Lee Sang became a member of literary world by publishing three shortstories (｢鼅鼄會豕｣, ｢날개｣ and ｢逢別記｣) in 1936. This couple trilogy was the result of the aesthetic compromise to accept representation technique of realism literature which held hegemony at that time. In 1937 he published two shortstories (｢童孩｣ and ｢終生記｣) which reached a higher plane of aesthetic achievement of aesthetic self-consciousness and became an eminent exemplar. This change was made intentionally from the psychological shortstory using representation to the most unconventional shortstory showing aesthetic self-consciousness. This can be verified by posthumous works ｢斷髮(遺稿)｣ and ｢幻視記｣. These works enlarged the boundary of psychological shortstory, but both of them were not published. Instead, Lee Sang published ｢童孩｣ and ｢終生記｣ and made clear the aesthetical change from psychological shortstory to aesthetic self-consciousness. This change headed for the culmination of modernism in Korea in the late 1930’s.
1. 이상 소설의 문제성과 이상 연구의 문제
2. 이상 소설 발표작의 세계
3. ｢斷髮(遺稿)｣을 통해 본 이상 소설의 계보와 그 의미
4. 1930년대 한국 모더니즘소설의 범주 설정과 이상 소설
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