This thesis focuses on the fact that organicism poetics is placed at the core of the pure poetry movement that unfolded centering on Park Yong Cheol ,Jung Ji Yong and Cho Ji Hoon around the 1930s, and the organicism poetics of that period not only established the identity of our traditional poetics but also reached to a new prospect of postmodernism as it overcame the romantics of the early period and reached the Oriental organicism poetics of the latter period.
The 1930s is an important period during which our poetry overcame the limitation of modernity and actively enters into the magnetic field of modernity. Especially, the appearances of the group of poets who led the movement of pure poetry called 'simunhakpa' centering on Park Yong Cheol, Jung Ji Yong, Kim Young Rang and Shin Seok Jung ended up yielding a valuable result of wiping out the errors made by Korea Artista Proleta Federatio (KAPF) or nationalism literature, namely, setting forth the things outside of literature rather than the literature itself as it stood at the starting point of the movement of pure poetry that emphasized the autonomy of the work itself. Although its starting point was Park Yong Cheol who ignited the movement of pure poetry by publishing 『Simumhak』 literary magazine and introducing the literary theories of other countries and translated poetries, at the center of it was Jung Ji Yong who showed the effort of seeking to practically establish the modernity of our poetry internally through his works through his fresh linguistical sense and method of creation.
The movement of pure poetry centering on Park Yong Cheol and Jung Ji Yong made a significant contribution in the establishment of the identity of our traditional literature in the sense that it also touches the pulse of the traditionalism of our literature by surpassing the level of being just one of the schools of poetics in the 1930s when the modernism poetics centering on Kim Ki Rim and the realism poetics centering on Lim Hwa formed a triangular relation. Especially, the traditional idealism that blossomed in the poems of Jung Ji Yong in his latter period ended up more firmly establishing its system by Cho Ji Hoon who succeed his literary view, and such tradition secured its place as an important trend of our history of poetry recently.
Organicism poetics is placed at the core of the movement of pure poetry of the 1930s that continued on to Park Yong Cheol, Jung Ji Yong and Cho Ji Hoon. Organicism poetics that established its footing as the poetics of Park Yong Cheol of his latter period as he introduced the poetics of Housman not only represented his poetics but also secured its place as the holistic poetics of encompassing the method of creation, view of the world, nature and the universe for Jung Ji Yong and Cho Ji Hoon. Especially, organicism poetics does not just stay as one of the poetics in the sense that it is essential poetics that correspond with the analogical characteristics of humans and nature, but it not only is a method of poetry creation but also becomes the secret of idealism of our race that seeks to go over the yokes of that period, and, furthermore, it pulse is connected with the overcoming of extinction of tradition and the post-modernistic Orientalism for to overcome the limitation of the modern thinking system centering on modernism.
According to the review of the organicism poetics of Park Yong Cheol, Jung Ji Yong and Cho Ji Hoon thus far, the organicism view of poetry received by our modern literature can be classified into 1) romantic organicism view of poetry, 2) Christian organicism view of poetry and 3) Oriental organicism view of poetry. First, the romantic organicism view of poetry is the organicism view of poetry that settled itself through the process of Park Yong Cheol accepting and advancing the poetics of Housman through the organicism view of poetry that became the basis of the Western romantic literary view centering on Coleridge. The romantic organicism view of poetry introduced by Park Yong Cheol becomes the foundation of theoretically settling correct method of poetry creation in our world of poetry by correcting the imbalance of the literary view of the existing contentism or formalism by looking at it as the organism that is not separated in its content or form. However, there exists a certain distance from the Oriental view of poetry, as it is a view of poetry based upon the Western-centric world view. Therefore, the Oriental organicism view of poetry is needed that surpasses the romantic organicism view of poetry in order to overcome the theory of severance that exists between the Western literature and our traditional literature and establish the identity of our literature. In his early period, Jung Ji Yong used in his method of creation the romantic organicism poetics of Park Yong Cheol by inheriting it, but he ends up creating the poetries based on the Oriental organicism view of poetry in his latter period of poetries.
Especially, his religious psalms based on the Catholic faith shown between his early period poetries and latter period poetries draw attention in the sense that they play the role of a bridge between his 'sea' psalms centering on the sense of his early period and the Oriental idealism psalms with the theme of 'mountain' in the latter period. The way for humans to meet with totaliter aliter, God, is through the harmony with God through incarnation, and this signifies that God and humans are one existence organically connected. The view of poetry of Jung Ji Yong that dominates through his poetries in his mid period is a Christian organicism view of poetry based on the Catholicism. However, his view of poetry does not reach a perfect union of God and humans as it does not narrow the distance between humans and God. In spite of this, the Christian idealism revealed in his religious psalms becomes the foundation of the Oriental idealism of his poetries of landscape in his latter period by seeking vertical transcendence.
The view of poetry that dominates the poetries of landscape of Jung Ji Yong and the most of the poetries of Cho Ji Hoon is the Oriental organicism view of poetry. The Oriental organicism view of poetry revealed in their poetries display the appearance of poet seeking to overcome severed and fragmented reality. The world Jung Ji Yong ultimately seeks is the world of vertical transcendence through mountain. In here, the act of the poetic subject climbing the mountain is not simply to reach the peak of the mountain but to become one organically with the mountain. Accordingly, it can be noted that the Oriental organicism view of poetry revealed in the poetries of Jung Ji Yong in his latter period is the product of the will of overcoming the reality.
The organicism poetics that started centering on Park Yong Cheol was succeeded not only to Jung Ji Yong but also to Kim Hwan Tae, Kim Jong Han, Shin Seok Jung and Choi Jae Seo, and expands in the level of criticism and literary history by surpassing the level of poetics as it continued on to Cho Ji Hoon, Kim Dong Ri and Cho Yoon Jae. Especially, the organicism poetics has the characteristic of an alternative that surpassed the limitation of the view of poetry of realism or modernism in the sense that it is situated on the point of conclusion for the poets who had sought the view of poetry of realism or modernism such as Shin Dong Yeup, Kim Soo Young, Kim Ji Ha of the 60s and 70s and Hwang Ji Woo and Park Noh Hae of the 80s abandoning their view of poetry and arriving to it. As this is also related to the post-modernistic characteristic held by the organicism poetics, the fact that it can also become the root of the future ecological poetics can't be overlooked. The study on interrelation of the organicism poetics and ecological poetics is a task that the future studies should continually explore along with the task of holistically making the historical appearance of unfolding of the organicism poetics concrete.