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This paper concentrates on KAPF literature's aspects formating Manchuria in the late term of Japanese colonialism. The works that formate Manchuria in this term are important because Japanese Facism propagates that Manchuria is a place where the capitalism's relations of production can be overcome. Therefore, by analyzing these works, we can examine both the common and the uncommon points between thoughts of KAPF and of Japanese Facism about Manchuria.
In 1930s, the socialist's understanding of Manchuria was ambivalent. In one aspect, it adapts to Japanese Facism's ideology, on the other hand shows appropriative cracks different from Japanese Facism's ideology.
KAPF literature's formating of Manchuria has the same ambivalence. 'Productive literature'(????) works show a classical Marxism thought that the development of productive capacities is the general history development course. Coincidentally, these works can be more dangerous in case their thoughts are subsumed with Japanese Facism's ideology that Facism is a new product system that overcomes capitalism. Fortunately both Kim Namcheon(???)'s <Aquarium of love>(??? ???) and Lee Kiyoung(???)'s <Son of the earth>(??? ??) concentrate on the former, so that these works aren't subsumed to Japanese Facism's ideology.
KAPF's authors show appropriation of Japanese Facism's official ideology, 'Five race harmony'(????) and 'Royal road and paradise'(????). First, Han Seolya's <the continent>(??) captures and appropriates a gap between 'Five race harmony' ideology and real Manchuria. Kim Namcheon's <Aquarium of love> also distinguishes real Manchuria from ideological one propagandized by Japanese Facism. Finally, Lee Kiyoung's <Son of the earth> shows a roundabout writing that keeps the national movement's symbols in the deep-text. These works can be valued for showing appropriation of Japanese Facism's Manchuria ideology.