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자료유형
학술저널
저자정보
이현주 (연세대학교)
저널정보
시학과언어학회 시학과 언어학 시학과 언어학 제31호
발행연도
2015.1
수록면
173 - 206 (34page)

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This article examines the context through which Kim Yoo Jung—who received modern baptism and grew up in a city—had emerged as the quintessential author representing “rural area” or “hometown,” from the perspective of the literary setting at the time. The author of this article highlights the fact that Kim Yoo Jung virtually began her career after her work, Sonakbi(「소낙비」), was awarded first prize at the 1935 Chosun Ilbo’s “Shinchun Moonye Contest (Annual Spring Literary Contest).” Kim Yoo Jung not only began her career with a rural novel, but she was also known as a writer of “rural novels” in the 1930s. Since the KAPF Dispersal in 1935, a new literary perspective was being demanded in the literature field. Kim Yoo Jung emerged in the literary scene with a novel that illustrated rural communities in a different way from other rural literature (novels) at the time. She did not depict rural communities as a subject of enlightenment nor did she aestheticize them as romantic utopia. Her novels construe rural communities as both lyrical and vigorous environment unaffected by capitalism and colonialism as well as ravaged and shattered environment tainted with rampant poverty and betrayal, and devastated by capitalism and colonialism. Interestingly, her novels published in Chosun Ilbo in 1935 draw light on the brutal reality of rural environments tainted with poverty and betrayal, while the Dongbaek Flower(1936. 5) published in Chogwang in 1936 portrays the rural environment as a lyrical and lively place. Most of the novels Kim Yoo Jung published in 1935 take place in a rural setting or remote mountain villages, and most of the novels published in 1936 occur in an urban setting. The Dongbaek Flower is the only novel published after 1936 that takes place in a rural setting. The Spring, Spring(「봄봄」) and Dongbaek Flower both illustrate the process of a modern intellectual reconstructing his memories of his hometown as his emotional fortress and solace. This is presumed to be influenced by the fact that they were specially featured in the 1936 Chogwang.

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