이광수 문학에 나타난 정치적 압력 대응 양상 = (A) study on the response aspects of the political pressure in Yi-Gwangsoo's literature

다국어 초록 (Multilingual Abstract)

The purpose of this study is to clarify how Yi-Guangsoo(1892-1950) responded to Japanese political pressure that restricted his literary activities. His literary career continued until he was kidnapped to North Korea during the Korean War in 1950, beginning he put his foot in door to the literary world when the Chosun dynasty was pillaged by Japan in 1910.
The political pressure in this study includes not only colonial censorship during the Japanese rule, but also all types of domination under the colonial government which limited the lives of Korean national, speeches of the ruler, contemporary political circumstances, the feeling of censors, and self-censorship of Korean writers. Besides, it refers to the self-censorship of Yi-Guangsoo, who was aware of political situations even after the liberation from the Japanese rule, which was the period of vacuum free from Japanese domination. It is necessary to investigate his responses to political pressure during the Japanese rule and after the liberation.
As a means of achieving this objective, four distinctive literary works were selected such as Minjokaejoron: on How to Reconstruct the Korean national, Heasaengjeon: The Life of Heosaeng, Moomyeongssijeon: the Life of the Unknown, Dolbegae: a Stone Pillow. Minjokaejoron published in 1922 is the most important thesis where he presented his tactics to save the Chosun that was a flickering candle in the wind. In order to materialize his tactics, he was active in an organization made by himself called Dongwoohe. He was forced to convert himself to pro-Japanese rule in the process of oppression against the organization. Thus, this thesis has made him to reach to pro-Japanese rule.
He exploited the method of parody in an attempt to avoid the colonial censorship in
Heasaengjeon published in 1923. By doing so, he was allowed to do free creative literary activities. In addition, Heasaengjeon provided with hypothetical room to construct an ideal country, which was embodied in Minjokaejoron.
Moomyeongssijeon was published in1931, when the censorship was much more intensified. Yi-Guangsoo was forced to quit Moomyeongssijeon after a series of 4th printing because he was not able to meet such intensified censorship.
He published Dolbegae, an anthology of his literary essays after the liberation, but his awareness of contemporary political situation did not make him free from restrictions. These literary works provided with informative resources that enabled to examine his responses to political pressure.
Based on the analysis of Minjokaejoron, this study made an attempt to clarify the process of his turn to pro-Japanese because of Japanese oppression during the trial of 4 years and 5 months.
In other words, he and the members of Dongwoohe had to face compulsory dispersion due to Japanese coax and coercion and they were eventually converted to pro-Japanese rule. This is his first time conversion compelled because of political pressure against him. But he made his second time conversion, by pledging allegiance to Japanese rulers at the last closing stage of the rule of Japanese imperialism.
After all, his Minjokaejoron was intended to revive the Chosun nation which was at the critical moment but Dongwoohe organized to materialize the ideals of Minjokaejoron, was on trial as a criminal party. Brutal violence on him in addition to being kept in custody made Yi-Guangsoo, self-claiming nationalist, executed a 180-degree turn to pro-Japanese rule. Then he made himself to be a pro-Japanese rule to the core, propagating Japanese policy.
Hursaengjeon was a parody of Hursaengjeon, a novel in Chinese character by Park Ji Won(1737-1805) during Chosun Dynasty. Yi-Guangsoo changed it to a full-length novel and secured sufficient room, by expanding the quantity of the original about ten times. He changed to a spreading style from simple style. He also changed the character of Heosaeng, who was sullen and a man of self-assertion, to the character of meticulous and broad-minded. He fabricated a new story which was not in the original and even changed the content of the original.
On the other hand, he ridiculed and caricatured corrupted civil servants and the rich who were worshipers of Mammon. It was a victory gained over parody. His attempt was to disguise the theme of nationalism in gag by novelizing parody.
Thus, Yi-Guangsoo avoided Japanese censorship by the method of parody, including self-censorship.
In the meantime, he was able to construct an ideal country presented in Minjokaejoron, using time and space provided by this novel. Arriving at an uninhabited island, Heosaeng established a new country by converting infidel thieves. This was an ideal country that Yi-Guangsoo had been dreaming of.
Moomyeongssijeon was a roman a clef that modelled Yi Gap, a patriot, and it was a series published in a monthly magazine, the Dong Gwang from the 3rd edition in 1931. This was the third period of intensified and competed censorship under Governor Minami Jiro. At this time, Yi-Guangsoo did not try to take proper measures to pass or avoid the censorship and he passively admitted censorship instead. The criteria of censorship was proclaimed to the public in 1936 and writing about the life of independence supporters or patriots was prohibited accordingly. Therefore, this novel modelled a patriot was expected to be suspended from the very beginning.
This author constructed the life of Yi Gap based on his biography prior to novelization of his actual life and then compared it with Yi-Guangsoo's unfinished novel, Moomyeongsijeon in terms of narrative structure. As a result, a bending was revealed. In the first place, it was impossible for him to describe in novel patriots who fought for nation and independence and he had to conceal the name of its characters.
Japanese colonial censorship was obsolete after the liberation in 1945 but he did not appeared to be free in his writing activities though he was free from any political oppression. This author attempted to clarify that this lack of freedom originated from Yi-Guangsoo's self-censorship based on his awareness of unstable political situations.
Eventually it was revealed that Yi-Guangsoo's writing activities were possible and allowed within the boundary of political oppression. Besides, the reason that he did not remained in a false turn to pro-Janpanese rule but he turned to pro-Japanese rule to the core was based on his conviction that he make strenuous efforts without falsehood.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 이광수 문학과 연구사 검토 1
• 2. 연구의 목적과 연구방법 4
• Ⅱ.민족개조론과 이광수의 변신 11
• 1. 민족개조론발표 전후의 사회적 토양 11
• 2. 민족개조론의 준비 과정 14
• 3. 민족개조의 추진체 동우회 19
• 1) 민족개조론의 내용 19
• 2) 흥사단과 동우회와의 관계 22
• 4. 동우회사건의 전개에 따른 이광수의 의지 상실 27
• 1) 동우회에 대한 일제의 탄압 27
• 2) 정치적 압력이 만들어 낸 이광수의 전향 33
• 3) 강박관념 속에 달려간 전향의 마지막 단계 38
• Ⅲ.허생전과 자가 검열 43
• 1. 허생전의 특별한 의미와 선행연구들 43
• 2. 작가는 왜 패러디를 하는가 45
• 3. 원텍스트와 패러디 소설의 서사구조 49
• 4. 자가 검열로 펼 수 있었던 이상국 건설 52
• Ⅳ.무명씨전에 가해진 식민지 검열 63
• 1.무명씨전의 탄생 배경 63
• 2. 식민지 검열기준과 이광수의 자가 검열 66
• 3. 春園 李光洙와 秋汀 李甲 70
• 4. 무명씨전의 실제 모델 이갑 72
• 5. 쓸 수 있었던 작품 무명씨전 76
• Ⅴ. 자가 검열 속에 태어난돌베개 84
• 1. 해방 전후 이광수의 심리적 변화 84
• 2.돌베개의 내용과 사상 93
• 3. 해방 후 정치적 상황과 자가 검열 103
• Ⅵ. 결론 106
• 참고 문헌 109