고독의 ‘다시 쓰기’와 끝나지 않는 비애와 분노 — 루쉰의 「고독자」(1925), 박연희의 「고독자」(1955), 다케다 다이준의 「소리 없는 남자」(1954)를 중심으로

Abstract

This paper explores the process in which Lu Xun’s “The Misanthrope” was rewritten in the mid-1950s as Park Yeon-hee’s “The Misanthrope” and Takeda Taijun’s “Silent Man” based on ‘the nature of the Misanthrope’, ‘the cause of the conflict with the world’, and ‘the relationship between the Misanthrope and the observer’. Lu Xun’s Misanthrope, the intellectual and revolutionary, was despairing because of the imbecilic mob, and his becoming an adviser of warlord meant revenge for himself and the mob. The texts of Park and Takeda illuminate the shame and despair that led to the post-World War II period from the end of Japanese colonial rule based on Lu Xun’s “The Misanthrope”. The turned socialist, Hak-Nam, suppresses the desire for political participation because of his shameful career history. In the ‘conversion period’, when the ‘the national people’ were formed on the basis of anti-communism, he would like to be confirmed by Kwon that he wrote Stalin's Crime History, a kind of “statement of consciousness”, without pursuing his own profit. However, it was meaningless whether the genuineness of the conversion was due to the Korean War that broke out soon. Takeda’s misanthrope is not social reformers but pliable journalists and is thoroughly isolated from the surrounding people. Uoz, who had been subservient to the totalitarianism in the war period, fell into total loneliness and despair, after recognizing the violence of tying the Japanese together even on the basis of sorrow and anger caused by the war. Although it aimed at anti-war and peace, it was also a kind of nation-building.