The purpose of this task is to review the historical reality and present significance of Marxism in relation to the KAPF criticism. If KAPF Biography itself can be regarded as a record of any profound defeat, it probably contained some <internal nece ...
The purpose of this task is to review the historical reality and present significance of Marxism in relation to the KAPF criticism. If KAPF Biography itself can be regarded as a record of any profound defeat, it probably contained some <internal necessity>, not just the logic of the situation. The study's attention to the historical defeat of KAPF is related to these questions.
One of the basic perspectives of this study is related to the fundamental framework within Marxism itself. It refers to the relationship between objectivism and subjectiveism as a way and ‘objective existence’ and ‘subjective will’ in more specific terms in Marxism. On the other hand, it may develop into a confrontation between realistic and romantic tendencies in the history of art. As a classic example of Marxism in Korea, KAPF Criticism could be seen as a genuine movement between the two. In the sense that Marx's cognitive basis was the foundation-upstructuralism and historical materialism, Marx fundamentally regarded the objective existence of reality as more important than the subjective will of man. This is why he sought to identify human history as a process of “Nature History” as an objective rule.
One of the main themes of this study in the reconfiguration of the KAPF Literature is the possibility of a two-way coexistence between literature and politics. It is an aesthetic category that directs the dimension of the more general and ultimate problem, for example, literature and politics are twofold and incompatible. As you can see, KAPF literature has developed to deny literary identity in some ways as a result of his pursuit of politics. An example of the historical failure of KAPF literature is that the moment it fails to maintain or loses its impeccable tension, it can result in the memory of the warmth of the doctrinal ideology or the illusion of pure literature. To answer these questions faithfully, we need to relive the history of the “10 Years of Difficulty in proletariat literature” and the records of its literary trace. Thus, it is summed up as a aesthetic system that approves literary identity and relative autonomy and rediscovers the unique value of literature involved in the relevance of history.
The “Park, Young-hee - Im, hwa” line is relatively with a tendency to rely more on the subjective will of the subject as a clear conscious mind than on the objective existence as empirical reality. In other words, sensitivity to Park Young-hee's out-of-town thought, ideological orientation, and the ultimate return and return to the romantic spirit of Im, hwa are examples of these characteristics. The “Kim, Ki-jin – Kim, Nam-cheon” line is based on the experience as an objective rather than on the will to change the world, and it can include open flexibility of thinking that can readily approve the relative autonomy of art and literature. Therefore, I think the “Kim, Ki-jin – Kim, Nam-cheon” line needs to be re-emphasized rather than the “Park, Young-hee – Im, hwa” line.