한국 근대문학의 러시아 문학 수용양상 연구

박혜경(Park Hye Kyung) 충북대학교 러시아 알타이지역 연구소 2017 러시아학 Vol.- No.14

The modernization of Korean literature was achieved by an acceptance of European modernism through Japanese translations during the colonial times in the early of the 20th century. Although Korean writers in the 1920s were highly educated, most of them read European literary works translated into Japanese. In 1918, the literary journal Taeseomunyesinbo was begun published aiming at introducing European literature to Korean readers not by Japanese translation, but by translation from original texts, so this journal was regarded as a beginning of Korean modern literature. Through this journal Korean writers introduced European modernism, particularly, French symbolism. It was not until the 1920’s that Russian literature was accepted actively in Korea. In this period Russian literature was introduced to Korea primarily by Korean students who studied in Japan. From 1920’s to 1930’s Russian realism and social realism were particularly popular, because Korean writers and intellectuals thought that these literary trend were more appropriate to show the sufferings and frustrations of Koreans in Japanese colonial times. However, the influence of Russian modernism was relatively low. Russian modernism was acknowledged as literary genre by Korean writers, as long as their themes are concerned with Socialism or Russian revolution. The representative Russian symbolists, Alexander Blok and Andrey Bely were accepted revolutionary poets of Twelve and Christ is Risen that describe Russian revolution as a beginning of a new era and a victory of Russian history. The aim of this article was to study an influence of Russian modernism in Korean modern literature by analyzing literary magazines of 1920’s. Russian modernism was not actively accepted to Korean modernism because of its difficulty of language and historical restriction, nevertheless we cannot ignore of its influence. We have to understand the peculiarities of acceptance of Russian modernism.

예수교장로회 조선총회 100년을 돌아보며 : 한국의 근대화와 한국장로교회: 회고와 전망

장동민 ( Dong Min Jang ) 한국장로교신학회 2012 장로교회와 신학 Vol.9 No.-

본 논문의 목적은 두 가지이다. 첫째는 한국장로교회가 한국의 역사에, 내용적으로 말하자면, 한국근대화에 지대한 영향을 미쳤다는 것을 증명하는 것이다. 선교사가전하여준 복음을 받은 한국 기독교는, 복음과 더불어 근대정신을 공유하게 되었다. 미국 개신교가 가진 근면과 금욕의 덕이 자연스럽게 한국 기독교에도 정착되어 자본주의를 가능하게 하는 원동력이 되었다. 근대 과학을 가능하게 한 세계관이 미신적인 세계관을 대치하였다. 봉건적 신분제도를 타파하는 데도 기독교는 큰 공헌을 하였고, 민족주의가 정착되도록 하였다. 기독교=근대화라는 등식이 성립되었다고 해도 과언이 아니다. 한국 기독교를 비판하는 사람들의 주된 관점 가운데 하나가 한국 기독교가 한국 역사에 아무런 기여를 하지 못했다고 하는 것인데, 이에 대한 응답인 셈이다. 둘째는 정말 한국 기독교(장로교)가 한국 역사의 발전에 기여한 것이 사실이라고 하면, 왜 오늘날 많은 사람들이 그렇게 느끼지 못하고 있는가 하는 질문에 대한 답변을 제시하는 것이다. ① 한국 장로교회는 기독교의 영향력을 사적인 영역으로 혹은 부드러운 방법으로 제한시켰다. 점차로 정교분리의 논리가 힘을 얻어 보수적장로교회 내에서 민주화나 노동문제, 통일이나 환경 등의 공적인 영역에서 담론을 형성해 내지 못하게 되었다. ② 신학적인 이유이든 사회학적 이유이든 장로교가 분열되어 극심한 반목과 대립 가운데 있었던 것이, 신학적으로 진보적인 장로교가 정치적으로 진보적이 되게 하였고, 신학적으로 보수적인 장로교가 정치적으로도 보수적이 되게 하는 데 일조하였다. ③ 기독교가 근대화에 기여한 바가 많을 뿐 아니라, 한국기독교가 근대정신의 상당부분을 수용한 지금, 근대화 자체를 싫어하는 ‘포스트모더니즘’(post-modernism) The goals of this thesis are two: First, to demonstrate that the Korean Presbyterian church has given large influences to Korean history, namely the modernization of Korea. The Korean church, having received the gospel transmitted by the American evangelical missionaries, came to share the modernist mentality with them. The virtue of diligence and temperance of the American Protestantism became a part of the Korean church, providing the spirit of Capitalism. Scientific worldview replaced superstitious worldview, prevalent among the ancient Koreans. Western Christianity made contribution to the breaking down the feudalistic status system and to the rising of modern nationalism. It is no exaggeration to say that Christianity equals modernization among many Koreans. Second goal of this thesis is to show the answer to the question: if all the contributions of Christianity to Korean society are true, why so many scholars and the Korean people do not feel that way? It is because, ① Korean Presbyterian church has limited Christian influence only to the private realm or personal ethic. Separation of church and state banned the formation of discussions itself such as democratization, the labor union, the reunification of the Korean Peninsula, or the environment issues. ② The schism of the Korean Presbyterian church between right-wing and left-wing helped theologically liberal church to become politically liberal, and theologically conservative more conservative in the political sphere too. ③ Now that Western Christianity gave a lot of influences to the modernization of Korea and that the Korean church accommodated considerable amount of the modernist spirit, so-called post-modernism made an appearance in the Korean society. The latter criticizes modernism in many ways: it brings to the fore a dark side of Capitalism and industrialization, it tends to regress to the ancient Oriental worldview denying modern scientific worldview, it blames Christianity for the discrimination against non-Christians and homosexuals and it even dislikes patriotism. In short those who do not like modernism do not like Korean Christianity, since the latter has everything the former has. Through the discussion of modernization and Christianity in Korea, the tasks of the Korean Presbyterians’ social engagement. First, they have to find a way to engage social matters in the time of ‘secularization’ and to integrate the conservative and the liberal, theologically and politically. Second, they have to cope with the challenge of post-modernism which blames Christianity for all the modernist acid. They have to reconsider the equality that Christianity equals modernism: on the one hand acknowledging the universal and biblical values modernism brought, but on the other hand seeing the wrongs of modernism with critical eyes. The goals of this thesis are two: First, to demonstrate that the Korean Presbyterian church has given large influences to Korean history, namely the modernization of Korea. The Korean church, having received the gospel transmitted by the American evangelical missionaries, came to share the modernist mentality with them. The virtue of diligence and temperance of the American Protestantism became a part of the Korean church, providing the spirit of Capitalism. Scientific worldview replaced superstitious worldview, prevalent among the ancient Koreans. Western Christianity made contribution to the breaking down the feudalistic status system and to the rising of modern nationalism. It is no exaggeration to say that Christianity equals modernization among many Koreans. Second goal of this thesis is to show the answer to the question: if all the contributions of Christianity to Korean society are true, why so many scholars and the Korean people do not feel that way? It is because, ① Korean Presbyterian church has limited Christian influence only to the private realm or personal ethic. Separation of church and state banned the formation of discussions itself such as democratization, the labor union, the reunification of the Korean Peninsula, or the environment issues. ② The schism of the Korean Presbyterian church between right-wing and left-wing helped theologically liberal church to become politically liberal, and theologically conservative more conservative in the political sphere too. ③ Now that Western Christianity gave a lot of influences to the modernization of Korea and that the Korean church accommodated considerable amount of the modernist spirit, so-called post-modernism made an appearance in the Korean society. The latter criticizes modernism in many ways: it brings to the fore a dark side of Capitalism and industrialization, it tends to regress to the ancient Oriental worldview denying modern scientific worldview, it blames Christianity for the discrimination against non-Christians and homosexuals and it even dislikes patriotism. In short those who do not like modernism do not like Korean Christianity, since the latter has everything the former has. Through the discussion of modernization and Christianity in Korea, the tasks of the Korean Presbyterians’ social engagement. First, they have to find a way to engage social matters in the time of ‘secularization’ and to integrate the conservative and the liberal, theologically and politically. Second, they have to cope with the challenge of post-modernism which blames Christianity for all the modernist acid. They have to reconsider the equality that Christianity equals modernism: on the one hand acknowledging the universal and biblical values modernism brought, but on the other hand seeing the wrongs of modernism with critical eyes.

송수남의 〈 붓의 놀림 〉 연작 -한국적 정체성과 모더니즘의 동시적 구현과 그 간극

김현화 ( Hyun Wha Kim ) 미술사와 시각문화학회 2015 미술사와 시각문화 Vol.16 No.-

이 논문은 송수남이 1983년부터 꾸준히 제작한 〈붓의 놀림〉 연작의 내적 다의성과 조형적 특징을 분석하여 회화에 있어 서구미술의 수용과 한국정체성의 문제에관하여 연구하는 것을 목적으로 한다. 송수남은 1980년대에 ‘현대 수묵화 운동’을 이끌면서 수묵화의 현대화에 열정을 바쳤다.〈붓의 놀림〉들은 한국정통수묵화가 서구미술을 수용하면서 어떻게 현대화되어 가고 있는지 조형적이고 이론적인 연구의 필요성을 제기하는 추상수묵화이다. 일부 비평가들은 송수남을 현대 수묵화에서 한국정체성을 부각시킨 대표적화가로서 칭송하기도 하고, 또한 한편에서 일부 평자들은 한국회화의 정신성을 발달시키지 못하고 단지 수묵의 물질적 속성만을 보여 주었다고 그를 비판하기도 한다. 이런 상황에서 현대 수묵화를 보다 잘 이해하기 위해 연구의 새로운 관점이필요하다. 〈붓의 놀림〉 연작은 조선시대 문인화에 뿌리를 둔 수묵화로서 지필묵만으로 제작되었다. 이것들은 한국전통사상과 화론에 기반을 두고 양식은 추상표현주의 혹은 미니멀리즘과 같은 서구 모더니즘 미술을 따르고 있다. 서구 모더니즘 미술은 1960년대부터 한국수묵화에 큰 영향을 미쳤다. 〈붓의 놀림〉들은 국제적인 미술의 동향을 보여 주는 수묵추상회화의 대표적인 작품이다. 한국수묵추상화는 이것이 서양화인지 아니면 한국화(동양화)에 속하는지 의문을 갖게 만든다. 송수남은 서구 모더니즘 미술의 맹목적인 추종을 강하게 비판했다. 그는 가장 한국적인것은 국제적인 것이라는 신념을 갖고 있었고 가장 한국적인 동시에 국제화된 미술을 정립하는 것이 그의 꿈이었다. 그는 전통과 현대성의 융합을 탐구하면서 한국 고유의 정신성을 함축한 수묵추상화를 제작하고자 했다. 〈붓의 놀림〉들은 문인화의 현대화로 간주되듯이 현대의 지성인들이 무엇을 생각하고 또한 그들의 삶이 어떠한지 보여 주는 시각적 언어이다. 송수남은 한국추상수묵화는 문화적 사상적 전통의 기반 위에서 정립된 것이라 생각했다. 이 작품들은 전통회화기법, 사고, 그리고 현대적 감수성이 결합된 장(場)이다. 송수남은 전통 산수화의 선비사상, 자연주의를 모더니즘 양식과 결합시켜 현대 수묵화의 새로운 양식을 창조하고자 했다. 그러므로 〈붓의 놀림〉들의 추상양식은 선비사상과 자연주의를 함축하고 있는 산수화의 변형이다. 송수남은 서구 모더니즘 미술의 침투에 대항하여 한국적 정체성을 지킬 수 있는 유일한 대안은 수묵이라고 주장했다. 전통은 오늘날까지 시대정신으로 작용한다. 〈붓의 놀림〉들에서 먹은 선비사상과 같은 깊은 정신세계를 표현하는 데 가장 적합한 재료라는 것을 보여 주고 더 나아가 추상수묵화에서 전통과 현대성을 결합시키는 궁극적인 매체 역할을 한다. 이 논문은 한국수묵추상화가 전통회화의 사상, 기법, 재료 그리고 서구 모더니즘 양식과의 결합 등의 다양한 차원에서 새롭게 연구되어야 한다는 것을 제기하고 있다. 〈붓의 놀림〉들은 전통에서 현대로의 변화를 받아들이면서 회화에 있어 한국적 정체성을 지켜는 것이 필수적이라는 것을 일깨워 준다. This paper explores the artistic relationship between Korean artistic identity and Western Modernism Art by examining the inner meaning and formativeness of the series of 〈Brushstroke〉, created by Soo-Nam Song from 1983 to the early 2000s. Song is one of the most eminent painters and is considered to be the founder of ‘Modern Ink Painting Movement (現代水墨畵 運動)’, which endeavored to modernize Korean ink painting in the 1980s. The series of 〈Brushstroke〉 are abstract ink paintings that demand further formative and theoretical investigation into the modernization of Korean traditional ink painting through the embracement of Western modern art. Some art critics eulogize Song as one of most representative painters in modern abstract ink painting who emphasized Korean identity. On the other hand, other art historians criticize him for not developing the spirituality of Korean ink painting and merely showing the material properties of Ink-stick. In this respect, new perspectives are required to gain a better understanding of the ‘Modern Korean Ink Painting’ that Song vigorously supported with his followers. The series of 〈Brushstroke〉 are composed of Korean traditional painting``s matter, namely white paper, black ink and blush stroke (紙筆墨). It has roots in Korean Scholarly Painting (文人畵, muninhwa) in the era of Chosun, where it finds its reference source for pictorial concepts. They are founded upon traditional Korean thoughts and art theory, and their style makes reference to Western Modernism Art, specifically Minimalism or Abstraction Expression. Western Modernism Art has had a huge effect on Korean ink painting from the 1960s. The series of 〈Brushstroke〉 are one of the most typical examples of Korean abstract ink painting, which are affected by the global ideology of Art. Korean abstract ink painting is made to question whether they belong to Korean painting or Western Painting. Song strongly warned against blind following of Western Modernism Art. He believed that what was most Korean was international, and his main objective was to establish art that is both Korean and international. He pursued the abstraction focused on Korean pictorial spirituality, examining the mutual exchange and junction between modernity and Korean tradition. The series of 〈Brushstroke〉 is regarded as the modernization of ‘Korean Scholarly Painting (文人畵)’. On a similar note, it is a unique visual language that depicts the thoughts and daily lives of the modern intellectual. Song maintained that Korean abstract ink painting must be built upon the basis of cultural, ideological tradition. They are a combination of traditional painting techniques, thoughts and the modern sensibility. He attempted to create a new style of Modern Korean ink painting that integrated the virtues of Confucian ideas(선비사상, Seonbi Spirit) and Naturalism into Modernism. Thus, the series of 〈Brushstroke〉 is a modification of Korean traditional landscape painting (山 水畵), in which Seonbi Spirit and Naturalism are implied. In resistance to the invasion of Western Modernism Art, Song claimedthat Ink-stick is the only way to preserve Korean identity. Because traditionportrays the spirit of the age, he strongly insisted that Ink-stick is the most suitable means of expressing the ideas of the intellectual, such as the Seonbi Spirit of the Chosun era, and ultimately combines tradition and modernity. This paper suggests that Korean abstract ink painting should be reassessed from new angled determined by traditional ideology, pictorial technique, materials and its relationship with Western modernist style. The series of 〈Brushstroke〉 bring into awareness that it is essential to maintain Korean identity in Korean abstract ink painting, while accepting changes from tradition to modernity.

Perspectives of Korean Modernity from the 18th Century to the Present: Intellectual Struggles for Koreanity in the Age of Globalization

Yoon, Ho-Byeong 국제언어인문학회 2002 인문언어 Vol.4 No.-

For the effective study of Korean modernization from the 18th century to the present, three areas have been investigated in my paper: the age of dawn in recognizing the necessity of modernism, the era of experimentation from recognition to practice, and the development of modernism in literature: from the 1930s to the present. Through whole process of discussing those matters, Koreanity- identifying itself to be Korean - has been emphasized. While the so-called traditional values confronted with the whole turmoil of socio-political demolitions in the name of modernization, westernization, and culturalization, Korean intellectuals tried to emphasize how important it was to keep Korean identities, namely the Koreanity. Such examples can be seen in the activities of Northern School and Moderate School. Though Koreans had to have a short hair cut in contradiction with their traditional morality to be modernized/westernized/cultivated, it was a turning point for them to take a step toward the international world. During the period of Korean modernization through the impact of Western world, Korean language-hangul- has been cultivated to the highest level in comparison with two foreign languages: Japanese and English. Those Korean linguists who were familiar with these two languages made Korean grammar systematic and they understood the importance of preserving Koreanity in the course of pursuing modem western society. In this sense, Korean modernism is related to the cultural glocalism(globalism+ localism), not to the cultural globalism. Through the help of socio-political modernization, Korean literature in modernism has been full bloomed in the early years of 1930s. One of the leading poets was Sang Lee whose poetic heritage is inherited by those groups of 1950s and I 960s. Among many others, Chunsu Kim and Sunghun Lee were the main figures in realizing the fact the poetry is written in Korean which they considered the body, the soul, and the mother la

식민지 근대성을 통해 본 한국 모더니즘에 대한 비교 연구: 모더니즘 변형에 대한 문학사적 접근

최성우 ( Seong Woo Choi ) 한국비교문학회 2015 比較文學 Vol.0 No.65

본 연구는 1930년대 식민지 상황에서 태어난 한국 모더니즘의 특징들을 호미 바바의 탈식민주의 이론을 빌려 다루고자 한다. 한국의 근대 문학을 알고자 하는 독자들, 특히 영어권 독자들을 위해 한국 모더니즘을 유럽 모더니즘들, 그리고 이들을 한국에 전달하는 중간 역할을 했던 일본의 모더니즘과 비교하는 방법은 유용하고 적합할 것이다. 원래 모더니즘은 19세기 말, 20세기 초 유럽에서 태동한 예술운동을 의미하며 여러 모더니즘들의 공통된 특징은 반전통주의라 볼 수 있다. 이 반전통주의를 기반으로 한 유럽 모더니즘들과 일본 모더니즘에 영향을 받아 한국 모더니즘도 자신만의 반전통적이고 새로운 독특한 문학을 만들어 냈는데 이는 식민지라는 그들과 다른 역사적 문화적 배경이 큰 영향을 준 것이라 볼 수 있다. 따라서 본 연구에서는 한국 모더니즘 문학을 제대로 알고 즐기기 위해서는 식민지 한국이라는 역사적 문화적 배경의 이해가 우선해야 함을 강조한다. 모더니즘 연구뿐 아니라 한국 문학 연구를 위해 탈식민주의적 접근법은 큰 역할을 담당할 것이며 본 연구가 이에 작은 기여를 할 수 있기를 바란다. Influenced by the ideas of postcolonialist Homi Bhabha, this study attempts to show the features of Korean modernism based on colonial modernity, to the readers, particularly to the English-speaking readers, who want to understand Korean modern literature. For this, it will be relevant and useful to compare Korean modernism with other European and Japanese ones. Modernism is an aesthetic movement rooted in the changes in European society in the late 19th and early 20th century. Its most remarkable common feature is anti-traditionalism. Based on the influences of European and Japanese modernisms, Korean modernists formed their own unique style which is pervaded by the features of Korean modernism. Thus, this study emphasizes the role and importance of historical and cultural background to understand Korean modernism which began in colonial Korea in the 1930s. Ultimately, the study aims to contribute to the improvement of how to approach Korean literary studies with post-colonialism that will unveil the unique features of Korean modernism.

Translating Translated Modernism: A Study on English Translation of Yi Sang’s Nalgae

최성우 한국번역학회 2011 번역학연구 Vol.12 No.4

This is a study on the “decontextualization” and “recontextualization” of Korean modernism by way of analyzing Yi Sang’s short story, Nalgae. It is a translation criticism paying attention to translational shifts considering their relevance in conveying the qualities of Korean modernism to the English-speaking readers. Yi Sang’s works are intertwined with Modernism and Korean colonial modernity. During the colonial times, Modernism was definitely imported from the West into Korea through Japan. Korean modernist writers, therefore, mimicked Western and Japanese modernisms, and consciously or unconsciously became ambivalent and mentally hybrid. Yi Sang’s literary works contain these features of Korean modernism—frequent use of foreign words, coined words written in Chinese characters, and literary forms borrowed from Japan, as well as resistance against traditions, trials of experimental techniques, and destruction of old literary forms. This study analyzes two English translations of Nalgae by comparing them with the original, in order to determine whether or not the translators were aware of the unique features of Korean modernism and how they tried to render them into English. It notes the existence of two schizophrenic narrators having different voices in the prologue and in the main story, and pays attention to its effects based on Korean modernism and colonial modernity. The analysis starts by dealing with the first sentence of the story, “‘박제가되어버린천재’를아시오 (Have you ever seen a ‘genius who became a stuffed specimen’?)” This study points out that “genius” refers to the first narrator in the prologue and “stuffed specimen” is the second narrator in the main story. Based on this premise, this study compares and analyzes the two English translated texts, focusing on how the two English versions convey the features of Korean modernism, particularly in revealing the divided self of Korean intellectuals in the colonial society of the 1930s. The schizophrenic nature of the narrator is unveiled through his style of speech and choice of words in Nalgae. The narrator employs distinctively different speech styles in the prologue and in the main story. The intellectual narrator in the prologue uses Sino-Korean and foreign words profusely while the spineless narrator in the main story uses childlike and commonplace words. However, toward the end of the story, he gradually revives the other self, and aches to soar with him towards the ideal world. The divided self with two different voices implies the intellectuals’ ambivalent and hybrid identities frustrated as they are in colonial Korea. Most of the shifts in the English translations seem to have stemmed from the translators’ lack of awareness of the existence of the two narrators or insufficient understanding about the narrators’ characters although the translators have adequate knowledge of Korean and English vocabulary and usages. The Korean readers notice the two different voices through the use of different vocabulary and speech or writing styles in the prologue and in the main story, but the translators seem to have little paid attention to distinctions between the first and the second narrators’ word preferences.

‘한국사’ 상의 조선시대상 -조선전기를 중심으로

정다함 국제한국문학문화학회 2010 사이 Vol.8 No.-

Up until this point, the early Chosŏn period has taken on a significant position in the historical framework of linear development found in the “Korean history(Han’guksa)” or “National History of Korea(kuksa)” established in modern Korean historiography. In general, the Chosŏn period has been viewed in Korean history as a period full of unprecedented development and change, which enabled Korean historians to define this period as a early modern one that marks the evolution in Korean history from the feudal (chungse) period to the modern period(kŭndae). These developments and changes, which were thought to be clearly evident when using this view of history, were believed to be the unique origins of the Korean nation whose modernity had originated from even before the introduction of Western modernity that took place during Japanese colonization. This view of history enabled Korean people to imagine the early Choson Dynasty as a prototype of the modern Korean nation-state that contributed to the nation-building process of Korea. This research demythologizes the still dominant nationalist arguments about the early Chosŏn period found in modern Korean historiography(as outlined above)-efforts made to territorialize the modernity of the Korean nation by setting the origin of Korean modernity in the “unique” traditions of the premodern era. Through revealing the implications of these arguments about the early Chosŏn period―which were thought to signify such evolution steps in Korean history as the transformations from the irrational to the rational, from aristocracy to bureaucracy, from mystical knowledge to empirical science, from despotic monarchy to people-oriented politics, and from Sinocentrism to unique Koreanness―this research argues that what modern Korean historiography has highlighted as sprouts of early Korean modernity that emerged from Korea’s own soil, is in fact the modern invention of Korean historiography which has been modeled after the historical models found in Western and Japanese historiography. 현재의 ‘한국사’ 혹은 ‘국사’의 체계 속에서, 조선전기라는 시기는 매우 중요한 위치를 점하고 있다. 일반적으로 ‘중세’에서 ‘근대’를 향해 발전하는 도상에 있는 ‘근세’로 설정되고 있는 이 시기는 세종대를 중심으로 하여 ‘한국사’ 상에서 유래를 찾아보기 힘든 ‘발전’이 출현했던 시기로 이해되어지고 있다. 그리고 이러한 ‘발전’과 ‘변화’들은 현재까지도 서구와 일본을 통해 근대적 문물이 들어오기 이전에, 이미 근대 한국의 근대성이 발원되고 있던 고유한 기원으로 인식되어지고 있으며, 근대 국민국가인 대한민국의 원형과 같은 이미지로 이해되면서, 근대 국민국가 창출과 유지에 기여해 왔다. 그러나 사실, 이러한 시각과 이를 통해 파악되고 재현된 조선전기의 역사상은, 당대의 맥락 속에서 조선전기의 역사를 재구성한 것이 아니라, 사실 서구 혹은 일본을 통해서 들어온 근대성을 보편적 기준으로 삼아 그와 비슷한 것을 ‘한국사’ 속에 설정하려는 근대 국민국가의 시선과 기획에 따라 만들어진 것이었다. 이 논문은 해방 이후 자신의 근대성의 기원을 그 고유한 전통 속에서 찾아내려 했던 노력 속에서 만들어진 ‘한국사’ 상의 조선시대상(朝鮮時代像), 즉 비합리적인 것에서 합리적인 것으로, 귀족제적인 것에서 관료제적인 것으로, 미신적인 것에서 경험적 지식으로, 전제적인 정치에서 민본적인 정치로, 중국적인 것에서 조선적인 것으로의 ‘변화’ 혹은 ‘발전’으로 규정되어 온 이 시기의 역사상이 매우 통국가적(transnational)으로 구성된 것임을 밝히려는 시도이다. 이 시기의 역사상이 한국 근대성의 고유한 기원임을 주장해 온 ‘한국사’의 주장에도 불구하고, 사실상 이는 서구로부터 발원하여 일본을 통해 전해진 근대성을 보편적 기준으로 해서 마련된 근대 국민국가 기획의 구성물이었으며, 때문에 그러한 기획과 그 결과물 속에 ‘한국사학’이 저항의 대상으로 삼았던 제국주의의 논리와 영향이 내면화되어 있다는 점을 밝히려는 것이다. 이를 위해 ‘한국사’ 상의 조선시대상, 특히 조선전기라는 시대상이 어떤 과정을 통해 ‘중세’보다 ‘근대’에 더욱 가깝게 접근한 ‘근세’로 파악되었는가를 살펴보고, 그러한 위치에 맞는 역사상을 구성하기 위해 ‘한국사학’이 그간 강조해 온 주요한 개념과 주장들, 즉 ‘양반관료국가’, ‘중인’, 세종대 ‘과학기술 및 문화의 발전’, ‘사대’와 ‘교린’ 등을 학설사적으로 검토함으로써 ‘한국사’라는 체계가 어떠한 논리에 입각해서 어떠한 세부적인 연구영역에서 구체적인 연구성과를 축적하면서, 조선시대와 관련된 현재의 역사상과 연구지형을 만들었는가를 비판적으로 분석하여 그 ‘가까운 기원’을 드러내고 대안을 모색하려 한다.

한국 영화비평의 정치적 무의식에 대한 연구

문재철(Moon Jae Cheol) 한국영화학회 2008 영화연구 Vol.0 No.37

Achieving the modernity was a long time ardent wish for the Korean cinema. Due to the background of Japanese colonial period and the Korean war, it was difficult for Korean film to establish a systematical condition as Hollywood or attaining aesthetic achievement as European cinema. Since Korean film didn't have reasonable industrial system nor aesthetic achievement, it was logical to be situated as the other's position, and for that reason, it was natural to crave for new films with modernity and new system. Although it was initiated by the nation, the late 1950s to 1970s was a period of industrialization in Korea, which also functioned as a sort of ideology. Film also couldn't be independently free from this mood in a sense of social, cultural, political ways that it resulted in a form of film promotion policy. There were new film policies adapted so called, the 'Well-made film compensation program', 'Screenquota system' etc, and these were all one of the Korean film industrialization policy, which was bench-marked from the Hollywood system. But policies with protection and fostering layed many side effects and became the core reason of downward of Korean film in the late 70s. In summary, the Korean film industry in this period shows the typical contradictions of developing countries when fast shifting to modernization society. However, it is difficult to define that these logic of modernization is forced only by the nation. The hope of modernization in film was also an internal desire from the community and it wasn't only limited to the film industry. Film criticism were unconsciously also seeking for this kind of ideology with an aim of achieving the modernity, and these symptoms were seen in many aspects. Criticism, which in a way anti to modernization ideology were mostly contradicted and disintegrated. One of the expample is the idealism tendency, which was the biggest distinctive feature of Korean film criticism in this period. In a lacking condition of industry, it was necessary to emphasize an earnest auteurism by the director to acknowledge as a good film. The reason why the European art films (especially Neorealism) were more attracted than Hollywood films or such types of films that had more audience tendency, has been originated by these emphasis on auteurism and not by the materialism. Anyhow, this idealism was sort of a symptom. Basically, it was emphasizing the art itself but on the other aspect, it was also regarded as a way of break out for Korean films from the backwardness and moving toward the center. In other words, it was a critical decision that overcoming the other's position and achieving the modernity in Korean films were believed possible by the spiritual aspects rather than the materials. The Korean realism and art film theories in this period could be appreciated in the same context. This is also similar to the attitude on the technology. Valuing the contents rather than technic part was another distinctive feature for Korean film criticism, and so the Hollywood technic were less regarded. But the critics praised and valued a great amount of it in a matter of Korean films' technical achievement, and this was quite a contradictory attitude. This kind of dualism, which has also derived from the other' position to the Hollywood films, can also be regarded as showing the hidden desire of modernization. In conclusion, the unconscious desire that defined the Korean cinema criticism in this period was the modernization of Korean films. Although in the surface, this kind of desire was shown to be critical to the industrialization's contradictions, unconsciously it was colluded together. Therefore the desire of the Korean cinema criticism was linked with the social and cultural dimensions.

한국 영화비평의 정치적 무의식에 대한 연구 - 1950년대 후반에서 70년대까지

한국영화학회 2008 영화연구 Vol.0 No.37

<P>Achieving the modernity was a long time ardent wish for the Korean cinema. Due to the background of Japanese colonial period and the Korean war, it was difficult for Korean film to establish a systematical condition as Hollywood or attaining aesthetic achievement as European cinema. Since Korean film didn"t have reasonable industrial system nor aesthetic achievement, it was logical to be situated as the other"s position, and for that reason, it was natural to crave for new films with modernity and new system.</P><P> Although it was initiated by the nation, the late 1950s to 1970s was a period of industrialization in Korea, which also functioned as a sort of ideology. Film also couldn"t be independently free from this mood in a sense of social, cultural, political ways that it resulted in a form of film promotion policy. There were new film policies adapted so called, the "Well-made film compensation program", "Screenquota system" etc, and these were all one of the Korean film industrialization policy, which was bench-marked from the Hollywood system. But policies with protection and fostering layed many side effects and became the core reason of downward of Korean film in the late 70s. In summary, the Korean film industry in this period shows the typical contradictions of developing countries when fast shifting to modernization society.</P><P> However, it is difficult to define that these logic of modernization is forced only by the nation. The hope of modernization in film was also an internal desire from the community and it wasn"t only limited to the film industry. Film criticism were unconsciously also seeking for this kind of ideology with an aim of achieving the modernity, and these symptoms were seen in many aspects. Criticism, which in a way anti to modernization ideology were mostly contradicted and disintegrated. One of the expample is the idealism tendency, which was the biggest distinctive feature of Korean film criticism in this period. In a lacking condition of industry, it was necessary to emphasize an earnest auteurism by the director to acknowledge as a good film. The reason why the European art films (especially Neorealism) were more attracted than Hollywood films or such types of films that had more audience tendency, has been originated by these emphasis on auteurism and not by the materialism.</P><P> Anyhow, this idealism was sort of a symptom. Basically, it was emphasizing the art itself but on the other aspect, it was also regarded as a way of break out for Korean films from the backwardness and moving toward the center. In other words, it was a critical decision that overcoming the other"s position and achieving the modernity in Korean films were believed possible by the spiritual aspects rather than the materials. The Korean realism and art film theories in this period could be appreciated in the same context.</P><P> This is also similar to the attitude on the technology. Valuing the contents rather than technic part was another distinctive feature for Korean film criticism, and so the Hollywood technic were less regarded. But the critics praised and valued a great amount of it in a matter of Korean films" technical achievement, and this was quite a contradictory attitude. This kind of dualism, which has also derived from the other" position to the Hollywood films, can also be regarded as showing the hidden desire of modernization.</P><P> In conclusion, the unconscious desire that defined the Korean cinema criticism in this period was the modernization of Korean films. Although in the surface, this kind of desire was shown to be critical to the industrialization"s contradictions, unconsciously it was colluded together. Therefore the desire of the Korean cinema criticism was linked with the social and cultural dimensions.</P>

한국문학의 ‘복수의 근대성’, 아시아적 타자의 새 발견 : 외국인 이주노동자와 한국문학의 새로운 윤리감에 대한 모색

고명철(Ko Myeong-cheol) 한국비평문학회 2010 批評文學 Vol.- No.38

Korean literature has groped for the possibility of different modernity from Western modernity; it schemed and pursued ‘plural modernity’ as a generic term for non-capitalist modern enhancement to stress the distinctiveness and multiplicity of modernity holding out against ‘singular modernity.’ What must not be disregarded in the pursuit of ‘plural modernity’ Korean literature has achieved up to now is, however, the pursuit of ‘plural modernity,’ which was investigated within the nation-state, the Republic of Korea; that is, within the framework of one individual nation’s crisis. Korea openly underwent the fictitiousness of such a framework of one single nation’s crisis by way of the IMF. Hence, despotism of the neoliberalist order deviated from a nation’s boundary and loomed large as a critical-pending question of the entire global crisis, ‘plural modernity’ Korean literature must pursue, has since confronted multifarious dilemmas that cannot be resolved by only a nation’s viewpoint. A sensitive issue in the Korean society among the dilemmas concerns the reality of foreign migrant workers. Korean literature in the previous viewpoint of a nation was to deal successfully with ‘singular modernity’ that centered in the Western society, which has perceived the critical reality of foreign migrant workers in Korea and revealed contradictions and ills of Korean capitalism. Korean literature desires a global reform to achieve the class liberation of workers as resolving the dilemmas. The scheme for pursuing ‘plural modernity’ setting about within such a boundary of a nation extends to the issue of foreign migrant workers, the severity of which gradually rises within the global boundary of the neoliberalist order. Korean literature is hence confronted with a new assignment. The rapid influx of foreign migrant workers to the Korean society cannot be disregarded, and Korean literature must never overlook the agony in their life in the Korean society. The reality of their life becomes conscious in our life in this global system of the 21st century capitalism. The pursuit of ‘plural modernity’ in Korean literature in the interest of overcoming European-centered ‘singular modernity’ can allow a deviation from the boundary of a nation and be more fertile as encountering with the reality of foreign migrant workers. Doing so, Korean literature can newly disclose ‘Asian others ? foreign migrant workers,’ whom it previously failed to properly recognize; and therefore embellish the sense of new literary ethics linking with the awareness of the issue.