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초록· 키워드
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Lee Gi-yeong’s Home Town has significance in the development of modern Korean literature. In particular, it has been recognized as one of the works at the highest level with respect to the Proletarian Literary Movement. For KAPF, criticism was stronger than creation in literature. Though, as such, the organization revealed the phenomenon of suffocation of creation, this novel overcame this problem. With respect to this issue, what have been discussed in this paper can be presented as follows.
In 1933, the theory of socialist realism was raised within KAPF. With this as a motivation, the necessity for receiving romanticism, which had been subject to rejection, was also raised. This might be considered to be a forward-looking attempt to prepare a new way for the vitality of literature, This aspect was also applied to the writing methodology for Home Town. This means a change in the recognition of realism. As such, this work has clear differences from the works in the period of sense of purpose on the following two sides.
First, Home Townutilizes the typical principles of the construction of tendency novel. Here, the poverty is an object of the primary exploration. This is an absurd result from the colonial system of economy. The novel has reconstructed this as a whole based on the Balzacian theory of realism. In this sense, it falls into a genre painting, which realistically illustrates the peasants Life of poverty at that time.
Along with this, it has received some elements of romanticism, which was subject to rejection in the Proletarian Literature. Such characters as Banggae and Makdong, as well as Indong among others reflect the actuality of rural communities. Their sensual love stories are figured as concrete scenes of life in rural communities. In this respect, the novel falls into a genre painting, which embraces romantic elements and realistic features of life simultaneously.
Second, Home Town reveals its tendency as an ideological literary work, which pictures the conflict between landlords and tenants. The connection between laborers and farmers provides a basis for the reflection on the colonial actuality. Especially, the working class, which has been awaken earlier, leads to the victory in the tenant struggle. This is a new type in the labor-farming literature.
However, in this course, the writer develops most of the events though commentary description. This is nothing but to make the novel an editorial for inculcating the class consciousness. Also, the artificial ending reveals ideological, as well as literary-aesthetical, limitations. Thus, it can be noted that the novel shows problems to overcome along with the new possibilities in the Proletarian Literature simultaneously.
In 1933, the theory of socialist realism was raised within KAPF. With this as a motivation, the necessity for receiving romanticism, which had been subject to rejection, was also raised. This might be considered to be a forward-looking attempt to prepare a new way for the vitality of literature, This aspect was also applied to the writing methodology for Home Town. This means a change in the recognition of realism. As such, this work has clear differences from the works in the period of sense of purpose on the following two sides.
First, Home Townutilizes the typical principles of the construction of tendency novel. Here, the poverty is an object of the primary exploration. This is an absurd result from the colonial system of economy. The novel has reconstructed this as a whole based on the Balzacian theory of realism. In this sense, it falls into a genre painting, which realistically illustrates the peasants Life of poverty at that time.
Along with this, it has received some elements of romanticism, which was subject to rejection in the Proletarian Literature. Such characters as Banggae and Makdong, as well as Indong among others reflect the actuality of rural communities. Their sensual love stories are figured as concrete scenes of life in rural communities. In this respect, the novel falls into a genre painting, which embraces romantic elements and realistic features of life simultaneously.
Second, Home Town reveals its tendency as an ideological literary work, which pictures the conflict between landlords and tenants. The connection between laborers and farmers provides a basis for the reflection on the colonial actuality. Especially, the working class, which has been awaken earlier, leads to the victory in the tenant struggle. This is a new type in the labor-farming literature.
However, in this course, the writer develops most of the events though commentary description. This is nothing but to make the novel an editorial for inculcating the class consciousness. Also, the artificial ending reveals ideological, as well as literary-aesthetical, limitations. Thus, it can be noted that the novel shows problems to overcome along with the new possibilities in the Proletarian Literature simultaneously.
목차
Abstract
Ⅰ. 서론
Ⅱ. 사회주의적 리얼리즘과 낭만주의의 수용
Ⅲ. 농촌 세태의 재현과 애정의 풍속도
Ⅳ. 노농동맹의 탐색과 이데올로기문학의 한계성
Ⅴ. 결론
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UCI(KEPA) : I410-ECN-0101-2014-405-000973222