이찬의 개작시(改作詩) 양상과 의의(2)

송숙이(Song, Suk-yi) 우리말글학회 2012 우리말 글 Vol.56 No.-

이찬은 해방전에 썼던 시들 중, 해방후 북한체제에서 20편의 시를 개작한다. 한 작품을 두고 전개된 개작 변이 양상이 다른 시대적 상황 아래서 이루어졌다는 사실은 충분히 주목을 요하는 현상이다. 본고는 어떤 양태로 개작되었으며, 개작을 통해서 주장하고자 한 의도는 무엇인가에 내용적 측면에 중점을 두고 살펴보았다. 이찬의 개작시는 무엇보다 1950년대 북한문단의 외부적 상황이 깊게 작용한 것으로 보인다. 전후 북한문단의 기조가 된 문화어 정책, 부르주아 미학사상의 척결, 문예의 대중화, 도식주의 배제, 그리고 이와 관련해서 전개된 숙청작업 등이 그 배경이다. 비록 1930년대 쓴 작품이지만 순수 서정시로서는 비판의 소지를 갖고 있었기에 이에 대비하기 위한 포석으로 보인다. 아울러 북한 문예정책에 앞장선 시인으로 일관된 면모를 보여주기 위해서도 개작이 필요했을 것이다. 하지만 전반적인 내용수정은 불가능했을 것임으로, 어휘선택과 행의 분화로 의미를 강화하거나, 감정과잉을 드러내는 어휘를 삭제해서 시적 긴장을 도모하고 있다. 세부적인 항목에서 개작행위가 일어나고 있다. 물론 표면적으로는 문예정책에 순응하기 위한 개작이었지만 개작과정에서 한 시인으로서의 장인의식이 드러나기도 한다. 즉 시인으로서 시작에 임하는 장인의식이 내비치고 있는 것이다. 그가 비록 카프계열의 사회주의 시인이었지만 상당량의 서정시를 창작한 사실은 이러한 장인의식의 표출과 밀접한 관련이 있을 것이다. 이찬의 개작시는 원작의 서정성을 어느 정도 유지하고 있기 때문에 북한문학의 한계로 지적되는 문학의 도식주의와 교조주의를 극복할 수 있는 소지를 남긴다. 이찬의 개작시는 북한 인민의 삶을 서정적인 분위기로 읽어내고 있다는 점에서 인상적이다. 이 점이 이찬의 개작시가 갖는 의미인지도 모른다. 이찬의 개작시에서 분명 북한문학의 교조성과 목적성의 의도를 읽을 수 있지만, 서정성에 바탕을 둔 이찬의 시세계의 원형을 찾을 수 있음도 분명한 사실이다. Lee Chan revised 20 poems under the North Korean regime which he wrote before the liberation from Japanese imperialism. The fact that there are different aspects on revision over one poem attracts sufficient attention. This study examined the aspects of revision and its intention. The revised poem of Lee Chan looked heavily influenced by external condition of the literary circle in North Korea in 1950s. The backgrounds include cultural language policy as a basis of literary circle in the postwar North Korea, removal of bourgeois aesthetics idea, popularization of liberal arts, exclusion of formalism and purification process. Though works were written in 1930s, they were pure lyrical poems which were under criticism. Thus, his revision looked as a preemptive measurement. Together with this, he needed a revision to show his coherent attitude at the front of literary policy in North Korea. But, as overall revision of contents was impossible, he did revise in vocabulary, disposition of stanza. Of course, it was a revision to conform with the literary policy but he showed a craftsmanship as a poet in the process of revision. He showed his sense of craftsman in his revision. Although he was a socialist poet in the KAPF circle, he created considerable amounts of lyrics, which looks closely related with his expression of craftsmanship. As his revised poems kept lyrical aspects to some degree, he seemed to be possible to overcome formalism and dogmatism in the literary circle in North Korea. His revision is impressive in that he reads the life of North Korean people in a lyrical sense. This is the significant point of revised poems. Though his works are based on dogmatism and objectiveness, it is also clear that his poetic prototype with a lyrical sense can be found.

이찬 시에 나타난 낭만성의 변모양상 연구

허갑순 인문사회 21 2022 인문사회 21 Vol.13 No.5

A Study of Romantic Metamorphosis in Yi ChanGapsoon Heo Abstract: This study examines the poetic transformation that reflects Yi Chan’s pessimistic romanticism and the powerful reality of the times. Analyzing the nature of pessimistic romanticism is to examine the essence of poetry and encounter a poet’s worldview. Through the period of Carp’s activities, the period of returning home, the period before and after liberation, and the period of adaptation to North Korea, he prefers the creative method of revolutionary romanticism. First, we will examine the background of the formation of pessimistic romanticism, and then examine Yi Chan’s early poetry and the transformation of his works before and after liberation. The pessimistic romance goes through a period of formation, expansion, deepening, and transition, and is hailed as a revolutionary poet in the North Korean system. The reason for recalling Yi Chan’s poetry in Korean contemporary history is because his gaze spanned both South and North Korea, his diversity of creative methods and his long surviving lives among North Korean poets vividly embody the tumultuous life of poetry. I will conclude the discussion with the hope that his status, which has been obscured by political reasons of the times, will be restored as a major player in the history of unification literature to be written in the future. Key Words: Yi Chan, Pessimistic Romanticism, Shape Change, Reality and Perception of the Times, History of Unification Literature. 이찬 시에 나타난 낭만성의 변모양상 연구허 갑 순** 연구 목적: 본 연구는 이찬의 비관적 낭만성이 강력한 현실과 시대상황을 반영하는 시적 변모양상을 고찰하였다. 연구 방법: 비관적 낭만성의 성격을 분석하는 것은 곧 시의 본질을 고찰하는 것으로 한 시인의 세계관과 조우하는 것이다. 카프 활동기, 고향 귀환기, 해방전후, 북한 순응기를 거치면서 혁명적 낭만주의 창작법을 선호하게 된다. 먼저 비관적 낭만성의 형성배경을 알아본 다음 이찬의 초기시와 해방전후의 작품을 대상으로 변모양상을 살펴보겠다. 연구 내용: 비관적 낭만성은 형성기, 확대기, 심화기, 전환기를 거치면서 북한체제에서 혁명시인으로 추대 받게 된다. 한국현대시사에서 이찬의 시를 소환하는 이유는 그의 시선이 남한과 북한에 두루 걸쳐 있으면서, 그의 창작방법의 다양성과 월북 시인들 중에서 오래 살아남아 파란만장한 삶을 생생하게 시로 구현했기 때문이다. 결론 및 제언: 앞으로 쓰여질 통일문학사의 한 주자로서 시대적 정치적 이유로 가려진 그의 위상이 바로 세워지기를 염원하면서 논의를 마치겠다. 핵심어: 이찬, 비관적 낭만성, 변모양상, 현실과 시대인식, 통일문학사 □ 접수일: 2022년 9월 30일, 수정일: 2022년 10월 20일, 게재확정일: 2022년 10월 20일* 이 논문은 2019년 대한민국 교육부와 한국연구재단의 지원을 받아 수행된 연구임(NPF-2019SIA5B5). ** 조선대학교 국어국문학과 박사(PhD, Chosun Univ., Email: hks3319@hanmail.net)

북한에서의 이찬 시의 정치적 대응과 변모양상

송숙이(Song Suk-yi) 우리말글학회 2012 우리말 글 Vol.54 No.-

북한 문학예술에서 ‘혁명시인’으로 지칭된 이찬의 시세계의 변화와 특징을 살펴보았다. 해방 직후 북한문예는 사회주의 국가 수립을 위한 제반 조치들과 함께 정권수립을 위한 지도체제의 강화를 위해 김일성 수령창조의 문학적 형상화 작업에 매진한다. 정권창출의 기본이 된 토지개혁은 당연히 문학의 주된 소재가 된다. 해방은 북한과 소련과의 관계가 더욱 돈독해지는 계기가 되면서 조소 우호의 시가 쓰여진다. 또한 새시대를 맞이하여 대중 속으로 파고들어 노동을 장려하는 현장참여시도 급격히 부각된다. 1950년 조국해방 전쟁기에 들어 북한 문학은 급격히 전시문학 체제로 개편된다. 미제국주의와 남한 이승만 정권 타도가 중심을 이룬다. 동시에 승리에 대한 확신과 희망을 주입시키는 혁명적 낙관주의 시가 쓰여진다. 또한 전쟁영웅의 형상화도 주요한 과업이었다. 전쟁후 북한은 폐허가 된 국토를 재건하는 데 총력을 기울인다. 천리마 운동은 복구 건설기 문학의 중요한 소재가 된다. 천리마 현장에서 전투적으로 노동에 참여하는 천리마 영웅의 형상화는 이찬 시의 중심을 이룬다. 이찬은 북한정권의 수립기에서 정착기에 이르기까지 정치현실의 변모에 맞추어 창작해 간 대표적인 정치시인이자 체제시인이라 할 수 있다. 북한정권의 수립을 위해서, 또 그 정권의 강화를 위해서, 지배 이데올로기와, 지배체제에 복무한 시인이었다. This study was to review the characteristics of poetry of Lee Chan and the changes in his poems, who was called ‘Revolutionary Poet’ in the field of North Korean Literature and Art. Right after Independence, North Korean Literature and Art made great efforts to make ‘Kim Il Sung Suryeong’ an idol in literature to enforce the governing system with the various actions to establish a socialist government. The land reform became a major subject of the literature works, as it was the base of the new government. The independence strengthened the relationship between North Korea and Soviet Union and poems praising the alliance of two countries were written. Additionally, field participating poems encouraging the labors emerged dramatically with the new era. In 1950, North Korean literature was reformed to War-time Literature rapidly with the outbreak of Korean War. It focused on criticism against Imperialism of America and the overthrow of Lee Seung Man’s Government. At the same time many revolution optimistic poems were written to infuse the confidence in and hope for victory. Besides, idolization of war heroes became a major task of the literature. After war, North Korea tried to reconstruct the land which became ruins because of war with all its might. Cheollima Movement became a major subject of the literature in Restoring Construction Period. The idolization of heroes who participate in Cheollima Movement became the central subject of the poems of Lee Chan. Lee Chan is a representative political and system advocating poet who has adapted himself to the political reality from the establishment of North Korean Government to its stabilization period. He is a poet who serves for the establishment and the enforcement of North Korean Government, and for the ideology and the governing system.

신라 박씨 이사금시기 중앙 권력구조와 지방 통치

채미하 한국고대사탐구학회 2018 한국고대사탐구 Vol.28 No.-

This thesis is studying about mechanical relations of central political power and governing provinces. The central territory during the Park’s Yisagum period are 6 Chon(Bu) including Kyeongdo・Kyeongsa, Kyeongseong(Kuemsung and Weolsung) and the area of provinces is related to the boundary of the territory. The Park’s Yisagum is divided to Yi(Beol)Chan-called stage, Daebo- called stage, and Daebo exercised administrative right and military right while Yichan excercised only admistrative right until IlsungYisagum period at which in-charging of military right and administrative right. And the provinces were 6 Chon(Bu) until Daebo stage, which were Joo・Kun during Daebo stage and Sung・Hyun are also showed in Yichan stage. When YiChan stage took in charge of military right and administrative right, Yisagum performed military ceremonies rather than direct military actions and hold Yichan resposibility by establishing Jeongsadang. The ruling on the provinces in the territory had most provinces are indirectly ruled in acknowledging foundation of the areas. 본 글은 신라 박씨 이사금시기 중앙 정치세력의 역학관계와 지방 통치에 대해 살펴본 것이다. 박씨 이사금시기의 중앙은 京都・京師로, 京城(금성과 월성)을 포함한 6촌(부) 지역이며 지방의 범주는 경계와 관련 있다고 하였다. 박씨 이사금시기는 대보를 칭한 단계와 이찬을 칭한 단계로 구분되는데, 대보는 행정권과 군사권을 행사하였고 이찬은 행정권만 장악하다가 일성이사금 이후 내외의 군사권과 행정권을 담당하였다. 그리고 탈해이사금 11년을 전후로 지방은 경주 일대를 벗어난 주・군으로 확대되며, 성・현도 등장한다고 하였다. 한편 박씨 이사금시기 중앙 정치는 이사금과 대보・이찬의 역학 관계 속에서 이루어졌다. 특히 이찬이 군사권과 행정권을 관장한 단계에서 이사금은 직접적인 군사행동보다는 군례를 행하였으며, 정사당 설치를 통해 이찬에게 책임을 물었다. 이 시기 영역화된 지방에 대한 지배는 대부분 그 지역의 기반을 인정하는 간접지배가 이루어졌다고 하였다.

일제 말 조선인을 위한 차선의 모색과 그 한계 -해방 전 이찬의 시와 희곡-

윤진현 ( Jin Heon Youn ) 민족문학사학회·민족문학사연구소 2016 민족문학사연구 Vol.60 No.-

Lee Chan(李燦), known as a poet, was also a playwright who left 4 plays from 1943 to 1945, the end of the Japanese colonial period. His 3 works ``Sewol`` (``Jogwang``, from May to June in 1943), ``The People Sending`` (``Shinsidae``, Aug. in 1944), ``The Victorious Village`` (``Chunchu``, Oct. in 1944) are already known, and ``Beyond the Front Line of Love`` (愛線 を越へて) written in both Korean and Japanese was included in the combined issue (the May 1945 issue and the June 1945 issue) of the magazine ``Jogwang``. The work ``Beyond the Front Line of Love`` is his play published in his Japanese name Aoba Kaori(靑葉薰). The fact that the poet wrote a series of plays is rather unexpected; but he had been planning to publish the Sprechchor play ``Chusu(秋收)`` before he was imprisoned with Shin Go Song, etc. for the Wooridongmu case. The play as a means of propaganda can be seen as the result of deliberation on genre, deliberation aiming to solve the undetectable real problems of the period through lyric representation. That is because his first work ``Sewol`` was focused on judgement on the choices the People of Choseon had during the war and ``The People Sending`` and ``The Victorious People`` written as scripts for mobile musical troupes connoted critical alternatives to the Mobile Theatre that was on a tour of the whole Choseon. It goes without saying that these were pro-Japanese works in that they approved of the draft and conscription and encouraged participation in the war. But this thesis paid attention to the works`` hidden side where survival methods as the second best survival plans in the period were presented, rather than discussing his pro-Japanese poems and plays published then. In addition, it intended to look at the doubts he had as a writer, the doubts causing a crack on the hidden side of the works. First, there is a difference between his poems classified into pro-Japanese poems written in the period and the poems with the same title written then by other poets : the poetic narrators and objects could not be unified. Such a crack stakes out in the hidden theme of a play, rather than being exposed clearly. The play ``Sewol`` was published in 1943, during the 2nd period of the war. But it was contemplated based on the situation of the 2nd period, and deals with the advantages of the people of Choseon and with the choices they made on the assumption that Japan would gain supremacy. But as for ``learning the official language (Japanese language)``, the gist of the Japanization policy, information distorting the actual military situation was in internal confrontation with the reality of the people of Choseon, which creates a crack in the consistent theme of the work. In ``The People Sending`` and ``The Victorious Village``, the antagonists look far away; instead, activeness, spontaneity, solidarity, friendship are placed on the front side, people from lower classes playing a main role in showing those, through which it can be seen that he is paying attention to the characters`` wisdom in terms of overcoming crisis, rather than the feelings of hostility towards the warfare antagonists looking far away. But the romantic alternative for such active main agents ends up being destroyed completely in ``Beyond the Front Line of Love``. In the situation where the inflammatory logic of war mobilization is in an all-out confrontation with the tragedy of family loss, the former (the inflammatory logic) is criticized and a deviation from subjective romanticism is done through the protagonist`s dual expression. To sum up, he chose the second best survival plan and then used the turnaround strategy, that is the maximization of the advantages of the people of Choseon, instead of resisting the Japanese Empire through his plays written at the end of the Japanese colonial period; but he finally failed, which means that it was impossible to achieve even such a strategy in the full-scale mobilization system then.

이찬 시에 대한 북한문학사의 인식 연구

김수복,강민정 국제한인문학회 2011 국제한인문학연구 Vol.- No.8

이찬의 개작시(改作詩) 양상과 의의

송숙이(Song, Suk-yi) 한국어문학회 2012 語文學 Vol.0 No.116

Lee Chan revised 19 poems under the North Korean regime which he wrote before the liberation from Japanese imperialism. The fact that there are different aspects on revision over one poem attracts sufficient attention. This study examined the aspects of revision and its intention. The results are as follows. The revised poem of Lee Chan looked heavily influenced by external condition of the literary circle in North Korea in 1950s. The backgrounds include cultural language policy as a basis of literary circle in the postwar North Korea, removal of bourgeois aesthetics idea, popularization of liberal arts, exclusion of formalism and purification process. Though works were written in 1930s, they were pure lyrical poems which were under criticism. Thus, his revision looked as a preemptive measurement. Together with this, he needed a revision to show his coherent attitude at the front of literary policy in North Korea. But, as overall revision of contents was impossible, he did revise in vocabulary, disposition of stanza and rhetoric. Of course, it was a revision to conform with the literary policy but he showed a craftsmanship as a poet in the process of revision. He showed his sense of craftsman in his revision. Although he was a socialist poet in the KAPF circle, he created considerable amounts of lyrics, which looks closely related with his expression of craftsmanship.

해방 이후의 이찬의 시 세계

송숙이(Song Suk-yi) 우리말글학회 2011 우리말 글 Vol.52 No.-

This article reviewed the poetic world of Lee Chan after Independence from Japan, which has not been studied enough. In other words, it is to identify where is the root of his poetic world. It is to identify the difference between South and North literature (the orientation of North Korean Literature) as well as to identify the sense of literature and to draw a topographic map of a writer. Additionally, it will make us prepared for the history of literature of reunification by reviewing heterogeneity of North and South Korean literatures. If categorizing the poems of Lee Chan after Independence, they can be classified as poems dealing with the joy of independence, praise of Kim Ilsung, comradeship with Soviet Union, wrath at Japan and US and the ones encouraging labor according to Land Reform. Literature and Art in North Korea is a tool to educate the public as communist citizens, and revolutionize and classify the society. A writer is no more than ‘a technician to reform human will.’ In North Korea, literal activities are deemed same as political activities. For literature is the tool to propaganda the ideology of the system maintenance and move people as they want. Lee Chan is the writer who followed the strategical guidelines of the Party faithfully that proposed the themes and contents of the creation as the task of the era and implemented them in his poems. He lived a life adapting himself to the system. He did not have a sense of literature that a writer should have, so to speak, he did not reflect the objective reality and actuality in his works.

<민족과 운명: 카프 작가 편>으로 보는 남북의 시차(視差)

임형모,현현준,심채영 국어문학회 2023 국어문학 Vol.83 No.-

This paper aims to explore the parallax view of KAPF literature in South and North Korea by focusing on the ‘KAPF Writer's Section’ of the North Korean multi-part film ‘The Nation and Destiny’. The KAPF Writer's Section is a nine-part epic drama that runs for 12 hours and 30 minutes, from episode 34 to 42. It is also a kind of road movie. The protagonist of the film is the poet Lee Chan. The film tells the story of a poet's journey from a national poet to a revolutionary poet, using a checkered structure of the present and the past. The film emphasizes ideology(anti-Japanese revolutionary literature) over form. The film also features a schematic nature that strives to create the form of the leader, who is symbolized by the sun. The poet Lee Chan is evaluated as both a KAPF and a pro-Japanese poet in South Korea, but in North Korea, he is evaluated as a revolutionary poet who wrote the poem “A Song of General Kim Il-sung.” Therefore, the film creates a point of contact between the KAPF and Kim Il-sung through a KAPF poet who travels to find Kim Il-sung, who is a symbol of the anti-Japanese partisan. The film also portrays Lee Gwang-su, who is constantly in conflict with Lee Chan, as a cunning character. That is a point that reveals a very different difference from the South Korean perspective. As a result, there is a significant distortion of facts. The reason for such distortions in the film is that it uses a strategy that relies on national common emotions as a tool to impress the people and promote ideology. The problem is the consciousness that thinks that some degree of distortion of phenomena or facts is not a problem when it is based on ‘national common emotions’. It can be confirmed that such consciousness is becoming the origin of the parallax view between the two Koreas. In conclusion, if we assume that this study is based on unification literature, the history of unification literature should come from the confirmation of the parallax view between the two Koreas. 본 논문은 북한의 다부작 영화인 <민족과 운명: 카프 작가 편>을 중심으로 남한과 북한에서 바라보는 카프 문학의 시차를 짚어 보고자 했다. ‘카프 작가 편’은 34부에서 42부까지 모두 9편으로, 12시간 30분 분량의 대하드라마이자 일종의 로드무비이다. 영화는 시인 이찬이 주인공으로서 평범했던 시인이 민족시인에서 혁명시인으로 거듭나는 과정을 현재와 과거의 격자식 구조로 보여주고 있다. 주인공의 여정 속에서 영화는 형식보다는 사상성(항일혁명문학)을 강조하며 태양으로 상징되는 수령 형상의 창조를 위해 매진하는 도식성을 특징으로 한다. 시인 이찬은 남한에서는 프로 시인이자 친일이라는 이중적 평가를 받으나 북에서는 <김일성 장군의 노래>라는 시를 쓴 혁명시인으로서, 영화는 항일빨치산의 상징인 김일성을 찾아가는 카프 시인을 매개로 하여 카프와 김일성 간의 접점을 만들어 내고 있다. 또한 시종일관 이찬과 대립 관계에 있는 인물인 이광수를 교활한 인물로 그리는 등 영화는 남한의 시각과는 매우 상이한 차이를 노정하고 있다. 결과적으로 사실의 왜곡이 적지 않은데, 영화에서 그러한 왜곡이 나타나는 이유는 인민을 감화시키고 사상성을 고취하기 위한 장치로 민족적 공통 정서에 기대는 전략을 사용하고 있기 때문이다. ‘민족적 공통 정서’에 기댄다고 했을 때, 어느 정도의 현상이나 사실의 왜곡은 문제가 되지 않는다고 생각하는 의식이 남북의 시차를 만드는 연원이 되고 있음을 확인할 수가 있다. 결론적으로 이러한 연구가 통일문학을 전제로 한다고 가정했을 때, 통일문학사는 남북의 시차를 확인하는 일로부터 비롯되어야 할 것이다.

The Shaping and Progress of Korean Historical Geography Since 1945

Keumsoo Hong 대한지리학회 2012 대한지리학회지 Vol.47 No.4

현대 역사지리학은 일제강점기 일본 여러 대학의 지리역사과에서 수학한 1세대 지리학자, 특히 노도양의 선구적인 활약에 힘입은 바 크며, 1960년에 미국 유학을 마치고 귀국한 이찬에 의해 본격적인 출발과 비약적인 성장을 기대할 수 있었다. 사우어의 문하생인 니펜의 지도를 받은 연유로 이찬은 답사와 문헌자료에 입각한 버클리 학파의 방법론을 한국에 이식하였으며, 1988년에 한국문화역사지리학회를 창립하여 과거의 지리와 지리적 변화에 관심을 가진 학자의 역량을 결집하는 구심체로 삼았다. 2세대 학자가 양산된 1980년대 이래 한국 역사지리학은 케임브리지 학파의 단면법의 성과를 수용하면서 연구의 활성화를 기하고 있으며, 주제와 방법론의 폭을 넓혀가고 있다. Korean historical geography as a distinct subset of modern geography began with the pathbreaking efforts of Do-Yang Roh in the second half of the 1940s. He was joined in 1960 by founding father Dr. Chan Lee who carried with himself the Berkeley geography he learned from Fred Kniffen, his advisor, and Robert West at Louisiana State University. Dr. Lee, the single-most important figure in the development of Korean historical geography, founded in 1988 the Association of Korean Cultural and Historical Geographers in order to pull together those interested in past geographies and geographical change. Korean historical geography took off in the 1980s when large numbers of doctoral theses were produced domestically and abroad and British cross-sectional methodology added. Diversity in research theme and methodology characterizes present-day Korean historical geography.