전후 조선학의 한 풍경: 일본 조선학 연구자들이 바라본 이광수 표상

Abstract

This article discussed how researchers who studied Joseon literature in Japan since the 1960s have represented Lee Kwang-soo, a representative modern literary writer. In the context of post-war Joseon literature research, which overcame the experience of colonial rule and attempted new research on Joseon literature, the representation of a colonial writer named Lee Kwang-soo was recognized through the writings of major Joseon studies researchers. Chapter 2 examines the representation of Lee Kwang-soo, which can be seen from Tanaka Akira-danaka, Omura Masuo, and Kagimura Hideki Village Trees, which can be considered old-fashioned people. Although each has a slight difference, they are discussing Korean literature and Lee Kwang-soo, recognizing Korean literature as colonial literature and recognizing the experience of colonial rule as their own. Chapter 3 analyzed the study of Lee Kwang-soo by Jo Shokichi, Saegusa Toshikatsu, and Hatano Setsuko, which correspond to the post-war generation. Their attitude toward Korean literature is to study it in the same context as other foreign literature. From that point of view, it was confirmed that Lee Kwang-soo is also carrying out a more objective approach and perception of pro-Japanese activities. In Chapter 4, we peeked at a group of representative Lee Kwang-soo from Korean writers in Japan. The representation of Lee Kwang-soo in the works of Kim Seok-beom, who represents the first-generation Korean artist in Japan, and Lee Yang-ji, the second-generation artist, is interesting because it is connected to the generational differences of Japanese researchers.