민족어, 민족문학, 리얼리즘

배개화(Gae Hwa Bae) 한국현대소설학회 2008 현대소설연구 Vol.- No.37

Korean modern language was based on the idea of the national language, and formed through linguistic standardization with the need of nation-state. During the colonial period (1909-1945), however, Korea lost the position of nation-state, which delayed the formation of ``national language`` as well as ``national literature.`` Yim Hwa asserted that national literature must contained international(socialistic) content and national form. He believed that the ``nation`` is the community of the capital society, which formed the two classes of the proletariat and the bourgeoisie. At this stage, nation literature has two types of national literature, that is to say, the proletarian and the bourgeoisie literature. He argued that ``Korea Artista Proleta Federatio``(KAPF) writers must pursue proletarian literature, made of international content and national form. Yim Hwa, and also, well understood political function of the written language, and defined the vernacularization as the democracy in language, and as a goal of the proletarian literature. Since the latter of 1920`s, he believed, KAPF writers have in charge of completing historical mission, vernacularization. Yim Hwa proclaimed that this mission should be accomplished by producing realistic literature such as Yi Giyeong` Gohyang[hometown], to whose language he gave the highest applause as the summit of the Korean language. He thought that modern national language can be completed not by just printing dialects or public language (volk-sprache) but by the normatively reformed language, which is based on the aesthetic principle of the (social) realism. Finally, He seems to well understand the political function of letter language. Considering these facts, it concluded that national language and literature proclaimed by Lim Hwa can not separate from establishment of the Nation-State. In this point, his post-colonial consciousness is very clear.

『東光』을 통해 본 근대적 글쓰기의 형성

배개화(Bae Gae-Hwa) 국어국문학회 2008 국어국문학 Vol.- No.150

By the middle of the 1920's, with the progress in Korean grammar research, "Eonmunilchibeop"〔Korean parlance permitting the use of Chinese nouns〕, widely used in publication at that time, got more and more criticism from Korean linguists, and "Sungukmunbeop"〔Korean parlance prohibiting the use of Chinese letter〕 put forward as a substitute. The literary magazine Donggwang. first published in May 1926, was well known to be applied "Sungukmunbeop" for the first time among publications. The writing system stands for the way of sentence composition based on the orthography announced by the Korean Language Association in 1933. With the above premise, this essay sheds light on the following questions. First, this essay viewed theoretical background for the formation of "Sungukmunbeop" which was propagated by linguists of becoming Korean Language Association, and checked theoretical characteristics of Donggwang. Second, this essay made clear the dispute among Korean linguists regarding the matter of how to handle the 'Chinese letter' and their theoretical background which bring about the difference between "Sungukmunbeop" and "Eonmunilchibeop." Donggwang linguists suggested the concept of 'standard writings,' using only Korean letters'. Third, examining the style of works in Donggwang written by Choe Seohae and Ju Yoseop, members of Singyeonghyangpa〔anticonventional school〕, one of literary movements in Korean modern history, this essay also verified the establishing process of full Korean parlance as a literature language. They materialized "Sungukmunbeop" in short-novel that was considered as transplanted literature, and testified its possibility as a modern writing style.

신문학사조사의 방법과 전략

배개화(Bae Gae-hwa) 한국현대문학회 2008 한국현대문학연구 Vol.0 No.25

백철의 신문학사조사는 문학의 내용과 사상을 중심으로 기술한 문학사이다. 이는 ‘이식문학’이라는 개념과 밀접한 관련이 있다. 소위 ‘이식문학’의 관점은, 근대문학이 비록 조선어를 매개로 성립되었음에도 불구하고, 문학의 사상은 모두 외부로부터 수입되었다고 보는 것이다. 백철은 시대를 초월해서 관철되는 조선 문화의 아프리오리 한 특수성이란 바로 이식성이라는 생각을 갖고 있었는데, 그것을 문학사 기술에도 일관되게 관철시키고 있다. 이 점에서 1930년대의 백철의 사유와 해방 이후의 사유 사이에 연속성이 존재한다. 둘째, 전체적으로 신문학사조사의 기획은 1930년대 중후반에 그가 논한 비평의 핵심적인 주장을 합리화하는 것을 목적으로 한다. 또한 백철은 자신이 1930년대 후반기의 휴머니즘론이나 순수문학론의 계승자임을 증명하려고 한다. 셋째, 백철의 비교문학적 태도는 스스로의 서술적 권위를 확립하기 위한 중요한 전략이다. 비교문학적 태도를 통해서 백철은 외부의 시선과 자기의 시선을 일치함으로써 서술적 권위를 얻으려고 한다. 이것은 문학 연구자의 식민지적 의식이 극복되지 못했음을 보여준다. 이것은 우리 문학 연구에서 발견되는 태도, 즉 한국문학을 서양문학에 미달하는 문학으로 다루는 것의 원인이 되었다. 백철의 문학사 연구는 현대문학연구의 출발이 되었다는 의의만큼이나 극복해야할 과제를 남기고 있다. Baik Cheol’s《Main Currents of Thought in Korean New Literature》, mainly centered at ideological facade, has close relationship with the concept of ‘transplantation literature.’ He insisted that, albeit modern Korean literature was established at the basis of Korean language, all of its content and thought were imported from outside. He believed that cultural peculiarity flowing through the whole Japanese colonial period has the quality of transplantation, and always applied this idea in his description of new literature history. Therefore, following conclusions could be inferred from his descriptions. First, there is the continuity in his thought between 1930’s and after liberation. Second, his literary history mainly aimed to rationalize main argument of his 1930’s criticism. Under the purpose of rationalizing his political position of the neutrals right after liberation, he classified the development stages of new literature history based on literary currents, and equivalently treated each current. Third, Baik Cheol’s comparative literature attitude is an important strategy to place himself on the descriptive authority. Even after liberation, Baik Cheol still trapped in colonial consciousness, that caused an academic distortion. Baik Cheol's practice offered a background for so called ‘research trend to accuse the insufficiency of Korean literature.’

이태준의 여성교양소설과 가부장제 비판

배개화(Bae, Gae-hwa) 국어국문학회 2014 국어국문학 Vol.- No.166

This essay verified that Yi Tae-jun’s female heroin novels, <Seongmo (Holy Mother, 1935)>, <Ttalsamhyeongjae (Three Sisters, 1938)>, <Cheong chun museong (Exuberant Bloom of Youth, 1940)> and <Haengbogeui Huinsondeul (White Hands of happiness, 1942-3)> criticized patriarchism in colonial Korean society. Yi viewed a preference for male offsprings and patriarchism as evidences of semi-feudalism prevailed in colonial Korea, hindering to progress women in personality as a modern citizen. Since the proclaim of ‘The Total Mobilization Act’ in 1938, the criticism on patriar chism extended into paternalistic nationalism of imperial Japan. As Japanese nationalism acts as the ideology to control the everyday life of Korean, social oppression over women became more reinforced. Korean women were requested to play role of not only ‘good wife and wise mother’ for their family but also the people loyal to Japanese empire. The ‘Total Mobilization System’ criticized ‘modern women’ so called sinyeoseong for being liberal, individual, decadent, unproductive, unpatriotic, and non-Ja panese, stressing that they have to fulfill their hierarchial duties in society and family. However, Yi Tae-jun, by creating bildungsroman with female heroin such as a divorced woman and a working woman, denied paternalistic nationalism, wishing to show matrilineal or alternative family based on the culture and education. In conclusion, at first Yi Tae-jun’s bildungsroman dealt with women’s issues and patriarchism in colonial Korea from the viewpoint of Korean nationalism, but after break of Sino-Japanese War in 1937, its viewpoint was turn into liberalism and culturism which was criticized as non-Japanese at that time.

<문장강화>에 나타난 문장(文章) 의식

배개화(Bae Gae-hwa) 한국현대문학회 2004 한국현대문학연구 Vol.0 No.16

Taejun Lee, a member of Munjang(the style), a Korean literary magazine of the late 1930s, tried to make a standard diction of Korean writings. Focusing on Taejun Lee's Munjang Ganghwa(The Diction on Writing), this paper examines how he invented the modern way of sentence composition and leveled up it into Literaturwissenschaft. Under influence of Hushi(胡適), Lee made a goal to write a "literature for Korean" in order to invent a "Korean for literature." To practice the one, as a whose basis, he advanced a theory of the style that layed stress on "description," a visuality of prose. Second, Lee divulged problems of assimilation of writing with speaking, which could not be identified with "to write as spoken." A standard Language invented by modern nation state for certain political goals, is a modern written language on the base of one regional or social group especially. It is reflected in Munjang Ganghwa as a conflict between colloquy and sentence. To solve that problem, Lee used the colloquial sentence to describe a character or an event, and therefore it can appear in modern literary writing with quotation even though it is not written in standard language. Finally Lee shed light on and use sensitive characteristics of Korean in literary writing. Under the understanding that "the reeling or emotive factor is a core of modern literary writing," he suggested novel way to give vividness to "linguistic sense"(語感) especially focusing on richness of Korean phonetic symbols. Lee's work is strongly under influence of "the society of Korean Linguistics" in 1930s who theorized and announced the rules of Korean orthography as well as Korean standard language.

한국전쟁 동안의 현덕과 그의 소설

배개화(Bae, Gae-hwa) 한국현대문학회 2020 한국현대문학연구 Vol.0 No.61

한국전쟁 초기, 김일성은 선전정책의 방향을 결정했고 조선로동당은 선전의 운용 정책을 결정하고 통제했다. 고상한 애국주의가 선전 노선으로 결정되었으며, 북한 문학자들은 김일성을 전쟁 승리의 조직자이자 영도자이며, 조선인민군과 북한 주민들이 발휘하는 애국심의 원천이라고 선전하였다. 그러나, 1950년 10월 13일부터 박헌영이 신설된 조선인민군 총정치국장에 임명되어 조선인민 군의 정치 문제를 책임지게 되었으며, 영웅들의 애국심의 원천을 조선로동당과 인민민주주의로 보는 선전 노선을 주장하였다. 1951년 3월부터 조선로동당 선전선동부와 조선문학예술총동맹에 합류한 남로당 계열의 문학가들도 선전 분야에서 박헌영의 노선을 지지했으며, 현덕도 박헌영의 노선을 반영한 단편소설들을 창작하였다. 북한에서 발표된 현덕의 첫 번째 작품인 「복수」(1951.5)는 김일성이 조선인민군의 일시적인 전략적 퇴각에 책임이 있다고 암시했다. 「복수」는 전략적 후퇴 중에 북한 정권을 위협하고 인민군과 북한 주민의 사기를 떨어뜨린 미 공군의 폭격을 자세히 묘사하고, 미군이 점령한 북한 지역의 끔찍한 상황을 사실적으로 묘사했다. 이러한 묘사를 통해 현덕은 김일성을 “승리의 조직자이자 영도자”로 묘사하지 않고 패배와 절망의 정서와 연결하였다. 이에 대응해서, 김일성은 1951년 6월 30일 작가들과의 대화에서 복수를 자연주의적 작품이라고 비판했다. 고상한 애국주의의 선전에서, 현덕은 박헌영의 선전 노선을 철저히 따랐다. 「하늘의 성벽」(1951.6), 「아름다운 사람들」(1951.6), 「첫 전투에서」(1952.10)는 북한의 전투 영웅들을 모델로 실제 사실에 근거하여 창작된 작품들로서, 김일성이 아니라 조선로동당과 인민민주주의가 전투 영웅들에게 애국심을 고취하는 것으로 묘사했다. 특히 첫 전투에서는 주인공이 조선로동당을 상징하는 박[헌영]이라는 인물의 격려에 고무되어 미 공군과의 항공 전투에서 큰 전공을 세우는 것을 묘사하였다. 결론적으로, 현덕의 작품들은 김일성을 전쟁 승리의 조직자이자 영도자로 묘사하지 않았으며, 전투 영웅의 애국심의 원천은 김일성이 아니라 조선로동당과 인민민주주의라고 선전하였다. 현덕 소설의 이런 경향은, 1952년 12월 15일, 김일성이 박헌영과 남로당 계열 작가들이 부르주아 사상과 파벌주의로 조선로동당을 사상적 조직적으로 약하게 만들어서 전쟁의 승리를 방해하였다고 비판하고, 그들을 숙청하는 이유로 이용되었다. From the beginning of the Korean War, Kim Il-sung proposed the course of a propaganda policy, while the Korean Workers" Party (KWP) decided the operational policy and controlled the details of the propaganda with the results being a direct reflection of the leader’s politics themselves. After October 13, 1950 however, Pak Heon-yeong took charge of resolving the political problems and applied his ideas in determining the direction of the propaganda. From March 1951, writers of the ex-South Korean Workers" Party (SKWP) joined the KWP and the Korean Federation of Literature and Arts, and supported the line of Pak Heon-yeong in the field of propaganda. Hyeon Deok was chief amongst the SKWP writers who supported Pak’s line. In North Korea, Hyeon Deok"s first work, “Boksu” [Revenge] (May 1951), laid sole blame on Kim Il-sung due to the ‘temporary strategic retreat’ of the Korean People’s Army (KPA). “Revenge” depicted the bombing by the U.S Air Force which plagued the North Korean regime during the temporary retreat and reduced the morale of not only the People"s Army but also the North Korean civilians. Moreover, it realistically described the North Koreans" terrible situation in the occupied territory while painting a picture that the North Korean people"s loyalty towards Kim Il-sung was betrayed and the People’s Army was not ready to fight against the UN forces. In response, Kim Il-sung branded “Revenge” as a naturalistic work in a speech to writers on June 30, 1951. With regards to the propaganda of patriotism, Hyeon Deok’s follow up works comprehensively fell in line with the viewpoints of Pak Heon-yeong. Short stories such as "Haneul-ui seongbyeok [The Walls of the Sky]" (June 1951), "Areumdaun saramdeul [Beautiful People] (June 1951), and “Cheot jeontu-eseo [In the First Battle]” (October 1952) were modeled after "combat heroes" of North Korean air forces and were based on actual events. The stories presented the perspective that the source of patriotism exerted by the heroic soldiers was not Kim Il-sung but the KWP and people’s democracy. Specifically, "In the First Battle" depicted an air force combatant who was encouraged by Pak [Heon-yeong] symbolized as the KWP, and who became a combat hero due to his distinguished victories in the air battle against the US air forces. In conclusion, Hyeon Deok"s works reflected Pak Heon-yeong"s perspective that Kim Il-sung was responsible for the temporary strategic retreat of the KPA. Furthermore, by supporting Pak Heon-yeong"s propaganda line, his writings described that the KWP and the people’s democracy were in fact the motivating force behind combat heroes promoting their patriotism. In December 1952, Kim Il-sung used Hyeon Deok’s short stories as evidences to condemn Pak Heon-yeong and the ex-SKWP writers for having bourgeois ideology and factionalism. Finally, Kim Il-sung purged the Pak and the ex-SKWP writers from the KWP on account of that they made the KWP weaken ideologically and organizationally and therefore hindered the victory of North Koreans in the Korean War.

한국전쟁기 북한문학의 ‘애국주의’ 형상화 논쟁

배개화 ( Bae Gae-hwa ) 민족문학사학회·민족문학사연구소 2020 민족문학사연구 Vol.73 No.-

한국전쟁 기간 조선로동당의 선전 정책의 결정과 집행은 그 자체가 북한의 정치의 반영이었다. 한국전쟁 초기, 김일성은 선전정책을 직접 결정하였고, 조선로동당은 김일성의 선전 정책을 실행하였다. ‘고상한 애국주의’ 선전 노선이 결정되었으며, 한국전쟁 초기 북한문학자들은 전투 영웅들이 발휘하는 ‘애국주의’의 원천이 김일성이라고 선전하였다. 1950년 9월 15일 UN군의 인천상륙작전 성공 이후 조선인민군의 전략적 후퇴로 인한 인민군과 북한 인민들의 사상적 혼란을 수습하기 위해, 10월 13일 박헌영은 조선인민군 ‘총정치국장’으로 임명되어, 조선인민군의 선전 선동과 정치 문제를 책임지게 되었다. 11월 말새로 부임한 소련고문단장 ‘라주바예프’는 선전선동 노선과 문학예술 단체를 재정비하였으며, 전투 영웅과 주민들의 ‘애국주의’를 고취하는 주체는 김일성에서 조선로동당과 인민민주주의로 바뀌었다. 그 결과 김일성의 권위는 약화되었으며, 1951년 『문학예술』 4월호와 5월호에 박헌영 계열의 김남천과 현덕은 조선인민군의 후퇴의 책임을 김일성에게 돌리는 소설을 실었다. 6월 23일 소련의 UN대사가 정전 협상을 제안하고, 6월 30일 김일성이 문학계 내부의 ‘종파주의’에 대해서 경고하자, 애국주의의 원천을 둘러싼 두 파벌의 대결이 격화되었다. 김일성 계열 문학자들은, 전투 영웅들의 애국심은 김일성으로부터 나와야 된다고 주장한 반면, 박헌영 계열 문학자들은 조선로동당과 인민민주주의 제도가 애국심의 원천이 되어야 한다고 주장하였다. 1952년 10월 정전 담판이 무기한 휴회에 들어가고 전쟁이 계속될 상황이 출현하면서, 양 파벌 문학자들은 애국심의 원천 문제를 두고 재차 충돌하였으며, 1952년 11월 초 박헌영은 조선로동당의 역사는 1925년 자신이 만든 조선공산당에서 시작되었다고 주장하며 김일성에게 도전하였다. 이에 김일성은 1952년 12월 박헌영계열 문학자들을 종파주의자로 비판하고 그 지도자인 박헌영을 숙청하였으며, 당 문학의 사상적 올바름을 결정하는 문제에서 박헌영의 도전을 제압하고 자신의 권력을 더욱 강화하였다. 한국전쟁 기간 발생한 애국주의 형상화에서 애국심의 원천 논쟁은, 사실상 박헌영과 김일성의 정치투쟁의 연장선이었다고 할 수 있다. During the Korean War, the decision and implementation of a propaganda policy by the Korean Workers’ Party [KWP] reflected the politics of North Korea. At the beginning of the Korean War, Kim Il-sung decided on a propaganda policy, and it was the KWP which implemented that strategy. The policy line, "lofty patriotism" was decided on, and which in turn led to North Korean writers to tout Kim Il-sung as the source of "Patriotism" for combat heroes. In order to deal with the ideological chaos of both the Korean People’s Army [KPA] and the North Korean people following the "temporary strategic retreat" of the KPA after the UN Army’s successful landing operation of Incheon on 15 September 1950, Pak Heon-yeong was appointed as the Director of the General Political Bureau of the KWP on 13 October. Pak Heon-yeong had a leadership towards propaganda incitement and in volvement in political issues of the KPA. At the end of November, Razuvaev, the newly appointed head of the Soviet advisory group reformed the propaganda policy, changing the principal agent which promoted the “Patriotism” of combat heroes and the North Korean people from Kim Il-sung to the KWP and People’s Democracy. He also organized a new literature and arts organizations having the North and South Korean literati as members. As a result, Kim Il-sung’s authority was weakened, and in April and May of 1951, Kim Nam-cheon and Hyun-deok wrote short stories which blamed Kim Il-sung for the temporary strategic retreat of the KPA. Following this, on June 3, 1951, Kim Il-sung and Mao Zhedong decided to start negotiations on an armistice, and on June 30, Kim Il-sung warned against "Sectarianism" within the Korean Literature and Arts Federation [KLAF]. Concurrently, the hostility between the Kim Il-sung and Pak Heon-yeong factions over the source of patriotism intensified. While writers affiliated with Kim Il-sung argued that the source of patriotism and heroism of combat heroes should come from the supreme leader Kim Il-sung, writers affiliated with Pak Heon-yeong argued that the KWP and the people’s democratic system should be the source of their patriotism. In October 1952, when the armistice negotiations entered an indefinite recess and the war continued, the two factions of the KLAF confronted each other again over the issue of source of patriotism. Then in early November 1952, Pak Heon-yeong challenged Kim Il-sung, claiming that the history of the KWP began with the Korean Communist Party which he had help organized in 1925. In response, Kim Il-sung criticized and labeled Pak Heon-yeong and his supporters as sectarianism and purged the outspoken leader in December of 1952. Consequently, Kim Il-sung overpowered Pak Heon-yeong’s challenge related to the issue of determining the ideological correctness of “Party Literature” and further strengthened his authority. Therefore, the debate on the source of patriotism and heroism in the literary representation of combat heroes during the Korean War was in fact an extension of the political struggle between Kim Il-sung and Pak Heon-yeong.

조선의 불균등 발전과 식민지 모더니즘

배개화(Bae, Gae-Hwa) 한국현대소설학회 2019 현대소설연구 Vol.- No.73

『문장』지의 내간체 수용 양상

배개화(Bae Gae Hwa) 한국현대소설학회 2004 현대소설연구 Vol.- No.21

Munjang(the style). a Korean literary magazine of the late 1930s is one of representative examples for a reception of tradition: that of `neganche.` the female style letter writing of the Choseon dynasty. The `neganche` is an important mediation to understand an aesthetic sense shared with writers so called the `munjangpa`(the circle of the style): Byeonggi Lee, Jiyong Jeong. and Taejun Lee. The `neganche` is a good example for the munjanpa`s reinterpretation of tradition. Futhermore. an introduction of the tradition to the public and a practice of the tradition is meaningful from the sense of an advocation Korean language and literature against the Japanese colonial policy for assimilating Korean into Japanese. It is Byeonggi Lee who introduced the `neganche` to the public through Munjang he published Haniungrok(The Princess Diary) and Inhyungwanghujeon(The Story of Queen Inhyeon) with annotations on MurUang. He considers that `neganche` is the typical style of Korean traditional prose writing, which, he thinks, embodies characteristics of a modern prose: the appropriation of private words. Jiyong Jeong put the style of `neganche` into practice on his essays and poetry. That experiment is a sort of `dandyism,` demonstrating a denial of usefulness and a nostalgic inclination to the past. Taejun Lee`s reception of the `neganche` is due to his interest for what is an authentic prose, which, according to his understanding, is beyond a usefulness of vernacularized language for writing, and is more than a practical tool of everyday communication. It is a beauty of sentence that is the most important criterion for him to estimate a value of prose. And he finds its aesthetic model in the `neganche`

이태준, 남로당 빨치산 문학의 기원

배개화(Bae, Gae-hwa) 국어국문학회 2015 국어국문학 Vol.- No.171

빨치산 문학은 식민지 시대의 항일빨치산 문학과 해방 이후의 남로당 빨치산 문학으로 나눌 수 있다. 그리고 이태준의 <첫전투>(1948.12)와 <고향길>(1950.7)은 후자에 속한다. 이 소설들은 1947년 말 미?소공동위원회의 결렬 이후 남로당의 변화된 전술인 ‘미 제국주의와 이승만 정권에 반대하는 비합법 투쟁’과 연결되어 있다. 이태준은 중간파로서 남로당 노선에 동의하고, 서울을 중심으로 한 인민민주주의 국가의 평화적 수립을 지지하였다. 하지만, 1947년 10월 이후 급변한 정치 상황과 남로당의 전술 변화는 그의 정치적 전망과 배치되었고, 이는 <첫전투>에서 유격전에 대한 회의적 전망으로 표현되었다. 이후, 그는 당의 문학 노선에 따라 <첫전투>의 결론을 바꾸었다. 예를 들어 <첫전투>의 초간본은 남로당의 유격전술에 대한 그의 부정적 입장으로 인해 유격대 투쟁이 실패하는 것으로 묘사하지만, 재간본은 당의 공식적인 문학노선과 타협하여 유격대 투쟁이 승리하는 것으로 묘사한다. 하지만 이런 타협에도 불구하고, 두 판본에 공통된 ‘몰락의 정서,’ 혹은 ‘멜랑콜리’는 유격대 전술에 대한 그의 회의적 전망을 여전히 암시하고 있다. <고향길>은 ‘절대적 적에 대한 절대적 전쟁’이라는 냉전적 대립 구도를 보여주는 동시에, 김일성을 애국심의 원천으로 보는 공식적인 ‘당 문학’ 노선으로부터의 일탈도 보여준다. 한국전쟁기에 북한 문학자들 사이에는 조선 인민이 발휘하는 ‘애국심’의 원천, 그리고 유격대나 인민군의 롤-모델을 누구로 할 것인가와 관련된 논란이 일어났으며, 이태준의 문학작품도 이러한 논란의 한 원인이 되었다. 한마디로 이태준의 <첫전투>와 <고향길>은 중간파의 입장에서 본 유격대 전술에 대한 전망, 남로당 계열의 문학 노선, 그리고 이 계열 작가들의 몰락 이유 등을 잘 보여주는 동시에, 공식적인 당 문학 노선을 초과하는 이태준 문학의 고유성을 보여준다. The partisan literature of Korea can be divided into the anti-Japanese partisan literature before liberation and South Korean Workers Party [SKWP] partisan literature after liberation. Yi Tae-jun’s short stories such as "Chotjeontu" [First Battle] and "Gohyanggil" [A Road to Home] falls into the latter, and deal with military struggle for national power within the South Korea around the foundation period of South and North Korea’s regimes. Yi Tae-jun, a moderate, at first agreed with the views of SKWP which aimed to establish a people"s democratic country centered around Seoul. However, the SKWP switched definition on the United States from a ally to imperialist country after the rupture of the Joint Soviet-American Commission on Oct. 1947, and adopted a guerilla struggle against Rhee Syngman regime after Aug. 1948. This sudden change in the political landscape after Oct. 1947 and the new tactics of SKWP soon clashed with his political expectations. "First Battle", one of Yi"s two partisan novels, originally portrayed his skeptical view on guerilla warfare, resulting in pressure by the party to revise the works. It has two different versions with different conclusions, with the first version expressing his pessimistic view of guerilla warfare ending with a defeat, while the revised edition fell more in line with the party"s views and the warfare ended with a victory. Despite the revisions, the atmosphere of collapse and melancholy was shared between both versions. "A Road to Home" portrays the sentiment of "the absolute war against the absolute enemy" settling down during the Cold War, while deviating from the official party views of patriotism, whose role model is Kim Il-sung. There arouse a controversy among North Korean writers about who should be the role model for patriotism for SKWP and the People"s Army during the Korean War. 〈A Road to Home〉 played a critical role in causing the controversy as well. In conclusion, Yi’s two short stories captures how the moderates of his time viewed the fate of SKWP"s partisan struggles, the SKWP faction"s literature line, and the reason of the downfall of their writers, all the while showing the aesthetic idiosyncracy of Yi"s literature that exceeded the limitations of party literature.