1950년대 『자유문학』의 지향과 지식인 소설의 상관성 고찰: 최인훈의 「그레이그락부 전말기」와 「라울전」을 중심으로

Abstract

Through the analysis of Choi In-hoon's two first films, this paper identified the trend of participation in the real world that the free literature magazine had pursued. So we analyzed how the direction was melting into the observer's gaze and the dual pose of the intellectual. The "Free Literature" will be launched amid a competition with the "Modern Literature" magazine aimed at pure literature. Stressing that real-life participatory resistance and practice are traditional Korean discourse, it also follows the genealogy of "participatory literature" from the 1950s to the 1960s. Choi In-hoon's [Grey-Gurakbu Whole Story] and [Raul Story] are the works that revealed their desire for such resistance and action. Choi In-hoon, who experienced a conflict as an ideological confrontation in the era of anti-communistism in the 1950s, states that he witnessed "the nakedness of history" in the former term of [Grey-Gurakbu Whole Story]. And I want to prove with a 'movement of emptiness' that keeping an observer's eye is the role of an intellectual as a gray person. And in the exhibition, he noted the passion and limitations of the inferiority complex Raul, which makes efforts to prove its divinity through intellectual meetings. In other words, the author was participating in the satirical era through an observant meeting of intellectuals, a skeptical attitude toward play, and faith. As a result, the two works show the marginal perception that intellectuals in the naked body of history and religion are nothing more than humble grayists who played the role of silent oratory with an observer's gaze. Ironically, however, this "non-pure observer view" of Choi is linked to the literature of "reality-participatory activism" directed by the Free Literature Institute, which turns out to be an epic allergy of "resistance and practice."