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This essay assumes that writings in the coterie magazines in 1920s constitute the second origin of Korean modern literature and attempts to illuminate what characteristics of the literature in 1920s could make the age critical period. By 1910s, the idea of nation-state had been the one and only concept able to provoke a controversy, but the idea itself and the social situation provided by the developing of the .idea seemed to be in a crisis at the beginning of 1920s. At this moment, introducing the idea of self, the coterie magazines in 1920s could play an important role in constituting the second beginning in Korean modern literary history. I want to analyze the idea of self and the context which it lies within in the first coterie magazine Tsang-jo(창조, The Creation), and the possibility produced by the discourse focused on the self.
In Tsang-jo, the self could have a reason to be because s/he could be the subject of love which couldn't be reduced to the publicity and has mysterious character. In front of the love, impossible to be understood entirely by her/him using her/his reason, the self could see the nature with perfectly new eyes. In the nature, the origin of the mysterious love in her/him, the self had to realize that' s/he could only exist through creating her/his own world at her/his own position. s/he could not exist, if s/he wanted to produce the knowledge absolutely true in the nature. The self in Tsang-ja is not the self who controls and uses the nature with the knowledge s/he posseses, but the self who can be a parr of the nature, participating in the process of the nature's constant becoming.
The world created by the self of her/his own vision is not the true world, but the proper world only for the self who created it. The self in Tsang-ja, however, didn't seem to show this kind of perception. S/he thought s/he has the true knowledge of which everything in the world joins the standard, misunders tanding her/his own world created by her/himself as the true world. S/he, consequently, divided the love, which had been the trace of the nature in her/him and had enabled her/him to create her/his own world, into the corporal part and the spiritual part. Then s/he made the latter superior to the former. At this moment, the possibility to live in revolutionary form opened before the self's eyes was closed.
In Tsang-jo, the self could have a reason to be because s/he could be the subject of love which couldn't be reduced to the publicity and has mysterious character. In front of the love, impossible to be understood entirely by her/him using her/his reason, the self could see the nature with perfectly new eyes. In the nature, the origin of the mysterious love in her/him, the self had to realize that' s/he could only exist through creating her/his own world at her/his own position. s/he could not exist, if s/he wanted to produce the knowledge absolutely true in the nature. The self in Tsang-ja is not the self who controls and uses the nature with the knowledge s/he posseses, but the self who can be a parr of the nature, participating in the process of the nature's constant becoming.
The world created by the self of her/his own vision is not the true world, but the proper world only for the self who created it. The self in Tsang-ja, however, didn't seem to show this kind of perception. S/he thought s/he has the true knowledge of which everything in the world joins the standard, misunders tanding her/his own world created by her/himself as the true world. S/he, consequently, divided the love, which had been the trace of the nature in her/him and had enabled her/him to create her/his own world, into the corporal part and the spiritual part. Then s/he made the latter superior to the former. At this moment, the possibility to live in revolutionary form opened before the self's eyes was closed.
목차
1. 근대 문학의 기원으로서의 1920년대 동인지 문단과『창조』지
2. ‘신비한 사랑‘을 통해 발견된 ‘자아‘와 ‘자연‘
3. ‘자연‘속의 ‘자아‘의 유일한 존재 양식으로서의 ‘창조‘
4. ‘육‘과 ‘영‘의 이분법에 의한 사랑의 불구화
5. 자아에 대한 새로운 인식론의 발견과 좌절
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