본 논문은 한설야의 『청춘기』를 ‘전향’과의 관련 속에서 살피고, 이를 통해 식민지 시기 한국 轉向文學의 개념과 범주화의 문제를 재고해보고자 한다. 『청춘기』는 연애소설의 형식을 취하고 있으며, 사실보다는 ‘꿈’과 ‘공상’과 같은 幻想的 측면이 부각되어 나타난다. 그리고 개작 과정에서 ‘전향’에 관한 내용이 새롭게 삽입되었으며, 전향문학의 사상적 기반으로 평가받는 셰스토프의 철학이 언급되었다. 또한 帝國의 언어인 일본어를 매개로 하여 國際的 聯隊를 추구하고자 하는 의식이 나타난다. 이러한 여러 특성들을 고려할 때, 『청춘기』는 전향의 특성이 징후적으로 나타나는 작품이라 할 수 있다. ‘전향문학’으로서의 『청춘기』의 특성은 新聞連載本, 單行本, 改作本의 3개의 판본을 비교ㆍ검토해 보면 더욱 두드러진다. 『청춘기』는 일제에 대한 저항의식을 담은 민족주의적 텍스트라기보다는 ‘일본어’를 중심으로 다양한 형태의 국제적 연대를 추구하려는 의식이 강하게 나타나는 텍스트라 할 수 있다.

This thesis wants to reconsider the notion and categorization problem of conversion literature at colonial period through studying Han Sulya’s Cheongchungi by relating to conversion. If ‘conversion’ implies the irreversible change of world view and rupture of rapid consciousness, there is always a considerable change in author’s literature world from that point. Cheongchungi adopted love story style, and it highlighted fantastic aspect such as dream and reverie rather than the fact. The content related with conversion had newly inserted in the process of adaption, and it mention about philosophy of Chestov which was judged based on ideology of conversion literature. It also shows a consciousness of pursuing international solidarity through the medium of the imperial language, the Japanese language. Considering these various characteristics, Cheongchungi does not have a direct relation with conversion in terms of context; however, it is a literature work that shows the symptomatic characteristic of conversion from formal aspect. The characteristic of Cheongchungi becomes more prominent as conversion literature by comparing and reviewing the three versions. It is noticeable by looking into the process of adaption in Cheongchungi that the adaption was made for a way to enhance the conflict relation between imperial Japan and colonial Chosun. But, the conflict relation between Chosun and Japan was not prominently expressed in first book. Above all, Japanese language plays important part in narrative function in first book, and it seemed that Sulya Han was seeking a possibility of international solidarity through Japanese language.