염상섭 문학과 공간의 문화정치 —『사랑과 죄』와 1920년대 경성

초록

The purpose of this study is to reconstruct ‘Scenery of Colony Gyeongseong in the 1920s’ by approaching Yeom Sang-seop’s full-length novel Love and Crime from the viewpoint of the cultural politics of space. Love and Crime is a noteworthy full-length novel in the colonial period published serially in the Dong-A Ilbo in a total of 257-part series from August 1, 1927 to May 4, 1928. This novel was the one that Yeom Sang-seop wrote while he stayed in Tokyo for 2 years since he went to Japan on January 19, 1926. What is interesting is the fact that the setting for the novel was ‘Colony Gyeongseong,’ and the place where the novel was written was ‘Imperial City Tokyo.’ It has been common that preceding studies have approached ‘love’ and ‘ideology’ separately, but this study is differentiated in terms of the aspect of reconstructing the symbolism of colonial period space through the symbolism of space. This writer focused on the colonial city Gyeongseong in the mid-1920s and examined the relationship between ‘what Love and Crime overexposes’ and ‘what it tries to conceal.’ Japanese imperialism pursued the internalization of power through the cultural politics of space. Under such circumstances, the youth of colonized Joseon in the 1920s planned crack in the empire in the outside of the eyes of the empire. The one aspect of the cultural practice can be confirmed through Love and Crime. Love and Crime stands out in approach to space so much prominently for the work in the 1920s. This work effectively senses the power of colonial authority operating while covering Gyeongseong. The surroundings of Jingogae, the central space of Namchon is the street of consumption for women characters and the merrymaking place for men characters. It was the space of spectacles that overwhelmed the daily life of the colony. Severance Hospital and the house of Simcho brother-in-law as the transitional zone embodied in the novel are also interesting space. These places are located in the center of the empire and at the same time in the outside of the eyes of the empire. These two places were the transitional zones of discourses standing against the colonial authority. Love and Crime faces the modernity of anti-colonialism. This novel takes the conclusion which appropriately shows the symbolism of spaces, ‘Japan’ and ‘China.’ It can be said that it grasped the scenery of Joseon in the 1920s appropriately in which anti-colonial modernism was possible only in the outside of ‘Japan and Joseon’ that Haechun and Sunyeong chose Shanghai in China rather than Japan.

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