1940, 식민지 조선문학의 행방을 둘러싸고

Abstract

This paper investigates how Lim Hwa and Kim Saryang thought Japanese language policies in the Korean literary world and the Josen Literary Boom in the Japanese literary world after 1939. For the first time, Lim and Kim encountered each other during the two literary phenomena. Although they had the same ideas on Japanese language policies, they had quite different interpretations toward the Josen Literary Boom. It is not difficult to say that Kim's language theory is accord with Lim's it in terms of defending Korean language against the suppression. Unlike Kim's language theory is based on his position as a translator, Lim argued Korean language in the universal and global perspective. Although Kim approved Korean writers' Japanese Writing having bilingual ability, he refused the restriction which urged Japanese writing to Korean writers. In other words, Kim not only admitted bilingual Korean writers’ duty of Japanese writing but also adhered to Korean writers’ right to write in Korean. Meanwhile, Lim Hwa and Kim Saryang disclosed notable difference when they interpreted the Josen Literary Boom. While Lim gazed the Boom as the political event after the Sino­Japanese War, Kim recognized it as the chance which Korean writers entered into the broad world. Unlike Lim Hwa’s position as the distinguished critics in the Korean literary world, Kim only debuted as a Japanese writer in the Japanese literary world at that times. Kim was not only a Japanese writer but also an intermediator in the Josen Liteary Boom in Japan. The different position in the literary world and media brought a discrepancy in interpretation. By drawing these perspectives, I not only illuminate Lim Hwa and Kim Saryang’ a view of literature but also reconsider Japanese language policies in the Korean literary world and the Josen Literary Boom in the Japanese literary world after 1939.