Chae Man-sik,Song Young,Yi Moo-Young were copious writers in the 1930s. Though they had something in common in the sense that they wrote both novels and plays, they had different directions in their literary work. Chae Man-sik was regarded as a Korea Follow Traveller, and his work was respected. He described the destitute life in satirical ways, writing about the lives of the contemporary intelligentsia. He portraied that his heroes- the intelligentsia- as being good-for-nothing and tried to point out the problems of colonization, dealing with antagonism and collapse, that ...
Chae Man-sik,Song Young,Yi Moo-Young were copious writers in the 1930s. Though they had something in common in the sense that they wrote both novels and plays, they had different directions in their literary work. Chae Man-sik was regarded as a Korea Follow Traveller, and his work was respected. He described the destitute life in satirical ways, writing about the lives of the contemporary intelligentsia. He portraied that his heroes- the intelligentsia- as being good-for-nothing and tried to point out the problems of colonization, dealing with antagonism and collapse, that is, the conflict resulting from antagonism between the young and the old generation collapsed and the eventual collapse of traditional expectation. As a man of contemporary and historic mind, he particularly described the reality and problems during the colonial period, using the motif of the inability of intelligentsia and the motif of antagonism/ collapse among the socialists. Song Young,a socialist, directly and indirectly fomalized these problems on the basis of his own experiences as a laborer-in Seoul and Tokyo- and as a teacher at a night school in a farming village. He focused on the laborer and labor problems and satirized them realistically, using the plot of 'capitalist vs laborer' and 'the rich vs the poor'. In his early novels, he formalized the facts from his own experiences. In his early plays, this laborer motif appeared in a specific form of dialectic realism of proletarian literature . And the capitalist motif was so skillfully used as he formalized and satirized hidden meanings in an indirect way rather than by a direct representation of facts, for example, 'The Art to Self-defense', 'New Head of Director', 'Refuse all the Interview'. Song Young was passionate for KAPF and changed his style a lot. In his Yum-Goon-Sa days, he wrote mostly novels and started his literary career as a novelist. And then, he started writing plays. While the members of KAPF had been arrested twice, his style changed from a realistc tendency-appearing in the laborer motif- to a satiric one-appearing in the capitalist metif. When he was exclusively contracted by Dong-Yang theater, he became a pulp writer, following the current fashion. But it didn't mean that he had lost his direction or focus. Yi Moo-Young was also a Korea Follow Traveller, a member of '9-Men Associate' and a member of 'Drama Art Study Group'. He started his literary career as a novelist and started his career as a playwriter when he won a prize at the Dong-A Ⅲ Bo's first play contest. : the prized novel was 'Daydreamer (another title was 'Employee of Art Mania Co.)'. Most of his writings were about urban life in the early 1930's and about rural life in the late 1930's. The characters about urban life were either intelligentsia lumpen or petite bourgeoisie and most of them had the'-ist' tendency. But the characteristic of the 'ist' wasn't clearly defined. The ambiguity of 'ist' ended up being similar to the realization of Tolstoi's humanism. The 'ist' in his works lacked a focus and only had a vague enlightment. This appeared as a 'ist' motif in his plays and the play 'Tolstoi' was about blindly adoring and worshipping the soil and the farmer, which was represented in 'The First Lecture, the First Chapter', 'The Slave of the Soil'. It was based on Tolstoi's humanism and social civilization. Conclusionally, he tried to solve the colonial problems by changing and innovating the farming village on the basis of Tolstoi's humanism and social civilization. To do this, both humanity and morality were needed. To be a true Tolstoian, the writer needed to have a mature personality and be able to recognize the reality. This is a requirement to be an 'ist'. Chae Man-Sik formalized the intelligentsia motif and the old vs the young motif in his novels and plays. His novels and plays had a close relationship to each other A lot of dramatical technique appeared in his novels. To consider 'Ready-made Life'(레디메이드 인생), 'Peaceful Time(태평천하)', he used numbers in the same role as scenes and acts of play. In Conversational Novel(대화소설), the plot to acts was used. The way of structuring and character formalizing couldn't be the same between formalization a motif in a novel and in a play Chae's play lacked the formalization of drama and it showed the characteristic similar to that of the novel. It had narration and its plot and event were made in repressed form. They, however, were balanced in a novel style using the drama technique. Chae's style had influenced both the drama style and the narrative style. We can see this fact in those novels which used scenery technique and in those dramas which used narrative technique. This mutual influence was more advantageous to the novel than to the drama. Song Young wrote on the basis of his own experiences. It was a laborer motif in which he tried to formalize labor life on the basis of his experiences, approaching in a concrete way of dialectic realism of proletarian literature. And it was a capitalist motif in which he satirized the the background of the strike situation. The laborer motif in drama showed, simply, the problems of life of the laborer but the capitalist motif went further in the sense that it caught the other side of their problem that is the antagonism between laborer and capitalist- and satirized it in an indirect narrative way. So we can say the capitalist motif was better than the laborer motif. Yi Moo-Young used the 'ist' motif which was about urban life but had ambiguous color. It also had the Russian pro-country tendency. What the ambiguous 'ist' wanted to do was the innovation in the farming village on the basis of Tolstoian humanism and social civilization view. But the 'ist' story revealed its theme directly and was abstract and conceptual both in the novel and in the drama. In his way of making conclusion, Chae Man-Sik showed the problems coming from the reality of a colony as well as the exploration for solution in the present life. On the other hand, the laborer motif in Song Young with strikes and the story always ended up giving the laborer some vision for the future. This schema was typical of the dialectic realism based on the writer's disposition of the proletarian literature. Yi Moo-Young's conclusions were about ambiguous 'ism' or assertion, realization for their future, the adoration for the farming life and the return to the farming village. The passion for the farming village came from Tolstoism and it only gave an abstract vision on the muture personality and mankind's happiness. What mattered was the intention to enlight the society with Tolstoian humanism and the view of social civilization. In short, Chae Man-Sik wrote drama as a lesedrama(*a play for reading,not for staging) playwriter, Song Young was a popular dramatist who wrote to stage his work and Yi Moo-Young was limited to the level of idealogiclly spreading Tolstoism. It indicated that drama and play were differnt from each other. And the writers began to recognize this fact and this in turn stimulated the beginning of modem drama and writing for performing on the stage. Chae Man-Sik tried to me a new drama style by putting narration into drama, but eventually he returned to the novel. At first, Song Young wrote novels and then he wrote dramas and later he became a popular writer. This meant that he was a member of e Korea Art Proletaria Faderation(프롤레타리아 예술동맹) and intended to reinforce the propaganda for popularity. Yi Moo-Young was a member of the Drama Art Study Group in the 1930's. His drama assumed the transitional characteristic of Tolstoism and used this as a means of enlightment. The reason I regarded his drama transitional is that he discriminated betweem the drama and the play and after Tolstoism matured, the drama style wasn't tried. This oscillation between drama and novel which Chae Man-Sik,Song Young and Yi Moo-Young did in the early 1930's led to spreading of recognition on this genre as well as separation in writer's area, It showed a clear distinction between the play for reading and the play for performing. And also it showed the fact that play professionalized the use of propaganda as a means of enlightening the public. In the early 1930's the play for reading was more popular than the play for performing. Later, on account of it's propagative ability, it was used as a means of propagation of ideology or a means of enlightening, rather than as pure art. And the modern drama and the pulp drama became colser as we can notice though the way the dramatists had changed.
Chae Man-sik,Song Young,Yi Moo-Young were copious writers in the 1930s. Though they had something in common in the sense that they wrote both novels and plays, they had different directions in their literary work. Chae Man-sik was regarded as a Korea Follow Traveller, and his work was respected. He described the destitute life in satirical ways, writing about the lives of the contemporary intelligentsia. He portraied that his heroes- the intelligentsia- as being good-for-nothing and tried to point out the problems of colonization, dealing with antagonism and collapse, that is, the conflict resulting from antagonism between the young and the old generation collapsed and the eventual collapse of traditional expectation. As a man of contemporary and historic mind, he particularly described the reality and problems during the colonial period, using the motif of the inability of intelligentsia and the motif of antagonism/ collapse among the socialists. Song Young,a socialist, directly and indirectly fomalized these problems on the basis of his own experiences as a laborer-in Seoul and Tokyo- and as a teacher at a night school in a farming village. He focused on the laborer and labor problems and satirized them realistically, using the plot of 'capitalist vs laborer' and 'the rich vs the poor'. In his early novels, he formalized the facts from his own experiences. In his early plays, this laborer motif appeared in a specific form of dialectic realism of proletarian literature . And the capitalist motif was so skillfully used as he formalized and satirized hidden meanings in an indirect way rather than by a direct representation of facts, for example, 'The Art to Self-defense', 'New Head of Director', 'Refuse all the Interview'. Song Young was passionate for KAPF and changed his style a lot. In his Yum-Goon-Sa days, he wrote mostly novels and started his literary career as a novelist. And then, he started writing plays. While the members of KAPF had been arrested twice, his style changed from a realistc tendency-appearing in the laborer motif- to a satiric one-appearing in the capitalist metif. When he was exclusively contracted by Dong-Yang theater, he became a pulp writer, following the current fashion. But it didn't mean that he had lost his direction or focus. Yi Moo-Young was also a Korea Follow Traveller, a member of '9-Men Associate' and a member of 'Drama Art Study Group'. He started his literary career as a novelist and started his career as a playwriter when he won a prize at the Dong-A Ⅲ Bo's first play contest. : the prized novel was 'Daydreamer (another title was 'Employee of Art Mania Co.)'. Most of his writings were about urban life in the early 1930's and about rural life in the late 1930's. The characters about urban life were either intelligentsia lumpen or petite bourgeoisie and most of them had the'-ist' tendency. But the characteristic of the 'ist' wasn't clearly defined. The ambiguity of 'ist' ended up being similar to the realization of Tolstoi's humanism. The 'ist' in his works lacked a focus and only had a vague enlightment. This appeared as a 'ist' motif in his plays and the play 'Tolstoi' was about blindly adoring and worshipping the soil and the farmer, which was represented in 'The First Lecture, the First Chapter', 'The Slave of the Soil'. It was based on Tolstoi's humanism and social civilization. Conclusionally, he tried to solve the colonial problems by changing and innovating the farming village on the basis of Tolstoi's humanism and social civilization. To do this, both humanity and morality were needed. To be a true Tolstoian, the writer needed to have a mature personality and be able to recognize the reality. This is a requirement to be an 'ist'. Chae Man-Sik formalized the intelligentsia motif and the old vs the young motif in his novels and plays. His novels and plays had a close relationship to each other A lot of dramatical technique appeared in his novels. To consider 'Ready-made Life'(레디메이드 인생), 'Peaceful Time(태평천하)', he used numbers in the same role as scenes and acts of play. In Conversational Novel(대화소설), the plot to acts was used. The way of structuring and character formalizing couldn't be the same between formalization a motif in a novel and in a play Chae's play lacked the formalization of drama and it showed the characteristic similar to that of the novel. It had narration and its plot and event were made in repressed form. They, however, were balanced in a novel style using the drama technique. Chae's style had influenced both the drama style and the narrative style. We can see this fact in those novels which used scenery technique and in those dramas which used narrative technique. This mutual influence was more advantageous to the novel than to the drama. Song Young wrote on the basis of his own experiences. It was a laborer motif in which he tried to formalize labor life on the basis of his experiences, approaching in a concrete way of dialectic realism of proletarian literature. And it was a capitalist motif in which he satirized the the background of the strike situation. The laborer motif in drama showed, simply, the problems of life of the laborer but the capitalist motif went further in the sense that it caught the other side of their problem that is the antagonism between laborer and capitalist- and satirized it in an indirect narrative way. So we can say the capitalist motif was better than the laborer motif. Yi Moo-Young used the 'ist' motif which was about urban life but had ambiguous color. It also had the Russian pro-country tendency. What the ambiguous 'ist' wanted to do was the innovation in the farming village on the basis of Tolstoian humanism and social civilization view. But the 'ist' story revealed its theme directly and was abstract and conceptual both in the novel and in the drama. In his way of making conclusion, Chae Man-Sik showed the problems coming from the reality of a colony as well as the exploration for solution in the present life. On the other hand, the laborer motif in Song Young with strikes and the story always ended up giving the laborer some vision for the future. This schema was typical of the dialectic realism based on the writer's disposition of the proletarian literature. Yi Moo-Young's conclusions were about ambiguous 'ism' or assertion, realization for their future, the adoration for the farming life and the return to the farming village. The passion for the farming village came from Tolstoism and it only gave an abstract vision on the muture personality and mankind's happiness. What mattered was the intention to enlight the society with Tolstoian humanism and the view of social civilization. In short, Chae Man-Sik wrote drama as a lesedrama(*a play for reading,not for staging) playwriter, Song Young was a popular dramatist who wrote to stage his work and Yi Moo-Young was limited to the level of idealogiclly spreading Tolstoism. It indicated that drama and play were differnt from each other. And the writers began to recognize this fact and this in turn stimulated the beginning of modem drama and writing for performing on the stage. Chae Man-Sik tried to me a new drama style by putting narration into drama, but eventually he returned to the novel. At first, Song Young wrote novels and then he wrote dramas and later he became a popular writer. This meant that he was a member of e Korea Art Proletaria Faderation(프롤레타리아 예술동맹) and intended to reinforce the propaganda for popularity. Yi Moo-Young was a member of the Drama Art Study Group in the 1930's. His drama assumed the transitional characteristic of Tolstoism and used this as a means of enlightment. The reason I regarded his drama transitional is that he discriminated betweem the drama and the play and after Tolstoism matured, the drama style wasn't tried. This oscillation between drama and novel which Chae Man-Sik,Song Young and Yi Moo-Young did in the early 1930's led to spreading of recognition on this genre as well as separation in writer's area, It showed a clear distinction between the play for reading and the play for performing. And also it showed the fact that play professionalized the use of propaganda as a means of enlightening the public. In the early 1930's the play for reading was more popular than the play for performing. Later, on account of it's propagative ability, it was used as a means of propagation of ideology or a means of enlightening, rather than as pure art. And the modern drama and the pulp drama became colser as we can notice though the way the dramatists had changed.
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