| The main research object of this paper is Chinese-Korean bilingual works of Kim Kwang-ju during his stay in Shanghai(1931-1938).In this period,Kim Kwang-ju published 63 Korean works on literary criticism,poetry,essays,and novels in Korean publications.At the same time,he published about 148 Chinese film and literature reviews in Chinese publications such as the Morning News.Other than the works which have been discovered in the previous academic studies,this study has newly unearthed 50 works written by Kim Kwang-ju in Chinese,and made an effort to clarify the understanding of Kim Kwang-ju’s self-identity embodied in the Chinese-Korean bilingual writing.This study is on the basis of empirical investigation and literature review,and has adopted a total of 211 Chinese and Korean works as basic documents.The related theories of identity identification in comparative literature imagery and post-colonial theory criticism theory are used as methodologies.The composition of this paper is based on the genre classification of Kim Kwang-ju ’s works,including translated works of Chinese literature,literary criticism,poetry,essays,novels,Chinese film reviews etc.Based on these works,this study examines how these literary works reflect Kim Kwang-ju’s self-knowledge and identity.First,Kim Kwang-ju’s translation of Chinese literature has not received the attention of the Korean literary world and readers.As an edger of maintaining a considerable distance from the Korean literary world,he has always insisted on introducing the Chinese theatre with an "objective" perspective.Secondly,Kim Kwang-ju expressed his subjective feelings through the poetry and essay works.We find the same characteristics of his diary writing,which reflects his sensibility and self-awareness as a cultural person.Thirdly,Kim Kwang-ju’s novels describe the life of the Korean people in Shanghai in the 1930s and their spiritual suffering.This reflects his self-knowledge as a colonial immigrant;on the other hand,he describes the warmth between marginal characters.He demonstrated the value orientation of humanism that he has as an artistic drifter with similar fate.Fourth,as a cultural person,he turned his attention to the Chinese literary world in order to gain greater recognition.At the request of the Chinese film and readers that they need a new perspective of foreigners,he actively responded to this need and began to introduce the situation of the world’s cinema,and in the process experienced the diversification of other people’s consciousness.He even considers himself as a Chinese filmmaker,demonstrating the hybridity and fluidity characteristics of identity.As mentioned above,during his stay in Shanghai in the 1930s,Kim Kwa ng-ju’s understanding of self-identity was more faithful to the individual’s value orientation and emotions than the ideology of the country or the nation.This was from his self-awareness as a cultural person and artistic wanderer,and as the Korean immigration and the self-recognition of the Chinese filmmakers.In general,the hybridity and mobility of Kim Kwang-ju’s identity are related to t he different individualities that he reflects in different texts.That is,Kim Kwa ng-ju as the subject needs to face different "other" in different contexts.In the interaction between different other persons or different subjects,he shows the pursuit of freedom as an individual.There is a close connection between self-k nowledge as an art tramper and his active choice as an individual.This article clarifies the hybridity and fluidity of Kim Kwang-ju’s self-iden tity recognition,and to reveal that he,as a free artistic tramp,does not rely o n external values,but on the inherent choice of himself.Taking him as an exa mple,this study shows the diverse face of colonial Korean writers. |
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