식민지 조선에서 슈티르너 철학의 변용과 그 의미 및 한계 - 염상섭의 「지상선 (地上善)을 위하여」를 중심으로 -

박종성 한국철학사상연구회 2022 시대와 철학 Vol.33 No.2

This thesis explores how Stirner’s philosophy was transformed in colonial Joseon in the 1920s. In addition, we try to find out the meaning and limitations of such transformation through Yeom Sang-seop’s writings. In 1922, Yeom Sang-seop wrote ‘For the good of the earth.’ In this article, he introduces Stirner’s ‘The Unique and Its Property.’ Yeom Sang-seop is citing Stirner’s writings directly and expressing his views. In this process, Yeom Sang-seop emphasizes ‘Nora’, which appears to be a transformation of Stirner’s ‘The Unique.’ And Yeom Sang-seop portrays Nora as another aspect of the Unique. In other words, the form of ‘the Unique is a traitor’ is transformed into ‘Nora is a traitor.’ And he presents a ‘Egoist’ as a ‘charityist’. Also, Nora as a ‘traitor’ is a transfiguration of Jesus as a ‘traitor’. This structure can already be found in Stirner’s work. Moreover, it can be found that Yeom Sang-seop’s ‘singleness’ is a transformation of Stirner’s ‘uniqueness’. In addition, Yeom Sang-seop’s ‘self’ is a transformation of Stirner’s ‘I’. Yeom Sang-seop’s emphasis on possession can be seen as a transformation of Stirner’s ‘self-ownership’. However, Yeom Sang-seop correctly understood Stirner’s egoism. However, Yeom Sang-seop insists that we serve the object Stirner rejects. So, Yeom Sang-seop shows a contradiction in claiming to serve universality or essence (humanity, nation). The reason is that Yeom Sang-seop understands Stirner’s ‘I’ as a destructive and deconstructive ‘I’ and at the same time an absolute and complete ‘I’. This is the limiting point of the transformation process. However, I think this limitation was the result of the urgency and earnestness to fill the gap between the necessity of national liberation and the existence of colonial Joseon. Nevertheless, it is significant that Yeom Sang-seop’s acceptance and transformation of Stirner’s philosophy in colonial Joseon was one of the colorful protests for national liberation. 이 논문은 1920년대 식민지 조선에서 슈티르너의 철학이 어떻게 변용되었는지를 탐구한다. 아울러 그러한 변용의 의미 및 한계를 염상섭의 글을 통해 찾아내고자 한다. 1922년에 염상섭은 「지상선을 위하여」를 집필한다. 이 글에서 그는 슈티르너의 『유일자와 그의 소유』를 소개한다. 염상섭은 슈티르너의 글을 직접 인용하면서 자신의 견해를 밝히고 있다. 이 과정에서 염상섭은 슈티르너의 ‘유일자’를 변용한 것으로 보이는 ‘노라’를 강조한다. 그리고 그는 노라를 유일자의 또 다른 모습으로 그려낸다. 다시 말해 ‘유일자는 반역자이다’라는 형태를 ‘노라는 반역자이다’라는 모습으로 변용한다. 그리고 ‘자기중심적 사람’을 ‘자애주의자’로 제시한다. 또한 ‘반역자’로서의 노라는 ‘반역자’로서의 예수를 변용한 것이다. 이러한 구조는 이미 슈티르너의 저작에서 확인할 수 있다. 게다가 염상섭의 ‘독이성’은 슈티르너의 ‘유일성’을 변용한 것이라는 사실을 발견할 수 있다. 또한 염상섭의 ‘자아’는 슈티르너의 ‘나’를 변용한 것이다. 염상섭의 소유에 대한 강조는 슈티르너의 ‘자기소유성’을 변용한 것으로 보인다. 그런데 염상섭은 슈티르너의 자기중심성을 적확하게 이해하고 있었다. 그러나 염상섭은 슈티르너가 거부하는 대상에 봉사해야 한다고 주장한다. 그러니까 염상섭은 보편성 혹은 본질(인류, 민족)에 봉사해야 한다고 주장하는 모순을 보인다. 그 이유는 염상섭이 슈티르너의 ‘나’를 파괴적이고, 해체적인 ‘나’로 이해하면서 동시에 절대적이고, 완성적 ‘나’로 이해하기 있기 때문이다. 이것이 변용 과정의 한계점이다. 하지만 이러한 한계는 민족 해방이라는 당위와 식민지 조선이라는 실존의 간극을 메우려는 다급함과 간절함의 귀결이었다고 생각한다. 그럼에도 불구하고 염상섭이 식민지 조선에서 슈티르너의 철학을 수용하고 변용한 것은 민족 해방을 위한 다채로운 저항의 모습 중 하나였다는 점에 의의가 있다.

정치 이데올로기의 배제를 위해 선택한 ‘생활자’의 지향점 - 염상섭의 「離合」과 「再會」를 중심으로 -

염형운 ( Yeom Hyoung Woon ) 세계문학비교학회 2021 세계문학비교연구 Vol.75 No.-

Yeom Sang-seop is a relatively researched writer by various researchers. Nevertheless, his research on post-liberation novels has been relatively less studied because of the lack of fiction completion compared to pre-liberation novels. However, Since being reevaluated by Kim Jae-yong and Choi Hyun-sik, research on Yeom Sang-seop’s post-liberation novel has emerged from various perspectives. As an extension of this perspective, this study also seeks to examine Yeom Sang-seop’s post-liberation novel from the perspective of a “living person”. The purpose of this study is to analyze how Yeom Sang-seop tried to find the meaning of “living” out of the severe confrontation of political ideology that emerged after liberation. To this end, I would like to analyze the situation of the post-liberation paragraph and Yeom Sang-seop’s presentations at the time and how he is shaping it into a novel. Through this, we will reveal how Yeom Sang-seop reveals the meaning of life, which he has consistently emphasized in the novel, as a person in the novel after liberation. In addition, the characteristics of the characters in the novel shall be revealed through the analysis of the series of “Separation” and “Reunion” Yeom Sang-seop experienced many things during his one-year journey home after liberation. He did not engage in any literary activities while living in Manchuria, and various experiences after liberation are embodied in various works of fiction. However, Looking at his writings in various magazines during this period, he argues that literature should deviate from political ideology after liberation. Yeom Sang-seop experienced many things during his return home for more than a year after liberation. When he was living in Manchuria, he did not create his own music, but his experience of returning home after liberation was later portrayed as a novel. Yeom Sang-seop believes that after liberation, new literature should move away from inter-Korean political ideology and find its way out. For him, the right writer is to find the purpose of literature and portray the true life. This true life of a living person is revealed through Jang Han, the main character of the series of “Separation” and “Reunion”. Jang Han stayed in North Korea after liberation and moved to South Korea due to conflicts with Shin Sook to find stability in his life. Yeom Sang-seop tries to overcome the family breakdown caused by political ideology through the stabilization of the living. As Jang Han functions as a living person in the novel, the family recovers. This can be said that Yeom Sang-seop found a new direction for literary creation in his true life to overcome the chaotic situation caused by the confrontation of political ideologies of the time. His direction of creation of the novel will continue through the appearance of a living person revealed in other works in the future.

염상섭과 4·19혁명

오창은(Oh, Chang eun) 국어국문학회 2015 국어국문학 Vol.- No.170

Yeom Sang-seop contributed significantly to the development of Korea’s recent-modern literature. He was born in 1897. During the Japanese colonial rule of Korea, he was a representative Korean literary man, and during Korea’s liberation period, he was a journalist serving as the chief editor of the Kyunghyang Shinmun. During the Korean War, he served as a Troop Information and Education Officer at Navy Headquarters, and in the 1950s, he was the president of Seorabeol Art College. During the April 19 revolution in 1960, he was a long-life member of the National Academy of Arts, and a representative senior literary man of Korea’s literary circles. This study sought to examine how Yeom Sang-seop, in his advanced age, responded to the April 19 Revolution in 1960 to identify the social perception of Yeom Sang-seop’s literature. Also, it sought to verify that, by examining the relationship between Yeom Sang-seop and April 19 Revolution, the revolution proved legitimate through the ties between generations. On May 8, 1959, Yeom Sang-seop, together with 33 literary men, declared a statement, strongly demanding that the government withdraw its cancellation of the publication of the Kyunghyang Shinmun Newspaper. He ran a long column in the Dong-A Ilbo on the first page on May 9, 1959, under the title of “Is the public opinion united?” At that time, Yeom Sang-seop strongly defended the freedom of speech as the foundation of democracy, and sharply criticized the Liberal Party. When cultural artists were forcefully used to help the election of Syngman Rhee and Lee Ki-poong as president and vice president, Yeom Sang-seop’s literary activities were profoundly meaningful. As a senior literary man, he showed a distinctive critical attitude toward the government exercising political power improperly. Yeom Sang-seop’s criticism of the Liberal Party government and his anger over the corrupt election carried bigger weight in his writings published during the April 19. He ran The Way to the Big Road in The Dong-A Ilbo on April 25, 1960. On May 3, 1960, after the April 19 Revolution, he ran “Students Did Great Thing; the Great Feat of April 19 Revolution” in The Chosun Ilbo. In these two articles, Yeom Sang-seop distinctively supported the April 19 Revolution, and proposed solutions to the pending issues as a senior literary man. His remarks of supporting the students’ action are meaningful in terms of the ties between the old and new generations during the revolutionary and reformative period. He affirmatively saw the ordeal of Korean society as the creation of democatic foundation, advocated the construction of a democratic nation, and offered bitter yet useful advice to the young generation. Yeom Sang-seop advocated the passion for forming a nation and the creation of a democratic foundation. This is part of Yeom Sang-seop’s realism. In light of his writings published in newspapers, the April 19 Revolution was made successful because young students sacrificed themselves, which obliged adults to do something in return, and because a wide range of sympathy and consensus was formed across generations including the elderly generation.

『만세전』과 초기 염상섭의 아나키즘적 정치미학

권철호 ( Cheol Ho Kwon ) 민족문학사학회·민족문학사연구소 2013 민족문학사연구 Vol.52 No.-

The purpose of this study is to identify the characteristics of ``political aesthetic of anarchism` reflected on the early part of the Yeom Sang-Seop`s field of literature and to re-read ``The Mansejeon`` which is one of the his early works. The reason that ``Myoji`` written by Yeom Sang-Seop could be serialized on ``Sinsanghwal`` in 1922 is he had network with the writers of ``Sinsanghwal``. The relations of Yeom Sang-Seop and Sinsanghwal were showed well through the reaction of Yeom Sang-Seop about the case of a serious slip of the pen Yeom Sang-Seop attended the meeting dealing with the case of a serious slip of the pen as a representative of the ``Dongmyung`` and also published many papers against the government on the ``Dongmyung``. It is because he shared the ideological intention called as anarchism with ``Sinsanghwal``. When we examine the ``personality and art`` regarded as the Yeom Sang-Seop`s announcement of Naturalism, it is found the likeness to the Idea of Ganeko Umagi who is one of the Japanese philosopher of life. Ganeko Umagi has understood the trend of Naturalism literature as the characteristics of fin-de-siecle mood like description of dark side. He defined the naturalism of France as the narrow Naturalism literature, meanwhile, included the Northern Europe writers into the Naturalism literature in a broad sense. He had a monistic view that Art equal to ``the living / life`` and emphasized that the true Art is the expression of the only specialty of the personality. It is analogous with the opinion of Yeom Sang-Seop that the true art is the expression of the “originailty of unique ego” at the ``personality and art``. However Yeom Sang-Seop transformed ``the personality`` into ``the rebel`` against the social suppression mechanism by combining the concept of ``the personality`` and the concept of ``the rebel`` of Max Stirner in the process of accepting the concept of Naturalism of Ganeko Umagi The Mansejeon is the work reflected Yeom Sang-Seop`s consciousness of the times in the early of 1920s. Mansejeon is the novel which explored the trigger for ``the 1919[Samil] Independence Movement`` and described ``Chosun`` of the day as a ``cemetery``. However the ``cemetery`` is not only the nihilistic ruined place but also represent the turning point which The New-age can be started at. Although ``the 1919[Samil] Independence Movement`` wasn`t embodied in his work, it was implied as the turning point opening the New-age divorced from the Old-aged juxtaposed with the wife dying for giving a new birth. Yi-In-Hwa having the cynical reason is the character whose intelligence and action are splitted. He knows that he is bound but he doesn`t know what makes him bound. However he had confirmed various suppression mechanism of the Empire of Japan while he traveled from Tokyo to Kyung-sung and took himself to pieces as a colonist by self-treason. After Yi-In-Hwa had realized the situation of Chosun in those days is not different from cemeteries, he recognized that he should betray the social system of the day through ``destruction and creation`` which are the mottos of anarchism. Yi-In-Hwa who had realized the importance of ``the life and personality`` through the death of his wife emphasized that he should become a traitor who is the main agent of the global turning point in the letter to Jung-ja. However Yeom Sang-Seop failed to describe traitor type of characters after Mansejeon, that is because the experiment of ``reconstitution of the main agent`` was disappointed by the social movement in Chosun moving to Marxism-Leninism after the 1919[Samil] Independence Movement.

염상섭 초기 문학론의 형성과정 연구

장두영(Chang, Du-yeong) 한국어문학회 2013 語文學 Vol.0 No.121

The purpose of this thesis is to research the early development of Yeom Sang-seop’s literary theory in 1918∼1921. Before starting Yeom’s literary career as a fiction writer, he wrote several critical essays under the name of Jewol. They are mostly related to two arguments. The issues of the argument between Yeom Sang-seop and Hyeon Sang-yun are individualism and collectivism. Yeom was insistent in the advocacy of individualism against Hyeon who was the center of Korean student studying in Japan and a believer in the theory of social evolution. Yeom quoted Natsume Soseki’s idea about individualism to back his argument. Individualism that Yeom accepted at that time led to the theory about individuality in 1920’s. The argument between Yeom Sang-seop and Kim Dong-in lead Yeom to systematize literature theory. Yeom’s gave an obscure answer to Kim’s question at an early stage of argument. In the argument continued, Yeom suggested the concept of author’s self-expression and he elaborated the concept. In this argument, Yeom borrowed Natsume Soseki’s idea about art and artist. But it was not directly connected to Yeom’s opinion. In his opinion, we can find some keywords that form basic of Yeom’s literary theory in 1920’s and those keywords don’t coincided with keywords of Natsume Soseki’s theory. Two arguments associated with Yeom’s entry to literary circles. Going through two arguments, he considered individuality and writing fiction. Several essays in early 1920’s such as “Under a tree of heaven”, “Individuality and Art” show that Yeom emerged from influence of Natsume Soseki and he was trying to establish his own independent literary theory. In short, Yeom Sang-seop addressed himself to the theme of art and literature in consequence of two arguments and attained the theory of individuality.

아리시마 다케오 『선언』(1915)의 전유와 염상섭의 『너희들은 무엇을 어덧느냐』(1923)

이원동 한국어문학회 2024 어문학 Vol.- No.166

아리시마 다케오는 1920년대 한국 근대문학자들에게 많은 영향을 끼쳤다. 염상섭에게도 예외는 아니었는데, 「제야」, 「암야」 등 초기 단편들은 물론 장편소설 『너희들은 무엇을 어덧느냐』에서도 그 흔적을 발견할 수 있다. 염상섭의 초기 단편들에서 아리시마 다케오의 영향은 주로 인물의 내면 고백, 편지체 등의 주제와 형식 차원에서 발견된다. 이는 한국의 근대소설이 일본 자연주의 소설을 '참조'하면서 형성되었다는 점을 시사한다. 그러나 그 형성의 과정은 또한 한국 근대소설이 일본 자연주의 소설을 자기맥락에서 재구성하는, 즉 '전유'하는 과정이기도 했다. 예를 들어, 염상섭의 『너희들은 무엇을 어덧느냐』는 아리시마 다케오의 『선언』에서 영향을 받았다. 인물들의 내면적 진실을 드러내기 위해서 편지를 활용한다는 점, 외국 문학 텍스트를 읽고 스스로의 삶을 반추하는 인물을 설정했다는 점 등이 그것이다. 특히 『너희들은 무엇을 어덧느냐』의 인물들이 읽은 외국 문학 중에는 『선언』도 있었다. 그러나 염상섭은 『선언』의 소설적 방법들을 다르게 활용했다. 염상섭 소설에서 편지는 인물들의 내면적 진실을 확증해 주기보다는 그 진실을 감추고 인물의 말과 행동이 불일치한다는 점을 드러내는 식으로 활용했다. 또한 외국 문학 텍스트의 윤리적 수준보다 훨씬 높은 인물을 설정한 『선언』과 달리 일상적인 윤리 수준에도 미치지 못하는 인물을 설정했다. 그럼으로써 소설 속 인물들을 비판적이고 객관적으로 바라보는 소설적 방식을 활용했다. 이와 같이 염상섭은 초기 단편소설에서 인물의 내면적 진실을 담아내는 방식에서 탈피하여, 그 이면을 파헤치고 객관화하는 방법을 확립해 나갔다. 그런 점에서 『너희들은 무엇을 어덧느냐』는 염상섭이 예술가로서 자립해 가는 과정의 한 단계를 엿볼 수 있다는 점에서 새삼 주목해야 한다. Takeo, Arishima had a great influence on modern Korean literature in the 1920s. Yeom Sang-seop was no exception, but his traces can be found not only in early short stories. but also in the 『What Did You Get』 of what you add to the novel. Takeo, Arishima's influence in Yeom Sang-seop's early short stories is mainly found in the themes and form of the character's inner confession and font. This suggests that modern Korean novels were formed by 'referencing' Japanese naturalist novels. However, the formation process was also a process in which modern Korean novels reconstructed Japanese naturalist novels from their own context, that is, 'exclusive'. For example, Takeo Arishima's 『the Declaration』 of influenced the of what you add to. These include using letters to reveal the inner truth of the characters, and setting up characters who reflect on their lives after reading foreign literary texts. In particular, among the foreign literatures read by Yeom Sang-seop's characters, there was the 『the Declaration』. However, Yeom Sang-seop used the novel methods of 『The Declaration』 differently. In Yeom Sang-seop's novel, rather than confirming the inner truth of the characters, the letter was used as a way to hide the truth and reveal that the characters' words and actions were inconsistent. In addition, unlike 『The Declaration』, which set characters far higher than the ethical level of foreign literary texts, characters who did not meet the daily ethical level were also set. By doing so, he utilized a novelistic method of critically and objectively viewing the characters in the novel. In this way, Yeom Sang-seop established a method of digging into and objectifying the backside, breaking away from the method of capturing the inner truth of the characters in early short stories. In this regard, the 『What Did You Get』 should be noted again in that it gives you a glimpse of a step in Yeom Sang-seop's process of becoming independent as an artist.

염상섭의 『효풍』, ‘남북협상운동’과 ‘탈식민-냉전’에 대한 서사적 응전

고명철 영주어문학회 2025 영주어문 Vol.60 No.-

식민지 조선에게 제2차 세계대전의 종전은 아시아의 식민 침탈자인 일본 제국주의로부터 ‘해방’하는 것이자 근대의 온전한 민족통합의 국민국가로서 ‘독립’을 완수할 정치적 과제를 제기한다. 하지만 2차 대전 종전 후 연합국의 승전국 미국과 소련이 제국 일본에 대한 점령군으로서 군사적·정치적 대결 구도가 북위 38도선을 경계로 전개되면서, 이에 대한 민족지성과 구성원 사이 민주적 평화통일독립 국가를 세우기 위한 높은 차원의 정치적 결속과 실천에 매진하지 못한 채 도리어 미·소로 분극화되는 글로벌 냉전 속 민족분열의 혼돈이 배가하는 현실에 놓인다. 염상섭의 신문연재 소설 『효풍』(1948)은 해방공간에서 제기된 이 같은 정치사회적 문제를 정면으로 다룬다. 『효풍』이 한국문학사에서 특히 해방공간에서 거둔 문학적 성취와 그 서사적 응전은 괄목할 만한 연구 성과를 축적하고 있다. 그중 미소공위의 결렬로 조국 분단의 징후와 그 현실적 위기가 가시화됨에 따라 염상섭은 미군정과 소련군정의 대결 구도를 부정하고 지양하는, 그리하여 남한만의 단선·단정을 거부함으로써 민주주의적 평화통일 독립국가를 추구하는 이른바 남북협상파의 정치적 움직임을 적극 동조 및 지지하는 차원에서 언론인­작가의 활동에 전심전력했다는 것을 주목해야 한다. 『효풍』의 연재는 언론인­작가로서 염상섭이 남북협상을 통해 백척간두에 서 있는 남과 북이 미소의 냉전체제로 전락되지 않기 위한 서사적 분투의 산물이다. 여기서, 『효풍』이 38선 이남 미군정의 통치 아래 펼쳐진 정치사회적 풍향계를 어떻게 응시하며, 그것에 대한 비판적 서사를 어떻게 실천하고 있는지를 눈여겨볼 필요가 있다. 이것은 2차 대전 후 종래 유럽의 구제국주의 질서를 대신하여 미국 주도의 자본주의 세계체제로 국제질서를 재편하기 위한 글로벌 냉전 구도 아래 한반도에 가시화될 남과 북의 분단에 대한 염상섭의 서사적 응전이란 점에서, 한국문학의 시계(視界)로 자족하는 것을 넘어 세계문학으로서 서사적 재현으로 손색이 없음을 강조하고 싶다. 『효풍』은 그러므로 식민지 조선 시절부터 해방 조선에 이르는 시기까지 염상섭이 진력해온 문학과 예술과 삶정치를 득의(得意)한 ‘염상섭의 세계성’이라 해도 과언이 아닐 것이다. 누구보다 리얼하고 중층적·다면적 세계인식과 내밀한 감응력을 체현해온 염상섭. 그의 『효풍』은 2차 대전 후 막강한 신제국으로 부상한 미국과 소련 중심의 글로벌 냉전체제로의 재편 속에서 한반도의 조국 분단에 대한 남북협상운동의 서사적 재현이란 점에서, 염상섭식 ‘탈식민­냉전’에 대한 ‘쟁점으로서 세계문학’이고, 한반도 역사의 여명을 맞이할 준비를 하고 있다는 점에서 ‘수행으로서 세계문학’이다. For colonial Joseon, the end of World War II raises the political task of ‘liberating’ from the Japanese imperialism, the colonizer of Asia, and completing ‘independence’ as a nation-state of full modern national unity. However, after the end of World War II, the military and political confrontation between the Allied Powers, the United States, and the Soviet Union, as occupying forces against imperial Japan, developed around the 38th parallel north, and the chaos of national division in the global Cold War, which is polarized into the US and Russia, rather than focusing on high-level political solidarity and practice to establish a democratic and peaceful independent state between the nation’s nationality and its members, was doubled. Yeom Sang-seop’s novel Hyopoong(효풍)(1948), a novel published by newspapers, deals directly with such political and social issues raised in the emancipation space. The literary achievements and epic responses of Hyopoong(효풍) in the history of Korean literature, especially in the emancipation space, accumulate remarkable research results. Among them, it should be noted that as the signs of the division of the motherland and its realistic crisis became visible due to the collapse of the U.S.-Soviet relationship, Yeom Sang-seop focused his efforts on the activities of journalist­writer in order to actively sympathize with and support the political movements of the so-called inter-Korean negotiators who seek an independent state of democratic, peaceful unification by denying and avoiding the confrontation between the U.S. and Soviet military governments. The serialization of the Hyopoong(효풍) is the product of Yeom Sang-seop, a journalis­writer,’s epic struggle not to reduce the South and the North standing at the back of the Soviet Union through inter-Korean negotiations into a Cold War system of the United States. Here, it is necessary to pay attention to how the Hyopoong(효풍) looks at the political and social wind system that has unfolded under the rule of the US military government south of the 38th parallel and practices a critical narrative about it. I would like to emphasize that this is an epic response to the division of the South and the North, which will be visible on the Korean Peninsula under the global Cold War structure to reorganize the international order into a capitalist world system led by the United States in place of the traditional European rescue order after World War II, beyond being self-sufficient as a horizon of Korean literature. Hyopoong(효풍), therefore, represents the culmination of Yeom Sang-seop’s literary, artistic, and political efforts spanning from colonial to liberated Korea, and it would not be an overstatement to speak of the “worldliness of Yeom Sang-seop.”Yeom Sang-seop, who has embodied more realistic, multi-layered and multi-faceted world awareness and intimate sensitivity than anyone else. His Hyopoong(효풍), is a world literature as an “issue” for Yeom Sang-seop’s decolonialized­Cold War, and a world literature as a practice in that he is preparing to face the dawn of Korean history amid the reorganization of a global Cold War system centered on the U.S. and the Soviet Union, which emerged as powerful new empires after World War II.

‘근대적 개인’으로서의 작가와 소설작법 -염상섭의 소설론과 실제비평을 중심으로-

송명진 ( Song Myung-jin ) 국제어문학회 2019 국제어문 Vol.0 No.81

This study examined Yeom Sang-seop’ novel writing and explored how to translate everyday language into a modern fiction language. Yeom Sang-seop’s theory of novel writing was a modern individual-based novel writing theory. He argued that the expression of a modern individual’ personality was art. Therefore, in many discussions, he emphasized the author’s experience, self-discipline and effort. These characteristics of the author comprise a novel theory in itself because Yeom Sang-seop thought the writer would soon be a novel. Yeom Sang-seop also argued that all means of literature were realism, and he discussed the idea that the reality of literature is an objective world through the subjective view of the author. Thus, he demanded that the author be ethical and contemporaneous in the literary reality. Through this, Yeom Sang-seop insisted that the novel should be directed toward the truth. Yeom Sang-seop thought that the attitude of the writer and the contents of literature were more important than the literature’ form. Yeom Sang-seop’ novel writing contributed to the realization of the concept of an unfamiliar modern novel.

염상섭 문학어와 표준어 의식 연구 -한글맞춤법통일안(1933) 이전과 이후 ≪三代≫ 개작을 중심으로-

이용규 ( Lee Yongkyu ) 한국방언학회 2021 방언학 Vol.- No.33

염상섭은 서울 출신으로 잘 알려져 있는 문인이다. 그의 문학어도 역시 서울 방언으로 파악되어 왔다. 그런데 서울 방언은 다른 방언들에 비해 표준어와 차이점이 부각되기보다는 자연스럽게 동일한 것, 혹은 유사한 것으로 인식되어 왔다. 그래서인지 염상섭의 문학어나 그의 표준어-방언 의식에 대한 평가도 양극단의 것이 모두 확인된다. 그러나 서울 방언과 표준어는 엄연히 다른 것으로, 본고에서는 염상섭의 문학어와 그의 작품에 반영된 표준어-방언 의식을 파악하고자 하였다. 구체적으로, 한글맞춤법통일안(1933)을 전후로 하여서 연재본과 단행본이 나오는 염상섭의 ≪三代≫를 대상으로 어떠한 개작이 이루어졌는가를 살펴보았다. 그 결과, 1931년 신문 연재본에서는 서울 방언의 특징을 다수 확인할 수 있었다. 그런 점에서 이 시기에 염상섭의 문학어를 서울 방언으로 파악하는 것에는 무리가 없었다. 그런데 1947년 단행본을 살펴본 결과 개작의 양상이 회화와 지문에서 다르게 나타났다. 먼저 회화에서는 기존의 연재본에 나타났던 서울 방언이 그대로 반영되거나 서울 방언을 강조하는 방향으로 개작되었다. 반면 지문에서는 서울 방언의 특징을 제거하고 표준어로 적으려는 노력이 엿보였다. 본고에서는 동일한 지면에서 회화와 지문의 개작이 다르게 나타나는 점을 강조하여 염상섭이 표준어와 서울 방언을 다르게 인식하고 있었다는 점을 주장하였다. 또한 염상섭의 문학어는 서울 방언을 반영하고 있고, 작가 스스로는 표준어 의식을 가지고 있던 작가라는 점을 확인하였다. Yeom Sang-seop is known as a Seoul-born writer. His literary language has also been recognized as a Seoul dialect. However, the Seoul dialect has been naturally identified as the same or similar rather than the difference in standard language compared to other dialects. Perhaps that's why Yeom Sang-seop's evaluation of literature or his standard language and dialect consciousness can be confirmed as both extremes. However, Seoul dialect and standard language should be regarded as different, and so we found Yeom Sang-seop's literary language and the standard language-language consciousness reflected in his work. We looked at what kind of adaptation would have been made for Yeom Sang-seop's ≪Three Generations≫ with serial version and book editions. As a result, a series of 1931 newspapers showed many features of the Seoul dialect. In this regard, it was easy to understand Yeom Sang-seop's literary language in Seoul dialect at this time. However, after looking at the 1947 book, the changes were different from dialogues and stage directions. First of all, the dialogues reflected the Seoul dialect that appeared in the existing serial version or were adapted to emphasize the Seoul dialect. On the other hand, stage directions showed efforts to remove the characteristics of the Seoul dialect and write it in standard language. Emphasizing that dialogues and stage directions on the same page were different, Yeom Sang-seop recognized standard language and Seoul dialect differently. It was confirmed that Yeom Sang-seop's literary language reflected Seoul dialect and that he himself was a writer who pursued standard language ideology.

적치하 서울과 염상섭 -1950년대 초 염상섭의 단편소설을 중심으로

이만영(Lee, Man-young) 한국현대소설학회 2022 현대소설연구 Vol.- No.87

This study analyzes Yeom Sang-seops short story, which is set in Seoul in occupation period Yeom Sang-seop stayed in Seoul for nearly three months between the start of the Korean War on June 25, 1950, and Seouls restoration on September 28, 1950. Based on this autobiographical experience, he produced numerous works, including “Morning of Liberation,” “Coveted Hakobang,” “The Jackknife,” “The Bicycle,” “House search,” “Red Flame” and “A Shower.” One of these, short stories by Yeom Sang-seop about Seoul in occupation period, has not been included in earlier research. Accordingly, this study would like to reveals what kind of cracks caused by the centrist position that Yeom Sang-seop maintained throughout the liberation period and how his views on left-wing ideology were embodied in his work through the analysis of four works, “Morning of Liberation,” “Coveted Hakobang,” “The Jackknife” and “The Bicycle.” First, “Morning of Liberation” and “The Jackknife” are works that explore the direction of national reconstruction after the restoration of Seoul (9/8). The selection and punishment of collaborators during Seouls restoration are major issues raised by “Morning of Liberation.” Yeom Sang-seop criticizes the political and social processes that make it so simple to expel and exclude remnants by illustrating the hardship of the them, who must demonstrate their identity in order to avoid being forced into collaboration. In “The Jackknife,” is a work that reveals the artists desire to form a unified nation-state by including them while accusing the left-wing forces of violence. These two works represent Yeom Sang-seops personal political ideals, which aim for inclusiveness over exclusion and unity over divide. The next two works, “Coveted Hakobang,” and “The Bicycle,” are concerned with the pain endured by the survivors throughout the post-residence period. In the work “Coveted Hakobang,” the plight of the remaining people is depicted as they are forcibly taken from their property by left-wing troops in Seoul in occupation period. It is a problematic work that fully addresses the issue of property of collaborators or rebels, which emerged as a social problem right after the restoration of Seoul. The piece “The Bicycle,” which is situated in the area of Seoul in occupation period, reproduces the reality of difficult love and independent survival by Sam-ryong and Cha-deuk, a family of collaborators. Unlike family of Pil-Jun in “Coveted Hakobang,” that their all ownership was taken away by the left-wing troops and they were constant groans, this work shows an active human who dreams of “freedom” while covertly making love and leading a simple life in Seoul in occupation period. His short story about Seoul in occupation period serves as an example of how perilously he straddled the anti-communist and centrist viewpoints. This is supported by the left wings appearance in these works, and via the four short stories in this piece, the middle ground that Yeom Sang-seop has maintained since the liberation era has seen fissures and shifts.