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
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When examining Yi Sang's literary activities, we can easily recognise the importance of his Tokyo motif. Around the time of his voyage to Tokyo in 1936, he frequently referred to the program of escaping to Tokyo.
In this report I will consider Tokyo's spatial image that Yi Sang experienced and described in his novels and essays, which I think can be a preliminary work in order to examine the significance of Tokyo in his writing.
In chapter 2 I consider Kanda (神田) where Yi Sang lodged in his Tokyo days. His lodging was Kanda-ku, Jinbo-tyo (神田區神保町), which is famous for about 200second-hand bookstores, but also in the 1930's Kanda was an area where Chinese, Korean and Taiwanese students concentrated and there were many institutions like dormitories, Japanese schools, and halls in this area. That Yi Sang settled his lodging in Kanda would be due to the characteristics of this kind of cultural conveniences. In a certain sense Kanda was the birthplace of Yi Sang's literature.
In chapter 3 Maru-no-uchi (丸の內) which Yi Sang described in his essay Tokyo is examined. Although the Maru-no-uchi area has been the central business town of Japan in the modem age, the rapid transformation of landscape in this area took place after the Kanto earthquake disaster in 1923. During the reconstruction, there was not only construction of modern-style buildings like the Maru-no-uchi Building (Marubiru), but also a change of the traffic environment. An increase of motorcars and taxis, noise problems, and growth of traffic accidents were seen in this period. "20th century" style urban space which Yi Sang mentioned in his essay Tokyo was appearing.
In chapter 4 I consider Shinjuku (新宿) , which was an area that expanded rapidly during the restruction process and became a most symbolic area of reconstruction after the Kanto earthquake. Yi Sang described Shinjuku as "the street of prosperity like an ogre fire". Yet in his novel "Losing Flower(Sii Hwa)" the narrating person was alienated in Shinjuku's international urban space, and his consciousness returned to his lover. Yeon in Seoul. There is an aspect of boundary characteristic of Yi Sang's texts that cannot settle confortably in either Seoul or Tokyo.
In chapter 5 I discuss Ginza (銀座) which is the most prosperous commercial area of Tokyo. In the 1920's, the fashion of ginbura (銀フぅ) appeared, which means strolling in Ginza without purpose and to appreciate urban space, which brought forth the new literary style of shin-kankaku-ha (New Sensual School). Vi. Sang's text also seems to belong to such a strolling style, but he said his rambling was "only a tasteless and cut-and-dried rumination", which would suggest his lack of sympathy for Ginza's urban modernity. It could be supposed that his lack of sympathy was partly caused by the discordance or the dissociation between the visionary modernistic lancscape he dreamed of in Seoul and the actual realistic urban landscape of Tokyo he experienced. Such emotional rupture toward Tokyo affected his diverse texts, and the verification should be done later.
In this report I will consider Tokyo's spatial image that Yi Sang experienced and described in his novels and essays, which I think can be a preliminary work in order to examine the significance of Tokyo in his writing.
In chapter 2 I consider Kanda (神田) where Yi Sang lodged in his Tokyo days. His lodging was Kanda-ku, Jinbo-tyo (神田區神保町), which is famous for about 200second-hand bookstores, but also in the 1930's Kanda was an area where Chinese, Korean and Taiwanese students concentrated and there were many institutions like dormitories, Japanese schools, and halls in this area. That Yi Sang settled his lodging in Kanda would be due to the characteristics of this kind of cultural conveniences. In a certain sense Kanda was the birthplace of Yi Sang's literature.
In chapter 3 Maru-no-uchi (丸の內) which Yi Sang described in his essay Tokyo is examined. Although the Maru-no-uchi area has been the central business town of Japan in the modem age, the rapid transformation of landscape in this area took place after the Kanto earthquake disaster in 1923. During the reconstruction, there was not only construction of modern-style buildings like the Maru-no-uchi Building (Marubiru), but also a change of the traffic environment. An increase of motorcars and taxis, noise problems, and growth of traffic accidents were seen in this period. "20th century" style urban space which Yi Sang mentioned in his essay Tokyo was appearing.
In chapter 4 I consider Shinjuku (新宿) , which was an area that expanded rapidly during the restruction process and became a most symbolic area of reconstruction after the Kanto earthquake. Yi Sang described Shinjuku as "the street of prosperity like an ogre fire". Yet in his novel "Losing Flower(Sii Hwa)" the narrating person was alienated in Shinjuku's international urban space, and his consciousness returned to his lover. Yeon in Seoul. There is an aspect of boundary characteristic of Yi Sang's texts that cannot settle confortably in either Seoul or Tokyo.
In chapter 5 I discuss Ginza (銀座) which is the most prosperous commercial area of Tokyo. In the 1920's, the fashion of ginbura (銀フぅ) appeared, which means strolling in Ginza without purpose and to appreciate urban space, which brought forth the new literary style of shin-kankaku-ha (New Sensual School). Vi. Sang's text also seems to belong to such a strolling style, but he said his rambling was "only a tasteless and cut-and-dried rumination", which would suggest his lack of sympathy for Ginza's urban modernity. It could be supposed that his lack of sympathy was partly caused by the discordance or the dissociation between the visionary modernistic lancscape he dreamed of in Seoul and the actual realistic urban landscape of Tokyo he experienced. Such emotional rupture toward Tokyo affected his diverse texts, and the verification should be done later.
목차
1. 序
2. 神田이라는 공간-李箱의 숙소
3. 마르노우찌(丸の內)-‘삘딩‘과 ‘깨솔링‘의 洞里
4. 新宿-‘鬼火같은 繁榮 三丁目’
5. 銀座-‘한개 虛榮讀本‘
6. 맺음말
참고문헌
ABSTRACT
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