초록 열기/닫기 버튼
As is widely known, in the 1930s, Korean literature attempted to develop and proceed with modern literature through various plans. Choi Jae-seo is also one of these planners and is a representative critic who praised modernity. The core of Choi Jae-seo’s criticism lies in the experience of modern people based on urban civilization, the experience of global change, which is often referred to as modernity. Since then, Choi Jae-seo has shown a sense of historical crisis that modernity is heading toward catastrophe and a sense of continuous time collapse, which can be called progress, to fascism by dissolving it in the process of creative destruction and innovation. In the 1930s, Choi Jae-seo knew the charm of the city and the modernity shown in it better than any other critic. The sensuous delight and excitement of the city's fantastic landscape, the miserable lives of the lower classes in the city’s fantasy, the internal divisions of class confrontation, the fluid and dangerous patterns of life in urban traffic represented by cars, tangled desires, and the artistic creation produced in these cities. In Choi Jae-seo's criticism, there is a perception of modernity based on the life of this city in various ways. However, Choi Jae-seo extremely destroys everything he praised through the theory of national literature in the late 1930s, and is regarded as fascism reproduced by innovation in the way of war. One of the important things to look at is the theory of organisms that justifies the sacrifice of parts for the whole. Since 1945, Choi Jae-seo has not been able to carry out any meaningful work as a critic. It was Kim Ki-rim who led the discussion on modernity at the end of the Japanese colonial period in place of Choi Jae-seo’s silence. The fact that Kim Ki-rim is located between Choi Jae-seo’s “expectations” and “unknown” gives a glimpse through Kim Ki-rim, another aspect of his plan for modernity that Choi couldn’t bear to show out.
키워드열기/닫기 버튼
Modernity, City, Fascism, Choi Jae-seo, Organism
