1920년대 초기 예술지상주의 비판의 맥락과 의미

Abstract

This paper aimed to considering the context and meaning of the criticism on art for art’s sake in the early 1920’s. In the early 1920’s, it could be investigated in two drections. The one is that presented by Lee, Kwang-soo who was thoroughly enlightening intellectual. The other is that presented by socialist intellectual who participated in socialist journal. The reason why it needed to be explored is that it could be confirmed the moments of literary change after that time. The criticism by Lee, Kwang-soo was sharing the context of movement for new-culture construction with 1920’s coterie magazine but it missed the focus of their literary theory. Therefore it only could enforced isolation of the writers of coterie magazine. In contrast, the criticism by socialist intellectuals was more profound than it. It was not only sharing the emphasis of literary emotion with them but also including the dimension of their isolation tendency and connotation of the notion of emotion. They claimed that literature need to deal with socially significant emotion, in other words sympathy, because they were recognizing that literature or art is the system of social communication. These are enough to weakening the ground of coterie magazine. By the way, it was the different point of reader or people that making the difference between Lee, Kwang-soo and socialist intellectuals. While Lee, Kwang-soo was not admitted the voluntary ability of people, the socialist intellectuals were not so. They positively believed what people have the possibility of themselves. So they could believe that it is possible to enlightenment of people through the literary autonomy.