전쟁 서사의 휴머니티와 순수문학의 정치성: 해방 후 김동리 문학을 중심으로

Abstract

After liberation, Kim Dong-ri's literary works were understood as the contradictional result between the ideal of pure literature and the political intention. Especially, his works set against the backdrop of the Korean War have been interpreted as manifestations of this inherent contradiction. These works have been considered both the limitations of his literary theory and the marginalized aspects of his literary corpus. This study re-evaluates the political aspect of Kim Dong-ri's works as proposed by the theory of pure literature through the war narratives such as the Raging Wind, A Tale of Pure Love, and The Returning Soldier. Here, the concept of politicality encompasses the author's attitudes toward reality, extending beyond ideological considerations. The three works, set in the periods surrounding the outbreak of the Korean War, distinctly convey anti-communist ideology. However, instead of espousing a stark anti-communist sentiment, these narratives centralize the value of individual humanity within conflicts, merging the notion of anti-communism with humanity. In Kim Dong-ri's novels, humanity is concretized through characters who uphold the value of humanity that is proved to the sacrificing for the nation. For instance, Gwangpung sog-eseo (Into the Raging Wind) constructs a humane anti-communist figure who, amid fraternal conflict, embodies the protector of the family. Sunjeong-gi (A Tale of Pure Love) transforms anti-communist sentiments into patriotism, as the protagonist discovers spiritual over material values. Finally, Gwihwan Jangjeong (The Returning Soldier) sets the direction of the post-war reconstruction towards a restoration of humanity by depicting two friends rediscovering their bond in the face of crisis. It is obvious that there are ideological intentions in those Novels. The humanitarian anti-communist logic, however, also expresses unintentionally distorted humanity. In Gwangpung sog-eseo, the protagonist embodies the fragmented anti-communist figure through the moment that he escapes with the son of his communist brother. In Sunjeong-gi, the tragedy of a disabled veteran who could not complete his sacrifice for the nation is starkly illustrated. Gwihwan Jangjeong evokes a foreboding sense regarding the state rebuilt upon anti-communist values through the demobilized soldiers unable to fully assimilate into the national ideal and fade into dark alleys. Kim Dong-ri’s war narratives aim to fulfill the goal of pure literature while actively reflecting war crises. Yet, the goal of pure literature becomes distorted as confined to anti-communist ideology. This distorted form of pure literature may be seen as a limitation of Korean war literature. Nonetheless, the novels reveal a fierce intent to portray conflicts and contradictions between ideology and reality. And this signifies a distinctive aspect of Korean War narratives constructed within the inescapable ideological framework of the Cold War.