식민지 예술가의 주변적 정체성과 모던 감성 개발 프로젝트 -김내성의 변격탐정소설 연구-

Abstract

This article examined what kind of environment and desire made it possible to give a birth of a collateral detective stories of Kim Nae-seong and what kind of socio-cultural meaning was cast on the reality of the later colonial period in Korea in which the emotion of fear had become one of a pleasure in the realm of popular literature. The novel of Kim Nae-seong embodied the old desire of modern literarians for the cosmological notion of 'art' within the structure of a detective novel by recreating the literary trend of diabolism. By introducing the style of horror novel, Kim described the young artists′ desire of self-cultivation for modernity to direct that they were accompanied by global temporality. The introduction of artistic pursuit through brutal and horrific events and through dark and dismal human psychology was a product of desire for the colonial youths to prove their ability to be a modern subject. The protagonists of those novel, who were described as young artists, wanted to internalize the profundity of the alleged modernity by proving their potential to draw grotesque art, which was considered as cutting edge of modernity. However, this modernity was far from the reality of their life as it had to be 'proved'. Despite the intense ambition and enthusiasm for modernity, the protagonists of Kim’s collateral novels were colonial young artists with a limited likelihood of being a true modern hero. In the passion of love and of intense artistic inspiration which was considered to be immortalized by murder, there were such emotion of impatience and depression of the colonial artists whose possibility to be a modern subject were highly limited to be realized. The intense passion which were formed into the art works were a viable pathway to restore the young artists′ subjectivity and to ascertain their superiority in crisis. However, in the narrative structure in which the emphasis on monstrousness was more prevalent than the monster nature itself, readers had to share the ‘rationalization’ of the irrationality rather than the irrationality itself.