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This article offers a comprehensive analysis of the process and acceptance of novels published in Keijo Nippo, focusing on how this newspaper, published in Chosun, served as a propaganda tool for war-related novels. The article particularly examines Kawaguchi Matsutaro's Mihatenu Seishun, which was serialized in Keijo Nippo shortly after the outbreak of the Sino-Japanese War. It also delves into the actual inspiration behind the work-Hanayagi Sumi's visit to Keijo.
The Gyeongseong performance was not a merely a new dance event by a dancer in Chosun but rather a performance that started with "Aikoku Kousinkoku" and ended with a chorus of "Kokumin Sanka." This event was orchestrated as a media spectacle aimed at strengthening the national consciousness of Japanese residents in Chosun during a time of crisis and to unite the sentiments of foreigners, including Japanese residents and Koreans, under a shared of patriotism embodied by the "Kokumin Sanka." Regardless of Matsutaro Kawaguchi's original intent, the novel’s depiction of a contradictory human image was repurposed to unite the people of the Empire of Outland Chosun under the wartime system.
本稿では、日中戦争から太平洋戦争まで続く戦時中に内地と外地で同時に連載された小説を媒介とした帝国日本のネットワークの中で、外地朝鮮で発行された『京城日報』の戦争動員宣伝メディアとしての役割に注目し、『京城日報』に連載された小説がメディアミックス化されていく過程と受容様相を総合的に分析する。特に日中戦争勃発後、翌年の初めから『京城日報』に連載された川口松太郎の「見果てぬ青春」に焦点を合わせ、作品の実際のモデルである舞踊家花柳寿美の京城訪問と座談会などをもとに、京城日報社が戦時期に連載小説と実際のモデルをどのように広報し消費したのかを考察した。 結局、京城公演は舞踊家として新舞踊を外地の朝鮮で披露する単純なイベントではなく、「愛国行進曲」で始まり「国民賛歌」を合唱して終わる公演だった。これは非常時局に朝鮮に居住する在朝日本人に国民意識を強化させ、「国民賛歌」のように在朝日本人と朝鮮人を含む外地の銃後の心を一つに融合させようとするメディアイベントだった。川口松太郎の意図とは関係なく、彼が描こうとした小説の矛盾した人間像は、戦時下体制としう時代状況の下で、外地朝鮮において帝国の国民を一つにする役割として動員された。
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도서위치안내: 정기간행물실(524호) / 서가번호: 국내09
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