김내성의 『청춘극장』에 나타난 공간 경험과 식민지 기억의 재현

Abstract

This paper aims to analyze the experiences and sensations of the Space appeared in The Theater of the youth. Space is the place of everyday life and the way humans relate to the world. From this point on, this paper aims to analyze the spatial experiences of the colonial era in the The Theater of the youth and consider how the memories of the colonies are reproduced. Thus, we intend to explore the desires and reasons of the colonial culture of the colonial era. Tokyo is set to be the center of culture in this novel. As a result, the rest of the cities are stuck in the periphery. Tokyo is portrayed as a cultural center and a romantic relationship. In an epic narrative of romance, it is portrayed as a rehabilitating space. And in the case of mystery, the city's urban spatial experience is experienced in the structure of a similar place in the Western metropolis. Beijing is portrayed as an old-developed city. It is a chaotic and dangerous place, reflecting the complex Chinese political situation. The Korean society of the Liberation of Korea replaces the desire for modern culture or Western culture with a political issue. Baek Young-min and Oh You-kyung, who served as a sophisticated cultural instructor during the colonial period, committed suicide. Their suicide symbolized the demise of modern culture and the sense of sensualness. The Theater of the youth forms an alibi for resistance by introducing an epic narrative of anti-Japanese against colonial memory. In particular, Shin Seong-ho's book, “The Flowing Youth” is a hint at the  The Theater of the youth. This is the author's ventriloquism, which is to say that although it was released to survive, it did not submit internally to the colonial regime. In addition, the reenactments of memories related to pro-Japanese Koreans are designed to analyze the logic or philosophy of pro-Japanese collaborators. It is also the beginning of the term to form the semantic structure of the romantic novel.