전시체제기 이용악 시의 위치(position)―『오랑캐꽃』을 중심으로

Abstract

This paper made a survey of the developing process of Lee Yong-aak’s poems and his literary position in the period of wartime of the colonial Korea. During his studying in Japan, he published two collections of poems, A Watershed and An Old House. They acquired favorable comments from the literary circles of criticism because they contained the true aspects of the poems of livelihood based on reality, virile spirits and undaunted subjects. But, after his return home in 1939, Lee Yong-aak showed an unexpected literary attitude. Wrapped in anxiety, anger and frustration, he seemed to wander around near the border line of decadence. His sudden change was closely related to the planning of Josun literary field and publishing capital. The Josun literary field took part in creating and praising war－aspiring subjects, and the publishing capital intended to profit from literary works dealing with war. On the other hand, the ‘nothern locality’ also went under change which was Lee’s literary theme and background. For him, the nothern region was a place where the wandering colonial Korean people were raising and strengthening the subjectivity through hardships, national combination and the desire for political resistence. But his nothern region got contaminated by war ideology and became the holy place of the soldiers and pioneers who were to realize the Oriental peace. Thus, Lee Yong-aak came to lose his literary source for poetic creation. Created in such historcal and cultural circumstances, Lee’s poem A Violet could be interpreted as a poem to attempt ‘to be a violet/not to be Japanese.’ This paper introduced the subject－oriented interpretation rather than the narrator－oriented interpretation based on the poetic theory of sameness.