1920년대 재조 일본 지식인 사회의 문화 담론 연구 - 1926년 우치노 겐지(内野健兒)와 이나미쓰 레민(稻光黎民) 논쟁을 중심으로 -

This article examines the diverse identity of the cultural discourses on the Japanese society in Joseon in the 1920s. This study analyzes the process of the debate between Kenji Uchino and Remin Inamitsu developed through the pages of 〈Jo(朝)〉, 〈Joseon Siron(朝鮮時論)〉, 〈Gyeongseong Ilbo(京城日報)〉, 〈Joseon Sinmun(朝鮮新聞)〉 and examines the significance contained therein. This debate, which starts with Remin Inamitsu's criticism of Kenji Uchino’s “Opinion on the Joseon Art World” followed by Uchino's rebuttal against him, clarifies the point where the gaze of a romantic Enlightenment thinker and the strong ideas of a labor activist crisscross and diverge on the matter of Ilseon(日鮮) convergence. The 1926 debate shows a point at which the ideal of proletarian solidarity pursued by Inamitsu failed to survive beyond the 1920s and is disappearing. In addition, it provides a ideological turning point for Uchino to reflect on his inner self with the contemptuous gaze of cultural imperialists and transform himself into a proletarian poet. However, the aspect of the debate between Uchino and Inamitsu on the theory of “Ilseon(日鮮) convergence” also reveals the limitations of the imperialist perception of the world held by the Japanese intellectuals residing in Joseon at the time. Inamitsu ignored the hierarchies of empires and colonies and was concerned only with class issues while Uchino suggested solidarity between Japanese and Joseon artists from a simple level. Ultimately, both were confined to the category of “good Japanese”.