1920년대 동인지 문학의 근대성 연구 = Modernity of Coterie Magazine Literature in the 1920`s

다국어 초록 (Multilingual Abstract)

The first literary coterie magazines as‘a literary medium’appeared in the early 1920’s. The magazines including Changjo(1919.2∼1921.6), Peyheo(1920.7∼1921.10), and Baekjo(1922.1∼1923.6) were the first periodicals which tried to make literature a specialized field. They planned to develop‘new literature movement’on the basis of social differentiation theory in the modern times. This dissertation shows the topography of the literary field in the early 1920's from a new angle. For the purpose, it deals with what logic various aspects of texts in the field of coterie magazine literature were placed by and what
functions and effects they had.
Chapter 2 of this dissertation describes the characteristic of modernity in the colonial period of Korea and the intellectual topography of new intelligentsia before and after the 1920's. And then it concretely draws the topographical map of coterie magazine literature in the early 1920's and infers the position and the form of coterie magazine discourse. While the writers of the coterie magazines placed themselves within the ‘Cultural Movement' which coeval
intelligent youths had developed, they tried to differentiate their discourse from others' within the movement.
Chapter 3 discusses how the writers constructed the concepts of‘literature’and‘artist’, and how they recognized genre system and specialized each genre. It is clear that the autonomy of literature and the concept of artist were produced from the social differentiation theory of the modern times. And also the specialization of each genre was involved in the modern epistemology which gave the subject a new definition and explained the world with it.
Chapter 4 analyzes three types of recognition: the subject as a doer and the planning of‘reconstruction’, the subject as a self-reflector and the expression of‘the inner world’, and the subject as an observer and the discovery of‘reality’. They are classified according as how the attitude and the position of subject are arranged. And they were not only tightly connected with each other but also clearly confronted with in the field of coterie magazine literature. The exploration of the inner relevance among them is useful to grasp the topography of coterie magazine literature with the factors of
illuminism, romanticism, and realism.
Chapter 5 considers the meaning structure and the function of
‘representations’, which show the method that the subject and the object are related to each other, and examines how modern desire concretely works in coterie magazine literature. In the process, it is verified that the desire of subject is projected on the representation and reversely the effect of representation produces the desire of subject. This chapter takes notice of some representations including‘love’,‘train and steamboat’, ‘nature’, ‘children’, and‘alienated persons(madmanㆍopium addictㆍbeggarㆍvagabond)’. The meaning structure of the representations is newly produced and weaved in the historical phases of the modern times, and consequently they have specific function and effect to represent the modern times and its esthetics.
In this dissertation, with the documents of coterie magazines, I attempt to reconstruct the ground that‘modern literature’ was constructed in the early 1920’. It is to look into the beginning of Korean modern literature. I reconsider values or ideas already established by the literary history, as historical facts. When the literary history as a production of the modern times fails to take its own historicity into account, the view of‘the modern times’becomes the subject of judgement across the entire history of literature. In conclusion, I intend, by exposing the historicity of modern literature, to revaluate the current stream of literature against it and reconsider the method of judgement or estimation from the literary history.

목차 (Table of Contents)

• 차례 = ⅰ
• 1. 서론 = 1
• 1-1 연구 목적과 방법 = 1
• 1-2 연구사 검토와 문제제기 = 5
• 2. 동인지의 발생과 역사적 조건 = 18
• 2-1 새로운 창작 계층과 문화적 계몽주의 = 18
• 2-2 태서문예신보 의 구도 = 46
• 3. ‘문학’개념과 개별 장르에 대한 인식 = 68
• 3-1 문학의 자율성과 예술가의 의미 = 68
• 3-2 장르 체계와 개별 장르의 특성화 논리 = 94
• 4. 동인지 담론의 주체와 지형 = 120
• 4-1 행위 주체와 ‘개조’의 기획 = 120
• 4-2 성찰 주체와 ‘내면’의 표현 = 129
• 4-3 관찰 주체와 ‘사실’의 발견 = 140
• 5. 근대적 표상의 의미구조와 작용 = 150
• 5-1 연애 = 150
• 5-2 기차와 기선 = 160
• 5-3 자연 = 173
• 5-4 어린이 = 182
• 5-5 주변인들 = 192
• 6. 결론 = 214
• 참고문헌 = 224
• 영문요약Abstract = 236