일제 말기 카프 문인의 애도 양상

Abstract

The end of Japanese Imperialism is the period that socialistic literary men got in severe confusion regarding their identity and the future direction of literature. We can say that the late 1930’s was the point that ‘the inner side of society and politics’ was finally formed in the history of Korean modern literature. The basic viewpoint of this article is that the birth of that political inner side is closely associated with the matter of mourning over socialistic ideology which dominated the mental world of the previous literary men. From the Freudian viewpoint, separation from others which the idea of normal mourning presumes is to manipulate others on one’s own way. And incorporation with others which the idea of failed mourning presumes is to make others sound with no regard to oneself. Thus, true mourning means either the paradox or double binding which holds inevitability as well as impossibility at the same time. In other words, mourning can be realized only through the structure of Aufhebung which acquires the essence of the idea through the loss of reality that the object has. Before the loss of socialism and professional literature, Kim Nam-Cheon shows the aspects of morning that is the closest to this. With the works created in the late 1930’s like 「Beating His Wife」 (Chosun Munhak, Jun., 1937), 「Jetoeseon」 (Jogwang, Oct., 1937), 「Yojigyeong」 (Jogwang, Feb., 1938), or 「Nokseongdang」 (Munjang, Mar., 1939), Kim Nam-Cheon embodies the aspects of the forward-looking intellects practicing mourning that was either ‘impossible but unavoidable’ or ‘unavoidable but impossible.’ Though they were faithful to the present as if they had parted from their past, they were still holding the essence of ideology which they had pursued in the past firmly deep inside their heart. Inside the leading characters’ mind, there coexist the ego pursuing the Freudian mourning successfully and that unwilling to accept the mourning itself. Generally, the concept of Kim Nam-Cheon’s subjectivity at the end of Japanese Imperialism is described with the words of subject ‘split’ or subject ‘dissolution.’ It can be said that this is associated with the characteristics of mourning as “what is endless, unconsolable, or irreconcilable.” In Kim Nam-Cheon’s novels created in the 1940’s such as 「Gyeongyeong」 (Munjang, Oct., 1940) and 「Maek」 (Chunchu, Feb., 1941), characters who perform the Freudian mourning perfectly for the first time. Oh Si-Hyeong is the very leading character, and he shows the aspects that he can symbolize the object of the past completely and provide the meaning to it. The antagonist of Oh Si-Hyeong is Lee Gwan-Hyeong who worked as the instructor at Imperial University. As the result of being faithful to his own old ideology, Lee Gwan-Hyeong failed in using any of his libido for the present. By the author, Oh Si-Hyeong turns out to be the object of severe criticism incomparable with Lee Gwan-Hyeong, but from the aspects of mourning, he does not show the true aspects of mourning. It is because they could not combine introjection with incorporation but each of them had only one of those. This is clearly shown from Bori’s Story that is very famous in this work. Instead, in this work, the possibility of morning that combines introjection with incorporation is realized by Choi Mu-gyeong who was just an ordinary character from the first place. In Kim Nam-Cheon’s 「Deungbul」 (Kookmin Munhak, Mar., 1942), the matter of mourning seems to disappear almost. The socialistic ideology that had supported him in the past was neither the barrier in his life nor any particular concern then. Because of the fact that he was not at all associated with the ideology that had let him exist as the subject in the past, 「Deungbul」 can be said to be the work that is far distant from true mourning in the sense that it forms the severest violence to the past.