근대문학의 주변부적 표상과 임노월

Abstract

The most persuasive approach to the trajectory left in our modern literature for a short period until Rim No-wol’s debut in 1920 and his compilation in 1925 is referred to as ‘individualism and estheticism’. Rim No-wol majored in arts and philosophy in Japan, as well as foreign students at the time, and left poetry, novels, criticism, dialogues and essays based on Oscar Wilde’s artistic theory at this time. Rim No-wol explains this creative attitude as ‘New individualism’ and tried to establish his own logic, and for that very reason he became a peripheral representation. The purpose of this article is to reconstruct the literary space in the 1920s, which is the premise of his artistic activities in the process, in order to reconfigure the literary space in three dimensions. In particular, his romantic novels all have tragic romance as the basic narrative structure, and the re-reading of this may be the first scene of ‘personal’ romanticism that has come into being in the postmodern period . For this purpose, this study divided into ‘daily life’ that can not reconcile the peripheral representation manifestations revealed to him, the new and perfect point of view, and the investigation of emotions in the first Through this, it was found that the peripheral representation figures that he composed were composed not by marginality that did not enter the center, but by collision with the center. At this point, Rim No-wol does not stop from being recalled as a props that reveal the diversity of modern space, but it is the key to structuring our modern and modern literature in three dimensions. We are able to continue to ask the question of what literature is capable of, and what novels are still, through the blatant and explicit.