1930년대 후반 시의 도시표상 연구 - 오장환, 김광균, 박팔양을 중심으로
A Study of Urban Image Presented in the later half of the 1930's - With a focus on work of poets Oh Jang-hwan, Kim Gwang-gyun and Park Pal-yang
During the 1930s, literature could not be separated from "city" for its understanding. The issue remains controversial whether to interpret the "urban context" as colonial capitalism or a general sphere of modernity. During the time, Japan vigorously implemented urban renewal projects in Chosun, and the spatial transformation with advancement brought about changes in people"s sensibilities. This research examines how poem written during the 1930s represented "city" in a literary context, centered on poem of Oh Jang-hwan, Kim Gwang-gyun and Park Pal-yang. In Oh Jang-hwan"s poem, a "harbor" and a "city" is featured as negative space of modernity. His early-period poem brim over with grief, gloom, tiring journey and sense of loss. Here a "harbor" is contrasted to the conventional world view, and exudes thick pathos. To the poet, a "harbor" implies a fate of human beings for loss and wandering, as well as symbolic space for the reality of colonization. In Oh Jang-hwan"s poem, a "city" works as miniature world that contains tragedy of colonial living. That a "city" is perceived as negative space of degradation and decay manifests the poet"s world view toward modernism and city as a symbol of modern capitalism. In Kim Gwang-gyun"s poem during the 1930s, a "city" is a realm of civilization, and also a venue of solitude, nostalgia, gloom and grief. The negative representation mostly comes from tension and conflict between lost childhood and the present, between a city and old-fashioned agricultural villages, rather than from innate attributes of a city. Presumably the poet used modern vocabulary over traditional one to verbalize sense of aimlessness in a city. The consequent description is not so much about an urban landscape as a projection of internalized perception. To Park Pal-yang, a "city" is a place of dual nature: civilization and grief. In his poem, instead of brilliance and brightness of daytime, a "city" is perceived as a place of gloom, grief, desolateness and sorrow at time of "twilight" and "night." The poet portraits a "city" through scene on "streets," a place for anonymous mass public in a modern city. In addition to department stores, illumination lined along the street, coffee houses, promenade and skyscrapers become important venue of urban experience. Park Pal-yang manages to detect presence of veiled mass public passing on the street, but the observation stays on the level of landscape and pointillistic description, rather than a matter of social classes.
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