식민지 주체의 아이덴티티 수행과 친일의 회로

Abstract

The purpose of this writing is to examine the discussions about Midang's pro-Japanese literature following the 2000s and to understand a shadow, which is positioned in Midang's pro-Japanese literature, from the context called the identity performativity of the colonized subject. Kim Jae-yong proves that the pro-Japanese behavior in those days was voluntary on the basis of Midang's own decision on a flow of world history in the surrounding reality while lengthily quoting one passage in Midang's autobiography. His discussion is problematic in a regard of not arranging an answer to how a pursuit for the ethnic thing, which was progressed after the establishment of a nation state after the liberation, will be differentiated from the imperial thing. Park Su-yeon is judging that Midang's literature is pro-Japanese in that Midang's oriental thing is not separated from the pro-Japanese thing at the end of colony. He is just performing a work that makes the theory of national literature consistent with the context of the Greater East Asia Co-Prosperity Sphere in Japan, but is turning a blind eye to many differences and divisions that occur inside it. Midang is sympathizing with Miyosi's argument in that Midang considers that a poem needs to appear through the gateway of sensitivity. However, there is a need to be paid attention to what Midang is refusing the subordination of poetry to all the doctrines and thoughts including the literary movement that was promoted in the national emergency situation mentioned by Miyosi. Midang draws a story of a Chosun person In Jae-ung, who had participated in a combat of empire Japan in 「Masseuiojang Songga(松井 伍長 頌歌)」, into the context of eternity and tradition in his poem. It would be not only what has the identity of people, who were formed by the empire, as own thing, but also what throws himself into the power of any eternal life, which had been come down for thousands of years. There will be a need to remember that there was a return for being caused by this performativity to writers as the responsibility called pro-Japanese and that there was a return for both the volunteers and the civilians attached to the Army in Joseon to have needed to be in charge of the responsibility of war in Japanese people as for young people in colonial Joseon.