1920년대 한반도의 일본어 시단(詩壇) 성립과 우치노 겐지(内野健児) 시가 잡지 『경인(耕人)』(1922-1925)의 창간 초기를 중심으로 = The Establishment of a Japanese-Language Parnassus on the Korean Peninsula in the 1920s, and the role of Kenji Uchino Focusing on the early days of the poetry magazine Kōjin(1922-1925)

다국어 초록 (Multilingual Abstract)

This article examines the background and characteristics of the early issues of Kōjin (1922-25), a poetry magazine published by Kenji Uchino (1899-1944), who was a poet and a teacher on the Korean Peninsula for seven years from 1921. I first review Uchino’s poetry and the previous research on him, and examine a range of relevant issues in the period before Kōjin was founded, including his literary activities and the relationship among the major Japanese-language poets working in Japan and Korea at the time.
By focusing on the characteristics of the specific content published by Uchino when the magazine launched, I analyze the individual contributions of each of the participants, including their critical perspectives, methods of expression and range of genres. Through this, it can be seen that Kōjin had a close relationship with the representative Futurist and Dadaist poets, who were prominent in the world of contemporary poetry. In addition, Uchino had also had practical experience of editing and publishing the collection of Tanka works Homura while attending Hiroshima Normal High School, and so he received active cooperation from Shokoshisha poets, most importantly Ryuko Kawaji. This study confirms that these two facets played a role in the successful launch of Kōjin.
Finally, I deal with the characteristics of the poems (including Tanka) published by the magazine, and with the three special issues on the local colors of Joseon, poets, and Tanka, which Kenji Uchino saw as a way to put Kōjin on a solid footing. In particular, the first special issue on Joseon’s characteristic culture and life helped Kōjin establish itself as a respected poetry magazine on the Korean Peninsula. Through these initiatives, Kōjin was able to play the role of a Parnassus or hub where various poets on the Korean Peninsula and in Japan could connect and learn from one another from 1922 on.