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Joon-Hwan Kim (Yonsei U)Reviewing Korean literary journal and newspaper articles publishedbetween 1934 and 1937, this paper examines how and why the Korean criticsand/or poets received and transformed W. H. Auden(1907-1973), C. DayLewis(1904-1972), and Stephen Spender(1909-1995) along with T. S.Eliot(1888-1965) in the making of Korean modernist poetry and poeticsunder the Japanese colonial rule. The Korean critics and/or poets of the1930sKi-Rim Kim(1908-?), Jae-Sou Choi(1908-1964), In-Sup Jeong(1905-1983), Yong-Chul Park(1904-1938), Doo-Yong Kim(1902-?), In-SukKim(?), and Hak-Soo Im(1911-1982) who studied English literature inKorean or Japanese universitieshad introduced Auden, Day Lewis, andSpender as alternative poets to Eliot since November 1934 when Ki-Rim Kimfirst compared the Auden-generation poets and Eliot in terms of (anti-)human-ism and (anti-)fascism. Since then, they had denounced Eliot’s conservativepolitics and his poetry of passively reflecting the status quoand accepted thethree poets’ anti-fascist and leftist politics and their poetry of activelyembodying the hope for or perspective on the new society instead. This ten-dency continued through 1935 when the KAFP(Korea Artista ProletaFederatio) was dissolved and 1936 when fascism and colonialism were rein-forced, culminating in 1937 when the second Sino-Japanese War broke outand the Japanese colonial rule reached its zenith. After surveying the Korean
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