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全光鏞 韓國比較文學會 1981 比較文學 Vol.6 No.-
Modern Korean creative writing can be said to have tended to focus on what to write and how to write. On the whole, however 'what to write' was rather a predominant requisite at the begining of the 20th century and in the 1910's when a great number of novels were produced and also in the late 1920's and the early 1930's when proletariatoriented novels were somewhat rampant. At the same time, 'how to write' slowly began to assert itself during the early 1920' s and the first half of the 1930' s when several literary associations were formed and began to publish their own periodicals. But since the disordered years of 1945 and 1950 'what to write' and 'how to write' have been commensurate with, and complementary to, each other in almost any writer. On the other hand, the 1970's began to see hull-length novels more appealing to the readers than traditionally more popular short stories. Together with this, another encouraging sign for the bright future of Korean literature was that there were quite a few publishers who were eager to publish novels and actually published them. When everything is said and done, what enable a competent, diligent, and sincere writer to produce a great work is to guarrantee him absolute freedom of expression and to free him from all sorts of restraints, spiritual and material, so that he may solely devote himself to writing without wasting his creative energy for nothing.
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全光鏞 韓國比較文學會 1980 比較文學 Vol.5 No.-
The Korean and Chinese literature had been in an intimate interrelationship through centuries since the era of the Three Kingdoms. With the coming of the mid-nineteenth century, however, the relationship began to assume a new different aspect. The main source of foreign influence on the Korean culture was all at once transferred from China to the Western countries and Japan, and China, also, about this time adopted a positive attitude toward cultural exchange with European countries and Japan. Japan by that time was most modernized in the Asian countries. As a result, the literary exchange between Korea and China was forced to be much reduced and estranged after the close of the 19th century. This article examines the proceedings of the literary interrelationship of the two countries against the ever-changing milieu of their history and culture during the period of a hundred years from the end of the 19th century up until now. I devide the period into three stages for the sake of easier comprehension because this period has undergone rapid and drastic changes in the literary scene as well as in the circumstances of Korea. The first stage of the period was from opening the ports to Japan in 1876 to Japan's annexation of Korea in 1910. This stage marks the introduction of foreign works through Chinese translation. "Seosa-geon-guk-ji" (瑞士建國誌), "Laran Buin-jeun" (라란婦人傳) and "15 Sohogul" (十五小豪傑) were among them, and they are regarded as having exercised some influence on the Korean novels in the Enlightenment Period. The second stage was from 1910 to the liberation of Korea from the Japanese occupation in 1945. It is characteristic of this stage that the Japanese colonial policy of obliterating Korean culture actually enforced public harsh oppression of the Korean Language and literature. The increasing contact with Western literature through the medium of Japanese language and letters and the direct inflow of Japanese litterature itself made it almost impossible to exchange literature with China. The third stage which was after the liberation of Korea in 1945 saw a slow resumption of the interrelationship, but Korean literature had in the meantime developed so strong an inclination toward Western literature that Chinese literary works that were translated into Korean were very few. "AQ Che^ng Ch'uan" (阿Q正傳) and "Kuang Jen Ji Chi" (狂人日記) by Lu Hsu¨n(魯迅) and "Wisdom of Life" by Lin Yu¨ Ta´ng were well received by Korean reders and a play by Ts'ao Yu¨ (曺遇) "Thunderstorm" ("Lei-Yu¨") (雷雨) was successfuly put on the Korean stage in Korean translation. In the same way Korean works introduced in Chinese translation were limited to a few. Jo, Byungwha's poem, "Suckawha" (石阿花) and Chun, Kwang-yong's short stories, "The Kapittan Lee" and "A Shooter" (射手) were among them. In spite of the long tradition, of the influence that Chinese culture and literature has had on Korea over ten centuries since the first introduction of Chinese letters in ihe era of the Three Kingdoms, the relationship maintained between the two literatures during the one hundred years of modernization of their countries as seen above proved to be a distant and insignificant one. Yet it is a notable fact that some Korean and Chinese scholars who are engaged in a study of the historical development of the "influence-relationship" between Korean and Chinese literature have produced remarkable results since the 1950s through applying the research method of comparative literature.
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