이상 산호편(珊瑚鞭)의 치정(癡情)과 정치(政治) -「종생기」를 중심으로-

Abstract

Four important research contents were included for the purpose of reviewing Jongsaenggi coral whip. First, through the two autobiographies of the Jongsaenggi, explains the plan of unification of Lee Sang's life and literature as a debauchee, and examined the concept, theme, and purpose of the coral whip. The theme of coral whip is the adultery relationship between rubbish and outer leaves, and the works showing the proper function of coral whip are Lee Sang's love stories. Lee Sang's coral whip is a writing that reveals the realities and truths of the life of those days, embodying the reality of modern or colonial modernity like bawdy house, which is named as the shaman's talismans. The second is to look at the origin of theme of Lee Sang's coral whip and explain that this theme is a modification of the themes of Dostoevsky and Gorky's literature. In the Jongsaenggi, Lee Sang's coral whip theme is found to be a modification of Dostoevsky and the intellectuals and prostitutes of Gorky's literature. The intellectuals and prostitutes of Lee Sang's coral whip are the 'rubbish as a stuffed genius' and 'outer leaves as a queen bee or a widow', these are the naked lives of Giorgio Agamben. The third explains the Lee Sang coral whip's foundation by examining Lee Sang's ideas about the coral whip and the problems of the colonial reality. The themes of intellectuals and prostitutes are a common theme of Lee Sang's coral whip. Lee Sang confesses that the reason for making this subject a common theme in his coral whip was to find the subject of the adultery relationship between intellectuals and prostitutes as the core of modern and colonial modern landscapes and to disturb and support oneself Korean modern literary circles. The fourth examines the 'both sides of injustice' of the coral whip and my transformation into Dongfang Shuo who lived for the three thousand sexagenary cycles. The theme of the coral whip is the infatuation. Lee Sang shows that in the 19th century way, through a play on words, both sides of injustice of the coral whip represent not only the world of prostitution, but also the relationship between the imperialist state and the colonies. In the Jongsaenggi, I died at a young age, and I transformed my death verdict into an old age, transformed into Dongfang Shuo who lived for the three thousand sexagenary cycles and reincarnated. My transformation and reincarnation is a plan for living as a post - death literature. For this purpose, Lee Sang prepares a literature confrontation with the reader after death by making the Jongsaenggi into an intricate a letter of self-introduction to enable readers to explore and insight the content and purpose of coral whip.