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초록· 키워드
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Kye Yongmook wrote 45 short stories from 1924 to 1950. His fiction writing training started with the reception of aestheticism, technicalism and nihilism through the literary journal The Creation. He clung to technicalism and nihilism to the end, while seeking after aestheticism, and realism from time to time. He viewed the lives of all the people of his days as tragic, and tried to depict those who fell into tragic plights in all his works.
The whole period of his creative life can be divided into three: first, from late 1920s to early 1930s, second, from late 1930s to early 1940s and third, after the National Liberation. In the first period, he pursued literary realism in his stories, where he depicted the farmers who fell into tragic situations because of the barrier of class distinctions. In the second period, his works were oriented towards aestheticism, portraying diverse people who fell into tragic plights because of various obstacles including diseases. In the third period, he came back to realism, and described the national tragedy caused by the contradictions after the Liberation. But there is no character who gets out of the tragic situation in his stories, as he/she does not analyse its causes, nor try to find a way out, nor fight actively to escape from it. It resulted from the facts that Kye Yongmook, the writer, couldn't recognize the reality of his days deeply, and lacked in the unique insight of life. Consequently, Kye Yongmook stopped writing fiction at the early age of 46 in spite of good health without leaving many good works, for he didn't have an eye for the national realities and lives of the people, and couldn't develop new sources for literary creation.
Thanks to the two of his works, “Adada, the Idiot” and “Counting Stars”, which can be evaluated as well written, he has been regarded as a writer who should be recorded in the modern fiction history of Korea, though he cannot belong to the main writers' group.
The whole period of his creative life can be divided into three: first, from late 1920s to early 1930s, second, from late 1930s to early 1940s and third, after the National Liberation. In the first period, he pursued literary realism in his stories, where he depicted the farmers who fell into tragic situations because of the barrier of class distinctions. In the second period, his works were oriented towards aestheticism, portraying diverse people who fell into tragic plights because of various obstacles including diseases. In the third period, he came back to realism, and described the national tragedy caused by the contradictions after the Liberation. But there is no character who gets out of the tragic situation in his stories, as he/she does not analyse its causes, nor try to find a way out, nor fight actively to escape from it. It resulted from the facts that Kye Yongmook, the writer, couldn't recognize the reality of his days deeply, and lacked in the unique insight of life. Consequently, Kye Yongmook stopped writing fiction at the early age of 46 in spite of good health without leaving many good works, for he didn't have an eye for the national realities and lives of the people, and couldn't develop new sources for literary creation.
Thanks to the two of his works, “Adada, the Idiot” and “Counting Stars”, which can be evaluated as well written, he has been regarded as a writer who should be recorded in the modern fiction history of Korea, though he cannot belong to the main writers' group.
목차
1. 머리말
2. 계용묵 소설의 출발
3. 카프 시대 : 계급적 비극의 장(場)
4. 예술주의 추구의 시대 : 인생 비극의 장
5. 해방직후기 : 민족 비극의 장
6. 맺음말
참고문헌
저자소개
Abstract
참고문헌 (13)
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