focusing on themes of combining poetry and politics. This question is valid because the so-called liberation period is a revolutionary turning point that Koreans have been reborn as citizens. These changes have greatly influenced the poet's perception of self. As the configuration of a poet's new identity plays a role in determining the direction of literary recognition, this paper aims to explore the political nature of these new change of poet's identity. For this purpose, this paper is subject to critique sentences of Lee Tae-Joon, Kim Ki-Rim, Jung Ji-Yong, and Yoo Jin-O in the liberation period and examines the avant-garde consciousness shown in their writings. Lee Tae-Joon defined the status of the author as the fundamental producer of culture that participates in establishing nation-state by taking charge of Korean language. His linguistic nationalism to participate in politics by joining into language was strongly supported by contemporary poets. Kim Ki-Rim focused on changing the identity of Korean people who changed their identity from the public to citizens by building a new republic. He emphasized that the poet was the most enthusiastic citizen. If a citizen is a subject of politics, the poet who holds the spirit of freedom is defined as the person who will actively practice the role of these citizens. Yoo Jin-O considered being a true poet as a genuine democrat and as a poet of the people. Becoming the people that he wanted implied the intention of dividing the boundaries of the political community. Jung Ji-Yong also acknowledged that a poet was a cultural avant-garde and a voluntary entity leading up to history. He thought that having a critical civic consciousness was a necessary requirement of combining poetry and politics. But what he ultimately aimed towards is the aesthetic revolution of Korean poetry. He believed that if the poet was faithful to his role, deepening of the political consciousness would sharpen his artistic sense and sensibility. He understood the artistic sense and political sense as dialectic relationships.
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