『북의 시인』과 냉전 정치성1960년대 초 한국 수용과 현해탄 논전을 중심으로

Abstract

This paper explores the context in which Matsumoto Seicho's mystery novel 『The Poet of the North』 was first introduced to Korea in 1962 and the Cold War politics of its acceptance. Cold War This text was introduced to Korea twice in 1962 and 1987, but its acceptance in 1962 was still buried. The first introduction in 1962 was made when 『Donga Chunchu』 raised the issue of the distorted writing of the 'Chosun Jeong Judge Counterfeiting Case' among the 10 episodes serialized in the Japanese comprehensive magazine 『Chungang Gongron』. Immediately after the 5.16 coup, due to the defining power of the Northeast Asian Cold War order that encompassed North and South Korea and Japan, this text is accepted as a schizophrenic political text of ethnic and ideological issues. It was used as a Cold War text to multiply hostilities against Japan and General Association of Koreans Residing in Japan through the process of being linked to the military government's independent national psychological warfare and turning into a discourse of Hyeonhaetan. On the other hand, it contributes to corroding the biased perception of North Korea as it is used as a material for anti-communism psychological warfare that promotes the superiority of the regime and at the same time admits the prohibition against North Korea through a trial of North Korean writers. Recordability, a feature of this text, was the main issue of the controversy over the text, but rather, it could be introduced twice in Korea. Matsumoto's view of the narrative of the texts and Imhwa's actions facing the public record of Korea was a political text that shook the solid Cold War taboo in 1962. It represents the difference that is accepted as an opportunity to promote necessity. To summarize, this text was a rare text that crossed the history of the Cold War culture in Korea, combined with the Cold War agenda. In the process, Imhwa, the master of modern Korean literature history, broke through the seal of the Cold War and was constantly revived, and was retained in the history of Korean literatu