염상섭 장편소설의 동정자(sympathizer) 형상과 다이쇼(大正) 생명주의 - 『사랑과 죄』, 『삼대』를 중심으로
The Symbol of Sympathizer in Yeom, Sangseop's Novel and Taishow Life-ism - Focused on the Love and Crime and Samdae
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The purpose of this paper is to show that the symbol of the sympathizer in the Yeom, Sangseop's novel was affected by the art theory of romanticism which had been flowed in through Japan of the early modern literature. In other words, with explaining the context that major achievements of modern novels, which are represented by Yeom, Sangseop, could not but be related to the historical origin of the Korean modern literary history in any way, the paper aims to reveal the problems inherent in the modernity of the Korean literature. For this, focused on the Love and Crime and Samdae that are relatively characterized with the symbol of sympathizers, the trace of Taishow Life-ism in those novels was reconstructed. ‘Life’ was the primary keyword of the literary discourse supporting the harmoniously united self, the art, and the contemporary model. That Yeom, Sangseop translated this word into ‘personality’, understood it on this ground, and uniquely stated the art theory was well presented in the Personality and Arts. His novels are regarded as masterpieces which criticized the family system violating the human personality and satirized the social system not allowing the free love as an expression of freedom. That is, in those days of the Yeom, Sangseop’s generation, ‘love’ was institutionally contradictory to ‘family’ which oppressed the personality, the individual’s inner life, and his early novels, What did you get?, and Love and Crime belong to the novels that made the issue of the free love and the family system respectively. Nonetheless, Yeom, Sangseop incessantly searched for the harmonious unity between ‘the individual inner life’ and ‘the national life’ in his novels. His efforts for the unity, in the novel of Samdae, are embodied in the character, Jo, Deokgi who tried to settle the conflict that emerged at the level of the ideology, the desire, and the morality. And the symbols of the sympathizer and the centrist are the central human character in his novel from Mansejeon to Hyopoong.
Abstract
The purpose of this paper is to show that the symbol of the sympathizer in the Yeom, Sangseop's novel was affected by the art theory of romanticism which had been flowed in through Japan of the early modern literature. In other words, with explaining the context that major achievements of modern novels, which are represented by Yeom, Sangseop, could not but be related to the historical origin of the Korean modern literary history in any way, the paper aims to reveal the problems inherent in the modernity of the Korean literature. For this, focused on the Love and Crime and Samdae that are relatively characterized with the symbol of sympathizers, the trace of Taishow Life-ism in those novels was reconstructed. ‘Life’ was the primary keyword of the literary discourse supporting the harmoniously united self, the art, and the contemporary model. That Yeom, Sangseop translated this word into ‘personality’, understood it on this ground, and uniquely stated the art theory was well presented in the Personality and Arts. His novels are regarded as masterpieces which criticized the family system violating the human personality and satirized the social system not allowing the free love as an expression of freedom. That is, in those days of the Yeom, Sangseop’s generation, ‘love’ was institutionally contradictory to ‘family’ which oppressed the personality, the individual’s inner life, and his early novels, What did you get?, and Love and Crime belong to the novels that made the issue of the free love and the family system respectively. Nonetheless, Yeom, Sangseop incessantly searched for the harmonious unity between ‘the individual inner life’ and ‘the national life’ in his novels. His efforts for the unity, in the novel of Samdae, are embodied in the character, Jo, Deokgi who tried to settle the conflict that emerged at the level of the ideology, the desire, and the morality. And the symbols of the sympathizer and the centrist are the central human character in his novel from Mansejeon to Hyopoong.
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