李建昌의 「李卓吾贊」에 대하여

김용태(Kim Yang-Tae) 동양한문학회(구 부산한문학회) 2008 동양한문학연구 Vol.26 No.-

  본고는 이희목 교수에 의해 십수년 전에 보고되었으나, 그 사이 학계에서 ‘잊혀진’ 자료였던 이건창의 「이탁오찬」이란 글의 존재를 학계에 환기하고, 그 내용과 의의를 검토하여 이건창 문학을 새롭게 이해하는 시각을 제시하려는 목적에서 집필되었다. 「이탁오찬」은 陽明左派의 성립에 중요한 역할을 하였던 李贄를 칭송하는 내용을 담은 글이기에, 최근 들어 그 열기가 더해지고 있는 양명좌파와 公安派의 수용에 대한 연구에 있어 매우 중요한 자료가 아닐 수 없다.<BR>  「이탁오찬」은 이건창이 20대에 지은 글인데, 이 당시 내면적으로 울분상태에 있던 이건창은 양명좌파 및 공안파를 접하면서 많은 위안을 받을 수 있었다. 이후 이건창은 양명좌파 및 공안파와 일정한 거리를 두게 되지만, 양명좌파 및 공안파의 사유를 자신의 문학적 목표와 실천의 자양분으로 적절히 활용하였다. 이러한 점은 이건창 문학을 주로 ‘古文’적 관점에서 접근 하였던 기존의 연구에서 주목하지 못했던 부분이라 할 수 있는데, 실상 이건창 문학이 위대한 까닭은 양명좌파, 공안파, 동성파 등등의 외부적 요인을 주체적으로 활용하여 자신만의 독특한 색깔로 재창조했다는 점에서 찾아져야 할 것이다. 그리고 이러한 점은 양명좌파와 공안파의 수용에 있어 ‘주체’의 측면을 제대로 고려하지 않는 최근의 연구경향에 대해서도 시사하는 바가 적지 않다고 할 수 있다.   The material, 「lee tak oh chan(李卓吾贊)」, was reported approximately a dozen years ago by a Professor Lee, Hee-mok. But this material has been "forgotten" in the academic society. This abstract has been created with an aim to propose a new point of view to understand the literature of Lee, Kun-chang(李建昌) by reviewing the 「lee tak oh chan」. 「lee tak oh chan」 contains materials that look up to Li zh? who had played an important role in establishing a Radical Yang-ming school, which cannot be a crucial material in the sense that recently its academic heat has been increasing toward Radical Yang-ming school and Gong-an School.<BR>  「Lee tak oh chan」 was made by Lee, Kun-chang in his twenties. At the time, Lee, Kun-chang who was in depression of his days had been consoled much by Radical Yang-ming school and Gong-an School. Since then, he placed a certain distance to Radical Yang-ming school and Gong-an School, however he applied appropriately Radical Yang-ming school and Gong-an School to sources of nutrition of literary object and performance. These points were something that at-the-time research hardly took notice of having the viewpoint to access to Lee, Kun-chang literature based upon "Guwen(Classical literary Style 古文)". In fact, the reason, we have to understand, that the greatness of Lee, Kun-chang literature is that it recreated outer factors of Radical Yang-ming school, Gong-an School, Dong-sung School, etc subjectively in its unique color.<BR>  And, in this respect, it suggests us a lot in the sense that even recent research trend tends to hardly focus upon "subjectivity" in the absorbtion of Radical Yang-ming school and Gong-an School.

이찬 시의 낭만성과 비극성

유성호 경희대학교(국제캠퍼스) 비교문화연구소 2010 比較文化硏究 Vol.19 No.-

Lee Chan’s early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan‘’s poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet’s tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s’ poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn’t throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry’s extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown. Lee Chan’s early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan‘’s poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet’s tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s’ poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn’t throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry’s extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

조찬한과 이옥의 부 문학 비교 연구 : 대화 전략을 중심으로

구봉곤(Koo, Bong-Gon) 연세대학교 국학연구원 2021 동방학지 Vol.196 No.-

본 연구는 조선중기와 조선후기의 부 작품 가운데 대화가 나타나는 작품들을 분석하고 그것을 통해 대화 전략이 어떠한 변화를 보이는지 밝히는 것이다. 조찬한과 이옥의 작품에서 두 화자가 한 번씩만 발화를 하는 것들이 있다. 조찬한의 작품에서는 화자A와 화자B가 서로 상반된 의견을 내놓고 화자B의 의견이 옳다는 입장을 보여주고 있다. 그런데 이옥의 작품에서 화자A와 화자B는 같은 입장을 갖고 있다. 이옥의 작품은 대화의 유형이 조찬한의 작품에서 나타난 것보다 다양하지 않았다. 이옥의 경우, 표면적으로 화자의 정서를 표출하는 작품이 한 편만 존재하는 것으로 보아 서정성보다는 서사성을 중시한 것을 알 수 있다. 이옥은 현실 비판을 목적으로 하는 작품의 비율이 상당히 높다. 조선중기보다 조선후기에 현실에 대한 비판을 담으로는 경향이 더 강해졌을 가능성이 크다. 이옥은 모든 작품에 사람이 화자로 등장하고 있고, 조찬한은 두 편의 작품에서 사람이 아닌 두 동물이 화자로 등장한다. 조찬한은 다양한 동물을 화자로 내세우고, 이옥은 동물은 거북만을 내세며 거미나 벼룩과 같은 곤충을 화자로 한다는 점이 달랐다. 이옥의 여성화자는 당대의 보편적인 평민의 여성을 화자로 등장시켜 당대에 만연했던 삼정의 문란을 직설적으로 비판하고 있다. In this study, the researcher examines works of bu from the mid- and late-Joseon period that featured conversations, and identifies changes in conversational tactics. The researcher examined works of bu written by Cho Chan-han(1572-1631) and Lee Ok(1760-1812) where each of two speakers speaks only once. In Cho Chan-han’s bu, Speaker A and Speaker B voices two opposing opinions, and the author suggests that Speaker B’s opinion is right. In comparison, in Lee Ok’s bu, Speaker A and Speaker B voices the same opinion. In works of Lee Ok, the type of conversation is less varied than in works of Cho Chan-han. In case of Lee Ok, only one work of bu expresses a speaker’s feelings, suggesting that the writer put more emphasis on narrativity than on lyricism. A large number of Lee Ok’s bu aims to criticize the reality, and this tendency might have grown stronger in the late Joseon period than earlier. In all works of Lee Ok, human beings appear as a speaker, while in two works of Cho Chan-han, two animals appear as a speaker. Cho Chan-han featured various animals as speakers in his bu, while Lee Ok only featured a turtle among the animals, or featured insects including spider and flea as a speaker. In Lee ok’s work, female speakers are portrayed as a typical commoner who frankly criticizes disorder of the three taxation systems that was a widespread problem at the time.

문학,문화 : 이찬 시의 낭만성과 비극성

유성호 ( Sung Ho Yoo ) 경희대학교 글로벌인문학술원 2010 비교문화연구 Vol.19 No.-

Lee Chan`s early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan`s poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet`s tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s` poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn`t throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry`s extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

화폐로 인한 불안과 환상의 의미양상 연구

조미영(Cho, Mi-Young) 우리문학회 2016 우리文學硏究 Vol.0 No.49

이청준은 1965년 등단해 2009년 타계하기 까지 43년 동안 방대한 작품 활동으로 한국 문학사에 한 획을 그은 소설가이다. 특히 이청준 문학에 주목을 요하는 이유는 그의 작품이 활자화에 그친 것이 아니라 영상으로 재탄생되고 있다는 점이다. 이와 관련된 논문들은 90년대 후반부터 꾸준히 연구되고 있다. 초기 연구는 매체의 차이에서 오는 서사기법 비교 연구에 한정지어 졌으나, 후반부로 오면서 매체의 차이에서 오는 해석의 차이를 논하는 분석으로 연구 범위가 확장되고 있다. 지금까지 이청준의 작품이 영화로 제작된 것은 총 9편인데, 작품성과 대중성을 인정받은 작품으로는 남도사람 연작을 원작으로 한 임권택의 <서편재>(1993), 「벌레이야기」(1985)를 모티프로 삼은 이창동의 <밀양>(2007)이다. 이 두 작품은 이청준 소설의 영화화에 관련된 연구 업적의 대다수를 차지하고 있다 해도 과언이 아니다. 이청준 작품은 공통적으로 외형적인 현실 묘사 이면의 세계에 초점을 맞추는데, 특히 ‘불안’은 그의 문학을 관통하는 주요 키워드이다. 이에 본고는 이청준 소설을 마지막으로 영화화한 윤종찬의 <나는 행복합니다>(2009)와 원작 「조만득 씨」(1971)를 분석대상으로 삼고자 한다. 두 작품의 공통점은 현대사회의 병증의 기인으로 불안과 화폐를 내세우고 있다는 점이다. 이에 본고는 두 작품에서 주인공의 내적 갈등을 야기 시키는 불안과 화폐의 관계, 그리고 이를 극복하기 위한 수단으로서의 환상이 각 작품에서 어떤 결말을 유도하는지 살펴보고자 한다. 돈과 권력의 지배 아래, 돈도 없고 권력도 없는 가난한 소시민 계층이 자신이 처한 현실을 탈피하기 위한 방법으로 선택한 환상이 두 작품에서는 각기 다른 결말을 유도한다. Lee Chung Joon is a writer who marked a new era in Korean history of literature though works produced on a grand scale over 43 years from 1965 to 2009 when he passed away. In particular, Chung Joon Lee’s literature is still in the spotlight to this day because that the works are not only limited to print but is haver been re-created as movies. Treatises, related to the filming, of Chung Joon Lee’s fictions have been continuously written since the end of the 1990s. The early stages of this study were limited to comparisons of narrative techniques in relation to the different mediums, but the scope was later expanded to analgesis dealing with discrepancies in the interpretations caused by the difference in these mediums. Chung Joon Lee’s works commonly focus on the inner world of an external reality in particular, “anxiety” is a main key word that appears in his literature. A total of nine films have been produced from Chang Joon Lee’s works. “I am Happy” is a work by director Yoon Jong Chan, and is a film version of the novel “Mr. Jo Man Deuk”. This thesis categorizes the narrative factors of the two works into photos, characters, and background and analyzes them. Through this, it is learnt that despite being narrative works with the same story line, the two pieces differ from one another through changes made to the story. This paper aims analyze “I am Happy”(2009) by Jong Chan Yoon which is a film version of a work of fiction by Chung Joon Lee, and the original “Mr. Jo Man Deuk” and to study the idea of money as a source of anxiety, which is the point of the story, and its relationship with the illusion required to overcome this anxiety.

근대 여성화가 정찬영(1906-1988)의 채색화조화 연구

배원정 미술사학연구회 2019 美術史學報 Vol.- No.53

Chung Chan-young(1906-1988) is one of the most female painters representing the ink-andpainting flower beds of Korea’s modern era. Chung Chan-young, who learned painting from Lee Young-il and started as a painter, rose to prominence as a painter. As Lee Young-il used a style of blank colored painting derived from modern Japanese paintings, Jung Chan-young also showed the world of works focusing on painting by Jin-chae. Chung Chan-young’s case is also meaningful in that it is an example of a very early female writer. Although it was a pioneering work of feminization compared to Park Rae-hyeon and Chun Kyung-ja in the Oriental Painting Company, it has never been discussed in depth. It is even more meaningful because she was a modern female artist who still had a strong traditional weight despite the change in women’s position, and was a figure who made a clear mark in the Joseon art exhibition. In this paper, we are going to comprehensively review the background of Jung Chan-young’s career and painting background as a female writer in the modern era, and the development and characteristics of the world. 정찬영(1906-1988)은 한국 근대기 수묵채색화단을 대표하는 여성화가 가운데 한 명이다. 근대기의 공필채색화가 이영일로부터 그림을 배우고 화가로 입문한 정찬영은 화조화가로 두각을 나타냈다. 이영일이 근대 일본회화로부터 기인한 공필채색화조화풍을 구사하였기 때문에 정찬영 역시 공필 진채의 화조화를 중심으로 작품세계를 전개해 나가는 모습을 보였다. 정찬영의 경우 매우 이른 여성작가의 사례라는 점에서도 의미 깊다. 동양화단에서 박래현이나 천경자에 비해서도 선구적인 활동을 펼쳤던 여성화가였지만 현재까지 심도 깊게 논의되었던 적은 없었다. 여성의 입지가 크게 바뀌는 가운데에서도 여전히 전통의 무게가 가볍지 않았던 근대기 여성화가로서 조선미술전람화에 입상하는 등 뚜렷한 족적을 남겼던 인물이기에 그 의미가 더욱 깊다. 본고에서는 근대기 여성작가로서 정찬영이 활약할 수 있었던 배경과 그 생애와 회화적 배경, 회화세계의 전개와 특징을 종합적으로 검토하고자 한다.

조찬한(趙纘韓)의 <의우도(義牛圖)> 제작 배경과이후 전개 과정

이상원 조선대학교 인문학연구원 2025 인문학연구 Vol.- No.69

이 글은 1630년에 선산에서 조찬한(趙纘韓)이 <의우도(義牛圖)>를 제작한 배경과 그 이후 의우 담론이 어떻게 전개되었는지를 살펴본 것이다. 1630년 선산군 문수점에 살고 있던 김기년이 부리던 소가 호랑이의 위협으로부터 주인을 구했으며, 주인이 호랑이에게 물린 상처로 20일 후 죽게 되자 소도 따라 죽었다는 일이 알려졌다. 이에 당시 선산 부사였던 조찬한은 주인의 무덤 옆에 소를 묻어주고 의우총(義牛塚)이라 하고, 화공에게 명령하여 <의우도>를 그리게 하였으며, 자신은 <의우전(義牛傳)>을 지었다고 전한다. 그런데 이 의우(義牛) 이야기는 쾌산원우(快山冤牛) 고사의 변형으로 보이기 때문에 액면 그대로 믿기 어렵다. 따라서 <의우도>를 제작하게 된 숨은 배경을 살펴보았다. 그 결과 이 일을 주도한 것은 선산의 유력 인물이었던 최현(崔晛)이고 조찬한은 그것을 실행한 인물이며, 이들이 이 일을 벌이게 된 것은 정치적 곤경을 타개하기 위한 충성 고백의 일환이었음을 알 수 있었다. 이후 의우와 관련된 각종 시문들이 이어지게 되는데 이것은 크게 둘로 나누어 이해할 수 있다. 1658년 이전에 창작된 것들은 선산 밖에 거주하는 사람이 우연히 선산을 지나다가 의우총을 발견하고 여기에 감동을 느껴 지은 부(賦)라는 공통점을 가지고 있다. 반면 1658년 이후에 지은 시문들은 이복(李 )의 주도하에 창작된 것들이다. 1658년 안동 교수로 부임하게 된 이복은 안동의 유력 인물이었던 김응조(金應祖)를 찾아가 시문을 부탁하여 받은 뒤, 홍여하(洪汝河)와 배유화(裵幼華)로부터도 차례로 시문을 받았다. 이복이 이들에게 시문을 부탁한 이유는 1630년에 제작된 <의우도> 뒤에 이들 시문을 붙이고 마지막에 자신의 시로 마무리하는 의우도첩(義牛圖帖) 을 만들어 백성 교화에 활용하기 위해서였다. 한편 1703년에 조찬한의 손자 조귀상(趙龜祥)은 향랑(香娘) 사건을 계기로 <열녀도(烈女圖)>를 만든 뒤 이를 1630년의 <의우도>와 통합하여 의열도(義烈圖) 를 제작하였다. 여기에는 ‘의(義)’와 ‘열(烈)’을 강조하려는 일반적 의미 외에 자신의 조부인 조찬한의 의로운 행적을 드러내고, 정유재란 때 순절한 조모 유씨-조찬한의 부인-의 정려(旌閭)를 관철하려는 의도가 숨어 있다고 판단된다. This study aims to investigate the background of Uiwoodo by Jo Chan-han in Seonsan in 1630 and the way the discourse about a righteous ox unfolded later. In 1630, Kim Gi-nyeon was working his ox in Munsujeom, Seonsan-kun when he was attacked by a tiger. His ox saved him from the tiger's threat, but he died of his wound by the tiger 20 days later. His ox followed him to death. Jo Chan-han, who was the Busa of Seonsan at that time, had the ox buried next to the grave of his master and named its grave The Tomb of a Righteous Ox. A painter created Uiwoodo after Jo's order. Jo himself wrote Uiwoojeon. However, this story of the righteous ox seems to be a variation of the ancient event, Koaesanwonwoo. It is thus difficult to believe the story as it is. This is why the study aims to examine the hidden background of the painting. The results show that Choi Hyeon, who was a prominent figure in Seonsan, took the lead in this matter and that Jo implemented it. They carried out this as part of their confession of loyalty to break through a political difficulty. Since then, various literary works were created about the righteous ox, which can be categorized into two groups. The works created before 1658 were all odes written by people who lived outside Seonsan, came across The Tomb of a Righteous Ox by chance while passing through the town, and were moved by the ox's story. The literary works after 1658 were created under the leadership of Lee Bok. Being appointed Andong Gyosu in 1658, Lee visited Kim Eung-jo, a prominent figure of Andong, and asked him to write a literary work about the righteous ox. He also requested for literary works from Hong Yeo-ha and Bae Yu-hwa in order. Lee asked them to create literary works about the righteous ox to add their literary works to Uiwoodo created in 1630, make Uiwoodocheop to be completed by the last work, which was his poem, and use it in the edification of people. Jo Gui-sang, a grandson of Jo Chan-han, made Yeolnyeodo after the Hyangrang incident in 1703 and created Uiyeoldo by combining it with Uiwoodo from 1630. Behind this was his intention to highlight his grandfather Jo Chan-han's righteous achievement and carry through the Jeongryeo of his grandmother Yu (Jo Chan-han's wife) who died for the country in Jeongyujaeran in addition to a general meaning to emphasize "Ui" and "Yeol."

이찬 시의 환상성 연구

허갑순 ( Gab Soon Heo ) 한민족어문학회 2015 韓民族語文學 Vol.0 No.71

This study focused on fantastic space shown in Lee Chan’s poetry and observed poems of exotic fantasy and the fantastic space as a departure from reality. These works were reviewed that tragically express modernistic nature and wandering consciousness of losing home and wandering about. But it was also criticized as ‘an escapist attitude’ that lacks for critical self-consciousness in the back. This study is intended to reveal secret interaction between reality immanent in fantasy and fantasy by interpreting and analyzing his works. In the 19th century, although fantasy was intentionally excluded from those supporting realist novels, it has occupied an universal position in the flow of a narrative and also taken the place in modern literature. Kathryn Hume claims that fantasy is any departure from consensus reality, an impulse native to literature. In this sense, fantasy can appear as a number of transformations from monster to metaphor. Although fantastic literature is revealed in Romantic literature in the 1920s in Korea, the context may be found in fantastic poems in the Japanese colonial period or the 1950s and 1960s. In particular, in the transition period from the Japanese colonial period to the 1945 Liberation of Korea and the Korean War, one would have no choice but to pursue a departure from repressed and painful reality. In this regard, it cannot be asserted that fantasy appears only in certain times or writers. In other words, fantasy is not a phenomenon limited to some times or writers and is often encountered in several poets’ poems about the time of the 1945 Liberation of Korea. This study strived to reveal fantasy in Lee Chan’s poetry because of a good sentiment toward Utopia that underlies his poetry. Although his attitude has been criticized as an escape to the aesthetic world that lacks in realistic self-consciousness, the important is that it is the aspect of fantasy his poetry shows. Therefore, although it is difficult to assert that Lee Chan’s poetry expresses overwhelming weirdness, we can know that a deep and severe pain of a person harbors at the back of miserable reality.

대안교육의 사상적 기반으로서 이찬갑의 교육사상에 대한 연구

강영택 한국교육개발원 2010 한국교육 Vol.37 No.4

This study is on the educational thoughts of Lee Chan Gap, founder of the Poolmoo School. Lee, a graduate of Osan School, had been significantly influenced by Yi Sung Hun, Grundtvig, and Kim Gyo Shin. He believed "awakening" to be an educational aim and emphasized common people as educational objects who had not been given educational opportunities for a long time. He also thought that teaching language and history was the most important task of schooling. A village, he believed, can be a place of schooling and it can be improved through schooling. These ideas were implemented by the Poolmoo School, and are now being carried out there. Lee's educational thoughts have been an important educational basis of alternative education. This study on Lee Chan Gap could contribute to establishing a new direction to overcome the confusion in our education today. 본 논문은 풀무학교의 설립자인 이찬갑의 교육사상에 대한 연구논문이다. 오산학교 출신인 이찬갑은 이승훈, 그룬트비히, 김교신의 영향을 받아 정신적 각성을 교육의 목표로 생각하였고, 오랫동안 교육으로부터 소외되어왔던 평민들을 교육의 대상으로 생각하였다. 그리고 우리 말과 역사를 가르치는 것이 가장 중요한 교육의 내용이라 생각하였다. 학교는 지역공동체와 함께 해야 한다는 신념하에 마을을 교육의 장으로, 교육을 통해 마을을 건설하는 것을 중요한 교육적 과제로 생각하였다. 이러한 그의 교육사상은 풀무학교를 통해 구현되었고, 지금도 시도되고 있다. 이찬갑의 교육사상은 우리나라 대안교육의 중요한 사상적 기반이 되었으며, 이찬갑에 대한 본 연구는 목표의 혼란으로 어려움에 처해있는 우리교육이 나아가야할 방향을 새롭게 설정하는데 도움이 될 것으로 기대된다.

<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.