신문 연재 소설의 자리, 문학의 안과 밖 -이광수 ｢재생｣의 이언어적 참조를 중심으로 = The Place of the Serialized Newspaper Novel at the Boundaries of “Literature” - Heterolingual Reference in Lee Kwang-su’s Jaesaeng

다국어 초록 (Multilingual Abstract)

This article examines the ways in which Lee Kwang-su’s Jaesaeng invokes Ozaki Kōyō’s Konjiki Yasha explicitly as a “Japanese novel,” and analyzes how this act of reference is bound up with the structural logic that demarcated the boundaries of literature in the Korean literary field of the early 1920s. To this end, it first demonstrates that while Jaesaeng shares the melodramatic schema of Konjiki Yasha, it diverges from it decisively in the organization and refraction of affect. Whereas the flattening of Miya sustains Kan'ichi’s self-destructive passion in a closed and self-consuming manner, Sunyeong’s self-deception repeatedly reignites Bonggu’s resentment while also unsettling it through his relations with others. In this way, Jaesaeng both invokes the trajectory of popular melodrama and inscribes within its narrative a departure from that trajectory, thereby presenting a new orientation for the long serialized newspaper novel within a frame that diagnoses the failure and corruption of the generation that emerged after the March First Movement. Yet this orientation cannot be fully explained by textual representation alone. As literary criteria were increasingly refined around specialized literary magazines in the Korean literary field of the 1920s, the serialized newspaper novel remained an unstable form that failed to secure literary legitimacy. Lee Kwang-su’s position, straddling his (nominal) editorship of Joseon Mundan and his serialization in Dong-A Ilbo, condenses the pressure of such internal reconfiguration within the field. Within this field of force, the reference to Konjiki Yasha takes on a performative character, seeking to reorganize popular affect in the name of popular art; however, its meaning could fully reach only those readers capable of discerning the layer of the original text. The contradiction of Jaesaeng, which invokes “the people” (minjung) while locating the site of authorization outside them, corresponds to the operation of the literary field, which reabsorbs even outward-directed utterance into its own internal criteria. The politics of heterolingual practice embedded in Lee Kwang-su’s fiction thus reveals its literary-historical substance within these dynamics of exclusion and incorporation.