이동과 창작언어로부터 본 김사량 문학의 생성: 일본과 중국으로의 이동 경험을 중심으로

Abstract

Kim Saryang (1914-1950?) had experiences of “moving” to Japan and China (Beijing) before publishing works in Japanese literary magazines. He also wrote about these travel experiences in his essays, expressing how such “movement” was key to his experience as an author. Kim Saryang “moved” to Japan just before he started to write novels in Japanese, and he “moved” to China (Beijing) just before he published his works in Japanese literary magazines. Kim’s experiences of “moving” to Japan and China may be significantly related to his creative works. However, researchers have not paid enough attention to his movement across the Japanese empire. His essays directly addressing his experiences in Japan and China are generally only mentioned as a part of his biographical summary, and only a handful of studies has reviewed these essays along with his fictional works. This paper considers how Kim’s experience of “moving” to Japan and China influenced his literary creation. After he moved to Japan, he participated in literary coterie magazines Teibo and Bungei shuto, which also brought him to interact with Japanese and colonial writers. Through participating in these magazines as a coterie member, he became interested in the lives of Korean migrant laborers. On the other hand, Kim Saryang published essays which deal with his tours (manyu) in China;“Beijing Street” (Pangmun, August 1939), written in Korean, and “The Prisoner with the Enamel Shoes” (Bungei shuto, September 1939), written in Japanese. Both essays focus on his realization of the remaining indigenous cultures in Beijing under Japanese invasion, and further discovery that the Chinese are “resisting” imperial Japan in the form of a “guerilla war.” Particularly, through his Japanese essay, Kim describes Koreans living in Beijing taking a culturally superior attitude toward the Chinese, whereas Kim’s critique of the situation demarks Koreans as “captives” of China. It shows that Kim Saryang criticizes the superior attitude of Japanese and Koreans who advanced to Beijing along with the expansion of Imperial Japan, using their status as “nationals” of Imperial Japan to belittle the Chinese. As a result, Kim Saryang’s “moving” experiences reveal Korean peoples’ fluidity and unstable subjects as a “nation” within Imperial Japan. It can be said that his works released throughout the colonial period depict various subjects who deviate from the “national subject” (kungmin), who are likely influenced by his “moving” experiences in Japan and China and encounters with people excluded from the “nation.”