식민말기 김남천 소설과 경성대화숙(京城大和塾)의 거리－「등불」의 서간체와 액자형식을 중심으로－

Abstract

The purpose of this article is to examine the literary functional relationship between Kim Nam-cheon's four-fiction work “Lamp light” (1942.3), published at the end of the colonial period, and “Yamato-juku System”, which was established under the leadership of the ideological prosecutor Yujo Nagasaki. When seeking the unique characteristics of Kim Nam-cheon's literature from the epistemological confrontation with the “total institutions” that symbolically reveals the tyranny of the colonial system, it has been overlooked that he participated in the “Japanese spirits Training Center” hosted by ‘Geijyo- Yamato-juku’ for a month from March 10, 41. Formed as the successor of the ‘Union of Ideological and National Servants’, in January 41, Yamato-juku promoted a unique edification project that allowed ideological criminals to enter directly with his guardian to live in a community with a soft seal. At this time, the ideological offender took on the role of reproducing the wartime mobilization system as a teacher of the Japan language class at home, exposing his private domain transparently. It was a space planning that caused a huge threat to the fictional imagination of supporting novel literature and the author's inner autonomy by stealing the interpretive teaching power of the ideological force's sense of distinction between public and private. “Lamplight” is transforming the demand for self-confession and sincerity increased by the establishment of the Yamato-juku system into a literary theme. Consisting of four epistles and one anecdote, this novel is a three-format teaching: a private novel, epistles, and frame structure. The epistles are a form of deliberately excluding the reader by putting forward an interesting communication network between the receiver and the sender. At this time, since the reader exists outside the communication channel, the reader can occupy the ‘observant's position’ to capture the authenticity of the speech. Referring to the fact that Yuzo Nagasaki is also using epistles to convey his inner truth through the preface of “Daehwasuk Diary”, it can be judged that they were exclusive in terms of a literary form trusted by the observer. The point that deserves more attention is the frame structure that is established by parallel epistles. This frame structure clearly reveals that the three layers of ‘I’ (Nam-cheon Kim, the writer in the novel, and Yoo-sung Jang) surrounding the novel are divided. It allocates the reader a place to capture the authenticity of the speech, and the unity of the subject is dismantled. For this reason, the stated content of the novel becomes ‘unowned words’ that cannot be attributed to a single speaker. In this context, the ‘half novel’ implied by the narrator in the first epistles, which corresponds to the introduction of the novel, seems to be achieved through the frame structure of the text. This is because it disrupts the grammar of the four novels that try to read the author Kim Nam-cheon and the narrator of the novel as the same person and places the entire text at the main point of the novel called fictional prose art. It is also worth remembering that Ryunosuke Akutagawa, who Kim Nam-cheon has long taken as a role model, also introduced a framed format to separate his work from the private life novels. In this respect, “Lamp light” can be defined as the product of Kim Nam-cheon's nostalgic language, which seeks to secure even a little literary freedom that is dying out in the spatial planning of the ideological control organization.