제국과 식민지의 공간, 그리고 문학 창작의 공간 바이칼

The Concept of Space in the Imperial Country and Colonies and the Lake Baikal as a Space for Literary Creation

バイカル湖は我国の始原地であり、文学創作の発祥地である。しかし、ロシアと日本はバイカル湖のあるシベリアとアジアを成長と膨張の対象として利用した。李光秀の『有情』と与謝野晶子の『巴里まで』はバイカル湖を背景にした小説である。 李光秀の『有情』では崔晳の妻がいる朝鮮は猜忌と嫉妬、利己主義がある空間であり、南貞妊がいる東京は芸術と医療技術が発達した先進文明の空間であり、バイカル湖は理想的ではあるが寂しさの空間でもある。与謝野晶子の『巴里まで』は日本からウラジオストクに渡り、シベリア横断鉄道でパリにいる夫に会いに行く行程が詳しく描写されている紀行文である。ここでバイカル湖は恋する夫に会いに行く懐かしい空間である。作品に現れたバイカル湖を通して帝国と植民地の知識人の内面を読むことが出来る。これらの作品は、帝国の侵略で朝鮮、日本、満州、ロシアが一つに統合することによって産み出された。

The Lake Baikal is a fundamental place for our country and it is also the origin of literary creation. Russia and Japan, however, exploited Siberia and Asia, where the Lake Baikal is located, as an object of their developments and expansions. Yoojung, written by Kwang‐Soo Lee, and Pari made, written by Akiko Yosano, are the novels featuring the Lake Baikal. In Yoojung, Korea, where the wife of Choi Suk stays, is described as a space for envy and selfishness. On the other hand, Tokyo, where Nam Jeong-i stays, is described as a space where the art and medical technologies are developed. Further, the Lake Baikal is described as an ideal but lonely space. Pari‐made by Akiko Yosano portrays a journey; a woman leaves Japan for Vladivostok where she takes the Siberian Railway for Paris in order to see her husband. In this story, the Lake Baikal is depicted as a space where the woman goes to see her beloved husband. We claim that the Lake Baikal, as described in the literary work, reflects the imperial country and the internal emotions of intellectuals in colonies. These literary works were produced through the imperialism‐based integration of Korea, Japan, Manchuria, and Russia.