박태원의 예술가적 자의식과 예술 장르의 미학적 평행

Abstract

When we establish ‘convergency of art’ as ‘border crossing’ for modern Korean literature in 1930’s, the each genre has aesthetic equality each other, although, in the art category each genre(area) is divided. This equality is a concept that explains parallel development model, rather than influence of each genres, imitation, or relation of transcription. Each text is complete for itself, and communicational. That is to say, each art can communicate each other equally. we call this ‘the aesthetic equality’, Though an artist is inspired from the existing other genre text, he makes it creative and innovative. We can explain multi—artist writers in 1930’s like Lee Sang, Park, Tae—won, Leem Hwa etc. through this idea. This thesis is aimed to elucidate Gubo(Park, Tae—won)’s art world. He was a story writer and printing painter and translater, and he was interested in cinema and music too. He was more sensitive to artist’s consciousness than any other writer in that period, which was his esprit, technique and style. He had a belief that someone has deeply read in all art genre, music, cinema, painting etc to be a good writer, so he had developed his luxury hobbies. Gubo had enough artist sensitivity as Lee, Sang’s, and he unfolded his artistic talent on space of literature in 1930’s. Then he was immersed in diverse art, but not being caught. This point is applied to his novel style. ‘The escape of sentimentalism’ was a base of arid style of his novels, which was valid to artist consciousness. His attention to ‘Chosuneo’(Korean language) and his style of writing was also connected to his artist sensitivity. In this point of view, the history of modern Korean literature needs to be rearranged and rewritten.