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
He started to write pro-Japanese style article since 1941 where the Pacific War broke out, and came forward to so-called ‘National Literature’ through the activities of ‘Chos?n Patriotic Literary Men’s Association’. He wrote 14 novels written in Japanese and 2 Japanese collections as well as『Old Moo n』and『Korean Folksongs』written in Korean.
About the time when Lee Moo-yeong returned to the farm, agricultural literature was emphasized as productive literature. After the Pacific war, Japan gave emphasis to anti-individual totalitarianism as well as anti-western and anti-modern Oriental order. Since Lee Moo-yeong had already been writing such agricultural novels and claimed to stand for anti-modern literature world, he was familiar with the logics of new system. Therefore, he could be easily influenced by Japanese logics.
Furthermore, there was his teacher, Takeo who played like his father while Lee was staying in Japan where he had no place to go. As he respected and inclined to the opinion of his teacher, who was a intellectual of colonial homeland, it was not so surprising thing that he was relatively influenced by his teacher’s logics.
About the time when Lee Moo-yeong returned to the farm, agricultural literature was emphasized as productive literature. After the Pacific war, Japan gave emphasis to anti-individual totalitarianism as well as anti-western and anti-modern Oriental order. Since Lee Moo-yeong had already been writing such agricultural novels and claimed to stand for anti-modern literature world, he was familiar with the logics of new system. Therefore, he could be easily influenced by Japanese logics.
Furthermore, there was his teacher, Takeo who played like his father while Lee was staying in Japan where he had no place to go. As he respected and inclined to the opinion of his teacher, who was a intellectual of colonial homeland, it was not so surprising thing that he was relatively influenced by his teacher’s logics.
목차
1. 문제제기
2. 이무영 친일문학의 실체
3. 친일문학의 내적 논리
4. 창작 배경으로서의 恩師, 가토 다케오
5. 맺음말
참고문헌
[Abstract]
참고문헌 (22)
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