达达主义与无产阶级文艺的碰撞——1920年代朝鲜半岛文坛的“达达风”

Collision of Dadaism and Proletarian Literature and Art:“Dada style”in Korean Peninsula Literature in the 1920s

1920年代的殖民地朝鲜曾刮起过一场“达达风”,达达主义在高汉容、金华山、朴八阳、林和等人的不同解读及当时文坛的论争中,展现出了属于自己的表征。起初,达达主义传播者高汉容从人生观角度理解达达并将其视为解决既存问题的有效方法;后来因金华山、朴八阳、林和等人的参与,达达主义与无产阶级文艺碰擦出火花,引出了文艺创作中“形式与内容”的纷争。在朝鲜半岛,达达主义最终演绎成了一种现象、一种态度、一种人生观,成为“否定”“自由”与“解放”的代名词,也成为过渡期个人满足与社会运动所需的“新形式”。

There was a“Dada style”in the colony of Korea in the 1920s.Dadaism showed its own characteristics in the different interpretations by Gao Hanrong,Jin Huashan,Piao Bayang,Lin He,etc.and the controversy in the literary world at that time.At first,Gao Hanrong,the communicator of Dadaism,interpreted Dadaism from the perspective of outlook on life and regarded it as an effective method to solve existing problems.Later,due to the collision between Dadaism and proletarian literature and art by Jin Huashan,Piao Bayang,Lin He and others,the dispute of“form and content”in literary and art creation was brought out.In KoreaPeninsula,Dadaism finally evolved into a phenomenon,an attitude,and a philosophy of life,It became a synonym for“negation”,“freedom”and“liberation”,and also became a“new form”for personal satisfaction and social movement during the transitional period.