This study set out to make a diachronic examination of Hanyang with a focus on poems created by Korean residents in Japan and published in it and figure out its characteristics as a medium, thus checking its overall true nature that was not covered in...
This study set out to make a diachronic examination of Hanyang with a focus on poems created by Korean residents in Japan and published in it and figure out its characteristics as a medium, thus checking its overall true nature that was not covered in previous studies. The findings demonstrate that it presented texts discovered along the boundary between Korean residents in Japan and Korean people and that the subject organization and discourse strategies of Korean residents in Japan in their poems were based on "disjunction," which became the reason why Hanyang was forgotten in the history of modern literature. The present study tried to show that its own values were also based on disjunction, as well.
In an effort to examine it specifically, Chapter II reviewed its overall changing patterns with a focus on poems.
As for the patterns of poems in Hanyang, there were many works created by Korean resident poets in Japan with a considerable percentage of poems published in it written by Korean poets and overseas Korean poets. Its colorful distribution of poets was closely related to the "intellectual · litterateur spy ring affair" that took place in 1974. That is, there were many Korean poets participating in Hanyang in addition to Korean resident poets in Japan before 1974 with diversity found in the forms and content of their poems. After 1974, however, it was difficult to come across Korean poets in it. There were issues of Hanyang where works of Kim Ji-ha were published, but the poet did not submit them himself. The number of poems created by Korean residents in Japan and overseas Koreans increased sharply in Hanyang after 1974.
Hanyang was excluded from South Korea after the intellectual · litterateur spy ring affair, but it continued to be published with Korean residents in Japan and overseas Koreans taking a central role in it. Those changes were attributed to the fact that it was published outside South Korea. One of its unique features was that it showed keen interest in Korean issues even though it was a foreign medium, which was why it was able to criticize the military dictatorship of South Korea, economic colonization of South Korea by Japan, and political colonization of South Korea by the U.S.A. since 1974. The poems published in it covered such content, which resulted in the loss of poetic diversity in its poems and the majority of simple and slogan-like content. The safe distance it had from Korea as a foreign medium allowed it to intervene in the Korean issues and have a politically rebellious characteristic.
From the early days of its publication, Hanyang tried to analyze the politics, economy, society, and culture of Korea and propose modernization directions for Korea to take for "intervention." The poems published in it, in particular, expressed those modernization directions in an emotional and sensible manner.
Hanyang was a medium created under the leadership of Korean residents in Japan, trying to intervene in the Korean issues. It thus erased its aspects based on Korean residents in Japan and imagined a subject that became an exclusive disjunction as a Korean. Chapter III checked those characteristics of its discourse subjects in its verse texts. There were efforts for it to create an "intervening subject" including the poetic realization mode of imagining the homeland as an omnipresent one, the poetic attitude of making a place for intervention based on the absence of homeland, and the self-demonstration to appeal to patriotism. Its building of a "modern nation-state" as it imagined gave specific forms to the tradition and enabled the mention of tradition. It even used the discourse of internalizing the April 19 Revolution with ethnicity and eliminating non-ethnic elements, which was why its "intervening subject" had a romantic character of escaping from the current ordeals and imagining future prospects. Its discourse subjects with their romantic nature, however, also had lethargic subjectivity of being able to get excluded from Korea any time, which indicates that the "intervening subject" was intrinsically ironical.
The "intellectual · litterateur spy ring affair" in 1974 demonstrated the lethargic characteristics of its discourse well. It started to reveal its nature of being outside the regime and rebellious attitude after the affair, which implies that it no longer approached the Korean issues only with the "internal intervention" attitude. They started to intervene as the subjects of "external intervention" discourse based on exclusive disjunction in some parts as Korean residents in Japan, continuing to intervene in the Korean issues. Chapter IV addressed those aspects.
Its "external intervention" discourse disclosed its disjunction. It found its objects in Korean people and, at the same time, had an eye of marginal man, which means it could always be read as "inclusive disjunction". It was not revealed much since it could decrease the legitimacy of "intervening subject" and became prominent after 1974 when the medium began to make all-out criticisms of objects with certain distance from them. Its patterns even directed the irony of disjunction and momentary appearance of "style" in a single poetic text, which can enrich the interpretations of Hanyang in that it made texts of imagining and reinforcing the national system reveal an unintended character of exposing rather the outside of national system. The poetic subject changes his or her attitude by shifting from reducing the imaginative distance from the object to widening the distance, and such a change helps to disclose a hostile object through such poetic embodiments as narrative long poems, satirical poems and allusions and criticize even the hostile objects more strongly by finding them hidden behind the visualized ones while affirming the democratic force. Hanyang with its "inclusive disjunction" and the "mediating subject" created from it have the contradictions of discourse subjects and suture them as a poetic text, thus continuing to reveal the discourse that could not help being "rebellious" from the viewpoint of South Korean military dictatorship.
The present study discovered "disjunction" between the determination of discourse act subject trying to intervene in the homeland and the pattern of discourse content subject represented by it in the poems of Korean residents in Japan published in Hanyang and explained it with "internal intervention"(="intervening subject"), "external intervention," and the organization process of "mediating subject" to encompass both of them in "inclusive disjunction." It can be expanded for explanation purposes to the poems of all Korean residents in Japan and even those of overseas Koreans that set a distance between their homeland and speakers. The identification of such discourse subject organization process will help to find clues with which to save the aesthetic and ideological meanings of those works from the desire to consider the literature of overseas Korean only in the ethnic and national units and thus regard it as the literature to serve the building of "modern nation-state." Hanyang offers representative texts found along the boundary between Korean residents in Japan and Korean people and based on "disjunction," and such discourse subject organization and writing strategies of its stemmed from the belief that universal significance could be obtained from general discourse and writing to imagine the outside of the national system.
It is thus possible to value and position Hanyang actively as a collection of post-modern and post-national texts that could not help continuing to represent the discourse outside a modern nation-state while imagining one. Its texts showed the outside of modern ideals through the most modern literary methodologies, however vague it was. It failed to put together the modern and post-modern contradictions and disappeared on the outside of national unit forlornly with its texts being hardly remembered.
The present study recognized a need to regard the modern-postmodern irony of Hanyang as the driving force for reading it actively rather than its limitation or inappropriateness and tried to demonstrate it with the concept of "disjunction."
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