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A Study on Relationship of Choi In-hoon’s creativetheory and The SquareKim, Ki-wooChoi In-hoon’s theory of art and literature is archetypal in that it integratesvarious theories about aesthetics, the way of creative writing and cultural criticismon a higher plane to generate an individual, that is, ‘human mind.’ Now in theage of information and culture in which information is technologized, his theoryhas a close affinity with the present cultural climate since it adjusts ‘DNA,’ acarrier of bio-information, into ‘DNA´’ and ‘DNA∞’ in a systematic way. The essay explores his theory about art and literature which has not beensufficiently dealt with hitherto, and focuses on its application to his novels. Choi In-hoon says that human is an animal of self-identity and has three layersof consciousness; ‘biological self-identity’, ‘civilized self-identity’ and ‘fantasticself-identity.’ Of the three, civilized self-identity is unique to human. Althoughhe is developing civilization, human can not escape from his anxiety aboutfinitude. As a result, he gets a kind of consciousness about the need to overcomehis finitude, and it leads to fantastic consciousness, that is, self-identity on thedimension of religion and art. Religion asserts this self-identity as real, whereasart embraces it only under the promised condition of fantasy. Choi In-hoon takes as his main point the statement that ‘ontogenyrecapitulates phylogeny.’ He develops the concept of ‘DNA’, a carrier ofbiological genetic information, into ‘DNA'’(a carrier of civilized information),최인 훈 창작론과 광장의 상관성 연구․215‘DNA∞’(a carrier of fantastic information), transferring his theory of art intothat of literature. The essay analyzes his novels including The Square, OneDay in the Life of Novelist Kubo, Journey to the West, Typhoon, Hwaduon the basis of his theory about art and the way of creative writing. The Square corresponds well with ‘three forms of human metabolism,’Choi In-hoon’s key theory of art. ‘Technical object’ in ‘three forms of humanmetabolism,’ which may refer to national division, brings about thecircumstance in which Lee Myeong-jun, biological subject and technicalexpressive subject, is suffering from ‘DNA’ which he took from his fatherin North Korea. He goes up to the plane of ‘DNA'’, ‘technical expressivesubject’ by way of books, ‘technical object’, but realizing its futility, hegropes for ‘something fruitful and fit to burst with which he can live.’ Itis love. Through love, Lee Myeong-jun wants to obtain a compensation forhis disillusionment as civilized subject. Love, fantastic expressive subject,is ‘DNA∞’ for him, and he aspires after it.