한국 모더니즘 문학론에 수용된 흄의 시론: 낭만주의적 유기체론의 관점에서 (T. E. Hulme's Poetic Theory in Korean Modernism)

서지정보

· 발행기관 : 한국동서비교문학학회
· 수록지 정보 : 동서비교문학저널 / 30호 / 185 ~ 210페이지
· 저자명 : 이윤섭

초록

T. E. Hulme’s influence upon Korean Modernism has been enormous, since Choi Jaeseo and Kim Kirim introduced his innovative poetic theory and emphasized its anti-romanticism and “intellectualism.” It has been widely recognized by most Anglo-American scholars that Hulme preferred aesthetic intuition to rationalistic intellect under the influence of Bergson and his Romantic heritage derived mainly from Coleridge’s imagination theory with an emphasis on organistic unity. However, there have not been any significant developments or revisions in the understandings amongst the research of Korean Modernism towards his poetics. As well as Korean Modernism, it has been considered and discussed entirely in terms of anti-romanticism and its adjunct concepts.
This paper argues that Hulme’s poetics preserve some essential features of Romantic criticism, having recourse to Bergson’s “intuition” which he adopted for grasping the inner and hidden reality of intensive manifolds behind the external and phenomenal world of extensive manifolds. And, it also argues that the Bergsonian idea of aesthetic intuition led Hulme to his emphatic explanation of the so-called classical fancy, which turned out to have a very similar function to Coleridge’s organic imagination, not to his mechanical fancy of associations and memories.
Some have argued that Hulme’s intellectual thoughts underwent substantial changes during his brief years as a literary critic from the initial stage of following Bergson’s philosophy, through the stage of political and religious conservatism, to the final stage of geometrical art and anti-humanism. Acknowledging the validity in this “dating” of his writings, I still contend that Hulme’s romantic heritage of organic fancy and Bergsonian intuition can be succinctly found in his “Bergson’s Theory of Art” and “The Philosophy of Intensive Manifolds,” and later “Romanticism and Classicism.” His ideas on intuition and organic fancy never did change, though his political and religious ideas were subject to drastic changes through the shifting stages of his intellectual maturation.

영어초록

T. E. Hulme’s influence upon Korean Modernism has been enormous, since Choi Jaeseo and Kim Kirim introduced his innovative poetic theory and emphasized its anti-romanticism and “intellectualism.” It has been widely recognized by most Anglo-American scholars that Hulme preferred aesthetic intuition to rationalistic intellect under the influence of Bergson and his Romantic heritage derived mainly from Coleridge’s imagination theory with an emphasis on organistic unity. However, there have not been any significant developments or revisions in the understandings amongst the research of Korean Modernism towards his poetics. As well as Korean Modernism, it has been considered and discussed entirely in terms of anti-romanticism and its adjunct concepts.
This paper argues that Hulme’s poetics preserve some essential features of Romantic criticism, having recourse to Bergson’s “intuition” which he adopted for grasping the inner and hidden reality of intensive manifolds behind the external and phenomenal world of extensive manifolds. And, it also argues that the Bergsonian idea of aesthetic intuition led Hulme to his emphatic explanation of the so-called classical fancy, which turned out to have a very similar function to Coleridge’s organic imagination, not to his mechanical fancy of associations and memories.
Some have argued that Hulme’s intellectual thoughts underwent substantial changes during his brief years as a literary critic from the initial stage of following Bergson’s philosophy, through the stage of political and religious conservatism, to the final stage of geometrical art and anti-humanism. Acknowledging the validity in this “dating” of his writings, I still contend that Hulme’s romantic heritage of organic fancy and Bergsonian intuition can be succinctly found in his “Bergson’s Theory of Art” and “The Philosophy of Intensive Manifolds,” and later “Romanticism and Classicism.” His ideas on intuition and organic fancy never did change, though his political and religious ideas were subject to drastic changes through the shifting stages of his intellectual maturation.

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