지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
In this writing, this researcher tried to look at Korean-Japanese Intellectual's Memory & Concealed Desires for "Colony Chosun" right after the Pacific War targeting Che, Man-sik's 〈A Guilty Person of Our People〉 and Danaka Hidemis's 〈The Drunken Vessel〉, Both works were published in 1948 right after the War was ended, which shows Japanese and Korean intellectuals' introspection and period consciousness of Japan's colonial rule.
Che, Man-sik repented of his cooperation with Japan and reflected on his consciousness as a father and husband. Further, he is putting the blame upon the empire's invasion and Choseon Dynasty's failure to comply with it. On the other hand, Danaka Hidemis. perceiving the colony Choseon as a space for an adventure and romance, borrows decadence as a strategy of keeping his distance from militarism in his writing.
The memories of the colony Choseon enshrined by Choseon intellectuals and colony-owning country's intellectual just after the Pacific War have some points in common as follows.
First, it's a self-contained mode. They are selectively arranging the context, in which they couldn't but abandon their responsibility, and the 'element' that can shift responsibility intensely on the objects and 'incidents' which they intend to memorize. The sense of guilt shown in the writing 〈A Guilty Person of Our People〉 by Che, Man-sik throws an exoneration will by don't keeping the family safe in 〈wife and children〉, and displaces an exoneration will to another one in a series of a granny having a good memory.
Tanaka Hidemis, as a writer belonging to post-war Muraepa, thought of Choseon ,which was captured in his eyes, as a space for love and adventures. In his writing 〈The Drunken Vessel〉, he didn't reflect on intellectuals' lethargy but rationalized decadence by highlighting the ambition of irresistible militarists.
Second. in the writing , they were aiming fortheir curing process. All these aspects. including the fact that the intellectuals in colony Choseon repented of themselves. and the colonial ruler's intellectuals stated their lethargy, are showing their reflection on the failure to do their responsibility for the nation and ethics of the period, and their curing process in the turmoil of World War Two.
Che, Man-sik repented of his cooperation with Japan and reflected on his consciousness as a father and husband. Further, he is putting the blame upon the empire's invasion and Choseon Dynasty's failure to comply with it. On the other hand, Danaka Hidemis. perceiving the colony Choseon as a space for an adventure and romance, borrows decadence as a strategy of keeping his distance from militarism in his writing.
The memories of the colony Choseon enshrined by Choseon intellectuals and colony-owning country's intellectual just after the Pacific War have some points in common as follows.
First, it's a self-contained mode. They are selectively arranging the context, in which they couldn't but abandon their responsibility, and the 'element' that can shift responsibility intensely on the objects and 'incidents' which they intend to memorize. The sense of guilt shown in the writing 〈A Guilty Person of Our People〉 by Che, Man-sik throws an exoneration will by don't keeping the family safe in 〈wife and children〉, and displaces an exoneration will to another one in a series of a granny having a good memory.
Tanaka Hidemis, as a writer belonging to post-war Muraepa, thought of Choseon ,which was captured in his eyes, as a space for love and adventures. In his writing 〈The Drunken Vessel〉, he didn't reflect on intellectuals' lethargy but rationalized decadence by highlighting the ambition of irresistible militarists.
Second. in the writing , they were aiming fortheir curing process. All these aspects. including the fact that the intellectuals in colony Choseon repented of themselves. and the colonial ruler's intellectuals stated their lethargy, are showing their reflection on the failure to do their responsibility for the nation and ethics of the period, and their curing process in the turmoil of World War Two.
목차
1. 서론
2. 기억의 사후성(事後性)과 주체의 욕망
3. 해방직후 조선 지식인의 참회와 죄의식 투사
4. 패전직후 일본 지식인의 자기합리화와 모험 형식
5. 결론
참고문헌
참고문헌 (16)
참고문헌 신청
1. [학술지(정기간행물)] - 채만식 / 1989 / 민족의 죄인 / 채만식전집 8
2. [단행본] - 다나카 히데미쓰 / 1999 / 취한 배 in: 취한 배 / 소화
3. [단행본] - 김윤식 / 1993 / 식민지문학의 상흔과 그 극복 in: 한일문학의 관련양상 / 일지사 : 114 ~ 145
4. [단행본] - 김윤식 / 1990 / 신체제론 in: 한국근대문예비평사연구 / 일지사 : 387 ~ 438
5. [단행본] - 김태준 / 2004 / 일본 문학속의 한국·한국인상 in: 일본문학에 나타난 한국 및 한국인상 / 동국대학교출판부 : 5 ~ 21
2. [단행본] - 다나카 히데미쓰 / 1999 / 취한 배 in: 취한 배 / 소화
3. [단행본] - 김윤식 / 1993 / 식민지문학의 상흔과 그 극복 in: 한일문학의 관련양상 / 일지사 : 114 ~ 145
4. [단행본] - 김윤식 / 1990 / 신체제론 in: 한국근대문예비평사연구 / 일지사 : 387 ~ 438
5. [단행본] - 김태준 / 2004 / 일본 문학속의 한국·한국인상 in: 일본문학에 나타난 한국 및 한국인상 / 동국대학교출판부 : 5 ~ 21
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UCI(KEPA) : I410-ECN-0101-2012-810-004009706