해방기 북한문학이 사회주의 리얼리즘의 ‘전형’을‘수령의 형상’으로 전유한 방식의 일면 고찰: 이기영의 『고향』(1933)과 「개벽」(1946)의 양식 비교를 경유하여

Abstract

North Korean literature of the Liberation Period is largely based on one event and one story. One event is “the Land Reform in 1946” and one story is “the story of anti-Japanese struggle of Suryong”. What they have in common is the abolition of “private property” like capitalism or imperialism. At first glance, the meaning of the event and story seems to embody the historical necessity of dialectical materialism that sublates private property. If so, the people of Lee Ki Young's Dawn of the New History which is based on the Land Reform, should be the archetype of socialist realism. However, in fact the inevitable prospect of dialectical materialism that does away with private property is the prospect of constantly refraining from private property, and the archetype of socialist realism is the person who constantly has the prospect of overcoming the subjectivity of private property. So the prospect of the archetype of socialist realism is not the form of reality that is accomplished but the form into which the achieved reality is internalized. In short, the class archetype of the proletariat can not abolish private property. This archetype is a 'Sisyphus Antithese' that constantly confronts private properties and is the human that might disappear with private property. This article explains that the 'Sisyphus Antithese' of socialist realism is successfully embodied in Homeland of 'Lee Ki Young of KAPF', but it disappears in Dawn of the New History of “Lee Ki Young of North Korean literature”. The central theme of Lee Ki Young's Dawn of the New History is the Land Reform in 1946, which is considered to have abolished the private property. Thus, the people's archetype of Dawn of the New History is the one that just enjoys the abolition of private property, and does not have to confront the private property. And the so-called “best archetype Suyrong” which North Korean literature transforms the archetype of socialist realism into is the subject that is considered to have abolished private property. So in North Korean literature, the “Suyrong” becomes the “parent of the people”. It is the birth of a “family relationship” between the subject that brings about the end of history, the abolition of private property or the elimination of imperialism, and the subject who just enjoys the end of history. The problem is that the end of the accomplished history of “abolition of private property” regulates future. In other words “Suryong's sublime works” such as land reform and national liberation make the later works of “Suryong” also recognized as “absolute telos”. And the people who enjoy the "sublime telos" such as land reform and national liberation become inevitably the means of "absolute telos" presented by “Suryong”. In this way, “Suryong” and the North Korean people who are shaped in North Korean literature of the Liberation Period necessarily come to have the relation between the person who carries teleology and the means of teleology through “the absolute telos”. In short, this article compares the styles of Dawn of the New History and Homeland and seeks to consider how the archetype of socialist realism that drives historical necessity is transformed into the archetype of Suryong.