一九二0年代 上半期에 있어서의 金東仁의 一人稱小說에 對하여

蔡壎 忠南大學校 1963 論文集 Vol.3 No.-

主人公像을 通해 본 憑虛文學의 特色

蔡壎 국어국문학회 1970 국어국문학 Vol.- No.49-50

LaNiO3 촉매를 이용한 CH4 의 CO2 에 의한 건식 개질 반응

채훈,남준우,이관영 ( Hoon Chea,Jun Woo Nam,Kwan Young Lee ) 한국화학공학회 1996 화학공학의이론과응용 Vol.2 No.1

玄鎭健硏究 (其二)

蔡壎 忠南大學校 1969 論文集 Vol.8 No.-

Hyeun, Zin Kohn's latter period as writer is 5 years, from 1925 to 1929, for which period he wrote 12 fictions. These fictions could be assorted into 2 groups as; 1) 7 fictions, mostly realistic fictions. 2) 5 fictions, characters of which are oppressed people. In case of 1), he tried to mature his realistic talent, in his latter period which he had learned during his former period. In case of 2), the heroes could be characterized as oppressed persons, by which we could see has adamant and overt anti-Japanese spirit and this tendency shows a contrast with his former period fictions. With this heroes, he tried to hint the readers the heroes' oppressed state by the Japanese colonial authorities. Author Hyeun's whole fictions were based on precise and minute beforehand planning. This thesis aims to clarify his realistic technique and his nationalism as writer. His nationalism shown in his latter fictions should be highly evaluated and this point shall be studied more acceleratedly in the future.

崔曙海 隨筆考

蔡壎 숙명여자대학교 문리과대학 국어국문학과 1980 靑坡文學 Vol.13 No.-

최서해 수필은 그 어느 항목에 걸친 것이냐를 막론하고 그 자신의 여러 가지 면모가 가식없고도 솔직한 표현으로 써져 있는 것을 볼 수 있다. 이는 수필 고유의 특성의 하나인 개성의 적나라한 유로라는 점에서 높이 평가할만한 일이라 하겠으나 최서해 수필에는 솔직담백한 표현만이 앞서 있을 뿐 유려한 문장을 수반하지 않고 있는 경우가 대부분이어서 수필 자체로는 성공적인 것이었다고 하기 어려울 듯 하다. 이처럼 최서해 수필은 여러 가지 문제점을 가지고 있기는 하나 그 자체가 흥미있는 고구거리일 뿐만 아니라 인간 최서해와 그의 소설을 이해하는데 있어서도 중요한 질료 구실을 해줄 것으로 믿어지는만큼 지속적인 연구가 기대되는 터라 하겠다.

在滿韓國文學硏究 : 1945년까지의 小說을 中心으로 About the novels until 1945

채훈 淑明女子大學校 1990 論文集 Vol.30 No.-

This treatise is written under the purpose to reveal the precise reality of the Korean Literature in Manchuria. For more efficient accomplishment of the task, I tried to examine such questions related to the subject as following : 1. When and how did Korean people move into Manchuria, and what were the lives of the emigrated people? 2. How did the Korean people emigrated to Manchuria create and develop the Korean Literature, and by whom and in what way the tradition of the literature was succeeded? 3. The Korean Literature in Manchuria has been led by such well-known writers as Ahn Soogil, Kang Gyeongae and Kim Changgol. How did they recognize the reality of Manchuria and reflect it on their works? 4. How much significance the Korean Literature in Manchuria has in the history of the modern Korean Literature? As a result of the research, I reached such conclusion as follows : The Korean Literature in Manchuria was formed by many Korean intellectual and writers who emigrated to Manchuria after the `Manchukuo' established in 1932. Among the outstanding and noticeable writers are Ahn Soogil, Kang Gyeongae, Kim Changgol and the like. Although their attitude in recognizing the reality and their characteristics of works were somewhat different, they embodied the painful and miserable lives of the emigrated Korean people through their novels. Among those writers, especially Kang Gyeongae and Kim Changgol wrote their novels on the base of ideology in their early days. But as time went on, they tried to be detached from ideology, and to describe dally lives objectively. That was because they were oppressed heavily by Japanese and Manchukuo rule, and the only medium to make their writings public was Mansonilbo governed by `Manchukuo'. It was highly praiseworthy that they resisted the `Manchukuo' and Japan by stopping writing. Furthermore, it is greatly desirable that their works have the right place in the history of the modern Korean Literature.

解禁作家들의 滿州認識에 대하여

채훈 淑明女子大學校 1992 論文集 Vol.32 No.-

I published Research on Korean Literature in Manchuria under Japanese Rule in 1990. As a sequel to that study, I examine how the ban-lifted writers recognized Manchuria. I analyze 10 novels of the ban-lifted writers dealing with Manchurian life. As a result of the research, I classify their recognition of Manchuria into 4 types. They are as follows. ① Manchuria as a base for ideology activity : The novel of Han, Seol Ya shows that quite a large number of Korean people rushed to Manchuria for survival, where, however, they were harassed by the Japanese and the Chinese. In order to overcome oppressions Han emphasizes the importance of the unity of the laborers and the solidification of the system based on ideology. ② Manchuria as a foundation for a new life : Though the emigrants underwent hardships in Manchuria, they could not help emigrating from the uprooted Korea for a new life. Lee, Tae Joon and Hyun, Kyung Joon depict this situation in their peculiar ways. ③ Manchuria as Utopia : Almost all the emigrants had lived a miserable life : nevertheless, Jung, In Taek considered Manchuria as an ideal land advocated by Manjukuo(puppet govern-ment under Japanese rule). This fact shows that he must have distorted and misrepresented the reality of Manchuia. ④ Manchuria after the surrender of Japan : The moment Japan was defeated in World War Ⅱ, Manchuria was thrown into confusion. The emigrants had no confidence to live in Manchuria due to a sense of insecurity and waited eagerly for returning home. Kim, Man Son described this state of affairs with composure. As above mentioned, the ban-lifted writers' recognition of Manchuria shows much differences according to the rapidly changing situations. On the whole, their works reveal a lot of varieties, but, regrettably, they show the limited and narrow viewpoints, too. In the years ahead, I will try to compare the recognition of Manchuria of the writers stayed in Manchuria between 1930 and 1940 with that of the ban-lifted writers.

韓國文學에 끼친 日本文學의 影響에 關한 硏究 : 1900年, 1910年代의 小說을 中心으로

蔡壎 淑明女子大學校 1980 論文集 Vol.20 No.-

This paper attempts to describe the influence of Japanese literature exercised upon the Korean literature in 1900 through 1910's. (For the purpose of this paper, "literature: is used to mean novels.) For more effective approach to the theme set for the paper, the writer first took closer look into the general backgrounds pertaining to the historical or circumstantial development and cultural basis that characteristically underlie the two countries' modern literatures. The period covered was typical in that Japan and Korea had a relationship formulated between themselves. Japan being the party who was "invading" and Korea being the party who was "being invaded." Japan, growing into a modern nation through opening itself to the outer world, was rapidly pulunging into the procession of transforming itself to a nation of imperialism from capitalism then on to that of militarism, stepping up its invasion of Korea and winning its wars with those nations who had a close relationship with Korea. Domestically, a certain stretch of period was marked for a fashionable rush a in translating the literary works of Euro-American novelists, and, such a rush was in accord with the national policy designed for ""westernization." In 1885 the first book "theorizing" Japan's modern literature was published along with the first piece of literary work itself. Concurrently with the said trend, the novels classifiable as belonging to the category of pseudo-classicism formed the main stream of Japan's literary world for more than 10 years. Coming into 1990's, the literary naturalism of Zola's teaching took its firm grip of influence over the Japanese literary activities, signaling the start of Japan's modern literature taking to its course of full-scale development. On the other hand, Korea who had been exposed to the rough tides for about 20 years since the spearhead of Japan's invasion reached its skin in 1875, was aroused to the national call for education and enlightenment; the importance of education was vigorously stressed since it was considered the source of national capability to retain its independence. With this general awarencess, a number of newspapers and periodical journals came to be published in Korea, and these publications started to carry sporadically the works of the form of "new novel" or "short story", after 1900. However, the general climate in Korean prevailed then was more loaded with the national determination to resist the invading force than with the feeling or interest for the literary piece of work. Likewise the Japan's modern literature that attained its formulation and growth under an extraordinary unique back ground of historical and cultural orientations, Korea's also started to sprout and grow under and extraordinary circumstantial development. Accordingly, no significant trace evidencing the influence of Japan's literature upon Korean literature could be found up until 1910 when Korean was taken over by Japan. A few cases of such evidence are traceable only coming into middle of 1910's. In this paper, attention was concentrated chiefly to the period covering a few years before and after 1900. The writer's paper to come will deal with what are studied for the period thereafter.

<新聞紙와 鐵窓> 考

蔡壎 숙명여자대학교 문리과대학 국어국문학과 1984 靑坡文學 Vol.14 No.-

단편소설가로서의 현진건을 연구하는 사람의 대다수가 <신문지와 철창>을 논급할 대목에 이르러 미진한 채 결론을 서둘러야 했던 어색함은 본고로서 해소되었다고 할 수 있다. 1920년대에 활약한 작가의 작품이 아직도 미해결의 상태로 놓여져 있었다는 사실도 믿기 어렵거니와, 한 작품으로 말미암아 서상한 바와 같은 많은 문제가 풀리게 된 예도 드문 일이라고 하지 않을 수 없다. 이제 <신문지와 철창>은 단편소설 위주의 현진건문학의 도미를 장식하는 작품일 뿐만 아니라, 대표작격인 <고향>의 경우를 더 한층 심화 · 확대한 것으로서 일제에 대해 적극적으로 항거코자 하는 정신을 노골적으로 나타내보인 작품임이 분명해졌다. 이처럼 처절한 또하나늬 '조선의 얼굴'을 그림으로서 현진건의 민족주의 작가로서의 면모는 더욱 선명해졌다고 할 수있다. 그러나 이와는 정반대로 현진건의 주변상황 자체는 날이 갈수록 음산하고 비참해져 갔다. 즉 일장기말살사건으로 말미암아 옥고와 동아일보사 사직, 생계를 위한 몇가지 사업의 실패, 연재중인 장편소설<흑치상지>와 <선화공주>의 잇달은 게재중단, 단편소설집 「조선의 얼굴」의 판매금지 등 한 인간으로서 또는 소설가로서 견디기 어려운 형극의 길만이 현진건의 앞을 가로막고 있었다. 울화증과 술을 되풀이할 수 밖에 없었던 형편아래서 현진거은 광복을 눈앞에 둔 채 영안하고 말았다. 이러한 현진건의 인간적인 자취에 대한 자료는 아직도 수많은 보완을 기다리고 있는 중이며, 소설가로서의 전면목 - 단편소설가라든가 장편소설가라는 테두리를 벗어난 총체적인 업적을 파헤치는 연구 또한 아직도 제대로 수행되지 않은 상태에 놓여 있는 듯이 보인다. 본고가 현진건에 관한 미완 또는 미흡한 여러가지 문제를 푸는데 있어서 조그마한 도움이라도 되기를 바라마지않는다.

崔曙海硏究 : 소위 第二系列의 作品을 中心으로

蔡壎 淑明女子大學校 1978 論文集 Vol.18 No.-

Choe Seo Hae the novelist and his literature have been, and are still being, studied by many people. Most of the studies performed so far seem to have concentrated only on those works that deal with the absolute poverty the author himself had experienced in Gando and other areas where he lived. However, apart from these works in which Choe has described his experience of extreme poverty, we can find another world of his literature carried in many of his other works. The writer of this paper likes, for convenience's sake, to call the former type of works as Series-1 and the latter as Series-2. Studies of those works belonging to Series-1 have been done by many as mentioned above and their conclusions are generally known to be almost similar if not identical. In this paper, attempt is made to look into only those works of Series-2 that have been mostly left out of general interest. For the purpose, the works belonging to Series-2 are classified into: (1) those dealing with the themes of marriage and married life, (2) those dealing with the lives of a literary writer (or, a journalist), and (3) those dealing with miscellaneous themes. Those of (1) and (2) are the stories of ordinary daily things around the author himself. But they have a trend or trait that is clearly different from that of Series-1. The heroes, obviously the portraits of the writer himself, leads a life full of trouble and agony, but none of them is rendered to an extreme and therefore desparate situation. The coarse structure of works and the easy attitude of the author in approaching his themes are quite disappointing. Those works of (3) above are somewhat extraordinary in the sense that they deal with the themes of a variety not in direct connection with the author's personal experience, such as folk-tales or "what somebody has told me", or "what I have seen myself." It may be said surprising to know the author has this type of works whereas he has been exposed to have concentrated only on the stories of his own experience or this surroundings of personal concern. The quality, however, is below standard as is the case with (1) and (2), and, one is obliged to doubt if they are really his works. The works of Series-2 and especially those bunch of (3) could be said the outcomes more or less intended by the author, who wrote them in the middle and later priod of his life. In order to maintain and further enhance the reputation he has acquired through the works of Series-1 his earlier days, he might have tried to expand and diversify the horizons of his literary world that was relatively simple and confined. His attempt has however failed and his expection not fulfilled. The attempt to extend the literary vision without technique and workmanship duly improved to serve the purpose has come to a failure, only to result in a serious degradation of his established reputation. When viewed from the stand point as described in the foregoing, Choe Seo Hae and his works will have to be studied through a more balanced and comprehensive approach without leaning excessively either toward the works of Series-1 or Series-2. Write of this paper will fell rewarded if this paper can be of some help in this regard.