식민지 시기 예술 개념 수용과 문학장의 변동; 홍명희의 예술, 개념과 운동의 지반 -일본 경유 톨스토이의 비판적 수용- = Hong Myeong-hee`s Concept and Practice of Art -His Critical Accommodation of Tolstoy, via Japan-

다국어 초록 (Multilingual Abstract)

As part of an effort to clarify the acceptance and formation of the modern concept of art in Korea, this essay considers, first, how Japan accepted Tolstoy as an advocate of ‘art for life’ in the Meiji period, and then examines how Hong Myeong-hee made use of this in his understanding of Tolstoy and how this influenced his concept of art. In the early Meiji period, the Japanese understanding of Tolstoy became strongly tinged with Christianity through the influence of Tokutomi Roka, and this has characterized the Japanese image of Tolstoy ever since. Tolstoy was assimilated into Japan in three distinct ways by religious, socialist, and literary circles, and this essay considers Hong`s understanding of Tolstoy in terms of these three categories. Hong was quite critical about the religious attitudes prevailing in Japan, while he had no clear vision about the early Japanese socialism inspired by Tolstoy. He rediscovered the significance of Tolstoy`s concept of art and appreciated it, but at the same time, he remained sceptical of its religious aspects. Accordingly, this nuanced critical attitude toward Tolstoy led him to accept the Marxist proletarian concept of art in the following years. Hong initially relied on a conceptual framework of art which was a combination of Marxism with Tolstoyism as revised by Lenin; that is, he adopted a Marxian concept of art while sympathizing with the Tolstoyan stance modified in the style of Lenin. He subsequently came to re-consider Tolstoy, however, by distancing him from Lenin`s ideas, as he changed his views in line with those of the National United Front. He was groping for a different concept of art which could provide a common basis for the entire Joseon people. At this point, Hong considered Tolstoy as an artist who expressed the Russian ideal of ‘the people’ through realism, yet when Hong sought for a new concept of ‘literature’ and ‘art’ relevant to Joseon he had no role for Tolstoy. Then he took a step backward from the proletarian art movement based on Marxian socialism, however, looking for a way to integrate ‘people, art, and movement’ on a national level, and the tension between his positive and negative responses to Tolstoy finally opened a space for “Joseon Literature” to emerge. Hong had still to establish “what is proper and peculiar to Joseon”, however, and his concept of ‘art’ was also not fully formed.

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