* 현재 컨텐츠 정보를 준비 중에 있습니다.

[닫기]

This paper aims at taking a close look at how Jeong Ji-yong joined the Federation of Protecting and Guiding the Public and what he did after joining the organization by separating the period of the Federation of Protecting and Guiding the Public from Jeong Ji-yong's other literary works during the period of Korea's Liberation from the Japanese colonial rule, and examining Jeong Ji-yong's literary activities during this period by studying discovered poems A Wife, A Female Pupil and Nokbeoni which were published in the Saehanminbo Vol.4, Issue.1 on January 20, 1950.
To begin with, the first reason why the Federation of Protecting and Guiding the Public period was set aside as a separate period from Jeong Ji-yong's other literary works during the Liberation period is that Jeong Ji-yong's leftist history became highly controversial during this period when Korean literary men began to be controled and managed directly by the national agency with the establishment of the Federation of Protecting and Guiding the Public, because he served as an executive committee member of the poem part at the Federation of Joseon Literary Men and chairman of the Children's Literature Committee. Therefore, it was inevitable for him to convert because the national control systems such as the national security law and the Federation of Protecting and Guiding the Public have put stringent restrictions on ideologies. The next reason is that his poems written during this period are obsessed with forms revealing some signs of creativity failure unlike his previous poems, which used to strike a delicate balance between a form and a content. Most of his works put a great emphasis on forms by thinking much of words and moderating emotions. Given Jeong Ji-yong was faced with repeated ideological conflicts and chaos at the time, the change in his works cannot be underestimated.
Second, given Jeong Ji-yong's leftist activities and remarks during the Liberation period, his conversion can be interpreted as a strategic decision to survive as a natural person and poet in exile. If Jeong can be categorized as a sympathetic socialist, it is highly likely that he chose to shift direction as a temporary protection measure.
Third, his activities at the Culture Division of the Federation of Protecting and Guiding the Public were quite dramatic, as opposed to what the academic circles have believed. His status and activities in the organization seemed significant because he reached the top position of the Culture Division in February 1950. These activities were followed by his going south from early May to June in 1950, as a part of regional pacification works.
Fourth, Jeong Ji-yong's poems written in this period were limited to just expressing the inner world or describing a scenery. The experimental form of 4·4 meter can be seen as a product of his mental anguish caused by ideological conflicts, rather than his choice for a method to deliver the content in an implicative way. This fixed form in his poems could have been established by voluntarily giving up the sense of confrontation with reality to confine himself to a form by simplifying both language and reality. In A Female Pupil, Jeong Ji-yong had weak motif of making a poetic modification as in A Wife, but its relatively comic tone compared to other works in the Federation of Protecting and Guiding the Public period drew attention.
Fifth, out of the three discovered poems, Nokbeoni best represents Jeong Ji-yong's activities at the Federation of Protecting and Guiding the Public. The poem displays his remorse and anxiety during this period as in the The Circus Troupe, in which he identifies his life with the precarious dish-spinning trick, in that the narrator's detention in the juvenile reformatories means the accumulated fears reaches the level of emptiness. Jeong Ji-yong have been totally excluded from the objects of literary controversy since his poem listed in the textbooks was deleted by th

[닫기]