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초록· 키워드
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In the latter half of 1930s, all the critic of Yoon Kyu-Sup is related to non-majority. Yoon Kyu-Sup prescribed his critical core as a living practice about the majority people as a confronting point of view. He also made progress in political practice while criticizing the principle of the central theory. What he re-illuminated journalism as their own training camp regarding readers as political, cultural subjects is a result of non-majority people's consciousness that are going to distinguish themselves clearly with the preexistent writers. The epistemology of Yoon Kyu-Sup is composed of these two. While fixing literature to social ethics as a 'ought to be', what sharpens its blade of the majority critic is epistemology. That is the most strong non-majority discussion which is disregarding literature. Emphasis on practical living without literature, readers and journalism as a political culture, and epistemology as a ethical critic, all these contents reveal themselves to be hot-tempered aspects of social critici which are far away with literature.
In that point, the critic captured in his critic clearly has been made and used at the outside of literature after all. The reason why Yoon Kyu-Sup's utterance of the day had not taken fame depends on drawing the critic at the outside of literature too excessively. Since his critic has not caused in its inner logic, it had not shown literary alternatives and causes, that is why he couldn't avoid to carry out ethical critic.
Despite of this limit, literary critic of Yoon Kyu-Sup doesn't have less meaning to it. To insist on correct recognition takes more healthy nature than any polished literary logic in the present circumstances which literature weighed down by the political situation. Even though epistemology of Yoon Kyu-Sup inclines too heavily toward dogma deviated from the literature, his critic doesn‘t come into being meaningless, as such. Creative methodology based on aesthetic epistemology disregarded the real situation of the Joseon Dynasty period and at the same time it made an offer a moment moved on deviation from a view of the world. At this point, we rather can see a theoretical crudeness as purity in that it has not the theory of betrayal. Although a hot-tempered fundamentalism of Yoon Kyu-Sup seems rather to be imprudent, his critic speaks for itself. Because he was a non-majority people, he doesn't fear later troubles. So, he asserts himself without hesitation.
In that point, the critic captured in his critic clearly has been made and used at the outside of literature after all. The reason why Yoon Kyu-Sup's utterance of the day had not taken fame depends on drawing the critic at the outside of literature too excessively. Since his critic has not caused in its inner logic, it had not shown literary alternatives and causes, that is why he couldn't avoid to carry out ethical critic.
Despite of this limit, literary critic of Yoon Kyu-Sup doesn't have less meaning to it. To insist on correct recognition takes more healthy nature than any polished literary logic in the present circumstances which literature weighed down by the political situation. Even though epistemology of Yoon Kyu-Sup inclines too heavily toward dogma deviated from the literature, his critic doesn‘t come into being meaningless, as such. Creative methodology based on aesthetic epistemology disregarded the real situation of the Joseon Dynasty period and at the same time it made an offer a moment moved on deviation from a view of the world. At this point, we rather can see a theoretical crudeness as purity in that it has not the theory of betrayal. Although a hot-tempered fundamentalism of Yoon Kyu-Sup seems rather to be imprudent, his critic speaks for itself. Because he was a non-majority people, he doesn't fear later troubles. So, he asserts himself without hesitation.
목차
1. 서론
2. 이론과 결별, 다혈질적 실천의 함정
3. 정치적 교양의 주체, 독자와 저널리즘의 재발견
4. 대안 없는 부정(否定)의 인식론, 비판에 내재된 자기구별의 의지
5. 결론
참고문헌
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