50년대 유종호론 -페허 위에 비평의 새 집 짓기- (The Theory of Yu, Jong-ho in the 1950's -Building a New House of Criticism on the Rubbles of the Past)

서지정보

· 발행기관 : 한국문학이론과비평학회
· 수록지 정보 : 한국문학이론과 비평 / 15권 / 1호 / 285 ~ 308페이지
· 저자명 : 윤정화

초록

In 1950s, many professional critics appear. Their activities are summarized as positioning as new criticism. Among these new generation critics, Yu, Jong-ho reviews the position of criticism which should be responsible for the literature in a new perspective, and emphasizes the spirit of criticism as an intellectual reflection. This reflects Yu's views that criticism should participate as an alternative writing to solve the problems during the time.
Yu's argument was similar to building a strict and firm new house on the rubbles of the post-war ear in the 1950s. This was because the ruins of the generation shared similar traits with the non-existence of genres. Yu was the first critic to provide an opportunity to reconfigure the basics of the criticism by recognizing that his generation lacked literalism in the era of no professional criticism.
Yu's view was that the duty of critics was to contribute by communicating with the world through interpreting complex literature, and that this recreated criticism into a creative criticism. At this point, he argued that criticism should position itself as rebelling against the violence during the 1950s when the society forced people to take sides. This means that criticism should stand against violence by maintaining balanced views as a language of moderation in the era of forcing people to be purist or participants.
Yu's methodology of criticism is concluded as his interest on literature language itself, and this literature language means aboriginal mother language. In this case, mother language is not defined as regional Korean language, but encompasses Chinese characters with long history. The final destination of literature language he wanted to reach was works which could depict Korean literature language's aesthetic culmination; for poems, it can be created through musicality, and sincerity for proses.
Yu configured the position of the critics in the field of writers who create communication as the language of moderation, and sought for a real modernization by expanding the boundaries of language which were the objects of criticism. At this point, literature should possess truth, and through this sincerity can be achieved. Through this analytic view on the actual criticism on literature, he has shown an good example of literature which the generation should pursue. The writers who fall into Yu's selective standards include Kim, So-wol, Jeong-Ji-yong, Seo, Jeong-joo, Yun, Dong-joo, Hwang, Soon-won, and Sohn, Chang-sup.

영어초록

In 1950s, many professional critics appear. Their activities are summarized as positioning as new criticism. Among these new generation critics, Yu, Jong-ho reviews the position of criticism which should be responsible for the literature in a new perspective, and emphasizes the spirit of criticism as an intellectual reflection. This reflects Yu's views that criticism should participate as an alternative writing to solve the problems during the time.
Yu's argument was similar to building a strict and firm new house on the rubbles of the post-war ear in the 1950s. This was because the ruins of the generation shared similar traits with the non-existence of genres. Yu was the first critic to provide an opportunity to reconfigure the basics of the criticism by recognizing that his generation lacked literalism in the era of no professional criticism.
Yu's view was that the duty of critics was to contribute by communicating with the world through interpreting complex literature, and that this recreated criticism into a creative criticism. At this point, he argued that criticism should position itself as rebelling against the violence during the 1950s when the society forced people to take sides. This means that criticism should stand against violence by maintaining balanced views as a language of moderation in the era of forcing people to be purist or participants.
Yu's methodology of criticism is concluded as his interest on literature language itself, and this literature language means aboriginal mother language. In this case, mother language is not defined as regional Korean language, but encompasses Chinese characters with long history. The final destination of literature language he wanted to reach was works which could depict Korean literature language's aesthetic culmination; for poems, it can be created through musicality, and sincerity for proses.
Yu configured the position of the critics in the field of writers who create communication as the language of moderation, and sought for a real modernization by expanding the boundaries of language which were the objects of criticism. At this point, literature should possess truth, and through this sincerity can be achieved. Through this analytic view on the actual criticism on literature, he has shown an good example of literature which the generation should pursue. The writers who fall into Yu's selective standards include Kim, So-wol, Jeong-Ji-yong, Seo, Jeong-joo, Yun, Dong-joo, Hwang, Soon-won, and Sohn, Chang-sup.

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